Pro AVL Asia May-June 2021 by Blank Canvas Publishing Ltd

ProAVLAsia May–June 2021

LIVE SOUND

LIGHTING

RECORDING

INSTALLATION

BROADCAST

POSTPRODUCTION

SIGN OF THE TIMES

May–June 2021

J.studio upgrades and diversifies in Taipei JUILLIARD SCHOOL ARRIVES IN CHINA

GOING AOIP AT RTM PERLIS

RIEDEL’S ROC RAISES THE BAR FOR REMOTE PRODUCTION

OPTIMAL AUDIO LAUNCHES

MICA (P) 001/06/2021 PPS1604/05/2013(022953) www.proavl-asia.com

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

POWERSOFT.COM

DYNAMIC MUSIC DISTRIBUTION

High-quality music distribution in multi-zone / source applications

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BETTER-SOUNDING WORLD

Audioversity offers training programs that can help anyone who works with audio deliver better sound for enhanced impact and communication in a broad range of applications. Refine your craft through a comprehensive selection of seminars, webinars, and self-training materials designed to build skills quickly and effectively.

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Contents Volume 20 Issue Three May–June 2021 NEWS BUSINESS Vitec creates global IPTV and digital signage powerhouse

DISTRIBUTION Adam Hall adds Sonicvalue in Korea

APPOINTMENTS AV Stumpfl grows management team

EDUCATION PAMA and Shure unveil Mark Brunner scholarship

PROJECTS Christie powers interactive art gallery at new Beijing airport

FEATURES WIDENING OPTIONS Singapore’s YST Conservatory adds Dolby Atmos HE

BRANCHING OUT Juilliard School’s first overseas campus opens in China

MAXIMUM FLEXIBILITY Networked AV for Pullman Bandung hotel complex

HEADING BACK NORTH Munro Acoustics returns to PFT’s Mumbai HQ

CRYSTAL CLEAR Radio Television Brunei chooses Lawo for new facility

HEATING UP IN HOHHOT T-One Studio opens in Inner Mongolia

COVER: ONE STEP AHEAD Taipei’s J.studio ensures it stays at the cutting edge 66 CHARTING NEW HIGHWAYS JAA.S installs AoIP network at RTM Perlis

BUSINESS LETTER FROM AMERICA Dan Daley ponders the music industry’s “new normal” 70

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

Welcome to another issue of Pro AVL Asia, with news and features from across the region. Recording and broadcast upgrades loom large in this issue as musicians spend more time in studios, while broadcasters turn to remote production including AR, XR and VR technology to enhance events coverage. Our cover story looks at J.studio in Taipei (p66) where owner Zhu Chiao Chen has installed a Neve 8424 console to interface with his collection of vintage gear and attract a wider group of musicians. Chen also livestreamed a concert from J.studio in conjunction with Japanese musicians who couldn’t travel to Taiwan due to restrictions. Not all of this is entirely pandemic-related, however. Global studio design company WSDG had been in discussion with T-One Studio (p64) since late 2018 and had already decided the project would be carried out entirely remotely due to the distances involved. Riedel’s Remote Operations Center (p76) had been in development since 2018, and has become invaluable over the past year for carrying out high-quality remote productions in a fast-evolving journey. And broadcasters RTB (p62) and RTM (p68) had already both decided on upgrades to their facilities in Brunei and Malaysia, respectively. While works had to be carried out when different phases of the pandemic allowed, both upgrades were completed to schedule. The point is that all of these upgrades have gone ahead with stunning results, contributing to the constant evolution of technology used in communications and creativity. Our May–June issue tells the story of many a satisfied client and of the new skills and ingenuity deployed during the process. If that’s not a sign of progress, I don’t know what is.

LETTER FROM EUROPE Phil Ward looks at Brexit’s effect on touring and haulage 70 COMPANY PROFILE Focusrite’s new Optimal Audio aims to simplify install

TECHNOLOGY The rise of Riedel’s Remote Operations Center

NEW PRODUCTS The industry’s most comprehensive product news

ANALYSIS Sennheiser outlines its new roadmap

Contacts

102

inside

GENERAL MANAGER Richard Lawn

ADVERTISING DIRECTOR Sue Gould

SENIOR REPORTER Simon Luckhurst

T: +44 1892 676280

rlawn@proavl-asia.com

sgould@proavl-asia.com

T: +44 1892 676280

PRODUCTION MANAGER Adrian Baker

EDITORIAL COORDINATOR Karen Wallace

SALES ASSOCIATE Carolyn Valliere

T: +44 1892 676280

abaker@proavl-asia.com

kwallace@proavl-asia.com

T: +1 562 746 1790

DIGITAL MEDIA MANAGER Nick Smith

VIDEO EDITOR Chris Yardley

SOCIAL MEDIA COORDINATOR

T: +44 1892 676280

nsmith@proavl-asia.com

cyardley@proavl-asia.com

sluckhurst@proavl-asia.com

cvalliere@proavl-asia.com

jubhi@proavl-asia.com

BEIJING OFFICE Frank Shao

GUANGZHOU MANAGER Sue Su

CIRCULATION Marne Mittelmann

T: +86 10 8652 5184

T: +86 13609001455

F: +65 6491 6588

frank@proaudioasia.com.cn

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

www.proavl-asia.com

Jessica Ubhi

@ProAVLCentral

ssu@proavl-asia.com

circulation@proavl-asia.com

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

@ProAVLAsiaMagazine May–June 2021 PRO AVL ASIA 3

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NEWS

Vitec creates global IPTV and digital signage powerhouse in Exterity acquisition WORLD

Vitec has announced the strategic acquisition of Exterity Ltd, signalling the French developer’s intention to accelerate growth and strengthen its leadership position, with natural technology and customer synergies between the two companies. As a global leader in IP video streaming solutions for broadcast, military and government, corporate, sports and entertainment venues, Vitec can now extend its reach into new geographies, market verticals and partners. “Exterity is a respected IPTV and digital signage leader around the globe,” commented

Vitec CEO, Philippe Wetzel. “As a market leader, they have developed a robust IP video platform for both hardware and software that has been very successful, particularly in the enterprise and accommodation markets across Europe, the Middle East and Asia Pacific. Exterity’s engineering excellence, global geographic distribution and complementary business focus was the primary motivation for Vitec to make this acquisition. The combined entity will be the leading IPTV and digital signage provider for corporate, government, military, venues, hospitality and broadcast customers.”

Colin Farquhar, Exterity CEO

Founded 20 years ago in Scotland, Exterity has experienced phenomenal growth during the past five years, extending its global reach with offices in London, New York, Paris, Johannesburg, Dubai, Riyadh, Singapore and Sydney. CEO Colin Farquhar will remain a central part of the leadership team of the combined company. “In bringing together Vitec and Exterity, we will be able to offer a wider range of best-in-class products, solutions and services to our customers,” commented Farquhar on the acquisition. “Vitec’s product portfolio, market strength and company culture are the perfect fit for this next chapter in our IPTV growth and I have complete confidence that we will be able to grow stronger together as more and more businesses deploy IP video streaming solutions across their enterprises. Exterity has established a large and loyal customer and partner base, with a number of organisations specifying solutions for global projects. Bringing together Vitec and Exterity

Barco opens experience centre

enables us to take advantage of our combined technologies so that our customers will have a broader choice of market-leading IP video solutions to suit their needs.” The combined engineering teams will develop a strategy to migrate the existing IPTV and digital signage portfolio into a converged platform to offer a wider range of solutions to customers. Now numbering almost 200 engineers across their global development centres, Vitec and Exterity will immediately begin working together to fully realise the software and hardware expertise of the embedded teams. Vitec is also connecting with Exterity’s broad network of integrators and partners to provide more information about the combined capabilities of the companies and to ensure their continuity of business strategy and deployments. www.exterity.com www.vitec.com

Tradeshow news

SINGAPORE

Barco has inaugurated a new headquarters for its Asia Pacific operations in Greater Southern Waterfront. Designed with the latest video technology to accommodate hybrid working, it features Barco’s new experience centre to showcase the company’s latest AV and collaboration solutions ranging from LED displays and LCD videowalls to video collaboration tools and image processors. The new office optimises available space with an open working concept to create smaller, more multipurpose areas for a collaborative mobile workforce, catering to the Bring Your Own Meeting (BYOM) trend. Facilities include more huddle spaces equipped with Barco’s videoconferencing tools such as weConnect and Clickshare solutions. The company believes that traditional offices, cubicles and meeting rooms will be replaced by a customer lounge with hot desks, and a virtual classroom that can be transformed into meeting areas. The office also serves as a showroom. Barco had been preparing for the digital future of work before the pandemic, but Covid-19 has accelerated the transformation to a hybrid model of remote and in-office work. “Barco has always been committed to enabling bright outcomes for our customers,” said Olivier Croly, senior vice president for APAC at Barco. “We’re excited at the launch of our new facilities and we believe they will help organisations adapt to the new environment of hybrid meetings and workplaces.”

EUROPE: Integrated Systems Events (ISE) and its co-owners AVIXA and CEDIA have jointly announced ISE Live & Online, a series of local events in Barcelona (1–2 June), Munich (8–9 June), Amsterdam (15–16 June) and London (23–24 June). USA: Summer NAMM will take place on 15–16 July 2021. The organisers are working closely with the City of Nashville and local authorities to devise a plan that will enable the event to proceed. The show layout will feature wider aisles and more outdoor networking areas with physical distancing rules in place.

“As a result of the pandemic, business and technology vendors are selling their solutions virtually,” said Gan Ta Loong, managing director, Barco SEA and vice president immersive experience, Barco APAC. “This means it is challenging to demonstrate the capabilities of our products and solutions, especially our high-resolution projectors and diagnostic imaging screens. Now, our partners will be able to use the experience centre for live demos for customers.”

Barco has seen an increased demand for remote working and hybrid learning solutions such as weConnect and ClickShare Conference that help people continue to collaborate, communicate and operate. “Barco is committed to creating the workplace of the future, leveraging on visualisation solutions delivering exceptional experiences and enabling bright outcomes for customers,” added Gan.

KOREA: KOBA has announced that its May event, due to be held at the COEX centre in Seoul, will no longer go ahead due to ongoing Covid-19 concerns and travel restrictions. The show organiser is planning to hold the next edition of KOBA, which would have celebrated its 30th anniversary this year, in 2022.

INDIA: Due to take place in Mumbai in late May, PALM AV-ICN Expo now won’t go ahead until 26–28 May 2022 due to rapidly rising infection rates and increased Covid-19 restrictions in the city. Details for the 10th PALM Sound and Light awards, 20th PALM Summit Conference and seminar, and 16th IRAA Awards will be released in the coming months.

www.barco.com

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NEWS: BUSINESS

News from NEXT WORLD

As the Portuguese company behind the NEXT-proaudio brand, CVA Electronica has a distinguished history as a manufacturer that develops, designs and distributes audio equipment. At the moment, CVA Electronica has two own brands of audio equipment, NEXT-proaudio and NEXT Audiocom. Producing to European quality standards, the new Audiocom brand comprises three distinct product lines – installation, home audio and portable sound.

“Having conceptualised NEXT Audiocom internally in 2019, we have spent the past two years developing,” commented CVA Electronica’s manager, Andre Correia. “The timing is perfect for launching NEXT Audiocom as the home and commercial audio sector has grown consistently over the past years. NEXT Audiocom distinguishes itself by its light commercial structure, interactive e-commerce platform, technologically avant-garde products and innovative brand design.” Founded in 1986, CVA Electonica recently created a new logistics platform based on technology 4.0 to better support the new brand.

Qvest Group expands with tarent AG WORLD

The Qvest Group has acquired the majority stake of tarent AG to build a strategic partnership. tarent AG is a technology partner specialising in digital consulting and software development and supports companies in the realisation of digital and

and the public sector need strong partners in innovation, change and organisational management who advise on technologydriven transformation processes and specialise in implementing customised digital solutions. This is exactly where tarent

www.nextaudiocom.com

Telestream acquires Masstech WORLD

Telestream has announced the acquisition of Masstech. Telestream, a portfolio company of Genstar Capital, is a vertical market software business focused on the video space and a leader in media workflow orchestration, media streaming and delivery technologies. The deal to acquire Masstech has been completed. The latest acquisition, Telestream’s 10th, comes shortly after its purchase of EcoDigital – another leader in content management system technology. Masstech creates intelligent, hybrid cloud-based storage and asset lifecycle management solutions for the M&E industry and the combination of these two entities within Telestream will reportedly make it a leading supplier to the content storage/ management segment of the M&E market, with over 1,000 active customer systems in operation worldwide. “Telestream has effectively rolled up the archive management sector in less than six months through the acquisitions of DIVA and Masstech. The real winners are the customers since a company of Telestream’s scale is likely to bring stability to the archive management sector through greater investments in both R&D and enhanced service and support,” commented Joe Zaller, founder of Devoncroft Partners. “Devoncroft’s 2020 Big Broadcast Survey (BBS) shows that Telestream is ranked in the top 5 globally for Net Promoter Score and ‘great

customer service’ among media technology software brands. Further, buyers of archive management solutions ranked Telestream among the most trustworthy brands in the broadcast technology sector.” All the resources of Masstech will be transferred to Telestream. The company’s engineering and product management functions will be integrated within Telestream’s Content Management Business Unit, led by Geoff Tognetti, who joined the company with the EcoDigital acquisition. The priority for this team will be to combine the best intellectual property from Masstech and EcoDigital DIVA in one product. Masstech’s support sales and pre-sales teams will join Telestream’s global customer sales and support network. “Following the EcoDigital acquisition, this investment decision made natural sense and it is strategic in its very nature,” commented Dan Castles, CEO and co-founder of Telestream. “The knowledge base gained through the Masstech acquisition is complementary to what we have been doing and want to do in this area. This transaction brings together nearly two Exabytes of M&E content under the management of Telestream products in over 1,000 operational systems. With this market leadership comes a critical responsibility to work with our customers as they navigate a hybrid operating environment with assets on premise and in the cloud.” www.telestream.net

Dan Castles

Peter Nöthen

Boris Esser technology solutions. By acquiring the majority of tarent, the Qvest Group is taking the next step in expanding its role as a systems architect and as a technology and digital partner in the media sector. It also reportedly enables the group to position itself more strongly in target markets such as the corporate and the public sector. With more than 300 employees based in Germany and Romania, tarent has expertise in the design of scalable and flexible IT solutions such as platforms and is specialised in individual software development. “We are currently looking at an increasingly accelerated paradigm shift in the media world. Streaming and cloud platforms, artificial intelligence, and the growing replacement of proprietary hardware with standard IT and software components are just a few indications of the change in the technology design of media infrastructures and the associated adjustments in work processes towards more digitality and automation,” said Peter Nöthen, Qvest Group CEO. “In the course of their digitisation strategy, companies

strengthens us with their dynamic teams, which stand for high innovative power, agility and software expertise. Boris Esser, one of the four board members of tarent AG, is convinced that “by gaining Qvest as a partner, we can strengthen our positive development and further expand it in the course of our growth strategy beyond the existing industries and customers. The combination of our joint innovative portfolios in the fields of technology and digitalisation creates an extremely appealing partner for the media sector. Companies will benefit from the fact that we know the challenges of the industry and cover solutions from consulting to implementation and support.” The management of tarent AG will continue to run the business. Together with the Qvest management, they will leverage their activities in the media, corporate and public sector and roll out tarent services across the Qvest Group’s worldwide locations. www.qvestmedia.com www.tarent.de

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NEWS: BUSINESS

DPA captures the sound of Mars WORLD

After a nerve-racking “seven minutes of terror” while engineers awaited the return signals from its Perseverance Rover back to Earth, it was confirmed that NASA’s latest Mars Rover had landed on the red planet’s surface successfully. The rover is the first of its kind on Mars to house traditional acoustic microphone elements and has now returned its first recordings. The rover is outfitted with DPA’s 4006 omnidirectional microphone, MMA-A digital audio interface and MMP-G modular active cable.

to withstand space travel, but also that the audio captured was as incredible, as expected. While one might expect equipment aboard a space mission to be unique and purposebuilt for interplanetary travel, the DPA gear on the Mars Perseverance Rover features off-the-shelf components. Though the layout of the microphone amplifier and chassis of the MMA-A each required modifications in order to be affixed to the rover, the mechanics of the devices are exactly the same as those found in every DPA solution.

China Unicom’s 5G mmWave technology partners’ wall

TVU transmits live 8K UHD video over China Unicom 5G network CHINA

The Mars Perseverance Rover landing After being put through vigorous testing by NASA scientists, the DPA equipment launched into space in July 2020. Over the past seven months, it has been subjected to pressure changes while leaving Earth’s atmosphere and again when entering the Martian surface, and extreme temperatures – as low as –100°C – on Mars. Additionally, the gear has endured the massive vibrations caused by the rocket launch and subsequent Mars landing. “It is an honour to have been chosen for this space mission, and we are so pleased by the results,” commented DPA product manager, René Mørch. “Everything about the mission – from the launch to the landing – is hostile insofar as a microphone is generally concerned. It’s very exciting to know that DPA was able to record something from so many millions of miles away, and have the sound travel back to us so quickly.” After the rover touched down on the red planet, audio and video files were recorded from the surface and transmitted to NASA’s base station. As another example of the close collaboration between the DPA and NASA teams, the initial audio files were sent to DPA’s engineering team for processing, and subsequently back to NASA for final analysis and publishing. Following several days of review, the team was pleased not only to find that the durability of the DPA mic allowed it

DPA 4006 aboard the Mars Perserverance Rover “The entire construction of the equipment was tested rigorously during the rover assembly process,” explained Mørch. “It was during this process that the DPA solution proved its effectiveness to the mission, earning it a coveted spot on the historic rover. To me, the fact that these are factory-standard components is a clear testament to the quality and durability of the equipment we manufacture.” www.dpamicrophones.com

Cloud and IP-based live video solutions manufacturer TVU Networks and mobile ser vice provider China Unicom are collaborating to expand UHD media applications possible with 5G networks. China Unicom’s millimeter-wave (mmWave) technology is set to be deployed over 5G networks during the 2022 Winter Olympics in Beijing, for which it will be the exclusive mobile ser vice provider. TVU Networks is focused on the development of technology for collection, transmission, distribution and management of 4K and 8K ultra-highdefinition video using 5G networks. The 5G mmWave band has increased bandwidth, reduced latency and flexible configuration, enabling future mobile applications such as 4K, 8K and immersive AR/VR. The 5G mmWave radio frequency is far less congested than the spectrum used by most TV and radio signals. The latest collaboration between the two par ties was demonstrated at the China Unicom booth during the recent Mobile World Congress (MWC) exhibition in Shanghai, showcasing the live transmission capabilities of 5G mmWave technology. With the theme “5G Millimeter Wave Makes Snow Spor ts More Wonder ful”, TVU created a 5G-based private network in the cloud to transmit live, high-bitrate 8K UHD video over 5G using two por table TVU 5G Rack Routers. The real-time 8K video followed athletes in training for the games. “We’ve selected the top technology providers in our mission to harness the power of the 5G millimeter wave band for mobile applications that were inconceivable a few years ago,” said Jiawei Kang, VP of cultural and travel and media sales centre, China Unicom. “With the substantial increase in data transmission capabilities 5G millimeter wave provides, applications such as 4K, 8K and VR will see explosive growth. Our

par tnership with TVU has been extremely productive, and we anticipate more groundbreaking developments to come. As the official mobile provider par tner for the 2022 Winter Olympics, we believe this is exactly the innovation required for such a high-profile, prestigious event.” The 5G TVU Rack Router internet access point includes six embedded 5G modems for remote live video production setup, file transfers and emergency communication. An optional IP67 external MIMI antenna is available to maximise signal strength.

Demonstration of 8K UHD video transmitting over 5G by two TVU Rack Routers “We’re honored to be par t of China Unicom’s groundbreaking display at MWC Shanghai,” said Paul Shen, CEO, TVU Networks. “China Unicom’s 5G mmWave is groundbreaking technology for live video transmission. The network breakthroughs they’re spearheading marr y per fectly with our video-over-IP developments. We’re going to see some ver y exciting mobile applications come to fruition this year. We look for ward to continuing to collaborate with China Unicom on future initiatives and global events which showcase the power of this par tnership.” www.tvunetworks.com

8 PRO AVL ASIA May–June 2021

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NEWS: BUSINESS

PMLS goes Quantum with DiGiCo AUSTRALIA

Professional Music & Lighting Systems (PMLS) has become one of the first Australian owners of DiGiCo’s latest flagship console, the Quantum 338. Based in Hobart, Tasmania, the production company has a focus on high-end touring, education and premium corporate events and was looking for a solution to fill the role of a touring and hire rig with extended I/O. Director of PMLS, Nick Morse, was impressed by the Quantum 338’s design features. “The three-screen workflow and 32-bit local inputs are something we really like, and the improved screen brightness and GUI is very impressive,” Morse explained. “If we combine the Quantum with DiGiCo’s SD-Rack, we have something that can handle a large amount of I/O and which has the processing capacity to treat all that audio too. “We’re devoting time to getting up to speed with the new features and, from the short time we’ve had it, I can already say the 338 looks like the way of the future. The new Nodal Processing and KLANG integration are things I definitely see us making good use of. I think the technology behind KLANG is an important development, one that might even become an industry standard. When that happens, we’ll be ready.”

PMLS was originally considering adding a DiGiCo SD10 to its equipment lineup, which already includes an SD9 and SD12, before being won over by the Quantum 338. Having used DiGiCo technology to spearhead experiences like Falls Festival and Dark Mofo, and on artists such as Rüfüs Du Sol, Tash Sultana and Guy Sebastian, and more recently with the Quantum 338 for artists such as Holy Holy, Spiderbait and Pete Murray, PMLS is delighted to be able to add the new console to its regular rotation of production hardware. Most recently, the Quantum 338, along with an SD11, was used by PMLS for the Basin-ish Concert 2021 on 26–27 March, which included artists like Bec Stevens, Kim Churchill, Boo Seeka, Spacey Jane and Ball Park Music. “The majority of clients will specify a DiGiCo and we work a lot with Waves plugins, so our choice to keep upgrading in the DiGiCo realm was an easy one,” Morse furthered. “The consoles have a transparent sound, and you can make the workflow as simple or as complex as you like. I feel we’ve now got something suitable for every scenario.” www.digico.biz

Director of PMLS, Nick Morse, with the new console

www.pmls.com.au

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NEWS: BUSINESS

d&b offers “pay what you consume” subscription WORLD

d&b audiotechnik has unveiled a new subscription service for its premium sound solutions. Addressing the global trend of “pay what you consume” as an alternative to ownership, the d&b Subscription-Series makes the manufacturer’s install audio systems more commercially accessible to a wider range of venues by removing the need for a large, upfront capital investment.

“We’ve been working closely with our customers to understand their changing needs and it’s clear that technical flexibility and commercial accessibility are highly valued,” comments Amnon Harman, CEO d&b audiotechnik Group. “Our new Subscription-Series gives any venue owner or manager who aspires to offer the best sound experience access to d&b solutions. The world has changed, buying behaviour has changed, and it’s critical that we address these new needs.” The standard Subscription-Series plan offers customers the combination of a low monthly payment and commitment periods as short as 24 months. The subscription fee covers all audio system solution hardware, including accessories, system commissioning, post-install services, maintenance and decommissioning. At the end of the subscription period, customers can choose to continue their subscription, upgrade or adjust the system requirements, or cancel the service. Alongside the standard plan, the manufacturer is also offering a payper-use option to enable customers to install additional d&b equipment for use at occasional special events. Venues are charged when the enhanced system components are actually used. “At d&b we have the mission to accurately transfer passions,” added Harman. “We know that extraordinary sound enhances and shapes extraordinary experiences and that’s what our systems deliver. SubscriptionSeries will make our premium solutions even more accessible for all kinds of installation projects, no matter the size, budget or application.” www.dbaudio.com

L–R: Han van ‘t Zand, senior project manager Cloud and Broadcast Systems, Ideal Systems; Mark Wardle, VP engineering and operations, APAC at Encompass; Marc Bruce, MD, APAC at Encompass; Fintan Mc Kiernan, CEO, Ideal Systems SEA; and Simon C P Wong, director of operations at Encompass APAC

Encompass invites “Alice” into the Altitude Media Cloud WORLD

Encompass Digital Media has successfully deployed the newly launched “Alice” broadcast cloud integration platform from Ideal Systems to support over 1,200 full-time channels around the world. The global managed services company delivers end-to-end video solutions to television networks, broadcasters, sport leagues and OTT service providers. Developed by Ideal Systems cloud division Ideal Media Works, the newly launched Alice platform is a cloud native Business Process Management (BPM), operations orchestration and integration framework. It allows for the logical integration and management of disparate business and technical functions of today’s broadcast and media operators. With an increasing migration to cloud-based systems, operators are facing the task

of integrating many different cloud-based products into their technical and business workflow. Alice aims to solve this problem. Encompass selected Alice to unify schedule and playlist orchestration workflows for both on-premises playout solutions in addition to services from its latest Altitude Media Cloud. Alice centralises schedule processing and enrichment from multiple traffic systems, enabling the replacement of hard-coded schedule translators. Designed for easier management, the platform also provides a self-service operations framework using an Alice-Beehive BPMN orchestration module and Alice-Absolem’s module as a universal playlist editor. “The flexibility of the Alice Cloud Platform has been a big win for us,” commented

Encompass CIO, Jim Ewaskiew. “It not only provides an elegant experience for our globally distributed playout and operations teams but also significantly reduces the time and complexity of onboarding new services.” “Alice is the world’s first reactive cloud framework where we extended the BPM specification to offer decoupled event-driven orchestration, allowing Alice to integrate and orchestrate any broadcast system and operations process,” explained head of Ideal’s Cloud Division, James Taylor. “Encompass’ Altitude Media Cloud is the perfect platform to bring Alice to market, enabling us to deploy a solution at scale for the most complex and demanding workflows the world has to offer.” www.idealsys.com

RH Consulting releases 2021 report on audio networking adoption WORLD

RH Consulting has released its annual report on the adoption of audio networking in the pro audio, AV and broadcast markets. The company has been analysing networked audio products and licensees

in order to chart the adoption of audio networking since 2013, and its report is recognised as a benchmark for tracking trends in networked audio. It covers all major protocols including Dante, Ravenna, AVB, Milan and others. This year’s repor t comes in two par ts with the headline totals taking

precedent. More comprehensive data on protocols, compatibility and rate of adoption will repor tedly follow. Par t one logs a total of 3,306 networked products currently shipping from 420 manufacturers. “We were pleased to note that the current pandemic doesn’t seem to have had a great impact on

new product launches,” obser ved RHC’s Roland Hemming. “Dante, for example, has passed the milestone of 3,000 shipping products. There is also a modest increase in the number of Ravenna products and better data also reveals more Ravenna manufacturers than previously logged.” Another significant development for the 2021 report is that CobraNet products are no longer being counted. “CobraNet technology was absolutely pioneering in its time,” furthered Hemming. “It was the first commercially successful audioover-Ethernet implementation and audio networking technology would not be where it is today without it. However, CobraNet modules have been officially declared end-of-life and CobraNet developer Cirrus Logic does not recommend its use in future designs.” The full report can be viewed here at www.rhconsulting.uk/blog/networkedaudio-products-2021 www.rhconsulting.uk

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THE DEFINITIVE CONSTANT CURVATURE ARRAY

Optimised consistency, coverage and control thanks to two angled cabinets, a Dynamic Horn Flare™ and DISPLAY 3. A phase plug mounted in front of the 12” driver increases mid-band sensitivity, vocal clarity and projection, and with three 1.4” HF drivers the sonic performance is not compromised even when driven at higher SPL.

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NEWS: DISTRIBUTION

Adam Hall Aura Visual System named exclusive Group adds Void distributor for Thailand Sonicvalue in Korea THAILAND

KOREA

Adam Hall Group has appointed Seoul-based Sonicvalue as exclusive distributor for the LD Systems, Gravity and Palmer brands in addition to Adam Hall 19-inch parts. Adam Hall global business development manager Alessio Foti explained the rationale in extending the German technology provider’s

international distribution network. “We’re extremely pleased to have joined forces with Sonicvalue and have them as our distribution partner for Korea. The Korean event technology market is highly attractive to us, is futureoriented and fits well as another piece of the puzzle in our international aspirations. As an up-and-coming distributor with a young, dynamic team, Sonicvalue has a broad dealer network as well as an extensive service offering that allows the company to respond to the challenges of the diverse local market. Together, we will continue to expand our presence in Korea in both the event and installation markets.” Founded in 2016, Sonicvalue distributes Audix microphones, Kali studio monitors and Warm mic preamplifiers. Headquarted in Seoul’s Yangjae-dong district, Sonicvalue operates a direct store for showcasing and demonstrating products and technologies. “We firmly believe that every effort pays off and gives extra added value,” said Sonicvalue senior manager, Richie Song. “We look forward to working with the Adam Hall Group on strategies that are as progressive as they are different.” www.adamhall.com www.ld-systems.com www.sonicvalue.com

Void Acoustics has partnered with Bangkokbased Aura Visual System for exclusive distribution throughout Thailand. Aura Visual System is a brand-new company headed by Pankom Klaykum, who has an extensive career in AV product distribution across the region as well as a strong knowledge of Void products. The new partnership reflects Void’s long-term plans to focus on the development and expansion of the brand in the APAC region. “We share a similar drive for the provision of excellent audio to our customers, and my team and I are excited to be aligning with Void Acoustics as their exclusive distributor for Thailand,” commented Klaykum. “The club sector is a prominent part of our business plan with Void going forward, and our experience has taught us that the club market and the DJs playing in these clubs have exacting needs and often request Void systems. We recognise the performance products the brand offers and so Void Acoustics is a very welcome addition to our portfolio.” “Whilst we have done some business in Thailand in the past, there is a huge amount of potential for Void with the country being an

Eastern Acoustic Works (EAW) has appointed Pink Noise Professionals as its exclusive distributor. “I am delighted to welcome Pink Noise Professionals into the EAW family as our exclusive distribution partner in India,” commented James Bamlett, EAW director of sales, APAC. “Pink Noise Professionals is a young, fast-growing company that is already making an impact in the pro audio industry throughout the region. We are excited to work with the team at Pink Noise Professionals and its extensive dealer network throughout the country. The company’s expertise and

important tourist destination and with Bangkok being a major entertainment hub in Southeast Asia,” added Sean Iskhandar, APAC sales manager for Void Acoustics. “We are looking forward to working with Pankom Klaykum and his team to expand market awareness of Void systems throughout notable clubs and

hospitality projects across Thailand. With Aura Visual System’s technical expertise, extensive network and strong after-sales support, I am sure they will do well to support the market and represent our brand extremely well.” www.voidacoustics.com

HH Electronics announces distribution partnership with NSL NEW ZEALAND

HH Electronics, part of the UK Headstock Group of companies, has appointed NSL as its official HH distribution partner for the country. NSL will be working closely with both HH and Generation AV, the sales agency for HH in the region. “NSL is proud to be partnered with HH, distributing the HH range of live sound and installed product in New Zealand,” commented NSL’s COO Carl Win. HH has a long-standing reputation of supplying innovative products at a price point which will benefit those looking for cost-effective quality solutions. This partnership complements NSL’s existing brands and further positions NSL as a complete solutions provider.” Added Ian Wright, Headstock’s director of global sales: “I am very happy to be working

Pink Noise takes on EAW INDIA

Pankom Klaykum from Aura Visual System

with NSL. The brand fits in beautifully with the solid portfolio of brands they already have, in addition to a very experienced team who understand all aspects of the audio business in NZ. I’ve been fortunate to have worked with several of them in the past so I am extremely confident that NSL can do a fantastic job of reintroducing the HH brand in their market and will work hard to develop HH as a leading player there.” “We are delighted to be working with NSL,” said Headstock CEO, James Laney. “We share a mutual goal to fulfil the potential for HH products in New Zealand and we look forward to a long and successful partnership.” www.hhelectronics.com

NSL’s COO, Carl Win

www.nsl.co.nz

resources will help EAW grow its presence in what has historically been a very important market for the brand.”

The distribution company caters to many industries including pro audio, broadcast, live sound, studio production, public sector and hospitality. “The addition of such a respected manufacturer as EAW to the brands we represent will help us leverage our position in the Indian market,” added Pink Noise Professionals founder, Vikram Yadav. “Together with EAW, we are committed to providing our customers with the exceptional technical expertise and support for which Pink Noise Professionals is known, while offering innovative products and technologies that together give a natural voice to artists.” www.eaw.com

L–R: Shailesh Awasthi, Vikram Yadav and Vijay Sinha

www.pinknoisepro.com

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NEWS: DISTRIBUTION

Atlona names Vichai Trading 1983 as key Thai partner THAILAND

Atlona has appointed Vichai Trading 1983 as its leading commercial AV partner in Thailand, bolstering its APAC partner network. The AV specialist, with a history of almost four decades, will represent all of Atlona’s commercial AV distribution and training services throughout Thailand. With particular strength in corporate, education, government and hospitality verticals, Vichai Trading 1983 provides complete AV solutions and has a broad, established reseller network throughout Thailand. “We have seen a rise in customer enquiries for USB switching and wireless presentation solutions, and Atlona’s Omega family of presentation and collaboration products covers a broad range of corporate, education and government AV requirements beginning at the small private office,” said Thaweesak Thamsirisup, managing director, Vichai Trading 1983. “Beyond the Omega family, Atlona’s broad product range, and strength in both circuit-based systems and AV-over-IP, ensures that we can service our customers with proven, reliable and high-quality AV solutions both today and well into the future.”

Vichai Group office Thaweesak added that Atlona’s adaptability to soft codec conferencing systems like Zoom and Teams will be an added benefit as more people return to work following the pandemic. “We expect that huddle spaces with soft conferencing systems will be the meeting

space trend coming out of Covid-19,” he said. “Atlona’s ability to serve the small scale as well as the large scale will be critical to these businesses.” Vichai Trading 1983 is planning to launch an ecommerce channel later this year to

Cine Vision event 2021

with participants from Hong Kong. Cine Vision has established a 24/7 technical hotline to provide customer support for ETC customers in Taiwan. The company’s team has experience and knowledge of a broad range of products across all vertical markets. “It’s our honour to represent ETC in Taiwan,” said Rita Tung, president of Cine Vision “We look forward to exploring business opportunities so that more Taiwanese customers can create amazing lighting designs with ETC’s products. ETC Asia is looking forward to working with Cine Vision to bring more high-quality products to Taiwan.”

ETC Asia announces partnership with Cine Vision TAIWAN

ETC Asia has appointed Cine Vision as a dealer to expand its market in the country. An open house event was held in Taipei in January to officially launch the new partnership and to share the latest ETC products with local customers. Established in 2013, Cine Vision has primarily focused on the cinema market. As the company has grown, it has expanded to provide equipment and technical support for the theatre, film and studio markets. Among ETC products being demonstrated at the open house event were the Augment3d, fos/4, S4WRD II, ColorSource Spot jr, High End Systems SolaPix 19 and SolaFrame Studio fixtures. Although unable to attend in person due to current travel restrictions,

ETC representatives gave an online welcome speech, shared ideas and interacted virtually

www.vichai.group/vichai-trading

Audac stays classy in Hong Kong HONG KONG

Audio systems manufacturer Audac has appointed Sound Classy as its exclusive distributor. The company provides comprehensive one-stop solutions for its clients in Hong Kong and Macau.

www.etcconnect.com

INDIA

L–R: Raghavendra R, co-owner of Pro Radio Networks and Justin Joy, senior manager sales, MEA & India, Peerless-AV technical support from a trusted local source.” Added Raghavendra R, business head and co-owner of Pro Radio Networks: “Peerless-AV is a valuable and complementary addition to our portfolio of AV brands and we are very happy to

www.atlona.com

www.cinevision.com.tw

Peerless-AV appoints Pro Radio Networks Peerless-AV has appointed Pro Radio Networks as its distributor for the country. With headquarters in Bangalore, and branch offices in Mumbai and Chennai, Pro Radio Networks serves resellers and integrators across major metropolitan cities, providing local support across most southern, northern and western regions. Year-on-year growth in the Indian market has resulted in the expansion of Peerless-AV’s channel network and strengthening of local support. “The partnership with Pro Radio Networks is already proving a mutual success, helping us to win many projects with multinationals moving overseas branches to major cities in India,” said Keith Dutch, managing director – EMEA, Peerless-AV. “The distributor’s good rapport with consultants will be a key driver for growth since customers will have access to our high-quality, premium products backed by superior customer and

market and sell individual meeting space and conferencing solutions. The company will also prioritise training and education for its customers throughout Thailand, including online training and event-based demonstrations for new Atlona products and solutions. “Vichai Trading 1983 and its parent company the Vichai Group were pioneers in Thailand’s now-booming AV industry, and their expertise is unparalleled when it comes to knowledge and experience with AV products, distribution, services and integration,” said Kurt Loh, business director, Atlona Asia-Pacific. “We look forward to working closely with a true AV specialist that understands the Thai market’s conditions and challenges, and actively works within Atlona’s key AV business verticals. We will also collaborate on shared thought leadership initiatives, award-winning training programmes and world-class support, while providing innovative and quality products to our customers.”

be selling all categories of the manufacturer’s product range, with a primary focus on mounting and kiosk solutions.”

Sound Classy’s Chris Fung “We are glad to have Audac on our product lists, as it helps our product range be stronger and more complete,” commented Sound Classy’s managing director, Chris Fung. Audac decided to partner with Sound Classy due to its existing infrastructure and knowledge, as well as for the distributor’s dedicated team and customer service in the region. “Expanding our network and partnerships gives us the opportunity to provide innovative solutions to a new market of customers,” said Audac’s APAC sales representative, Sebastian Chong. “The impressive expertise that Sound Classy has gained allows us to introduce our products in a quality way in this new region. We are thrilled for the prospects of working with Sound Classy in the years ahead.” www.audac.eu

www.peerless-av.com

www.soundclassy.com.hk

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NEWS: APPOINTMENTS

AV Stumpfl grows management team WORLD

AV Stumpfl has appointed two new executive directors who will coordinate the company’s future growth strategy for projection screens and media servers. In her new role as executive director, Stefanie Niederwimmer will be responsible for projection screens, with her colleague Christine Doppelmair taking over her former

Ross Video recruits Oceania sales specialist

A H

Kyle Le Roux has joined Ross Video in the newly created role of inside sales specialist for the Oceania region.

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WORLD

“Our company experienced substantial growth during the last few years, which led to quite a few changes, like the establishment of our own offices in the USA in 2018,” commented CEO, Fabian Stumpfl. “This kind of development also has to be reflected in the management structure, in order to enable further and sustainable growth.”

was both unexpected and extremely hard won,” she said. “We’re continuing to plan for, and invest in, the post-pandemic future and that requires a number of key appointments to support our regional ambitions and growth. I’m very pleased to welcome Kyle to the team and look forward to announcing several other significant appointments throughout the rest of 2021.”

Kyle Le Roux

Stefanie Niederwimmer

Harry Gladow

position as head of sales – screens. Niederwimmer has been with AV Stumpfl since 2004 and has held a number of different positions of strategic importance during that time. Harry Gladow, formerly a global business development manager, will also become the new executive director for the media server department. Gladow joined AV Stumpfl in 2017 and was tasked with growing the global distribution network. His extensive previous experience with media servers led him to be heavily involved in the development of AV Stumpfl’s PIXERA software.

Tobias Stumpfl, CEO, commented on the timing of the announcement: “We used the current, very challenging times to think deeply about what we could do to ensure that we’ll be able to make full use of our company’s potential, once the pandemic is over. By creating these new key positions, we are laying the foundations for future growth and are very happy that Stefanie and Harry will be able to impact their respective departments more directly through their new roles as executive directors.”

Based in the Ross office in Sydney, Australia, Le Roux has a broad sales background, working in a wide range of industries and companies, including at Nine Entertainment/NineMSN. While leading a team producing content on the 9News app, he discovered Ross solutions. “I’m really thrilled to be joining the Ross team here in Oceania,” Le Roux commented. “This new role allows me to combine my passion for the live production industry with my ‘never-give-up and always find a way’ approach. It’s a really exciting new chapter for me and I look forward to getting to know and helping our amazing customers.” Amanda Leighton, director of sales for Oceania, cites the company’s recent appointments and successes in the region as a cause for encouragement. “It has been a tough 12 months for everyone in the industry, and Ross Video’s growth in 2020

Chris Lennon Ross Video has also appointed Chris Lennon in the newly created position within the Office of the CTO: director, standards strategy. Lennon will be working for Ross CTO Troy English and will manage the company’s activities in global standards and trade bodies. Canadian-born, he spent several years working at CHCH-TV in Ontario before moving to the US to join a small company called Enterprise Systems Group, which eventually became part of Harris Corporation, where he eventually became CTO Group Lead. www.rossvideo.com

www.avstumpfl.com

New role for ROE Visual founder CHINA

ROE Visual has announced that its founder Jason Lu is stepping up to a new role within the wider Unilumin group, taking on the position of president for ROE Visual and member of the board. He remains involved in rolling out strategic plans and product development for the LED product manufacturer. “It’s with pride and confidence that I can leave the day-to-day business to a solid and experienced team and can focus on matters that are close to my heart, such as product development and strategy,” said Lu. “I’m proud of the company’s achievements over the years and am thankful to have laid out the basis for its current success and foundation for a bright future.” In 2006, just out of college, Lu started Radiant Opto Electronic Technology – now ROE Visual – in Shenzhen. Initially, he didn’t have a specific vision for the company, but understood the need to offer something different to what was available.

Jason Lu

Chen Zhu

“The first four years were about sur vival but also learning and gathering experience,” recalled sales director,

Grace Kuo. “The second phase was about internalising what was learned.” The third phase began in 2012 when ROE

Visual introduced the Magic Cube series with complete touring frame and dolly. The Magic Cube panels marked a run of continuing success for the company, as well as and opening up the touring market. “Working with our customers and par tners over the years, I appreciate their continued trust and loyalty, establishing friendships out of business relations,” said Lu. “It’s with great assurance and trust in our globally located teams that I retreat from daily business and leave them to conduct business, maintain our clients and par tner relationships, and drive the company’s success for ward.” Chen Zhu, previously COO of ROE Visual China, has now been given the role of CEO, while Frank Montero and Roelof Bouwman continue to lead the US and EU sales offices, respectively. www.roevisual.com

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NEWS: APPOINTMENTS

Analog Way appoints Hoshi for Japan JAPAN

Tom Hoshi has joined Analog Way as regional business development manager for Japan. Hoshi will work closely with MixWave, distributor for the image processing specialist’s products for Japan. “I have known Tom for many years, and I am thrilled to be working with him again,” said Guy de Souza, Analog Way’s vice president for Asia. “I believe with his experience in Japanese pro AV together with the suppor t of MixWave, we can

expect substantial growth in the future.” “We are ver y pleased to see Tom Hoshi joining Analog Way,” commented Ken Sampei, director visual systems at MixWave. “Having a dedicated business development manager for Japan will help us strengthen our relationship with Analog Way and achieve great success.” Possessing an in-depth knowledge of the Japanese pro AV market, Hoshi previously worked for Daktronics for 13 years selling LED displays in Japan and

establishing a strong presence for the company in the countr y. Other distributors appointed for Asia Pacific by Analog Way in recent months include Digital Media Technology (DMT) for Taiwan, Hong Kong and Macau, Kinoton for Korea, Prisma Dinamika for Indonesia and PCB Digital for Australia and New Zealand. www.analogway.com

Tom Hoshi

www.mixwave.co.jp

New team members for Generation AV APAC

Technical and sales support specialist Generation AV has appointed three industr y figures located in Singapore and India to join the team. Singaporebased Kevin Kee is the new regional sales director for video brands, having previously worked for Prism Dynamics, Visual Contact and Lightware Visual Engineering Asia. Also based in

Singapore, David Wong joins as director of sales, focusing on audio. Wong has previously worked with Generation AV MD David McKinney at Harman and Electro-Acoustics Systems. Prashant Govindan has also joined the team as regional consultant for India, having worked with McKinney in his former role as GM of Harman Pro India.

“I believe with the expanded sales team of Kevin, David and Prashant, and with applications suppor t from Tony Sawyer located in Manila, Generation AV is now set up to take the business to the next level,” commented McKinney. “At the same time, the brands we work with have been expanding and enhancing their product

and technology of ferings, including the Connect Series Cloud enabled amplifiers from LEA and the new Torus constant cur vature line arrays from Mar tin Audio. With the new team and the new product of ferings, 2021 is going to be an exciting year.” www.generationav.net

CTO ’s

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USA 1-800-821-1121 In Canada, call 877-753-2876 In Europe, call +33 (0) 78558 3735 In South America, call +57 310799 4564

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NEWS: APPOINTMENTS

Mayerl to drive sales at SE Audiotechnik

WORLD

Andreas Mayerl has taken on the role of sales director at SE Audiotechnik. The Solingenbased manufacturer has entrusted the industry veteran to enhance relationships with existing customers in addition to developing new business. Mayerl, whose name has been synonymous with the HK Audio and Hughes & Kettner brands over the past three decades, is wellpositioned to take on the new challenge. As head of international sales at HK Audio, he was responsible for building up the brands’ worldwide distribution networks. “I am very excited that Michael von Keitz has offered me the opportunity to work with his team,” said Mayerl. “SE Audiotechnik

offers a range of unique and interesting sound reinforcement systems for production companies and installers. Already well-known in

the Chinese market, I look forward to working with existing and new distribution partners to grow the presence and reputation of SE

Audiotechnik around the world. And with its very strong and diverse team of engineers based at the HQ in Germany and at our factory in Jiashan, one can expect much more to come.” “We are very proud to have appointed such a high-calibre sales expert,” added SE Audiotechnik’s founder and owner, Michael von Keitz. “This allows us to bring our products to the market faster and more efficiently, internationally, and to serve our existing customers even better. Especially now, I think you have to invest in the industry and be courageous, so that together we can finally overcome these very tough times.” www.se-audiotechnik.de

Alain Boone joins Arbane Meyer Sound realigns Groupe as international sales management across APAC and MEA sales manager WORLD

WORLD

Arbane Groupe has hired industry veteran Alain Boone as its new international sales manager. Boone, formerly of loudspeaker manufacturer Nexo, will oversee the development of an exclusive distribution network for Arbane Groupe and its brands – APG and Active Audio – as well as

Alain Boone maintaining existing relationships with the company’s historical partners worldwide. Boone has been active in the pro audio industry for more than 30 years, making the shift from concert touring and system engineering to work as a product/sales manager in the Benelux region for audio distributor EML/AudioXL, before going on to serve as Nexo’s EMEA sales manager for six years. “I’ve spent many years maintaining and optimising relationships between

distributors and manufacturers, all the while integrating products into customers’ projects to ensure that they are carried out as efficiently as possible,” said Boone. “My engineering experience has also given me the ability to provide customers with technical as well as commercial guidance, all the way from the inception of a project to its final delivery.” Boone will be reporting to Arbane Groupe CEO Régis Cazin and will work very closely with the entire Arbane Groupe team, particularly the R&D and support/marketing departments. One of his primary tasks will be identifying partners which might benefit from the introduction of both the APG and Active Audio brands into their projects. As well as taking the decision to concentrate on the development of new installation-focused products in the wake of the pandemic, Arbane Group’s R&D team has also been working on solutions for the rental sector; an area that Boone believes both brands can continue to thrive within. “A good return on investment will become very important for rental customers moving forward, and here we can make a big difference as a manufacturer. The performance/price ratio with APG and Active Audio products truly is second to none,” he said. “We are very proud to have Alain on board,” commented Cazin. “His experience, his knowledge of technologies and markets, as well as a very large international network of customers who trust him will be great assets for our brands. The company is continuing its international transformation to ensure strong and regular growth, which will be achieved by the contribution of people with expertise in our businesses. This is the case for Alain, and we are thrilled to welcome him to the Arbane Groupe to become part of our adventure.” www.arbane-groupe.com

Meyer Sound has announced a strategic realignment of top-level sales management responsibilities outside of the Americas. Meyer Sound Germany has been renamed Meyer Sound Europe (MSE), assuming responsibility for sales and support activities across MEA under managing director, Wolfgang Leute, while director of international sales, Scott Gledhill, will focus exclusively on APAC.

as he already has an in-depth knowledge of the regional markets as well as close connections with many of our national distributors,” commented Meyer Sound senior vice president, John McMahon. Scott Gledhill, who has been with Meyer for more than 32 years, will focus his efforts on APAC, which has shown the greatest sales increase for the company by far in recent

Wolfgang Leute

Scott Gledhill

Meyer Sound has also made two further announcements. It has appointed Owen Ironside as sales manager, Australia and New Zealand, supporting the company’s new network of direct resellers throughout the two countries; and has also revealed that Brisbane-based Ampd Electronics is the new authorised service agent for the region. MSE will continue as exclusive distributor for Germany and most of Scandinavia, working elsewhere with the existing distributor network, including the Middle East and Africa. MSE will also maintain product inventory at its Montabaur headquarters while also offering product servicing, parts, technical support and design services. With Meyer Sound since 2016, MSE managing director Wolfgang Leute has three decades of pro audio experience including positions with Shure and beyerdynamic. “Wolfgang’s broad experience makes him ideally suited to his expanded role

Owen Ironside years. “Asia is emerging from the pandemic relatively unscathed, and market demand for Meyer Sound solutions – our installed systems in particular – has never been higher,” continued McMahon. “We need somebody with Scott’s abilities to manage this surging growth vector.” www.meyersound.com

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NEWS: APPOINTMENTS

Stage Tec restructures sales force GERMANY

Stage Tec has announced a realignment of its company structures, including the creation of new technical sales support and service teams. The Berlin-based pro audio manufacturer has also recruited Robert Habersaat as director of sales and marketing. “With this realignment of our sales organisation, we will be able to use the potential of our employees even better and more promisingly than before,” explained sales and commercial management MD, Sascha Khelifa. “As we move towards a more global focus for the company, we are now taking the next step and facing the challenges ahead.” Leading the sales and marketing teams in addition to supporting the company in aligning internal structures, Habersaat was most recently VP sales of Studer

Professional Audio. “I am looking forward to taking on the tasks that await me at Stage Tec,” commented Habersaat. “I will be able to contribute my many years of experience, apply my expertise and help Stage Tec’s sales organisation to take the next steps.” Reinhold Friedrich assumes responsibility for the European market as sales manager with immediate effect, while sales directory Sebastian Schmidt will oversee the German-speaking territories of Germany, Austria and Switzerland. Under the leadership of Alexander Nemes and the service department headed by André Scheel, the technical sales support team will now be grouped into the sales and marketing department. Robert Habersaat

Mackie unleashes Olesh WORLD

Mackie has appointed industry veteran Danny Olesh as its new chief technology officer. Widely regarded as one of Australia’s top live sound engineers, the Melbourne-based producer founded SM Pro Audio in 2001, focusing on microphone preamplifiers, DI units and headphone amplifiers, before attracting the attentions of Harman Professional which incorporated the business in 2015. Having completed three divestments (Ampeg, EAW and Martin Audio) in recent years, Loud Audio LLC now focuses on the core Mackie business. Celebrating its 30th anniversary in 2020, the US-based company launched a series of new headphones, podcast combos and microphones. “We are very excited to have Danny join the Mackie leadership team,” commented Mackie CEO, Alex Nelson. “Danny has an exciting and highly applicable history of product innovation, and his approach will help Mackie delight customers by making their work easier and more fun.” Olesh is relishing the challenges that lie ahead at Mackie. “I’ve watched and admired the Mackie brand since it emerged on the market so many years ago,” he commented. “I look forward to providing leadership and direction on

www.stagetec.com

CONTROL FREAKS.

Danny Olesh technology platforms, emerging technologies, value engineering and support in developing and accelerating Mackie’s product roadmap. Developing and looking for new ways to create is what I love doing. With technology moving at the pace it is, knowing what’s coming around the corner is very important for new product development and direction.”

Unparalleled power, with revolutionar y control over ever y performance environment. This is Adamson’s legendar y sound, evolved for the networked future of professional audio.

www.loudaudio.com

F I N D O U T M O R E AT P OW E R . A DA M S O N S YS T E M S.C O M

www.mackie.com

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NEWS: EDUCATION

PAMA and Shure unveil Mark Brunner Professional Audio Scholarship WORLD

In partnership with Shure, the Professional Audio Manufacturers Alliance (PAMA) has announced the establishment of the Mark Brunner Professional Audio Scholarship, offered annually to students worldwide pursuing an education in professional audio. Brunner, who tragically passed away in October 2020, was a long-time Shure executive, PAMA founding member and leading voice in the audio community, and had an unwavering passion for education and mentorship throughout his career. The US$2,000 scholarship will go to a recipient in an accredited audio programme, with PAMA and Shure interested in learning how the applicant plans to share their knowledge with others in a manner consistent with Brunner’s legacy. A former president of PAMA from 2011–2013, Brunner was also a key member of PAMA’s Marketing and Retreat Planning Committees, providing an impor tant and consistent voice to the strategic planning and implementation of various PAMA activities. On behalf of PAMA, chair of the board of directors Chris Regan stated: “We established the Mark Brunner Pro Audio Scholarship as our way of paying tribute to one of the leading voices of our industr y. One of Mark’s tenets was his unwavering pursuit to educate. Whether he was at the US Congress representing the industr y on spectrum allocation issues, on one of the countless industr y panels he par ticipated in, or with colleagues at Shure and across the pro audio industr y, Mark truly embodied the persona of teacher. He valued his time in his personal studio and shared his wisdom with so many throughout his career with passion. It’s with that same passion that we wish to award an annual scholarship in his name.” Brunner held several key positions during his three decades at Shure, which he joined in 1989, including director of adver tising and managing director of the musical instrument and touring sound business unit. Most recently, he was VP of global corporate and government relations, working on industr y issues including the FCC rules for wireless device operation/frequency and the spectrum allocation, which he lobbied to protect the wireless microphone market sector. Additionally, he was a prominent member of the Recording Academy Producers and Engineers Wing Manufacturers Council, sharing his views on legislative wireless white space and broadband issues and other industr y matters.

Lectrosonics stars in Budee’s Fujian roadshow CHINA

Mark Brunner “Mark Brunner was a treasured colleague, peer and friend,” commented Shure president and CEO, Chris Schyvinck. “Our company valued his exper tise, whether he was sharing his knowledge with fellow associates, at front of house with a sound engineer, inter viewing an endorser or on the front lines in Washington, DC. In 2003, I appointed Mark to lead our company’s charge in fighting for legislation to protect wireless microphone users and we have been sounding the alarm ever since. Like the classic David and Goliath stor y, our company was up against prominent technology leaders that wanted all of the ‘white spaces’ available for consumer use. Because of Mark’s passion, exper tise, diligence and resolve, Shure’s voice was heard. He effectively educated key individuals about the impor tance of spectrum protection, created impor tant par tnerships with user communities and helped us retain the trust and loyalty of our customers. Mark was a steadfast ambassador for Shure, helping us preser ve our legendar y reputation with associates, customers, influencers and the public. I knew Mark for more than three decades, and I dearly miss his presence ever y day. I know that this scholarship would mean so much to my friend, as it does to our company.”

Distributor Beijing Pacific Budee Technology Development undertook two roadshows in March to promote Lectrosonics wireless microphone products and technologies. A team headed by audio engineer Chris Meng provided presentations to cultural and performance groups in Fujian province. Meng and his team held training seminars and discussions covering the technical aspects and features of the D2 digital wireless, Venue digital hybrid receivers, SMQV and SSM in the cities of Longyan, Xiamen, Quanzhou, Putian and Fuzhou over an eight-day period. “The SSM micro beltpack transmitter was the star of the roadshow,” commented Meng. “It can be attached on the back, ankle or basically anywhere on the body as it only weighs 65g with a battery, yet there is no compromise in the audio quality.” The other team, headed by technical manager Freeman Lu, gave similar presentations to audio departments at the regional headquarters of Hunan TV, Hubei TV and Jiangsu TV. For these audiences, Budee delivered presentations on hybrid wireless technology, ratio diversity, frequency diversity and Lectrosonics RM remote control applications in addition to demonstrating the same products and technologies as Meng. Lu’s team ended up providing after-sales service to Hunan TV Station despite the fact that the WM transmitters were supplied by another vendor in 2016. As Hunan TV Station is a client, Budee was happy to extend its services to ensure that the WM watertight transmitters fully function in their everyday broadcasting roles. “Overall, the technicians and audio engineers all gained a better understanding

of Lectrosonics hybrid wireless technology after participating in our presentations,” said Lu. “They could appreciate the audio quality, robust build and the signal transparency. In my opinion, such a roadshow represents a better ROI in comparison to tradeshows. The audience of professional audio engineers and technicians from broadcasters, live sound companies and AV systems integrators acknowledge and appreciate the value of wireless microphone systems. Compared to a tradeshow, the audience is smaller, but we had more time to spend with all the individuals and pay them more attention.” Attendees were also given brief overviews of other broadcast-oriented brands Budee represents, including API, Lynx, Point Source Audio, PreSonus and Wheatstone. www.budee.com www.lectrosonics.com

www.pamalliance.org/scholarship

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Interactive art gallery at new Beijing airport powered by Christie CHINA

Christie’s 1DLP laser projectors are delivering immersive visuals at the new Beijing Daxing International Airport, the world’s largest single-building airport terminal. Located on the second level of the terminal, nicknamed “the Starfish” due to its design, the Journey of Light and Shadow digital experience pavilion provides visitors with an immersive and interactive space using projection, audio and interactive technologies. The venue consists of a preface hall and main galler y lit by 15 Christie DWU850-GS 1DLP laser projectors supplied, installed and commissioned by Christie par tner, Wincomn Technology. The Four Seasons by Masters of Ar t consists of eight renowned masterpieces on the walls and floor, covering an area of 130m2. They include van Gogh’s Almond Blossoms, Green Wheat Field

“The Journey of Light and Shadow pavilion is an innovative cultural space that enables visitors to relax and admire world-famous art pieces in an unprecedented manner – through highly immersive projections that make them feel as if they’re part of the paintings,” said Tony Chen, general manager, Wincomn Technology. “We are very excited to be involved in this significant project, particularly with the projection design, and have pulled out all the stops to create an awe-inspiring, contemporary digital art gallery using the GS Series laser projectors. We have used Christie’s GS Series for a number of cultural, entertainment and night tourism projects across different provinces. In particular, this 8,400 ISO lumens projector is known for its small footprint, low weight, quiet operation and advanced colour reproduction with Christie BoldColor Technology. Coupled with a long-lasting laser light source and 24/7 operation durability, the DWU850-GS can help the client save on maintenance and manpower costs in the long run.” Wincomn adopted front projection using ultra short throw lens to display visuals in landscape format on all surfaces. Images presented on the walls of the preface hall and main gallery from the projectors, which are mounted on an overhead structure, are seamlessly integrated and completely filled from top to bottom. “The Christie DWU850-GS laser projectors deployed at Daxing International Airport have delivered high performance and reliability without the down-time, cost of lamp replacements and the maintenance associated with lamp-based projectors,” commented April Qin, sales director for China, Enterprise, Christie. “We’re delighted that this ingenious installation by Wincomn is a hit with visitors and demonstrates the unlimited installation possibilities offered by our 1DLP laser projection solutions.” with Cypress, Starr y Night, Sunflowers, The Har vest and Wild Roses, as well

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22 PRO AVL ASIA May–June 2021

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L-Acoustics refreshes Sakura Hall JAPAN

The Kitakami Cultural Exchange Centre, also known as Sakura Hall, is a community hub that opened in 2003 in the Iwate Prefecture. Performance spaces of varying sizes host performances, workshops and rehearsals for ballet, dance and music. An L-Acoustics system supplied by distributor Bestec Audio has recently been installed into the Great Hall. “This is the first renovation since the hall’s opening,” explained Sakura Hall’s Tatsuya Sato. “We needed a new, flexible system capable of presenting the various programmes that we carry now and a system that would grow with us for future programmes. The system had to be high quality, to stimulate the public’s awareness of creative activities.” Sato’s main objective was for clear sound with even coverage, especially for the Rakugo storytelling performances where audience members are seated on the third floor. A decision was made to go

with a line array system installed as stacks in the existing speaker space adjoining the stage. “Choosing the system was challenging but, in the end, L-Acoustics was decided on for its sound clarity and company status as a leader in line arrays,” he continued. “We also appreciated that their solution included amplified

controllers and LA Network Manager show control. The Bestec Audio team approached this project with as much enthusiasm as we did. Their ultimate goal was to offer the best experience to the theatre clients, just as we do.”

The main installation comprises seven Kara speakers in the centre of the proscenium, with a pair of Kiva IIs flown beneath as front fills. Speaker placements on either side of the auditorium theatre are divided into three tiers. Three Karas per side cover the upper section’s third-floor seats, while seven Kara enclosures are used in the middle section along with two SB18 subs, with a single X12 reinforcing sound for the front rows of this middle tier. Two Kiva II enclosures on each side cover the upper third tier, with an A15 Wide per side covering a small segment of obscured seats on this floor. Bestec also provided a mobile component of three A15 Focus and two KS21 subs if the large hall needs extra reinforcement or for occasional use in the smaller hall. “At Sakura Hall, we strive to keep a high standard of quality and to deliver an outstanding experience to the audience and performers alike,” concluded Sato. “With the new L-Acoustics system installed by Bestec, we feel that we’ve achieved that.” www.bestecaudio.com www.l-acoustics.com

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Nishio rental house invests in Riedel for 4K OB van JAPAN

Nishio Rent All Co has equipped its 4K OB van with a range of Riedel signal processing and intercom solutions. Riedel’s MediorNet real-time video network, Artist digital matrix intercom and Bolero wireless intercom equipment will be deployed across a range of

“Riedel’s communications and networking solutions are becoming the global standard in the video industry, so it was an easy choice to standardise on Riedel when we were outfitting our OB van,” said Jun Atsumi, head of visual sales division 2nd Group at Nishio Rent All

devices, plus a range of SmartPanel intercom control panels. MediorNet allows productions to exchange audio, video and data signals within a single unit. By supporting MUX, DMUX and FS functions, system operators can monitor connection status via simple software. With Riedel intercom systems, operators can create configuration files offline without having to activate systems in the OB van. The panels can be controlled remotely for users working outside the vehicle. Bolero’s six separate conference productions onboard the van, the first of its kind in the Japanese rental industry. Nishio’s expandable OB van can accommodate up to 20 technicians and has a 12G-SDI infrastructure to facilitate 4K HDR productions. MediorNet, Artist and Bolero provide a communications infrastructure between producers, technicians and FOH personnel for coverage of live sports matches, concerts and other events.

Co. “Not only is the sound quality of Riedel’s Bolero far superior to other intercom systems we’ve used, but it’s well-suited to the complex intercom usage patterns that large-scale sports coverage often requires.” Nishio’s inventory includes an Artist-64 intercom mainframe, two Bolero antennas with five beltpacks, a MediorNet Compact Pro realtime networking stagebox and two MediorNet MicroN high-density media distribution network

keys and ports allow crane camera operators to communicate with each other locally. The Nishio crew also uses Bolero for communications between the director inside the van and the camera operators. “With the Riedel equipment, we’ve been able to establish smooth communications and ensure the production would go off without a hitch,” said Keita Ishihara, engineer, Visual Sales Division 2nd Group, at Nishio Rent All Co. “It’s a prime example of how we have been able to be more responsive to users’ unique and often urgent production requirements. Plus, we’ve gotten outstanding support from the Riedel team as our technical staff have deepened their product knowledge through Artist and Bolero training sessions. We have great confidence in Riedel as our business partner, especially as we continue to expand our OB rental van business and grow our presence with both Japanese and overseas clients.” Added Takako Konishi, senior sales manager, Japan, at Riedel Communications: “Nishio is a pioneer and industry leader in the Japanese equipment rental industry. As Nishio continues to build its leadership in the fast-growing domestic 4K OB market, they’ve fostered solid trust in Riedel products in Japan through their ongoing use of our solutions. We look forward to an ongoing and highly prosperous partnership into the future.” www.riedel.net

Dante creates immersive soundscape at ACMI AUSTRALIA

The ACMI national museum of screen culture in Melbourne celebrating the nation’s history of film, television, video games and moving image artwork, has undergone a renovation, overhauling its centerpiece exhibition design and AV system. ACMI designers relied on Audinate’s Dante for the immersive and interactive exhibition, The Story of the Moving Image, that advances through time from shadow play to the films that shaped Australia’s cinematic landscape. The new exhibition required hundreds of audio feeds across the gallery. “Traditionally, the space has been known to be a bit cacophonous,” said ACMI consultant, Greg Turner. “We knew from the start it was going to be critical that we had tight control over all of our audio signals. With the redesign we’ve installed hundreds of displays in the space, so how do we make sure we’re managing hundreds of audio signals as well? The obvious answer from the start was Dante.” Dante digital audio networking distributes uncompressed, multichannel digital audio channels via standard Ethernet networks, allowing audio, control and all other data to coexist on the same network. Unlike traditional networking, Dante allows for a reduction in electromagnetic interference – vital to ACMI, which is located nearby a trainline.

“ACMI has created a soundscape that requires both localised sound as well as sound that exists as a background across the entire gallery space,” said Michael Cartmel, integrator at Lumicom and lead installer on the project. “When you consider all the endpoints in this system, it would be horrendous to try and do this without Dante. You’d have an impossible number of speaker cables and you’d be hard pressed to pinpoint what cable was for what speaker.”

Each endpoint in the system is connected to the network and sent to a virtual matrix switch. The system then relies on a Dantenative QSC Q-Sys Core 510i to provide DSP and control of the system. Yamaha speakers and Dante-native amplifiers have been used throughout the gallery. Where Dante isn’t natively integrated into an endpoint, the museum uses Dante AVIO adapters. “The video game consoles, for example, aren’t Dante-native,” continued Cartmel. “We put AVIO adapters on them and quickly added audio on the network.” A similar approach is used in areas where visitors can craft their own soundscapes using microphones, instruments and music software. The museum brings all the endpoints together in a streamlined system featuring customised sound in every location, providing an immersive experience tailored precisely to where a visitor is, or what exhibit they are interacting with. “With this system we have the ability to take every audio signal we’re using in the space and use it to specifically fit in the overall soundscape,” Cartmel said. “It is an incredibly flexible system thanks to the power of putting audio on the network with Dante.” www.acmi.net.au www.audinate.com

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Sennheiser supports Riedel for 36th America’s Cup NEW ZEALAND

The 36th America’s Cup, presented by Prada and considered the pinnacle of yachting, took place in the Hauraki Gulf off the coast of Auckland. Riedel oversaw the technology concept for broadcast and race management for the host broadcast partner, circle-o,

helicopters. Riedel deployed custom-made Sennheiser microphones for the event coverage, which saw the two German companies collaborate closely. Sennheiser engineers provided custommade, waterproof microphones for the

delivering camera, audio and sensor solutions embedded in a comprehensive technical infrastructure. Riedel provided extensive remote support from its Remote Operations Center (ROC) in Wuppertal, Germany, which served as a monitoring and engineering hub that could remotely access the system setup in Auckland, including video, audio and intercom signals. This was supported by a 30-strong onsite team managing audio, video, communications, tracking and data transmission systems, including signals from onboard cameras, chase boats and

crews’ boom sets and onboard cameras, matched to Riedel’s Bolero wireless intercom and integrated into the communication setup. “We are absolutely delighted to have partnered with Riedel on this spectacular project,” said co-CEO, Andreas Sennheiser. “The America’s Cup is a high-tech race that puts both the teams and equipment to the very hardest of tests. In addition, it is yet another proof that sports broadcasting is a true innovation driver.” Added Thomas Riedel, CEO and founder, Riedel Communications: “Decades of experience in the most demanding production environments culminated in this very special project with very special challenges. Together with our partner suppliers, all of whom represent the global standard in their fields, our team created a seamless production infrastructure that enabled circle-o to take its live coverage to thrilling new levels. Their stunning coverage opened up entirely new perspectives on sailing and perfectly illustrated the great impact technology can have on entertainment formats and the tangibility of sporting events.” Any microphone onboard the race boats had to withstand becoming completely immersed in water, as well as loud wind noise. Michael Horn, manager of Sennheiser’s Competence Center for Acoustics and Mechanical Design, worked with his team to develop a solution based on the MKE 2 subminiature lavalier. This resulted in a professional broadcast microphone (frequency response 20Hz – 20kHz), its capsule protected against water by an umbrella diaphragm that covered

the acoustically active diaphragm without altering its performance. The capsule was also fitted with a grille that prevented water getting into the mic. Added to this was a windshield made from a special foam that retained its wind protection properties even when soaking wet, giving waterproof protection up to 1 bar (1m for 30 minutes). Elastic suspension prevented the mics reacting to structure-borne noise, whether in headset configuration or as ambience microphones.

“The interaction of all these components is what makes this microphone so special,” explained Horn. “Other models might withstand some spray or even the odd splash, but this microphone is the one. It just performs, no matter whether it is dry or wet, delivering captivating live audio from the boats and making communications within the teams easy.” www.riedel.net www.sennheiser.com

Ideal Systems creates next-generation news facilities for TVS MALAYSIA

Regional TV broadcaster TVS has selected cloud and broadcast systems integration company Ideal Systems to design and build news studios and newsroom computer systems (NRCS) in Sarawak. The news studios and MCR (master control room) will run on a redundant hybrid SDI/NDI (IP) infrastructure designed by Ideal Systems as part of a larger system that will deliver TVS’ vision of creating a new digital media hub in Sarawak. The cloud-enabled NDI infrastructure includes NewTek TC1 and TC2 Elite NDI integrated switchers for the news studio and multipurpose studio, with Kiloview NDI converters. The baseband infrastructure, signal processing and routing use a software-defined Ultrix routing and multi-viewing solution from Ross Video. “Our robust hybrid system architecture has an NDI signal for every signal baseband path,” explained Updesh Singh, director of technology at Ideal Systems. “All signals are active, and TVS can use any signal they want when they want it. All signals can be used as standby to each other, or even for different purposes in the signal chain. The idea was to incorporate change management into

Updesh Singh, director of technology the solution so engineers and operators who are used to SDI baseband can start using IP signals by actually understanding the differences and advantages of using either. Some unique workflows are being created that combine the best of both

worlds. Our hybrid SDI/NDI design is incredibly robust and creates a newfound confidence in operators who are free to unleash their creativity on the content without any fear as the system is highly flexible and offers unrivalled redundancy. The future roadmap will add cloud-based broadcast infrastructure and signal processing hence using NDI was a vital foundation for system futureproofing. This will allow TVS to quickly and easily add and manage more content, more signals, more channels and new media platforms by leveraging the elasticity of their IP architecture.” Added TVS CEO, Suhaimi Sulaiman: “The most important thing is the quality of our production. Of course, we also want glitchfree free broadcast and a reliable system.” The studios are equipped with 4K-ready Ikegami cameras with HLG (Hybrid Log Gamma) mode for HDR output. The studios will use Vizrt’s on-air computer graphics capabilities including VR (Virtual Reality) and camera tracking systems to support AR (Augmented Reality) for immersive storytelling and news coverage. Live news

Suhaimi Sulaiman reporting from anywhere in Malaysia and beyond will be delivered over IP Cloud using Dejero EnGo bonded mobile transmitters and Live Plus applications. www.idealsys.com

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EVE Audio installed into Mumbai Dolby Atmos music studio

INDIA

lockdowns contributed to delays in completing the studio; however, Rayeen, who has already mixed almost 300 songs and 40 movie scores in Atmos, was able to conduct further research into the format and its future in India. The Atmos system consists of four ceilingmounted EVE Audio SC 207 speakers, with EVE SC 305s providing the front LCR channels and a further four SC 207s for surrounds. A Genelec 7370A subwoofer provides low frequencies. A stereo pair of EVE Audio SC205 SilverCone speakers have also been provided for a preproduction room and a pair of SC305s for a stereo mix room. “Shadab was the very first person in India to get EVE monitors for his studio several years back, and has remained a steadfast fan of them,” explained Modi. “The room sounded

Shadab Rayeen has opened New Edge Studio in Mumbai’s studio hub, Andheri West, featuring a Dolby Atmos 7.1.4 music mixing room equipped with EVE Audio monitors. This is the first Dolby Atmos music studio in the world to be equipped with EVE. Rayeen worked closely with Aditya Modi from EVE Audio distributor Modi Digital and Rolins T’Roy of Rolins Arcoustics to design and equip the facility. “I wanted Aditya to make a replica of my current mix room, but we moved from stereo to 5.1, until we decided that Dolby Atmos was what we wanted,” explained Rayeen. Pandemic

fantastic to begin with, and Dolby India has done a phenomenal job of further calibrating it. There is a standard we have to maintain, and while Dolby does not define the room size, they do define the angles and ratios, which are only achievable at a certain minimum room size.” Modi and his team followed the guidelines provided by Dolby to get every angle right and ensure the adjustments wouldn’t affect the aesthetics of the room. “The main challenge was to figure out how to mount everything to achieve the angles that Dolby wanted,” he continued. “There is a lot of engineering that goes on to achieve those angles in a tight space. We have to think of how to place the equipment, and at the same time provide a good ergonomic design for long hours of work.” As OTT channels like Netflix and Amazon Prime move to offer choices of stereo, 5.1 and Atmos for movies, Rayeen believes these options will extend to music. “For the delivery format in the future, the labels will ask for both a stereo and an Atmos master,” he commented. “Dolby Atmos Music is going to change the way people make music. From two speakers, we are now moving to 7.1.4. We have more channels, more space, and this is how music is going to evolve as what we mix can now be delivered on headphones or dock speakers.” www.eve-audio.de

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L-Acoustics reunites fans at NZ stadium concert NEW ZEALAND

An L-Acoustics K Series has been used for what’s described as the biggest non-socially distanced concert since lockdown: Six60’s show before a 32,000-strong audience at Wellington’s Sky Stadium. The show was one of six on the band’s Saturday tour, with College Hill Productions – the official L-Acoustics rental network partner for New Zealand – providing K Series systems throughout. The leading audio production company has been supplying systems for major international

and local acts for 25 years. “Our relationship with Six60 began several years ago,” explained College Hill’s operations manager, Reeco Adriaansen. “Both their FOH engineer, Chris Tate, and monitor engineer, David O’Brien, are part of the College Hill team, and this helps us to ensure that we are always on top of the band’s needs.” College Hill also supplied a DiGiCo SD7 console for O’Brien, used for both Six60 and the support acts which changed for each show, meaning the tour ran much like a

festival with mixes built on the fly behind the LED wall without any line of sight. Most venues for the Six60 tour were festivalstyle sites requiring long throw. “L-Acoustics’ K1 was the only system with the required throw, and it has the added bonus of being able to deal effectively with unpredictable elements such as wind and rain,” said Johnny Keirle, front of house system design and system engineer at College Hill. A clean-looking stage was specified, so the College Hill team was asked to fly the PA wide and as far upstage as possible. The main arrays were L-R hangs of 10 K1 and four K2 cabinets each. Two K1s, 12 K2s and four K1-SB subs were deployed for side fill, eight V-DOSCs provided L-R delay and five additional V-DOSCs were floor-stacked for centre delay.

With no possibility to fly subs, 24 SB28s in 12 stacks of two were placed in an arc following the irregular shape of the stage lip, working around the barrier line and stage access pathways. Main fill was catered for by 12 dVDOSCs in four stacks of three in the main pit, with a further six ARCS on the outer edge of the pit. The system was controlled by 66 LA8s and a P1 processor used with the M1 measurement suite for system alignment and optimisation during setup, as hardware for console inputs and matrixing and for RTA and SPL metering in NWM. A P1 sensor was also used for air compensation control throughout the show. “There’s nothing else on the market that was up to the job,” commented Tate. “We had members of staff coming to us post-show to express their amazement at the system, with the venue manager telling us he hadn’t heard sound that good in his entire 15-year career at the venue. This speaks volumes about Johnny and the rest of the team’s work as well as how good L-Acoustics systems are. “We all felt privileged to be out gigging in such strange times. It was an honour to be chosen to provide equipment and services for this tour. It definitely felt a little surreal, but I think the entire crew and audience felt really thankful and lucky to be part of such a fantastic experience.” Six60 has announced additional dates throughout April, including an Auckland show at the iconic Eden Park, where they will be the first musical act to play in New Zealand’s largest sports stadium. www.collegehill.nz www.l-acoustics.com

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Jiangsu TV chooses Lawo for 4K OB truck CHINA

Jiangsu TV, headquartered in Nanjing, has put a 4K TV OB truck – its first true-IP-based vehicle – on the road. The broadcaster chose an IP audio infrastructure from Lawo, installing an mc²56 MKIII audio production console and a ruby broadcast mixer. The build was handled by systems integrator New Digital Technology (NDT), Lawo’s installation partner in China. “Jiangsu TV is starting off producing in UHD with this new OB truck, and we plan to extend this method of production to our studios and master control rooms step by step,” commented a Jiangsu TV official. “Nearly all the provincial and local TV stations have followed the trend of UHD based on 4K, and now we are also moving in this direction. Lawo was an easy choice, as three of our OB vans already use Lawo consoles. The performance, reliability and intuitive operation of Lawo equipment topped all other options, making this an easy decision.” The truck’s main console is a 48-fader Lawo mc²56 providing 256 DSP channels, a capacity of 5120x5120 mono channels, 12 Ravenna ports, eight MADI ports and 32 AES inputs and outputs on both D-Sub and BNC connections. The mc²56 is optimised for IP-video production, designed for networking in complex infrastructures. It has full native support for SMPTE 2110, AES67/

Jiangsu TV mc256 Ravenna, Dante and MADI audio streams, and incorporates Lawo’s LiveView technology to display thumbnail previews of associated video streams on the faders. The 12-fader ruby broadcast console acts as a backup desk for the entire audio system. There

VSPN Korea esports stadium selects Genie comms

KOREA

LaON’s Genie hybrid intercom system has been selected to provide converged wired and wireless communications for the VSPN Arena, an esports venue that opened last year in Seoul. The client was looking for an efficient yet scalable system while supporting the complex workflows and communication routings during the egame show. Headquartered in Shanghai, VSPN (Versus Programming Network) is one of Asia’s leading esports solutions provider. The Genie system was provided by Donghwa AV and installed by CJ Olive Networks, which designed the arena and integrated all equipment required for egame production and operation. It includes a Genie BS1000 base station, two GRP8 key panels, four GDP4 key panels, a Genie GLR4

are two integrated stageboxes – an A__stage 64 with 32 mic/line-in and 16 line-out, plus eight AES in/out and GPI in/out, and MADI I/O, is paired with an A__stage 48 stagebox which is identical to the A__stage 64 but with 16 mic/ line-ins. An adjacent touchscreen allows control

of the ruby’s features using the Lawo VisTool vector-graphic GUI that gives access to mixing, EQ and dynamics controls, and other software features via intuitive graphical controls. The ruby mixer controls a Lawo Power Core mixing engine which can handle large amounts of analogue, digital and AES67 networked audio sources. “With the experience gained from their previous OB vans, built in 2010, 2014 and 2016 and fitted with mc²66 and mc²56 consoles, Lawo earned a lot of trust, so that Jiangsu TV was ready to take the next technological step,” said He Fangming, chief representative in Lawo’s representative office in Beijing. “Lawo’s Ravenna-based state-of-the-art audio solutions fully support ST 2110, allowing direct integration with the 4K video system that avoids the previous need to bridge AES audio between the audio and video systems using a COTS switch as central router. “Building a true and elegant IP system by skipping a lot of cables and racks is a major benefit for the customer. This saves space in the OB van, but more importantly it merges the video system and audio system more closely by adopting the IP concept.” www.lawo.com

Shiki Theatre Company turns to Clear-Com JAPAN

The Shiki Theatre Company, which stages around 3,000 performances to an audience of over three million in a typical year, has adopted Clear-Com’s Encore system across its 10 nationwide venues, which include two newly renovated theatres. All solutions were supplied by Clear-Com’s Japanese distributor, Matsuda Trading Co. The theatre company was founded in 1953 by 10 university students wishing to make cultural performances more accessible by opening theatres in cities away from the Tokyo metropolitan area. Today, it stages a variety of plays, original musicals and transfers from Broadway and the West End. Each venue requires a communications solution that is adaptable and can accommodate changes between types of shows, as well as changes between productions and rehearsals. The two renovated theatres – JR-East Shiki Theatre (Haru) and JR-East Shiki Theatre (Aki),

which were closed due to the redevelopment of Tokyo’s Takeshiba area, have been installed with Encore systems consisting of a four-channel MS-704 main station and KB-702, KB-701, RS-702 or RS-701 remote stations, depending on location. The other eight theatres also use four-channel systems. The full-duplex platform allows production staff on the same channel to carry out bidirectional communication, and the system can scale over standard mic cable or IP interfaces. “Encore Partyline has the flexibility to easily adapt with different system configurations for every day’s changing requirements,” said Clear-Com regional sales manager for North Asia, Brian Chow. “The analogue microphone cable connection allows for clear audio and convenient cabling in various formats.” www.clearcom.com

line router, an RA100 remote antenna and eight BP850 wireless beltpacks. “The hybrid Genie intercom can meet the client’s requirements without the need for a high-cost matrix system or separate wired and wireless base stations,” said Cindy Kim, R&D manager at LaON Technology. Genie is a full digital IP intercom solution that allows easy PoE (Power of Ethernet) connections. Genie’s new GLR4 line router supports flexible communication paths between the key panels and wireless beltpacks, and communications can be set or changed easily within the dedicated Genie Configuration Manager programme.” www.laon-tech.com

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NEWS: PROJECTS

Kasho looks to the future with Void upgrade

P br S

VIETNAM

Ho Chi Minh nightclub Kasho has installed a Void Acoustics system as part of a redesign and refurbishment, contributing to its new futuristic look. The 500-capacity venue, which specialises in EDM music alongside live performances, is operated by the Hoang An Nhien Company headed up by MD Tran Thanh Binh, who contacted Void distributor Stella Global to specify a sound system. It is the first time that Hoang An Nhien has purchased a Void system for one of its venues, with the management team citing it as its brand of choice having experienced Void systems in other venues around the globe. Commented Binh: “Kasho is a leading nightclub in the city, and we needed to ensure that we were specifying the highestquality audio system possible, in order to maintain, and even elevate, its position as the go-to venue for partygoers, as well as the venue that performers and DJs have at

the top of their list for playing in when they visit Ho Chi Minh City. Our design team was excited to see how the aesthetics of the Void products, finished in bespoke reflective white, became part of the look and feel of the club.” Stella Global appointed Saigon AV, a local team of sound engineers and technicians that the company had worked with in the past, to install the system, which includes Void Air Motion, Stasys X Air and Airten V2 and Air 8 speakers and Venu 212 V2 bass speakers, powered by Bias Q2 amplifiers. The club’s interior presented a few challenges when it came to the installation. “While the space itself is quite open and rectangular, there are some framed illuminated architectural ceiling structures which are major focal points of the venue’s look,” explained Paul Gibson, CTO at Stella Global. “These come down from the ceiling all the way to floor level. Luckily, we were

Entre has o comp Maha consulted during the construction of these features, and were able to recommend adaptations to the construction to prevent them from vibrating. In addition, we had to fine-tune the positioning of the speakers, including reversing the left and right Air Motions in order to achieve an even, balanced audio distribution throughout. The end result, however, really is seamless, and quite spectacular to hear.” Kasho regular DJ Dragon, a Vietnamese pioneer of EDM, is impressed with the quality of the Void Acoustics system. “The sound is immersive and unforgettable, which

guarantees the best musical experience,” he said. “The crispness and bounce you experience from a Void system is perfect for nightclubs like Kasho and can satisfy even the most demanding ears, especially when playing musical genres like house, trap, future bass, dubstep and more.” “We are confident that with the state-of-theart Void system at Kasho, we are offering an exceptional audio experience to satisfy the most discerning of customers,” concluded Binh. www.voidacoustics.com

Proel Korea equips resort KOREA

Proel Korea has installed two resorts with Axiom systems from the Italian manufacturer. Sono Belle in Cheongsong is part of Korea’s largest resort group Daemyung, which has 16 properties in 14 locations across the country. Proel Korea has worked with the group on AV installations for the past 14 years. An AX2065 line array system has been used for the main L-R speaker setup in one of the function rooms here, consisting of two AX2065A active speakers and two AX2065P passive speakers per side, an SW215FSA subwoofer and a USB2CAND controller. Parallel connections are possible within this speaker range, allowing active and passive models to be connected to draw on the power of the inbuilt DA Series power amp in the AX2065A.

The second resort, Paradise City located near Seoul’s Incheon International Airport, is Korea’s largest casino hotel resort. Four medium-sized convention halls were provided with Proel NEOS152 point source speaker systems with SW18A subwoofers. In the grand ballroom, a large space that can be divided in two for separate events, 16 Axiom AX2010A active speakers with dual 10-inch woofers and dual 1.4-inch compression drivers and inbuilt DSP have been installed, which can be run as two systems of eight speakers each. Six dual 18-inch SW36XFA subwoofers – three in each half of the room – provide low frequencies. A total of 18 EDGE8CXP ceiling speakers, eight EDGE12CXP stage monitors and a USB2CAND controller have also been provided. Paradise City

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www.proelkorea.com

XD Inc raises its game with Genelec CHINA

Shanghai gaming company XD Inc has upgraded its audio production facilities with a Dolby Atmos 7.1.4 mixing studio and three stereo edit suites, each installed with Genelec Smart Active Monitors. XD Inc, best known for selling over 2 million copies of Human: Fall Flat in China within a week of launch, aims to deliver an audio experience that helps the developers understand the environment they are creating. “In the early stages of the project planning, we decided to go with the Dolby Atmos monitoring system, so that both production and postproduction could be carried out,” said Fang Wan, audio director of XD Inc. “After conducting extensive research on similar products, we opted for Genelec. We found that not only does its smart calibration system provide an enormous advantage, the Genelec brand also has a fantastic reputation in the industry.”

Suzhou Pineapple Acoustic Engineering designed the acoustics for the Dolby Atmos mixing room and editing suites, with system integration handled by MusicKing (Shanghai) Cultural Development. All three edit suites are equipped with 8330 nearfield monitors, while the 7.1.4 room features the threeway coaxial 8351s for the LCR positions, 8330s for the surround and overhead channels, and a 7360 subwoofer delivering the lower frequencies. The new audio production spaces provide the 20-person team with the technology to research and create audio for the games they are working on. “The soundfield is immersive and the positioning is accurate,” said Fang. “The systems have been finely calibrated to produce the most accurate sounds for us to be able to create with confidence.” www.genelec.com

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NEWS:

Pearlbay Studio brings Audient to Sri Lanka SRI LANKA

Entrepreneur Chathura Masinha has opened the Pearlbay studio complex and creative hub in Maharagama, providing recording

programmes in audio engineering by September,” he explained. A maximum of 12 per class ensures every student gets the attention

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is going to change your expectations.

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and production, education and equipment retail all under one roof. The commercial studio on the outskirts of the capital, Colombo, has been installed with the country’s first Audient ASP8024-HE console which also doubles up as an educational tool. Originally starting out as a standalone recording facility, Pearlbay Music Studio is headed up by COO Ranga Dasanayake, a musician and

they need. Each student is able to work at one of the 12 workstations – each with its own Audient iD4 audio interface – in addition to the ASP8024-HE console. “Pearlbay champions relevant and innovative training with our state-of-the-art facilities, expert staff and professional opportunities,” he continued. “We want to equip students with the knowledge and skills to meet the demands of a

audio engineer who trained at the New York Institute of Audio Recording. Capturing the attention of young Sri Lankan artists, the studio’s success sparked the idea to develop the retail and education sides of the business for studio clients who wanted to continue making music at home using the same quality gear. The resultant Pearlbay Music Store is now an agent for a number of leading professional audio brands, including Audient. Masinha has also opened the Pearlbay Institute, delivering more than 15 short audio courses at certificate and diploma level. “We hope to introduce a Higher National Diploma within the first half of this year and UK-accredited degree

perpetually evolving industry. All students from all courses – even at beginners’ level – will get workshops and practical sessions on the ASP8024-HE. We want them to see the possibilities regardless of their level of study. We have managed to complete a beautiful, creative space packed with superior equipment, and a dynamic team. I hope this will be a turning point for the next generation.” Masinha is particularly proud to promote equal opportunities, highlighting the Audient Scholarship for Women initiative to encourage more women into the audio industry.

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NEWS: PROJECTS

Kaohsiung Music Center first to install d&b KSL Soundscape

M im

The world’s first d&b audiotechnik KSL Soundscape technology has been installed into the new Kaohsiung Music Center, a local government initiative to rejuvenate the former industrial site. The venue comprises the Hi-Breeze Square outdoor stage, four auditoriums, the Hi-Ing Hall main stage and an outdoor auditorium on a bridge overlooking the Love River. The auditoriums and main stage can be subdivided into smaller units, providing flexibility to the venue, which will host musical performances and concerts. Kaohsiung City Government worked with audio professionals and a consultant to design a futureproof sound reinforcement system, recognising technological advances towards object-based audio. Local audio specialist Topsound installed d&b Soundscape immersive technology and

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d&b KSL loudspeakers in this first-time combination, with five main and two out fill hangs of KSL line arrays providing full-band directivity control to the Hi-Ing Hall. d&b’s KSL-Series with ArrayProcessing was also used in the acoustically challenging space, which features an asymmetric listening area at the back of the venue. Powered by the DS100 Signal Engine system processor based on a Dante-enabled signal matrix, the d&b Soundscape En-Scene software module positions each sound object visually and acoustically, enabling the entire audience to experience this correspondence of sight and sound. “This venue is unique, not just in its design and construction but also because of its ability to accommodate audiences of all sizes,” commented Kenny Liu, general manager of Topsound. “The combination of

KSL and Soundscape has been revolutionary and provides the coverage we need to ensure every spectator has the same sound experience, whether they are situated right at the front or in the back corner.” Optimum rear rejection was also a concern as the venue backs directly onto a noisy shopping mall. “We were concerned with the proximity of the shopping mall and needed to make sure that wouldn’t cause any issues during performances,” continued Liu. “Everyone was absolutely taken aback by the exceptional rear rejection provided by the d&b SLSUB Cardioid Subwoofers. It really helps us control the sound.” Due to Covid-19 travel restrictions, d&b carried out

training via virtual webinars. “We were supported by d&b every step of the way, and their online training initiatives taught us so much and ensured we felt extremely comfortable with the system,” commented Liu. “This is an extremely impressive looking venue, and we needed a sound system that would match. d&b gave us that and more, and we are very excited for audiences to experience this one-of-a-kind system.” The venue’s official opening featured a showcase of the new system at the Hi-Ing Hall, to which hundreds of professionals were invited from a variety of musical backgrounds. www.dbaudio.com

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NEWS: PROJECTS

Martin Audio Sound Adventures supports immersive Japanese production JAPAN

MSI has used Martin Audio’s Wavefront Precision platform (WPM) and Sound Adventures immersive 3D, with outputs controlled by the Sara II premium Rendering Engine, for a production of Inspire Onmyoji Nissei Theatre in Tokyo. Audience levels were reduced slightly from the usual 1,300 capacity to conform to government Covid regulations. Show producer Junya Yamada contacted Iwao Tsurusawa, president of Martin Audio rental partner MSI Japan Tokyo, to discuss creating a live show using the Sound Adventures 3D system. MSI supplied a main PA system comprising a ground-stacked line array enclosure of eight WPM arrays and two SX118 subs per side and five WPM front fills, with seven XD12s pole-mounted in front of the audience. A total of 31 outputs, including the theatre’s installed proscenium system, speakers on the upper floor and second floor, a balcony system and a temporary Martin Audio Adorn A55, were controlled by a Sound Adventures Sara II processor. The WPM and XD12 speakers were powered by Martin Audio iK42 amplifiers, with Lake LM44 processors on a Dante network controlling temporary and permanent systems from one interface. Including the recording lines and backup Pro Tools, the number of Dante patch points exceeded 200.

MSI subsidiary Audiobrains provided an immersive sound engineer, with further engineers stationed at three Yamaha mixing consoles for mics, music and sound effects, respectively. The playback application was Ableton Live, which released the MIDI Machine Control (MMC) protocol, while another application converted it into the Open Sound Control (OSC) external control protocol, which controls Sara II. This allowed sound effects to be placed everywhere simultaneously and streamed binaurally for livestreams. Control of the Sara II and

Klang:fabric processors was via a single MMC and OSC simultaneously. “All three consoles released MMC when engineers hit the snapshot change; those signals were then fed to an external MacBook Pro, from where they were converted into OSC in order to control the Sara II and Klang,” explained Audiobrains director, Sam Yamashita. “With so much going on, you can see why we needed a separate ‘immersive’ engineer. I believe this will be essential for the next generation of shows.” Added Iwao Tsurusawa: “When sound becomes 3D it means nothing unless all

elements are linked: artist, direction, stage, lighting, video and live environment. Thanks to cooperation with each department, and a loudspeaker design that covered the entire audience seating, we were able to create a unique atmosphere for Inspire Onmyoji using the latest sound technology.” www.martin-audio.com

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NEWS: PROJECTS

Creative One upgrades to 4K with AJA JAPAN

Atelier Arte, the postproduction arm of advertising creative services provider, Tokyo-based ADK Creative One, has installed AJA 12G-SDI solutions to simplify routing, conversion and transmission of highbandwidth 4K signals as part of a recent upgrade. “We’ve never had 4K-compatible equipment in our editing rooms before, because 70% of our projects are currently television commercials for HD broadcast,” said Takeshi Yamamoto, editor, Atelier Arte. “Our decision to build a hybrid 4K/HD production environment better positions our studio for bidding and accepting offers on higher-end 4K and HDR projects.” Visual Graphics (VGI) was enlisted as a systems integrator to develop and install a customised system to meet the requirements of the facility layout and creative tools used by staff. A critical requirement was compatibility with Autodesk Flame for compositing, editing, colour correction and finishing. Central to operations at the upgraded facility is AJA’s Kumo 1616-12G compact router, which powers routing and distribution of 12G-SDI input

signals to multiple output destinations around the studio. Kumo 1616-12G enables editors to operate 12G-SDI signals intuitively, with control of 4K and HD video sources using a single button or via a web browser UI. Each of the facility’s three Flame Premium editorial suites have been equipped with an AJA Kona 5 PCIe I/O card, which transmits the Flame’s output to the central Kumo 1616-12G router. AJA Hi5-12G converters have been added to each of the six editorial rooms for converting 12G-SDI signals to HDMI to display projects on 4K HDR monitors for review and client previews. A pair of AJA FiDO-T-12G and two FiDO-R-12G converters were installed to transport 12G-SDI signals via fibre, used for sharing signals over long distances between editorial rooms and to a reference monitor. “AJA gear has an excellent reputation for reliability and, in the event of failure, AJA offers full repair services to ensure minimal downtime to keep our operations stable and up-andrunning,” said Kosuke Yamada, data manager, Atelier Arte. www.aja.com

Seongnam Arts Center upgrades with AMX KOREA

Harman Professional Solutions has upgraded Seongnam Arts Center’s AV system with AMX networked video solutions in partnership with Mix Media and TechDataPS. Featuring a 1,804-seat opera house, a concert hall, an ensemble theatre for smaller performances, two art galleries and an outdoor amphitheatre with a capacity of 11,000, the centre is the largest arts venue in the city of Seongnam. It required a high-quality AV network to provide video playback and streaming in all areas of the facility, including the lobby. Mix Media was contracted to upgrade the video infrastructure with a Harman networked VoIP solution consisting of AMX encoders, decoders and controllers, supplied by TechDataPS. The AMX NX-3200 NetLinx NX integrated controller is the core of the centre’s new AV infrastructure, providing a scalable control platform with intuitive operation, network security and backward compatibility. The NX-3200 provides a platform for future expansion with the addition of more devices and control capabilities.

For transmitting and receiving AV signals, Mix Media installed AMX N1000 Series encoder and decoder units throughout the facility. Also provided are AMX MCP108 keypad controllers and a MT1002 Modero touchpanel, allowing staff to control the AV system in real time from anywhere in the facility. Staff report that the new network gives them simple, integrated control of the equipment inside the concert hall as well as a video display in the lobby. pro.harman.com

NewTek stars in Damn Good corporate production AUSTRALIA

Video production company Damn Good Productions has put together a live virtual event for American technology company Pitney Bowes working with NewTek TriCaster and NDIbased products. The annual start-of-the-year event for Japan, Australia and New Zealand was a live broadcast-quality virtual meeting featuring simultaneous English and Japanese programme feeds with real-time multi-lingual translations. The event included presenters in studio, multiple pre-recorded playouts, supers, graphics, a host in a greenscreen studio with a custom-designed virtual set and sessions with up to six Skype panelists. Since it began in 1988, Damn Good Productions has been an early adopter of production technologies, becoming in 1998 one of the first companies in Australia to produce a livestream. The company has used NewTek products since 2012. “When we first approached the team at Damn Good, we had no idea how our first region-wide virtual event would work – and we were thrilled with the end result,” commented Aye Verckens, marketing communications representative at Pitney Bowes. “Our event was like a television broadcast rather than

a virtual meeting. We were impressed with how easy it was to join presenters from the US, Japan and New Zealand with our hosts in Australia, and we also appreciated how seamless it was to produce simultaneous streams in English and Japanese. Most importantly, the audience was engaged throughout.” The main English programme was anchored by an MC in a greenscreen studio using TriCaster’s virtual set technology. Corporate

presenters in another studio were covered by three NewTek NDI PTZ cameras. All inputs were fed to a TriCaster TC1 that switched and streamed the main programme. NewTek’s NDI software that allows video, audio and metadata signals to be shared bi-directionally over standard Ethernet IP networks was used extensively. The presenters’ English slides flowed into the TriCaster TC1 from a MacBook Pro via NDI Scan Converter. Remote panelists were combined using the TC1’s

two internal Skype channels along with four additional Skype channels from a NewTek TalkShow VS4000. A separate Japanese programme was switched and streamed using a TriCaster 460 running Advanced Edition software. This channel also took the Skype feeds via NDI, as well as Japanese versions of the English slides from a second MacBook Pro using NDI Scan Converter. A third TriCaster 460 with Advanced Edition software took a feed from the Japanese breakout participants, again via NDI Scan Converter, and added an English translation. This was streamed out as another translation channel. Translator displays received NDI Studio Monitor feeds which allowed them to monitor Skype feeds from TriCaster TC1 and TalkShow. “The event was a huge success,” said Damn Good’s managing director, Ben Alcott. “Due to the complexity of the production components, it simply wouldn’t have been economically possible without NewTek products. This event has opened up production possibilities from Pitney Bowes businesses globally, at a tenth of what they were spending previously.” www.newtek.com

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NEWS: PROJECTS

Furong Ancient Town brings Tujia culture to life with Christie projections CHINA

A new nighttime spectacular celebrating the culture of Tujia people has opened in Furong Ancient Town, Hunan Province, with visuals provided by Christie Crimson Series 3DLP laser projectors. The Revelry of the Blooming Hibiscus show has been choreographed by theatre directors and features elaborate indoor and outdoor stage designs and lighting effects. It is part of the annual Sheba Festival during which the Tujia, one of the country’s largest ethnic minority groups known for their singing, dancing and songwriting abilities, celebrate, socialise and pay tribute to ancestors. Christie partner, Zhongqing Yingye Group has deployed three Christie Crimson WU31 laser projectors installed across the stage area to deliver digital projections. “The Christie Crimson WU31 is our top choice

for this project as bright, vibrant images are required to drive the storytelling and

complement live performers onstage in both indoor and outdoor environments,” said a

spokesperson for Zhongqing Yingye Group. “With an IP5X-sealed, solid-state laser light source in a rugged and compact chassis, the Crimson WU31 is well suited for largescale events like this.” The two Crimson WU31 projectors being used for indoor performance are warped and edge-blended to display a slew of images on a 14m x 6m backdrop. A third Crimson WU31 housed in a weatherproof enclosure is used outdoors, with visuals displayed on a projection canvas measuring 23m x 7m. The series features Christie BoldColor Technology to produce vivid images, Christie TruLife electronics for fast processing speeds and the built-in warp and blend capabilities of Christie Twist. “We are delighted that Zhongqing Yingye Group has accomplished this amazing project in Furong Ancient Town that demonstrates the capabilities of Christie’s Crimson Series laser projectors,” added April Qin, Christie’s sales director for China, enterprise. www.christiedigital.com

Martin Audio chosen for Humax Cinema creates leisure development immersive auditoriums AUSTRALIA

Xcite Audio Visual has installed a Martin Audio MLA Mini loudspeaker system at the Rosenthal Park leisure development in the Sydney suburb of Lane Cove. The system, which provides sound reinforcement on the bandstand stage, The Canopy, was supplied by Australian distributor, Technical Audio Group (TAG). “Xcite came to us at tender stage wanting to look at a Martin Audio solution and TAG’s SSE [system solutions and engineering] team assisted them in providing a proof of concept based around the MLA Mini system,” said TAG’s system sales manager, Ewan McDonald. The 140m x 50m site, formerly a car park that was no longer fit for purpose, features a park with village green and children’s playground, a pedestrian concourse, the performance stage and F&B and retail outlets. System design needed to mitigate sound leakage from the stage towards the new high-rise apartments that surround the site as much as possible. TAG used EASE measurements for preliminary design, later producing Display optimisation files in the

proprietary Martin Audio software. “The main challenge was that with the apartments around the park on one side, and retail on the other side, we needed to get the SPL to fall off as quickly as possible at the end of the speaker zone,” continued McDonald, who achieved this by using the software’s Hard Avoid function. The installed L-R system consists of eight MLA Minis per side, with two MSX subs per side, flown behind the arrays. “The PA is set back so we can hit the front row without any fills, plus it keeps the hangs protected,” he continued, adding that the PA effortlessly threw the 40m distance required. “We’ve always liked using Martin Audio and really liked the idea of the MLA Mini for this job, based on the ability to limit the amount of SPL hitting the surrounding residential areas,” said Xcite project manager, Michael Glass. “We and the client were very happy with the result.”

JAPAN

Harman Professional partner Xebex has designed and installed audio solutions throughout the Humax Cinema using JBL’s patented Sculpted Surround technology and JBL Professional ScreenArray loudspeakers.

of the theatre. Harman’s state-of-the-ar t audio system has revolutionised the sound experience for cinema lovers.” Using a combination of JBL cinema loudspeakers, Xebex equipped the theatres with C222 two-way and 5732

Featuring 10 screens and accommodating up to 1,200 guests, Humax Cinema doubles as a multipurpose venue hosting jazz and other live performances. The cinema wanted to upgrade to new sound systems that would provide an unforgettable experience. “The client wanted to create an immersive theatre space to entertain visitors and provide a remarkable movie experience,” said Ryuichi Ishikawa, vice president of Xebex. “This is the first cinema complex in Japan where the Sculpted Surround System is installed in every auditorium. It enables the audience to enjoy high-quality audio from any corner

three-way ScreenArray loudspeakers featuring JBL’s ScreenArray design, as well as JBL 9300, 9320 and 9350 Cinema Surround speakers, and 4642A dual 18-inch cinema subwoofers to take care of the low end. “At Humax Cinema, we were committed to building a superior movie ecosystem that meets global standards,” said Tomoaki Harada, assistant manager of Humax Cinema. “We are proud to be the first facility to introduce the Sculpted Surround System in Japan and offer audiences the ultimate theatre experience.”

www.martin-audio.com www.tag.com.au

pro.harman.com

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NEWS: PROJECTS

Green Hippo delivers at Rhythm & Alps

NEW ZEALAND

The 10th Rhythm & Alps Festival went ahead as planned in the Southern Alps, with Green Hippo Hippotizer Karst media servers supplied by TomTom Productions delivering the visuals for the Alpine Arena main stage, the Where The Wild Things Are stage and the Log Cabin DJ stage. “For the Alpine Arena, we had a standard upstage LED wall, complemented by 156m of Martin VDO Sceptron strips,” explained TomTom’s Hamish Roberge. “These covered the side walls, ceiling and part of the rear wall, allowing us to extend the LED wall content out, or run separate content for contrast. Hippotizer control was via the lighting console over Art-Net, and the media servers were at FOH, which gave the LDs a direct GUI view of what they were playing back. The Hippotizer integrates directly with the Martin P3 PC, which maps and controls the VDO Sceptron, both for control as a DMX fixture and also as a video screen.” On the Where The Wild Things Are stage, another Hippotizer Karst server fed custom

visual content projected from two stacked Christie HD14K-M projectors onto the large, carved Buddha face that formed the stage’s centrepiece. A third Karst unit served the smallest Log Cabin stage, where TomTom hung SGM LB-100 LED bead strings from the ceiling. This gives Roberge and his colleagues flexibility when designing and mapping complex pixelmap shapes, using the Hippotizer’s PixelMapper feature to overlay video onto the beads via Art-Net. “Hippotizer’s Art-Net integration, allowing control via the lighting console, is the biggest single feature for me,” continued Roberge. “The layout is intuitive for lighting designers, so they can get the most out of the media server. This is especially so with the Martin VDO Sceptron being a hybrid video and lighting product. When you factor in Hippotizer’s Martin P3 software integration, it’s the per fect playback device.” www.green-hippo.com

L-Acoustics’ newest Chinese rental partner equips Weibo Night CHINA

The country’s latest L-Acoustics rental network partner, Shanghai-based Pro Group, has provided a K Series system for the Weibo Night awards show, which since 2004 has celebrated Asian entertainment stars in a live event broadcast to millions. This year’s six-hour event was livestreamed on social networking platform Weibo and broadcast on Dragon Television from the Mercedes-Benz Arena in Shanghai. In 2020, Pro Group became a rental network partner, purchasing its system through L-Acoustics’ distributor, Rightway Audio Consutants (Racpro), whose team supported Pro Group for Weibo Night. Racpro and Pro Group used L-Acoustics’ Soundvision 3D modelling software to design the system. “We’ve been to this venue many times before, so we had it laid out already in Soundvision,” explained Nan Hu, marketing director at Racpro. The circular stage was topped with a giant metal Sina Weibo eye logo above the main floor of the arena. “When the stage design was sent to us, we were able to add it to our venue file and easily plan an audio system design that made sense for this intricate production,” Hu continued. The system consisted of 14 L-Acoustics K2 cabinets topped by eight SB28 subs per side.

Four Kara II speakers and two X8 coaxials were used as front fills, with 20 additional Kara IIs used as side fills. Syva and Syva Low were placed behind the award presentation backdrop, providing presenters with stage cues. “With its wide coverage, visual discretion and plug-and-play installation, Syva helped us to address both side stage audience and backstage needs for Weibo Night,” explained Hu. Due to the nature of the event, most of the second- and the third-tier stands were empty, posing potential reflection issues which were addressed with L-Acoustics’ Panflex horizontal steering technology. The top Kara II front fill boxes were flown at a 90° angle, keeping sound away from the walls and empty spaces, while the bottom cabinets used the wide, 110° angle to cover the audience area. “A superior L-Acoustics sound system like the one used for this show, guarantees that the production and presentation of the award ceremony goes well,” commented Shao Yong, the event’s lead engineer. “The L-Acoustics system did a fine job of supporting an event graced by some of China’s most popular media stars.”

www.racpro.net

AUSTRALIA

a PreSonus Central Station as my monitor controller, which is simply routed through the IOS to the patchbay,” he continued. “The key

selling point of the DiGiGrid system for me was the onboard DSP system for Waves plugins. My Mac Pro at the time used to struggle

with large sessions, so adding this into my workflow was an absolute blessing. I now own a Mac Pro (2019) that has a huge amount of power, but having the ability to offload the processing through the DSP means my system stays strong, even when subjected to the toughest of sessions.” Weir has recently begun construction on a new studio and is planning to add an IOC interface to facilitate the use of outboard equipment. “My priority is to create a purposebuilt mix studio, and I’m also keen to run this as a live rig to utilise the amazing preamps and software to simultaneously record and mix live shows,” he said. www.digigrid.net

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The the p makin const and o difficu side-p also w move times time.

www.l-acoustics.com

Weirdog chooses DiGiGrid Audio engineer and educator Dave Weir is running DiGiGrid IOS and IOX interfaces at his Weirdog home studio in Victoria. “Starting out with a fairly minimal setup, I wanted to create a system that not only covered all bases at the time, but also futureproofed me for expansion,” he commented. “I spent a couple of years researching interface and analogue console options, before ruling out analogue on the basis of limited space, costs and flexibility. It was clear that DiGiGrid suited my workflow and had the ease of expansion I required.” Weir has a basic patchbay setup to enable the routing of input channels and line outs. “I have two dbx 160a compressors that are quite easy to route into the system, and I use

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NEWS: PROJECTS

Robe lights up Her Majesty’s Theatre Adelaide AUSTRALIA

One of the first shows to open at the renovated Her Majesty’s Theatre in Adelaide was the State Opera of South Australia’s production of Summer of the 17th Dolls. Lighting designer Trudy Dalgleish deployed the Robe T1 Profiles and T1 Fresnels that are part of the new house rig, working closely with director Joseph Mitchell and set designer Simone Romaniuk to evoke the ambience and period feel of the piece, set in 1950s Melbourne. “The whole process was collaborative and open,” commented Dalgleish. “Much of the time I come into a show with the set already under construction and little or no input into the real estate I might need for my rig, so Simone was wonderful to work with and very inclusive.”

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The biggest challenge in lighting the piece was the three-sided box making up the set. The actors’ constant proximity to doors, walls and other scenic elements made it difficult to light neatly with front- or side-positioned fixtures. Mitchell also wanted to represent constant movement and activity, different times of day and the passing of time.

passing, with the gobos moving slowly and subtly as the day progressed. The fixtures also impressed Dalgleish with their quietness. “I’d absolutely recommend them for any environment like opera, where silence is a must,” she stated. The T1s and all the other lights in the house rig were run via the theatre’s Gio console, with programmer Cameron Lane and head LX Rick Worringham both supplied to the production by the venue’s operators, Adelaide Festival Trust. www.robe.cz

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Dalgleish crafted front- and sideangled long moves with window and other gobos using the Robe moving lights. Ten of the T1 Fresnels were positioned on the overhead bars, five used for back light and five for general area wash lighting and special effects, with Dalgleish using wash lights to cover tight areas and illuminate actors. The T1 Profiles were primarily deployed at FOH. Two were rigged on the front of the dress circle, two on the proscenium box boom positions either side and two on the bridge for front special effects, with a further two used for additional texturing and effects. Custom gobos in the T1 Profiles created the specific window shapes that the director wanted for the betweenscene transitions to depict time

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Fira de Barcelona - 1-2 June MAC Forum, Munich - 8-9 June RAI, Amsterdam - 15-16 June Evolution, London - 23-24 June

digital.

Plus, ISE digital, a festival of content and connections.

A joint venture partnership of

26/04/2021 11:27

NEWS: PROJECTS

C in

No disputing the appeal of Shure conferencing credentials HONG KONG

Law students from around the world got a practical learning experience in international arbitration when they took part in the annual Vis East Moot from 14–21 March 2021. Conducted virtually due to Covid-19 restrictions, the competition highlighted the critical role of technology in modern dispute resolution. The successful execution of the week-long event was made possible using Zoom, integrated with a combination of Shure AV conferencing and home office solutions. The Vis East Moot ranks as one of the world’s biggest international mooting competitions. Designed as a tool for training future legal professionals in the crucial aspects of alternate dispute resolution, Vis East Moot follows the established Willem C. Vis Moot event in Vienna. Now in its 18th year, the Vis East Moot attracted interest and support from numerous international industry bodies for arbitration and law firms. Student teams from 149 universities around the globe competed online in a series of elimination rounds, arguing orally before an international tribunal of almost 280 professional arbitrators and competition judges. The competition had run virtually in 2020. As such, the organisers had gained experience in setting up operations that would allow administrators in Hong Kong to effectively manage the 100+ Zoom sessions and event ceremonies. At the same time, they also had to ensure that all competitors and arbitrators could be heard equally throughout the ongoing sessions, regardless of where they were connecting from. As a sponsoring audio partner, Shure played an important role. In addition to some general education on virtual meeting best practices, the 20 moderators who coordinated the Zoom

calls were provided with Aonic 50 wireless noise cancelling headphones and Aonic 215 true wireless sound isolating earphones. This ensured an undisrupted and uniform audio experience while working alongside each other in the event’s command centre – a multipurpose conference room at Hong Kong’s Justice Place.

Additionally, the organiser also wanted to retain the formal feel of the competition by livestreaming keynote speeches and ceremonies in a conventional presentation style. This was enabled with a Zoom-certified AV conferencing system provided by Shure. “AV conferencing technology that is certified to work together seamlessly can make a huge difference for organisations across all sectors that are adapting new models of operation,” commented Shure director of technology partnerships, Paul Gunia. “The success of the

Vis East Moot 2021 using professional Shure audio solutions, integrated with our technology partners Zoom and Huddly, demonstrates how it remains possible to maintain effortless communication as in-person events are going virtual.” The Microflex wireless microphone system setup integrated an IntelliMix P300 processor

with a direct driverless USB connection to a laptop streaming the Zoom session. The PoE IntelliMix P300 device provides echo cancellation, noise reduction, automatic mixing and automatic gain control. A Huddly IQ camera added the visual component for a consistent, high-quality streaming experience. As the conference room was repeatedly rearranged to accommodate the ongoing group calls and ceremonies, the portable, self-contained AV system enabled flexibility and efficient connectivity.

“For us, the silver lining to the Covid cloud is that our online format has allowed a record number of schools and arbitrators to participate in our Vis East experience, who normally wouldn’t have been able to travel to Hong Kong to join the in-person event,” explained Vis East Moot Foundation Limited director, Louise Barrington. “The outdated practice of inperson hearings have often resulted in lengthy, complex and far too expensive cases. In a way, the Covid problem has become a catalyst for the change in alternate dispute resolution which was a long time coming. Virtual arbitration has become a reality and, with technology no longer a barrier, clients can get expert counsel from any place. We are thankful for the support of Shure, who provided us with the technology and best practice education that allowed us to embrace the new reality of virtual arbitration and give our participating students an opportunity to develop their skills in a global setting.” www.shure.com/partners

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NEWS: PROJECTS

Clear-Com ensures that Douyin’s annual influencer event blooms CHINA

Clear-Com’s HelixNet digital network par tyline and FreeSpeak II digital wireless intercom systems helped facilitate the management of Douyin’s annual Blooming Night social media influencer event recently. Douyin is a popular Chinese video sharing and social media application, the countr y’s equivalent of TikTok. This year’s event was held at the Mission Hills H‧Brothers Feng Xiaogang Film Commune in Haikou, a 5,000m2 space, gathering a mix of celebrities, social media influencers and more than 500 guests. To ensure the gala’s communications ran smoothly, Douyin engaged live events company Panda Dream Quan Cultural Development Co Ltd (PDQ), which configured a system combining the FreeSpeak II and HelixNet systems to streamline communications between the broadcast and live event production teams. “We faced many challenges in building the comms system for this project,” recalled PDQ’s project leader, Ye Lynn. “The

total event space was the size of a soccer field, and the stage was far from the console area. To cover this area properly, we needed to use optical fibre and transceiver splitters for reliable transmission over such a long distance.” To ensure the stability of the comms equipment, PDQ deployed 12 FreeSpeak II 2.4GHz transceivers for the director, camera operators, ar tists, props, stage manager and executive director, with each group receiving four FSII-BP wireless beltpacks. The HelixNet par tyline system was positioned at the console station with separate channels for audio, video, lighting, special ef fects, lasers and mechanical, all linked by Cat6 cabling. Each channel was distributed to the HXIIBP beltpacks, which “talked” seamlessly and with low latency to the event directors. The event made use of two OB vans, one for 4K video and for audio. Each truck’s team was connected with the onsite crews via the FreeSpeak II and HelixNet systems. FreeSpeak II

base equipment installed in the 4K OB van was linked to each group’s FSII-BP wireless beltpacks. The audio OB van was equipped with two HKB-2X speaker stations and one HXII-BP beltpack for audio monitoring, linked with HelixNet HMS-4X for the Main Station, Control Area and director. “In addition to the challenge of such a huge space, we had to plan for potential system incompatibility and transmission inter ference caused by other show equipment,” Lynn added. “As always, the Clear-Com technologies gave us confidence and peace of mind knowing there would be no communication issues onsite. These systems seamlessly integrate with the digital wireless equipment of other suppliers and their transmission functionality ensures freedom from inter ference. The Clear-Com technologies are irreplaceable at this level.” www.clearcom.com

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Adamson supports a return to Tokyo’s Budokan JAPAN

The system was provided by Adamson’s partner Sunphonix, as well as Blue Project. A total of 108 E-Series and S-Series cabinets were deployed across the venue in a 270° configuration. Kawakami flew 32 E15s as the main PA, accompanied by 12 E119 subwoofers flown in a column, 12 E15 as out fills, 16 flown E12s for the 270° design and 12 groundstacked E219 subs for additional floor rumble.

monitor speakers to work with,” stated the group’s monitor engineer, Takashi Ono. “For Little Glee Monster shows, we use both in-ear monitors and wedges, but for cappella songs I simply go with M212, to let the artists breathe and sing in each other’s presence. The members of the group have told me that they actually prefer the experience of singing with floor monitors, that it feels more organic.”

J T A

Crews load in for Little Glee Monster at Tokyo’s Budokan Images courtesy of Kano Natsumi The Beatles, Led Zeppelin and Queen have graced its stage; artists from Bob Dylan to Cheap Trick have released albums recorded within its walls. Now, live music has returned to the legendary Nippon Budokan, as J-pop stars Little Glee Monster kicked off their largest Japanese arena tour to date here, with Adamson E- and S-Series systems supporting the event. Built in 1964 as a martial arts venue for the Tokyo Summer Olympics, the Budokan’s octagonal shape poses challenges for sound

reinforcement. System engineer Ryuichi Kawakami selected Adamson speakers for clarity and coverage. “The Budokan is mostly built of wood,” he explained. “Many sections of the octagonal room have pillars and beams, so in the design process you must factor in the reverberation and reflections. The E15 speaker brings out an abundance of information across the whole frequency range and it’s what makes the tuning so easy for me. I trimmed a few points to smooth out the system and voilà, it’s done.”

An Adamson E-Series rig hangs at the iconic Budokan Two sets of ground-stacked fills were also used, comprised of four S10 and one S119 at each side fill position in addition to three S10 per side for rear coverage and a mixture of S10 and S10p for lip fills. Adamson M212 monitors were also used onstage. “M212s have always been great

Long-time FOH engineer Gakuji Okumura was pleased with the performance of the Adamson system. “When it comes to mixing vocals live, the E15 is the best system out there. Its sonic characteristics make the experience authentic.” www.adamsonsystems.com

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NEWS: PROJECTS

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JAA Systems integrates TriCaster systems into Astro Arena MALAYSIA

The recommencement of professional sports without audiences posed a new challenge for broadcaster Astro during the Covid-19 pandemic. The broadcaster was challenged with a demanding schedule featuring more live sports events, but with fewer resources and lower budgets. Accordingly, the Astro Arena required a portable MCP video system. Following internal technical discussions, Astro’s management team specified an all-in-one, portable, recording and broadcast system that would provide ease of operator use. The 4K UHD-ready format platform would also need to incorporate 4 M/E and production automation with concurrent livestreaming to multiple social media platforms. A Replay system was also required for the four HDMI 4K or six 3G HDSDI camera setup. Subang Jaya-based dealer and turnkey provider JAA Systems was approached to offer a solution. As NewTek’s Malaysian dealer, JAA successfully demonstrated the TriCaster TC1 video production system to the Astro Arena technical team. Based upon NDI IP software technology, TriCaster matched the exact requirements demanded by Astro Arena and the tender bid was approved. The proposed solution also incorporates Kiloviews encoders together with converters. “JAA Systems was required to customise a portable system that would

accommodate the whole TriCaster TC1 including a switcher panel, 3Play Replay system, external devices, internal integration and cabling within a portable 16U flight case system,” explained JAA Systems’ senior sales engineer, Said Kaartigaiyan. “Owing to the NDI IP technology, the cabling infrastructure is simplified to make integration straightforward. Now, the compact system is fully integrated for a quick setup and operation including side tables attached to the flight case.” As a customised portable broadcast solutions provider for many years, JAA Systems has supplied fully localised and integrated radio production systems in OB vans for RTM, portable OB radio-in-a-box for Manis FM and a mobile hand-carry video switcher for Astro Awani. “With the fully integrated portable live video production system now operating in Astro Arena, we have added a notable reference,” said David Chan, director of JAA Systems. “TriCaster is a true IP network system that simplifies all integration within the live production environments. It was an honour to be chosen to work on this Astro Arena project.” Added Macking Domain (M), distributor of NewTek, MD Tan Yoke Tee: “We are proud that JAA Systems has innovatively integrated our TriCaster TC1 and 3Play into a single compact, flight case. This now allows the Astro Arena to create quality live sports productions with ease.” “We have never had such a complete video production platform that is able to deliver sports production with so much flexibility and with so many features,” said Samsol Bassin, head of Astro Arena Broadcast Engineering. “With the cost advantage, NewTek’s TriCaster paired with 3Play is the way to go.”

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www.newtek.com

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NEWS: PROJECTS

Elation tells aviation history in immersive Qantas display

AUSTRALIA

Global design studio Buchan Group has designed and produced an immersive storytelling display at the Qantas Founders Museum in the Queensland Outback, using Elation Professional IP-rated Proteus Maximus LED moving heads. The 20-minute multimedia experience, Luminescent Longreach, uses the museum’s classic aircraft as projection surfaces to relay Qantas’ history and reflect on the spirit of aviation through projection mapping, custom gobos, animation, lighting effects and 3D sound. The story moves between aircraft including a restored Super Constellation whose start-up and take-off of billowing smoke and shooting flame is simulated with dynamic lights, smoke machines and sound effects. Show content was written, directed and produced by Anthony Rawson, senior associate at Buchan Group. Rawson and his Brisbane-based team needed a powerful spot luminaire with gobo capabilities and wide zoom to project graphics and animation

Image courtesy of John Elliot

onto the ground, as well as the underside and sides of the planes. Any lighting used had to be IP65-rated to cope with wind, dust, lateral rain and extreme temperatures.

After consulting with Elation’s Australian distributor, ULA Group, the multi-environmental Proteus Maximus, a 50,000-lumen strong moving head with 950W white LED engine

and CMY colour mixing, which is effective as a profile, beam or wash light, was chosen. ULA Group supplied nine Maximus units, six of which are rigged overhead, two on the ground and a spare, all outfitted with custom gobos. The sound and light show is presented in a covered outdoor museum the size of two football fields. Gobo projection from the Maximus depicts settings such as storm clouds for a scene set in Gallipoli, and high-contrast plane profiles. The animation wheel creates the sweeping cloud effects and is also accessed for a scene in which the audience is immersed in a watery look. The fixtures colour wash the space, project ground textures and provide a travelling spot that directs audience attention from one plane to another. The nightly attraction is now equipped to run throughout the region’s cold winter nights, summer temperatures up to 45°C and intense storms. www.elationlighting.com

Tico upgrades Shanghai Vinyl Ambulance Stock Exchange provides sonic healing with Stonewater INDIA

CHINA

The auditorium of the Shanghai Stock Exchange – the world’s fourth-largest stock market – has undergone an audio upgrade with loudspeaker solutions from RenkusHeinz. The system was designed and installed by SI, Tico. Located within a financial centre that also includes the China Financial Futures Exchange and China Securities Depository and Clearing Co, the auditorium featured a number of design challenges. Seating rises from the front of the theatre, with large walls separating seating areas. The Renkus-Heinz PN102/LA self-powered line array series was chosen to provide the vertical coverage required due to the steep rake of the seating. The Renkus-Heinz Audio Operations Network RHAON II, coupled with Audinate’s Dante networking, extends the power, adaptability and audio performance of the digital network. “When you have a space like this auditorium, which looks very impressive, you

don’t want to compromise,” said Lin Jinzhao, technical manager at Tico. “With RenkusHeinz there is no compromise. The speakers blend into the space and sound excellent. Everyone has praise for the system.” Tico’s technical engineers used RenkusHeinz hardware to fly the system, including the low-frequency elements, using a custom rigging system with Renkus-Heinz DRS182R subwoofers flown vertically behind the main left and right arrays. The audio workflow uses Dante as the primary signal and control protocol, meaning the system is scalable and allows for future expansion. “The result is an excellent sounding audio system and a very happy client,” Lin said. “With Renkus-Heinz we are able to offer impressive audio solutions for everyone, no matter the design, size or shape of a location. And that is a very exciting thing to offer as a system designer and integrator.”

Mobile DJ outfit the Vinyl Ambulance has invested in a home-grown audio system from Pune-based manufacturer, Stonewater, to see it through the Goa party season. The Vinyl Ambulance was hand-built from wood and recycled materials by its operators Ignatius Camilo and Guido Wolfram at their home in Cirrus, Goa. It has become an integral part of the evolution of the underground music scene in Goa, hosting parties at secluded beaches and mountaintops throughout the state as well as appearing at festivals including Sunburn Goa, Sunburn Pune, International Goa Jazz Festival, Eat Play Love, Vasundra Festival and Eden Art Fest. Now, its sound has been enhanced by two Stonewater HD15 two-way tops with two PXB218 Push-Pull hybrid subwoofers and an Infra-Sub. This gives partygoers the benefit of full frequency reproduction from 20Hz – 20kHz. After the gig, the entire sound system is packed into the ambulance which drives away, leaving no trace on the landscape. Camilo and Wolfram, a DJ and carpenter from Germany, created the Vinyl Ambulance six years ago to provide clubbers with a system they felt could bring the best sound quality possible to its events. “I’m used to crystal clear sound, and I’m so reluctant to play at clubs with bad sounds, that I decided to create the Vinyl Ambulance,” said Camilo. “I’ve been

DJing for over two decades now and also have my own club, Cirrus, which I started in 2010 to showcase music the way it should be.” The Vinyl Ambulance continues in that tradition, taking the music to a wider audience at its underground parties. “After I heard the Stonewater Full Spectrum system recently, I thought I should own it and show people what good quality sound means,” he continued. “I’ve played on many sound systems around the world, and I feel this is the cleanest and most accurate system I have ever played on.” www.stonewaterindia.com

www.renkus-heinz.com

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NEWS: PROJECTS

Cutting Edge opens VP lab with Brompton processing AUSTRALIA

Sound and picture postproduction Cutting Edge has announced Edge Lab, its newest venture in Virtual Production (VP) based in Brisbane, Queensland, which provides an R&D hub for production industry professionals. Developed in partnership with motion caption integrator Logemas and Big Picture, part of the NEP Worldwide Network, Brompton Technology processing is provided for the main LED screen, ambient reflection and lighting walls. Cutting Edge, which has served the advertising, features and television industries in Australia and internationally for almost three decades, can also tap into the latest VP innovations with its Unreal Engine-powered VP stage, which has a high resolution 12m x 4m LED wall and moveable LED side panels. The setup comprises a Uniview Tekken 3mm main LED screen with two Tekken ambient reflection walls and two ROE Visual CB5 5mm ambient lighting walls. The system runs on four Brompton Tessera SX40 4K LED processors and four Tessera XD 10G data distribution units. “Because our LED stage has been built with high-quality components and is powered by Brompton processing, we are able to achieve realistic virtual environments that help with experimental shooting and environment creation,” says Cutting Edge CEO, Michael Burton.

“The work coming out of these spaces is set to create a new standard in filmmaking,” added Josh Moffat, special

projects and business development at Big Picture. “Queensland is fast becoming the centre of a large film production scene. We

are really excited for Big Picture to be one of the main technical companies driving virtual production development here in Australia. We’re looking forward to working on some amazing projects and, with Brompton Technology as our chosen LED processing solution for VP applications, we know we’ll deliver great results.” Edge Lab’s head of virtual production, Tim Schultz, is holding demonstrations and workshop sessions for creatives and industry experts. “Our team wants to collaborate with creatives in the R&D phase of a project so that, if virtual production is a viable solution, we can help the production team configure a suitably scaled VP studio wherever they need it,” he explained. The Visual Effects Society (VES) members attended a recent VP event workshop at Edge Lab hosted with partners at Big Picture, Logemas and ARRI. Demonstrating Unreal Engine integration with a largescale LED stage including real-time camera tracking and lighting techniques, the event showcased the latest technologies and best practices for VES, which represents visual effects practitioners in over 40 countries, exploring ways for departments to work together effectively in VP. www.bromptontech.com

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Sydney microbrewery goes nuclear with Martin Audio AUSTRALIA

Sydney’s new microbrewery, the Atomic Beer Project, has opened in the suburb of Redfern with a BlacklineX sound system from Martin Audio. Constructed in a mid-century furniture warehouse, the 200-capacity microbrewery, which offers pan-Asian cuisine alongside craft beers brewed in onsite tanks, is owned by Gage Roads Brew Co. According to Atomic brand lead, Clint O’Hanlon, music plays a major role in the new brand concept. “We have started sponsoring FBI radio, which is a youth radio network just down the street from us, and we’ll be hosting their DJs here,” he said. The Martin Audio system had already been used on one of the brand’s other projects, Sydney-based Beyond Audio Visual. The distributed system, designed to take into account the venue interior’s hard, reflective surfaces, consists of eight Martin Audio Blackline X8 two-way enclosures, 10 SX110 subwoofers and 18 Adorn A55 for infills and ancillary areas.

“The audio system is so beautiful and warm,” continued O’Hanlon. “There are no annoying delays, where you hear loudspeakers on the other side of the venue like an echo. I’ve never worked with an audio system where you can control the level in all the various zones individually or collectively from your phone. It’s just really seamless.” The system was provided by Martin Audio distributor TAG, with Beyond AV’s MD, Con

Ganzhou spectacular deploys Coda system

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CHINA

An outdoor symphonic concert at the Ruijin Sports Centre Stadium, Ganzhou Jiangxi province, relied on a Coda Audio system to relay sound across the challenging acoustic environment. The system was supplied by Zhongsheng Music International Cultural Media, a customer of Coda Audio’s Chinese distributor Tempo. Featuring a gala performance by an orchestra, singers and actors, the cultural celebration was attended by a number of civic dignitaries who joined the large audience to enjoy the show. The stadium’s acoustics and stage orientation posed challenges for the audio team, including multiple highly reflective surfaces. The team deployed a main system for the audience area of AiRAY and ViRAY line arrays with PW418 subwoofers in cardioid mode. These provided sufficient low frequency for even frontal coverage, while reducing the lows at the back of the loudspeakers and onstage, ensuring a “clean” monitoring environment for the performers. The main system arrays were supplemented by three-way G712-Pro point source loudspeakers as front fills for the VIP area, with two-way G512-Pro used for stage monitoring. “We are delighted that a Coda system was deployed for this important occasion,” said

global marketing director, David Webster. “In what was a difficult year across the world for live events, to see a stadium show on this scale gives us great cause for optimism. It’s also great to see that the production team were able to take advantage of the flexibility and compatibility of our systems to overcome the acoustic issues presented by a challenging site. The work carried out by Tempo in communicating the Coda message to the Chinese market is clearly paying dividends, as we see more and more audio suppliers taking advantage of our unique products.” www.codaaudio.com

Gwangju Esports chooses Ross for dedicated arena KOREA

Andrews, acting as a specialist consultant, assisting TAG’s technical director, Anthony Russo. Installing the 10-inch subwoofers in elevated cable trays proved a challenge. “Normally, you would see the subs installed into the banquette seating, for example, but all the concrete bulkheads had already been poured, so we needed another solution,” he explained. “We didn’t want to excite the ceiling space with low frequencies, which is why the design has more subs spread out and placed close to the matching full-range speakers to provide a cohesive sound.” The system’s high speaker count provides the venue with enhanced control, while the design’s precise coverage and careful subwoofer placement allows customers to hold conversations without being overpowered by SPLs. O’Hanlon confirms that the venue’s management is delighted with the project and its resonance with the building’s industrial roots. www.martin-audio.com

A new esports arena has been constructed in the southwestern city of Gwangju, with Ross Video technology at the heart of the production workflow. A Carbonite switcher, Mira replay server and Tria storage all play a part in managing the arena’s video content, while the Ultrix AV processing platform and Ross openGear handle routing and signal processing.

“We had previously experienced Ross equipment as par t of our work completing other espor ts and corporate projects, and we were already familiar with the highly efficient Ross workflow,” commented Sungwon Shin, project manager at CJ Olivenetworks, which designed and commissioned the arena. “We had no hesitation in proposing a Ross espor ts solution via the public tender process, and the experience has been extremely

positive. Ross equipment offers ver y impressive levels of functionality at a ver y reasonable and accessible price point. The customer’s goal has always been to run visually impressive productions with only a modest number of people, and Ross is helping us to deliver the goal with technical suppor t and operational training.” Ross Video director of sales for Asia, Mark Cooke, complimented Gwangju Espor ts on this new initiative. “The pandemic may be a bump in the road for espor ts, but there’s little doubt that its impressive popularity will continue to grow once live events return to our calendars,” he said. “The city of Gwangju is showing great ambition and foresight by investing in this new venue, and we are delighted that Ross solutions have been chosen to power the arena’s productions. The challenges faced by espor ts content producers are often different to the problems faced by customers in more traditional broadcast or live event environments, but the impressive list of international espor ts brands that have par tnered with Ross clearly shows we have the innovation, exper tise and the experience to help the espor ts industr y reach an even wider audience with even more exciting content.” www.rossvideo.com

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NEWS: PROJECTS

Mayday flies into 2021 with Sennheiser TAIWAN

Rock band Mayday turned to Sennheiser out our new top-of-the-range dynamic wireless and wired microphones for their capsules, and we are very much looking Mayday Fly to 2021 dates which, due to the forward to be working with Chuang and the country’s low Covid-19 infection rate, were band for their next concerts.” among the first large-scale events to happen Mayday and its record company B’in Music in Asia. gave out 6,000 free tickets to medical staff Tickets to the six concerts at Taoyuan in Taoyuan, Taichung and Tainan for Mayday International Baseball Stadium sold out Fly to 2021 as a gesture of gratitude. almost immediately. Although the band had www.sennheiser.com been touring internationally, these were Mayday their first dates in Taiwan since 1999. Dubbed the Asian Beatles by The Washington Post, band members Monster, Ashin, Stone, Masa and Kuan-you have had careers spanning more than two decades, selling more than 1,000 million records and performing at least 1,000 live concerts across Asia Pacific, America and Europe. Mayday’s chief/monitor engineer, Chuang, introduced Sennheiser’s brand-new MM 435 and MM 445 microphone heads launched just a few weeks earlier onto the live shows. “The 435/445 capsules have more presence at the sensitive 5kHz frequency, and the 445 has great ambient noise rejection, especially when used on catwalks,” he commented. “The new capsules are an improvement over their sister models and we look forward to using them at our upcoming concert tours.” Chuang added that he is now keen to try out the wired MD 435 and MD 445 versions for the band’s next concerts. The Mandarin-language rock and pop band also hosted a free online concert due to the original dates having to be pushed back due to Covid-19. Only their second online concert, Mayday’s virtual event was livestreamed from the + Need flexible meeting possibilities in different rooms? arena that otherwise would have + Spaces with varying room layout according to the occasion? been filled with an audience, + COVID-19 is forcing you to change your set-ups? attracting more than 29 million fans watching live with the subsequent video gathering DISCOVER ON OUR WEBSITE HOW almost six million views. CONFIDEA FLEX G4 WIRELESS HAS “We were blown away with the YOU COVERED. intensity of the virtual concert, and you can probably imagine how exhilarated and happy fans at the real-life concerts were,” said Tyler Tan, relationship manager with Sennheiser. “People around the globe are longing so much for live music to happen again. We are honoured by Mayday using our flagship Digital 9000 wireless microphone system and trying

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NEWS: PROJECTS

Adamson goes under the dome in Taoyuan TAIWAN

An Adamson IS7 line array system has been installed into the 30,000-capacity Taoyuan Arena, which has a membrane domed roof supported by steel cables. One of only five such structures in the world, the construction technique gives the circular stadium a “big top” feel and in-the-round configuration which lends itself

to sporting events, exhibitions and cultural performances. As it approached its 30th year, the arena was due for a technical update, as well as roof repairs. The City of Taoyuan approached the project with sustainability in mind, reusing materials where possible. Local integration and production company AVIC,

which had rented PA systems to the stadium for performances, was contracted to replace the in-house PA with a system that could achieve even, 360° coverage of the seating area from 20m in the air, under the dome. “The stadium’s management wanted to achieve 105dB average SPL, with less than 5dB plus or minus variation anywhere in the coverage area,” explained AVIC’s Scott Chiu. “They also wanted to improve the RSTI [Rapid Speech Transmission Index] performance of the stadium to greater than 0.5. Another consideration was that we couldn’t block existing lighting positions. In fitting with the sustainability goals of the project, a highly efficient PA with convenient control is what we needed.”

AVIC cites its reasons for choosing Adamson as vocal per formance, power handling ef ficiency and simple control options. Eight hangs of four IS7 line array cabinets suspended in IS7 Micro Frames have been distributed around the dome’s ringed inner catwalk, covering the seating. The IS7 bring Adamson’s Kevlar drivers and mid-high clarity from its touring PAs into the realm of integration. Each IS7 contains two 7-inch Adamson ND7-LM-8 neodymium drivers for the low-mids and an NH3-16 3-inch diaphragm with 1.4-inch exit compression driver for the highs. The IS7s are supplemented by four IS7p point source loudspeakers hung from a gantr y with four IS-Series Sight Mounts in the centre of the roof, to cover the middle of the arena. AVIC has provided presets that change seating coverage configurations from a control PC at the touch of a button. “We’ve divided the arena coverage presets up into full mode, half mode, quar ter mode and central area only,” said Chiu. “Loudspeaker processing and the saved presets are run via the nine Lab Gruppen D40:4L power amps with Lake processing that power the system.” AVIC designed and then simulated the solution’s per formance prior to sign-of f from stadium management, delivering an ef ficient, environmentally responsible PA solution that covers the crowd, in line with the City of Taoyuan’s requirements. www.adamsonsystems.com

Genelec upgrades Finnish Embassy in Tokyo JAPAN

Located in Tokyo’s Azabu district, the Finnish Embassy has installed a Genelec Smart IP loudspeaker solution as part of a recent renovation project. “We wanted the best possible experience for our guests, ideally using Finnish products,” explained Mikke Kinnari, vice consul and 3rd secretary of administrative affairs at the embassy, who was in charge of the renovation. “Having studied several options, we decided that the Genelec Smart IP solution with its easy, single-cable installation and high-quality audio offered the best possible solution for our requirements.” The embassy buildings are constructed with reinforced concrete to withstand earthquakes that are common in the region. The impracticability of drilling more holes than necessary for cable runs was a major factor in adopting a Smart IP solution, which delivers audio, power and loudspeaker management over a single Cat cable. Aesthetics were another criteria. “We have a lot of very high-level visitors here, and the elegance of the room, with beautiful Finnish furnishings, was important,” continued Kinnari. “The Genelec speakers are very aesthetic in their own right, and the fact that we could totally hide the cabling contributes to the high-class feel of the space.”

The embassy appointed AV integration specialist Astro Serve, which installed nine 4430 and two 4420 Smart IP loudspeakers across four separate zones in the newly renovated guest facility: the entrance, conference room, dining room and informal lounge area. “We were specifically requested to make the installation as neat as possible with no visible cables anywhere,” said Astro Serve’s Michinari Sato. “The Smart IP

concept delivers power over Ethernet and so only one LAN cable is required. We were able to precisely tailor the audio response to each room via the Dante network using Genelec’s Smart IP Manager software. Finally, an IP networked solution enables us to easily manage and reproduce high-quality audio across a number of locations seamlessly. Control is managed via a Crestron touchpanel controller that non-technical staff or guests

can easily handle. Alternatively, they can select content from their own devices.” Sustainability was another important factor. “In Finland, sustainability is important to us,” said Pekka Orpana, Finnish Ambassador to Japan. “Genelec’s speakers are made of 95% recycled aluminium and produced with renewable energy. They are long-lasting and can be easily calibrated to any space again and again if we decide in the future that we’d like to use them elsewhere. Finally, they are very beautiful. Finnish design is well known and appreciated in Japan. The grace and natural look of these speakers fits tremendously well with each room. The Smart IP solution has made it possible to have perfect sound quality. When I heard them for the first time, it felt as though we had a live pianist in the room.” “We now have a fantastic loudspeaker system that brings all our events to a level of quality that we have never had before, including the webinars, teleconferences and virtual events that have become so essential,” concluded Kinnari. “It was perfect timing for us to invest in a Genelec system and we’re proud to represent the essence of Finland to our guests.” www.genelec.com

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NEWS: PROJECTS

ETC lights up HK art performances HONG KONG

High End Systems’ Sola Series from ETC have been used to light a series of performances by experiment theatre company, Zuni Icosahedron. The shows took place in the Hong Kong Cultural Centre to promote art and culture in the region. High End Systems’ SolaFrame 1000 and a Hog 4 lighting console from ETC were used in the lighting design by Mak Kwok Fai and Adonic Lo under the guidance of the company’s co-artistic director and multimedia specialist, Mathias Woo. Four different performances were staged. Hong Kong Song Book Series – Gayamyan Romantic HK the 80s Concert paid tribute to Danny Chan, a Hong Kong pop music icon of the 1980s. SolaFrame 1000s were chosen for their 20,000-lumen brightness, as well as the

Piano Solo Storytelling – Spirits Read Sing Eileen Chang

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redesigned CMY and CTO colour mixing system, full framing shutters and rotating variable animation wheel. Piano Solo Storytelling – Spirits was a literary and music programme re-enacting stories of

Gayamyan

spirits and love through classical music. The story was narrated by playwright, director and actress Sylvia Chang, accompanied by pianist Yen Chun-chieh, who was livestreamed from Taiwan. Here, SolaFrame 1000 fixtures were used to provide dramatic yet silent lighting effects to accompany the music. Read Sing Eileen Chang celebrated the 100th anniversary of the birth of celebrated writer, Eileen Chang, which was awarded the Red Dot Award for design in 2020. For this production, the framing shutter of the SolaFrame 1000 was

called into play as the shape of the performance area changed throughout the production. Bach is Heart Sutra was an art installation performed within a mirrored space. The audience was able to experience the peace of the Buddhist Heart Sutra, which teaches “form is emptiness, emptiness is form”, while listening to Bach’s Six Suites for Unaccompanied Cello, set to an AV design that used light and LED projection. www.etcconnect.com

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FEATURES: EDUCATION

Widening options

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A Dolby Atmos HE mix studio is the latest addition to Singapore’s YST Conservatory of Music as it strives to offer cutting-edge facilities to its students. Richard Lawn reports SINCE ITS ESTABLISHMENT IN 2003, SINGAPORE’S YONG Siew Toh (YST) Conservatory of Music continues to distinguish itself as a first-of-its-kind educational institution in the region. Throughout his 16-year tenure, associate professor Zhou Xiaodong has played a key role in advancing the student programme courses at the conservatory. As head of audio arts and sciences (AAS) and founding manager of the YST Conservatory recording studio, Professor Zhou continually draws upon connections, awareness and the latest technologies to realise his aspirations in the inner sanctum. “From an educational point of view, YST needs to provide the students with as wide a choice of career paths as possible,” comments Professor Zhou. “When I first came here in 2006, the focus was on classical music production, but we offer so much more now.” Linked to the conservatory concert hall as well as to the Steven Baxter recital studio and conservatory orchestra hall, YST’s main studio is equipped with a 48-input SSL C200 digital console, Pro Tools Ultimate software and an impressive microphone collection. The floating construction, which benefits from variable acoustics, is flexible enough to handle both classical and modern music production. The adjacent Dolby Atmos immersive mixing studio, however, differs markedly by providing first-hand production techniques to tomorrow’s audio engineers, music producers, sound designers and acousticians. “As a school we need to invest in the latest technology for our students and adapt accordingly to the changing job market,” continues Professor Zhou. “Upon graduation from YST, their opportunities to gain employment at a film or postproduction studio are significantly enhanced if they can mix in surround sound. Today, you cannot ignore the need to mix in an immersive audio setup. Therefore, as part of our audio arts and science programme, YST is following current standards and developing a multichannel sound in the studio where you can listen to everything in the correct space.” Supported by Avid’s local distributor, IMS Mahajak Pro Audio, together with Dolby Singapore, YST’s Dolby Atmos

Yong Siew Toh Conservatory of Music mixing studio has once again been upgraded. Having incorporated an Avid S6 M40 16-fader control surface with a surround joystick, a 7.1.4 3D monitoring system was created in late 2018. “The course format we originally developed was for film production, but I wanted to teach the whole workflow to the students by expanding the dynamics from classical to commercial,” explains Professor Zhou. “Although YST previously possessed an immersive listening environment for home certification, it lacked the whole production workflow. Building an entire cinema in this 10m x 7m space is impossible, but a home entertainment [HE]-certified Dolby Atmos studio could be created. Dolby’s certification programme was helpful in providing guidelines to build a worldclass reference studio, which are consistent around the world.” Previously a music and audio technology lecturer himself at a local polytechnic, Dolby Singapore’s staff content engineer Geoffrey Low has worked closely with Professor Zhou. “YST had been looking at immersive formats as a new area of research and teaching over the past three years,” explains

The new Dolby Atmos studio’s Avid S6 M40 16-fader control surface

Low. “With the development of Dolby Atmos offering end-to-end workflow and deliveries in theatres and home entertainment, YST reunited with IMS and Dolby to create a reference level studio. Their initial setup was an experimental 7.1.4 3D monitoring setup, so Professor Zhou took the decision to upgrade to a Dolby-certified 9.1.4 system.” IMS Mahajak Pro Audio was called upon to upgrade the Pro Tools setup. Up to 128 audio channels can be transmitted via DigiLink from the MTRX interface to the Dolby Atmos Rendering Master Unit (RMU) where the audio is then rendered in 3D. Following rendering, the encoded Dolby Atmos 9.1.4 mix is further equalised by the MTRX Studio B-chain unit that comes with SPQ processing cards, before being output to the JBL monitoring system. “Because of its stability and flexibility within the Dolby Atmos routing setup, we decided to adopt the Dante protocol for transporting the audio channels between Pro Tools [MTRX] and the Dolby Atmos RMU unit,” says IMS Mahajak Pro Audio product specialist, Edwin Wijaya. “All the devices are connected to a Gigabit network switch and the MTRX interface is loaded with an onboard Dante card for enabling audio signals to be routed to the RMU. The MTRX Studio serves as a monitoring controller for which the routing and source selection are configured within the Avid DADman software. This allows the mix producer to change the sources being played back.” Connected to a Dante switch and the S6 Eucon control surface, a Mac Pro computer is installed with a Dante Virtual Soundcard (DVS) application. Configured to be the Mac audio output device, audio can be played back from here using the iTunes and QuickTime players, web browsers or other DAWs. The studio can also stream Netflix or Disney+ content with a Dolby Atmos soundtrack via a Denon AV receiver that is connected to the MTRX Studio and a 75-inch Android TV display. Having commissioned the immersive studio environment, Low feels that the students can truly experience Dolby Atmos for home entertainment in addition to the new wave of growing entertainment providers such as Netflix and Disney+. “By selecting content from Netflix, for example, the multichannel

The studio is equipped with a Dolby-certified 9.1.4 system

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FEATURES: EDUCATION programme decoder can render the Dolby Atmos soundtrack to 9.1.4 for the YST students to follow,” he says. The new setup is suited to YST’s holistic nature as movie content music is generally positioned where the Lw and Rw speakers are, warranting the upgrade from a 7.1.4 to a 9.1.4 setup. Powered by Crown DCI Series amplifiers, three JBL 708 and 10 705 monitors combine with a single 3635 subwoofer for Dolby Atmos immersive monitoring. This extends beyond the minimum 7.1.4 setup required for

the Dolby Atmos certification, facilitating the meticulous placement of sound and music elements in the immersive sound field during mixing. “Working with YST, our aim was to create a studio that could showcase any Dolby Atmos soundtrack as well as create great content,” says Low. “Beyond the studio walls, such content can be streamed globally to any playback device incorporating the Dolby technology, such as a display or soundbar.”

o-end nt, el Crown DCI Series amps and processing units in the studio racks Playback devices with this technology will adapt and optimise any Dolby Atmos soundtrack to the device’s output configuration: for example, stereo or 5.1. For configurations without any height channels, the technology in the Dolby decoder will render height information into the front and rear listening plane to provide an immersive experience. It can render channel-based configurations beyond 9.1.4 as well as render binaural mixes for an immersive headphone experience. This will futureproof the soundtrack for any configurations in the future and is possible because the Dolby Atmos format is based on an object-based mixing approach unlike the traditional channel-based format. The addition of the Dolby Atmos HE studio is just the latest way that Professor Zhou has found to keep his students moving forward. “We will continue to stay abreast of industry and technology developments and nurture generations of leading professionals ahead,” he says.

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FEATURES: EDUCATION

Branching out A portable, weatherproof d&b Y-Series system is used at the outdoor venue

d&b xC-Series column speakers cover the spacious atrium

New York’s Juilliard School of Music has opened its first overseas branch campus in China. Sue Su reports from Tianjin Juilliard School, one of d&b’s biggest Chinese installations to date

The concert hall is the largest of TJS’s three public venues

FOUNDED IN NEW YORK IN 1905 AND DUBBED THE “Harvard of music”, the Juilliard School is one of the world’s leading theatre, music and dance schools. In 2015, the school announced that it was going to establish its first overseas branch campus in Tianjin, China, a 45-minute train ride from Beijing. When it opened in autumn 2020, the Tianjin Juilliard School (TJS) became the first performing arts institution in China to award a US-accredited Master of Music degree. The TJS campus was designed by Diller Scofidio + Renfro, the architectural firm responsible for the expansion project of the school’s New York campus in 2009. Ground was broken for the new campus in 2017 and, a year later, China’s Ministry of Education gave TJS its official approval. In the autumn of 2020, the first class of 39 graduate students, including local Chinese students (61%) and international students (39%), began their studies. The school’s extensive facilities offer students a wealth of opportunity for study, rehearsal and stage performance on its 32,500m2 campus. In the main building are three public performance venues: a 690-seat concert hall, a 300-seat recital hall and a 225-seat black box theatre, which between them will stage up to 150 performances per year. In addition, the school has a variety of large and small rehearsal spaces as well as classrooms and teaching studios, a public atrium and an outdoor performance area. After a long period of analysis and comparison, d&b audiotechnik sound reinforcement systems were selected for the performance venues and four of the largest rehearsal spaces, making this one of the largest d&b fixed installation projects in China. “As the world’s top music school, Juilliard School naturally has very high requirements for its stage facilities,” explains William Xue, manager of education and application support, d&b Greater China. “They decided to use d&b systems in all performance spaces, even the rehearsal rooms and the atrium lobby, so that teachers, students and audiences can experience a consistent and reliable sound no matter where they are.”

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FEATURES: EDUCATION After carrying out calculations using d&b’s ArrayCalc simulation software, the manufacturer’s Y-Series was selected for the main system. Their compact size made them suitable for the small installation area, also avoiding the projection screen. An array of four compact Yi12s covers the front audience area, with seats on both sides and at the back of the stage covered by another array of four Yi8s. Both the Yi12 and Yi8 speakers are dual 8-inch line arrays with coverage angles of 120° and 80° respectively. A single Yi-SUB cardioid subwoofer has been flown alongside each Yi12 array to supplement low frequencies, while the cardioid configuration reduces interference for the performers. The main system is driven by four d&b D80 amplifiers. Eight M6 wedges driven by a 10D amplifier can be deployed as stage monitors as needed. In addition to the ArrayCalc software, the system’s accuracy of coverage and the consistency across the entire field was also improved by the use of d&b’s ArrayProcessing (AP) technology. “In addition to the strong directivity of the Y-Series, we were also able to use d&b’s powerful AP technology,” adds Xue. “This enhances the vertical directivity control of each group of line arrays, so as to achieve maximum sound attenuation on the wall and stage. AP technology also solves the problem of sound changes and inconsistency when the central column overlaps with the columns on both sides.” The recital hall provides a more intimate environment for student and faculty performances, chamber music concerts and master classes. The audience seats are also irregularly distributed here, and the main audience area is covered by an L-R system consisting of four Yi8s per side with two Yi-SUBs flown on top, driven by two D80 amplifiers. The seats behind

The recital hall provides an intimate environment for performances

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TJS’s largest rehearsal room is suitable for orchestras The concert hall – the largest of the three public venues – is TJS’s main performance space, suitable for large orchestral and ensemble performances, recitals and special events. It has an in-the-round configuration with a central stage, and seats are irregularly distributed on all sides, as well as on the second level. In order to ensure uniformity and consistent sound, the d&b Greater China team decided that each side should be covered by a column of line array speakers, which posed a challenge when it came to the overlap between multiple sets of speakers. In addition, the loudspeakers had to be installed beneath an acoustic panel on the ceiling of the concert hall, while a large projection screen behind the stage couldn’t be obstructed. All these factors meant that the space for installation was greatly restricted. “We had to plan how to cover each seat accurately, evenly and consistently when doing the design, and how to optimise the overlapping relationship between multiple arrays of speakers,” says Xue. “The walls around the concert hall have a lot of sound reflections, which can easily cause comb filtering. Therefore, the sound coming from the speakers needed to avoid hitting the wall as much as possible. In addition, we also needed to consider how sound coming from the speaker arrays flown above the stage would affect the performers below. Finally, as the space left for speaker installation was very small, we had to give careful consideration to the selection of speaker model and feasibility of installation.”

the main array are covered by four E8 compact coaxial speakers installed on the lighting truss, and four M6 monitors are also provided. The E8s and M6s are driven by a 10D power amplifier. The multipurpose black box theatre provides opportunities to present music and multidisciplinary programmes. Four stage configurations are possible. When the stage is at one end of the theatre, a four-per-side L-R system of Y8 line arrays covers the audience area. When the three other stage configurations are being used, seats are covered by four Y7P point source speakers hung in the centre of the theatre. As both models are from the Y-Series, they share the same sound characteristics, providing a consistent listening experience regardless of the different stage configurations. Four Yi-SUB cardioid subwoofers can be positioned according to the configuration being used. The system also includes eight MAX2 wedges, which can be used for monitoring or to supplement the main system as needed. All speakers are driven by D80 and D20 amplifiers. To allow users to easily switch between the four stage modes, d&b R1 remote control software has been set up, which can be used to select the relevant mode at the touch of a button. The R1 software can also be used to control each speaker or set of speakers, providing flexibility to adapt to the ever-changing setup of the black box theatre. The outdoor performance space has been provided with a portable system. In addition to the wide dynamic range and high

sound pressure levels required by outdoor performances, it also needed to be able to cope with the vagaries of the climate. Therefore, the sound reinforcement boxes here are all weatherresistant versions with IP55/IP54 ratings. The main system consists of a total of 16 Yi8 WR line arrays, four flyable Yi-SUB WR cardioid subwoofers and four B22-SUB WR subwoofers. Six Yi7P WRs are used for the fill system and eight MAX2s are used for stage monitoring. Nine D80 amplifiers power the system. The concert hall, recital hall, black box theatre and outdoor performance space are each equipped with a Lawo mc236 console and a set of Shure Axient Digital wireless microphones. “In addition to TV production, Lawo’s mc2 series console are also widely used in the European classical music world,” comments Bai Shi, sound engineer at Lawo’s Beijing office. “The Juilliard School is designed in accordance with the highest standards of classical music, and Lawo has become a natural choice.” The four mixers are all equipped with an A_mic8 stagebox and reserved AoIP ports to facilitate signal sharing in the future. Long reverberation times presented a challenge in the spacious, high-ceilinged atrium lobby, and the design of the sound system also needed to take visual aesthetics into consideration. d&b xC-Series column speakers have been used here, with a white 24C column speaker and 24C-E extender installed on each side of the projection screen. Not only do these integrate with the interior décor, the cardioid directivity of the xC column speakers is extremely helpful in mitigating strong reflections on the back wall. Vertical coverage can be adjusted to reduce the impact of long reverberation time and improve speech intelligibility. TJS also has a 315m2 rehearsal studio for large symphony orchestras and chamber ensembles, together with three 130m2 and two 27m2 rehearsal rooms. The four larger rehearsal spaces are all equipped with two d&b E8 point source speakers and E15X-SUB subwoofers, driven by d&b 10D amplifiers. The arrival of one of the world’s most prestigious music schools in China will raise the bar for the standard of musical and performing arts education across the entire country. In the short time since it opened, TJS has launched two annual music festivals, developed partnerships with peer institutions and invited guest artists and student participation from around the world, representing a major step forward in the country’s cultural development. www.dbaudio.com www.tianjinjuilliard.edu.cn

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FEATURES: HOSPITALITY

Maximum flexibility

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Jakarta-based systems integrator PT Kairos Multi Jaya has provided a networked AV system for a new convention complex incorporating two hotels, hospitality and business venues. Richard Lawn reports INVITED TO BID FOR A MAJOR AV PROJECT THREE WEEKS prior to deadline, PT Kairos Multi Jaya drew on all its expertise to win the contract, assuring the developer of a futureproof system that offered user-friendly networked functionality and an attractive ROI. However, five-star features needed to be delivered on a restricted budget, resulting in the contractor making 11th-hour changes prior to acceptance, including the replacement of the original DSP. Reporting to general contractor PT Tritunggal Lestari Makmur and architect Sonny Sutanto from quantity surveyor, CV QS Indo, PT Kairos Multi Jaya was contracted to provide “technology that won’t fail to astound”. Rising to the challenge, the long-established outfit executed blueprints for the two ballrooms of the convention complex as well as 19 meeting and boardrooms, and public areas including restaurants, bars, fitness centre, spa and pool.

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The junior ballroom is equipped with EAW ceiling speakers and Community columns

Damaran Kristanto, Kairos Multi Jaya’s technical engineer

Operations began in late 2019, with the cabling infrastructure and loudspeakers installed prior to the pandemic. In September 2020, the Indonesian government cautiously decreed that hotels throughout Java and Bali could reopen before Christmas. With events booked for December 2020, the timing of the announcement was perfect for hospitality group Accor. The two hotels targeted would-be guests with a flood of tourist promotions, while corporate businesses and wedding planners made up for lost time by staging events at the Grand Central and the International Convention Centre. “The installation team was required to commission the ballroom, junior ballroom and meeting rooms before 1 December,” explains Kristanto. PT Kairos Multi Jaya project manager Nugroho Rony oversaw a team of eight installers, two engineers and an onsite manager. “Once the government allowed interstate movement in September, this gave us 11 weeks to complete the works including the rack mounting of source inputs, amplifiers, DSP processors and switchers in the ELV and control rooms. These were taken to the site where they were installed, terminated and ultimately programmed.”

Eight BGM tracks from commercial music software provider, Musicstyling, are distributed to public areas over a Dante network via a Symetrix Radius NX 12x8 digital signal processor capable of providing 64x64 Dante 1000 Base-T networking. “The Symetrix Radius NX processor makes it easy to manage the Dante network,” explains Kristanto. “For the Symetrix DSP, we ran fibre optic cabling for lengths over 100m and Cat6e cable for runs below 100m to the switch hubs.” Located in the lobby level main control room rack designated Zone A, the Radius NX 12x8 DSP unit receives 10 switchable analogue mic/line inputs. These inputs are routed to two Behringer DS2800 splitters for distribution to Powersoft Quattrocanali 1204 and Duecanali 1604 DSP amplifiers. Klotz AIS LY215 cabling transmits zoned announcements and BGM in the analogue domain to RCF PL 8X coaxial ceiling speakers in the four lobbies, all-day dining restaurant, T-Box tea library and mezzanine. Powered by an Apart Revamp 1120T amplifier, five RCF MQ 80P cabinets serve the outdoor dining area.

Symetrix ARC-3 wall-mounted panels provide control for ground and mezzanine levels As one of Indonesia’s largest AV distributors, PT Kairos Multi Jaya has forged good relationships with international manufacturers for over two decades, with a portfolio that includes Symetrix, Allen & Heath, DiGiCo, EAW, Mackie, RCF and others. Symetrix DSP has been interwoven into the design of the 5-star Pullman Bandung and 3-star ibis Styles hotels forming part of the complex. “Following training, I created a new design for the consultant, Litac Acoustics,” explains PT Kairos Multi Jaya technical engineer, Damaran Kristanto. “Amazingly, it only took me two hours to design the entire hotel DSP system including all the inputs, outputs and controls. It’s modular, very flexible and highly scalable with a very competitive price performance ranking, so it was approved.” A proposal to add touchscreen control into the design, however, was swapped out for ARC-3 wall panels.

BGM in the gym arrives over Dante into a Symetrix Prism DSP management system

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FEATURES: HOSPITALITY The BGM in Zone A is extended via Dante to five other zones – the main ballroom, a junior ballroom, a mezzanine floor, rooftop bar and gym/pool area. With the exception of the main ballroom, audio functionality in these zones relies on six 12x8 and 8x8 Symetrix Prism management systems connected to Cisco SG250 Ethernet eight-port network switches. Capable of processing up to 128 Dante channels, each Prism unit receives the BGM sources that are fed into the main Symetrix Radius NX 12x8. Further inputs and outputs can be added for future expansion, and a second Dante port facilitates daisy-chaining of multiple units and redundancy.

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Powersoft Quattrocanali and Duecanali amplifiers power HARDWARE Meeting rooms combine RCF PL8X speakers, Grandview COMPATIBLE WITH THE WIDEST RANGE OF COMPUTER the ballroom system

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The fitness centre is pumped up by EAW CXT600 ceiling speakers and CXT800S ceiling subwoofers powered by a Duecanali 1604 amplifier. “The EAW speakers provide BGM in the restaurants and zones which warranted a wider frequency response and slightly higher power handling,” Kristanto clarifies. RCF GS 60 coaxial garden speakers provide BGM at the outdoor pool. In addition to the main hotel BGM, local inputs can be added. Relaxation at the spa is assisted by more CXT800 speakers for the lobby area and three treatment rooms. Six of the eight Prism 8x8 processors’ outputs route local sources and main hotel BGM to the Apart Revamp 1120T and 2120T amplifiers. Providing a 360° panorama of the surrounding district, the Akasa rooftop bar is the highest point in Pullman’s Bandung Tower. As the sun goes down and the twilight sets in, cocktails are served amid the ambience created by background and foreground music. The VIP room, lounge, courtyard and indoor and outdoor dining areas on the 17th and 18th levels feature a combination of EAW CXT800, RCF PL 8X, MQ 50P and GS 60 loudspeakers. Eleven of 12 analogue microphone and line outputs of the Prism 12x12 processor and xOut 12 expander transmit the BGM and local sources to the Powersoft Duecanali 1604 and Quattrocanali 1204 amplifiers. When the Kairos team was called back to site in September 2020, the clock was running down to the hotel’s first bookings. Delegated with DSP programming responsibilities, Kristanto familiarised himself with the Symetrix Composer open architecture software to enable the Radius NX 12x8 and Prism audio processing. “Composer saves a lot of time by adopting drag-and-drop elements,” explains Kristanto. “All the Dante routing is set up in Composer, so I did not need an additional piece of software such as a Dante Controller. The routings are clear to see and easy to restore should any issues arise. With Lua Scripting [programming language], integration with third-party devices such as Powersoft amplifiers was straightforward, and we can also control AV devices such as projector lifts.”

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FEATURES: HOSPITALITY Capable of accommodating up to 700 guests when combined, flexibility is provided in the 2,112m2 pillarless grand ballroom by two floor-to-ceiling partitions. Kairos Multi Jaya met the Meet/ Play by Pullman design by discreetly installing projection and loudspeaker systems that conform to the interior designer’s guidelines in each of the three partitioned sections. These include 16 Community Entasys 220 column enclosures combined with unobtrusive ceiling speakers to create a fullrange audio solution. The 8m ceiling height required a high SPL specification, warranting the inclusion of Community 24 D6 speakers and eight DS10S subwoofers. Capable of LF extension to 65Hz and providing 120° of conical dispersion, the D6 full-range model was deemed to be best in class. Powersoft Quattrocanali and Duecanali amplifiers power the D6 and DS10S ceiling and wall-mounted Entasys 220 column line array speakers. These have been fixed as a distributed system rather than individual L-R speakers, ticking the box for unobtrusive discretion with the interior designer. “Each ballroom section is furnished with a Mackie ProFX16 mixer that can accommodate up to 12 input channels, which is more than enough for any meeting or event being staged,” explains Kristanto. “However, should a band playing during a wedding or other event require a higher SPL solution, then a portable system of active Mackie SRM650 speakers and

A Symetrix Radius NX DSP is at the heart of the BGM system

Individual Mackie ProFX16 mixers serve the main and junior ballrooms SRM1801 subwoofers provides plug-and-play setup benefits for mixing on a 16-channel Mackie ProFX22.” Each of the three rooms is equipped with a Shure SVX24 UHF wireless mic system using PG58 handheld dynamic and wireless clip-on mics. Audio processing for the ballroom comprises a dedicated Symetrix Radius NX 12x8 processor feeding into two xOut 12 expanders. Eight of the 24 audio outputs are routed to the Apar t Revamp 2120T amplifiers powering the RCF PL 8X coaxials ser ving the pre-function and VIP breakout rooms adjacent to the ballroom. The prefunction areas can be adapted for each event including the creation of green rooms for keynote speakers during conferences, VIP rooms for meetings with dignitaries, break rooms during seminars and prep rooms for company executives. In the absence of dedicated control processing, Symetrix ARC-3 surface wall-mounted panels enable simple control in the three ballroom sections. Each ARC-3 hosts up to 32 menus for managing basic audio functions such as volume, mute, preset and source selection in addition to more complex requirements such as room combining. “The hotel staff are confident using these and so we have provided basic functionality that allows them to change the configurations when required,” adds Kristanto. “Personnel can also send audio from the ballroom to the pre-function area and VIP rooms by using the left and right arrow buttons on the navigation menus.” The fixed 12m x 5m 4mm pixel pitch LED screen sets the scene upon entry into the ballroom. PT Kairos Multi Jaya equipped each of the three sections of the room with dedicated video technology designed to remain out of sight when not in use. Grandview motorised screens receive HD outputs from Epson 15,000-ANSI lumen projectors that can be lowered from their berths above the ceiling on scissor projector lifts. Portable lecterns with local AV

into the ceiling to combine with eight wall-mounted Community Entasys 220 column enclosures powered, as in the ballroom, by Powersoft Quattrocanali 1204 and Duecanali 1604 amplifiers. A Grandview 16:9 motorised screen receives HD output from an Epson 8,000-ANSI lumen projector routed to an Aten VM5808H digital switcher and VE806 I/O wall plates. A single ARC-3 control panel facilitates management of the digital audio parameters. Served by RCF PL 8X speakers powered by Apart 1120T amplifiers and a Prism 8x8 processor, audio in the pre-function area is controlled by another ARC-3 panel that receives Dante audio from the hotel BGM, a dedicated source and the Jasmine room. Varying in size, the meeting and boardrooms can be hired for delegations ranging from 15 to 250. Continuing the theme of flexibility, some of the meeting rooms can be partitioned or opened up as larger spaces, for which room combining DSP settings have been applied. A typical setup combines PL 8X speakers, a Mackie ProFX12 eight-channel mixer, Shure SVX wireless, Grandview square format motorised screens, Eiki 7,000 ANSI lumen projectors and Aten HDMI wall plates for local I/Os. Simplified audio control is enabled by Bosch wall-mounted volume controllers. Following commissioning, Rony and the Kairos team could add another notable reference to their hospitality portfolio. Despite the company being offsite, it provides support to the hotel with full service warranty for 12 months. Via PC connection, Kristanto and his colleagues can remotely monitor

RCF GS60 IP56 garden speakers surround the outdoor pool area

A distributed audio solution of Community column speakers was chosen for the main ballroom inputs can be connected to the Aten VE806 HDMI wall-mounted plates in each ballroom over the Cat6e infrastructure and routed to the Aten VM1600 digital matrix switcher. The control room VM1600 also accepts HDMI signals from the PTZ camera inputs and a Blu-Ray player via transmitters and receivers. Smaller functions can be hosted in the 300-capacity Jasmine junior ballroom. A Mackie ProFX12 mixer outputs Shure SVX wireless UHF signals into a Prism 12x12 DSP matrix. Nine EAW CXT600 coaxials and four CXT800S subwoofers are fixed

and configure the Dante network in Jakarta, 120km away from Bandung. “Here in Indonesia, most hotel managers don’t have much knowledge of AV, but they still need to operate a system,” concludes Kristanto. “Despite being very powerful, the simplicity of the Symetrix DSP is what I enjoyed most. The platform is both very reliable and stable with no connection problems.” www.kairosmultijaya.com

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FEATURES: POSTPRODUCTION

Heading back north PFT’s True North building in Mumbai

One of the six 5.1 mix rooms created by Munro Acoustics

Munro Acoustics has returned to PFT’s True North HQ in Mumbai to construct six new 5.1 mix rooms. Caroline Moss tracks developments at the facility PRIME FOCUS TECHNOLOGIES’ 10,000M2 TRUE NORTH facility became the world’s largest independent integrated media services company when it first opened in Mumbai in 2013. The technology subsidiary of global media and entertainment industry services facility Prime Focus, PFT functions as a production hub for TV and a digital lab for films, its media network forming a digital backbone for more than 200 TV channels, operating around the clock for 365 days a year. The facility houses 185 edit suites, 24 sound studios, 18 5.1 QC rooms, 16 finishing rooms, specialised QC systems for 4K and HDR content and Dolby-certified QC rooms equipped with 7.1 monitoring. Now, six new 5.1 mix rooms have been added to provide capacity for a new programme for a major international broadcaster. PFT was initially formed in Bangalore in 2008 to leverage the company’s digital media services business worldwide. The company is the creator of Enterprise Resource Planning software, CLEAR, for the media and entertainment industry. This offers broadcasters, studios, brands and service providers solutions that help them lower their Total Cost of Operations (TCOP) by automating business processes around content and managing their business of content better. “PFT delivers postproduction services to some of the world’s biggest broadcasters, OTT platforms, studios, service providers, sports organisations and brands, globally,” explains Bhaskar Sitholey, senior vice president and head of technocreative solutions at PFT. “We’ve signed a multi-year strategic deal with a large international broadcaster. As a part of this engagement, PFT will become a centralised creative hub for the broadcaster’s key creatives, including on-air promotions for channel programmes, interstitials, billboards and their associated on-air promotion and other video creatives for online, on-air and off-air marketing across multiple languages in the Southeast Asia region, including Singapore, Philippines, Thailand, Malaysia, Indonesia, Vietnam and Hong Kong. The new mix rooms have been set up for this programme.” The move has come as major broadcasters pivot towards OTT platforms. “The linear broadcast side of the businesses has come under cost pressures, and our customers are looking at new ways to cut costs or increase efficiencies in the traditional broadcast operations, be it through outsourcing

PFT’s Bhaskar Sitholey or leveraging technology to transform existing processes,” continues Sitholey. “Our goal is to deliver unmatched creative excellence, operational efficiencies, scalability, flexibility and the lowest Total Cost of Operations [TCOP] to these broadcasters.” PFT again turned to Munro Acoustics, which had initially worked on the building with the architect and systems integrator Cineom to create 150 audio and video units for editorial, mastering, finishing, audio recording, mixing and QC. Now, Munro has converted six of the original stereo QC rooms to audio production for 5.1 mixing. All six rooms are installed with 5.1 systems comprising Genelec 8330A Smart Active Monitors and 7350A Smart Active Subwoofers, chosen for their bass management features, as well as Avid S1 DAW control surfaces and Focusrite Red 4Pre audio interfaces.

Munro’s acoustic engineer Cyril Thomas, under the supervision of senior acoustic consultant Vignyan Beera, started out by measuring the rooms and finding out where the weak points were when it came to isolation and resonant frequency of the shared framework between the spaces. “We devised an isolation scheme based on mass law and vibrational energy transfer,” says Thomas, explaining that a drywall partition on a floated floor was added to provide airborne and vibration isolation for mixing at 85dBC levels. “Due to dimensional constraints in the room, we had to design the room in a way that integrates the acoustic treatment in the isolation shell,” continues Thomas. “We used an inverted timber frame detail, affixing the isolation shell layers to the outer side of the frame and lifting it into position with the hollow frame facing the room, enabling the framing voids to contain the acoustic treatment. The speaker locations were determined as per ITU-R [International Telecommunication Union] standards. We used chamfered corners to add low-frequency traps to address primary room modes and chose services and equipment that fall within the NC25 [noise criterion] rating.” Planning of each room had to be meticulous, so Thomas, worked in Revit BIM (Building Information Modelling) to design the entire room with isolation shells, finishes and services in one package. Much of the construction work was first carried out on the ground floor due to space constraints and pandemic restrictions. The rooms were then assembled in situ, two on the building’s fourth floor and four on the second. All processing is kept in the machine room on the first floor and connected to the new studios via fibre optic. The resulting increase in capacity has given PFT one of the largest secure 5.1 mix infrastructures available in India. “Our True North premises are TPN-certified [the global benchmark for content security preparedness], allowing us to leverage these studios to deliver the service, quality and security assurance that our customers have come to expect,” concludes Sitholey. www.munro.co.uk www.primefocustechnologies.com

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FEATURES: BROADCAST

Crystal clear

Lawo Southeast Asia has equipped Radio Television Brunei’s new facility with a range of technology which equips the broadcaster for the future. Caroline Moss reports BRUNEI’S STATE BROADCASTER RADIO TELEVISION Brunei (RTB) has come a long way since it launched in 1957. Initial radio shows lasting just 45 minutes went out each evening to listeners within a five-mile radius of the capital, but today RTB broadcasts three TV channels and five radio stations across the country, as well as streamed content that can be enjoyed internationally. From January this year, RTB began transmissions from a brand-new facility with five on-air studios, four production suites, three live news studios, a music production studio and an MCR (master control room). Based in neighbouring Singapore, Lawo’s Southeast Asian office has worked with RTB for more than a decade on a number of smaller projects, starting with the provision of two mixers in 2012 for news production in the previous Pilihan studio building. In early 2019, the broadcaster needed to replace a mixer, turning to Lawo to provide a crystal radio mixer for news production following a tendering process. “They were impressed with our technology and support together with the systems integrator we worked with, Broadcast Communications International [BCI],” says Lawo sales director for Southeast Asia, Tan Boon Siong. “We also introduced them to the idea of virtual mixing so that they could understand the benefit of having virtual control for workflow improvisation, additional control and for redundancy in control.” At that stage in early 2019, RTB’s new facility – which had been ready for some time – was being used only for video production; however, a visit from the King of Brunei fasttracked a complete move into the new building. A tender to equip the facility was released in December 2019, with criteria that included an efficient workflow and overall design solution, the provision of virtual mixing and a high degree of adaptability. Lawo, which had already proved itself in

The Harmoni FM studio

Lawo VisTool PC software provides router control and monitoring in the MCR

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combination with BCI when it came to the tender’s added requirements of good pre- and post-support, was awarded the tender in March 2020, just in time for Covid-19 to slow everything down. “Because of Covid, the order was delayed as they weren’t sure when they could start the work,” Tan reflects. “After much discussion with the team they decided to go ahead, and we officially got the order by May. But because of the lockdown, none of us could get into the offices in either Singapore and Brunei, and production in Germany was heavily affected. Fortunately, we had some time to play around with, and we were able to do a lot of advance preparation.” It goes without saying that most of this advance preparation, as well as ongoing meetings, was conducted online, mainly involving Tan as well as BCI’s Cheong Yen Nam and Melvin Chang, RTB’s technical team lead by Caroline Hong, and Brian Ling from main contractor, Broadcast Engineering Services (BES). “We gave them examples of workflows and discussed ideas of how we could tailor theirs exactly to their own requirements.” By the time the equipment was ready to be installed in the new studios by September 2020, a technical team from BES was able to travel down to Brunei to help the local wiring contractors. From November, Cheong Yen Nam was onsite, after quarantining in a nearby hotel, to supervise preconfiguration as well as testing and fine-tuning to make the system as efficient as possible. Lawo’s crystal radio mixing consoles have been installed throughout all 12 studios in the new facility, providing compatibility between studios and increasing flexibility across the board. The five on-air studios and four production studios have been equipped with 12-fader versions, with the production studios also functioning as standby studios should any of the on-air studios fail or close for maintenance. The three news studios are equipped with eight-fader crystal mixers, primarily for live news feeds to all stations. The provision of Lawo VisTool touchscreen-optimised PC software for all mixers provides virtual control of essential

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FEATURES: BROADCAST crystal functions, allowing users to customise a radio studio environment to their own preferences. Its virtual mixing capability provides additional faders and also redundancy should the fader panel fail. “If someone spills coffee, for example, on the fader panel, they can work from the virtual screen,” explains Tan. “It provides users with full control and additional faders when they need it.” An mc236 24-fader audio production console is scheduled for installation in the music production studio at a later stage, chosen to integrate well into the new ecosystem. This will provide RTB with Lawo’s inbuilt DSP redundancy core with high-quality sound processing, Lawo-grade microphone preamps and IP connectivity. A Power Core IP audio I/O and DSP node for radio, together with a Nova17 digital router, have been provided for the MCR, with the Power Core providing the main link between the on-air studios to the Nova17, which serves as the main routing control for transmission and distribution. The Nova17 features fully automated loudness metering, silence detection and audio monitoring to ensure continuity of transmission for all on-air studios. One of the greatest technical advances for RTB is that the entire new system has full IP connectivity for transmission. At first, however, the broadcaster considered that the transition to this platform might be too great to make. “The engineers didn’t have any experience in working with an IP workflow,” says Tan. “Initially, they were worried they’d need staff who were experienced in IP to look after the network, but we managed to explain to them that with the IP link it’s very straightforward.” RTB is using a Ravenna connection for its transmission link, although the studios are connected via MADI. Two Power Cores provide the final transmission links between the MCR to the transmission sites via Ravenna AoIP with SMPTE2022-7, giving RTB the benefit of full IP redundancy. “The system comes with IP connectivity, so they eventually decided to go with it for transmission,” says Tan. “They can

RTB’s on-air studios are equipped with 12-fader Lawo crystal mixers

RTB’s Pilihan FM radio studio with a 12-fader crystal go back to MADI if they need to, but it’s been a very smooth transition for them, and they are confident in it now. It’s simple and straightforward.” As this was the biggest project for Lawo Southeast Asia during 2020, it was not without its challenges. “Because there are so many studios and an MCR, there were a lot of discussions to be had and things that weren’t possible to be done remotely, such as gaining an in-depth understanding of the needs and workflow requirements for all the different studios,” says Tan. “On top of that, they were planning to go on air at the beginning of January 2021.” Despite these challenges, and with a little extra training for its engineers, RTB was confident enough in the new system to

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start broadcasting on 11 January. “They went on air station by station, stage by stage, until all five stations were on air from the new facility,” says Tan. “We had another engineer on hand during the initial phase, in case they needed to make some changes to or fine-tune their workflow.” For Tan, who’d followed the progress of RTB’s move into the new facility and anticipated the eventual equipment upgrade this would entail, the successful completion of the install was a major triumph. “Winning this project was really rewarding, and the marathon follow-up did pay off eventually,” he says. “But when the project finally came, it did so at a very inconvenient time, when Covid had placed many countries into lockdown. We had to process the order, kickstart the project and implement it remotely via many online sessions, and this posed challenges, especially at the initial stages. With strong support from local SI teams and the experience that the Lawo team has gathered during Covid, the project was able to go ahead as planned.”

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FEATURES: RECORDING

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Heating up in Hohhot

The control room has an Avid S1 control surface, Barefoot monitors and classic outboard gear

Global studio design company WSDG has charted new territory with a new project in the Inner Mongolia Autonomous Region. Caroline Moss reports on T-One Studio T-ONE STUDIO IN THE INNER MONGOLIA CAPITAL OF Hohhot is not only the first professional facility of its kind in the region – the studio is also distinguished by the fact that its highquality décor and acoustic design are the result of a process that took place entirely remotely, thanks to the dedication of the client and the skills of the Walters-Storyk Design Group (WSDG). T-One was set up by Yi He, a graduate of CUCN Recording Arts in Nanjing, together with Chinese recording engineer, Qiwu Tan. This is the first studio enterprise for the two, although both have a wide range of recording experience between them. “Since we met, Qiwu Tan has given me a lot of different ideas,” says Yi He. “He was the first to propose T-One Studio, and we decided to go into partnership with the project. After three years of hard work, we have opened our doors.” As prominent members of China’s rapidly growing professional recording community, Tan and Yi He were driven to build a world-class studio in Hohhot to serve the diversity of music that has always been present in Inner Mongolia but has only recently begun to make its presence known globally. “Inner Mongolia has a long history of musical appreciation, with many talented artists and producers,” explains Yi He. “The need for a high-end studio was very clear to us, and Qiwu Tan and I were confident that a studio of this calibre would be a tremendous asset to our musical community.” Inspired by WSDG’s long history of innovation in recording studio design, the partners reached out to the company to help them realise their dream – a studio that would be capable of recording a wide range of musical styles ranging from traditional Mongolian, folk and classical music, to pop, rock, jazz and R&B, all of which have become staples of China’s recording industry. “We knew we would require a studio capable of serving a very diverse client base with the utmost flexibility,” says Tan. “We were impressed by WSDG’s past studios and knew that they would be the best fit for us.” Pre-Covid, it had already been decided that, like many of WSDG’s international projects, this would be carried out

L–R: Qiwu Tan and Yi He

T-One has the flexibility to record genres from traditional Mongolian, folk and classical music, to pop, rock and jazz

remotely. WSDG partner and director of business development Sergio Molho, together with Guanghzou-based representative, Victor Cañellas, had met with the partners in Beijing in late 2018 and assured them that a world-class studio in Hohhot was a realistic goal. “We determined that because of the location of the client and the economics of the project, we would work entirely virtually,” explains Molho. The design project for T-One was led by Miami-based WSDG partner and art director, Silvia Molho, with acoustic calculations and simulations handled by WSDG’s New York office, and Cañellas taking care of Chinese liaisons. WSDG uses a combination of acoustic simulation tools and remote collaboration that has become a mainstay of its acoustic design work. “The tools we use for our projects are the same as those

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FEATURES: RECORDING used for all aspects of business, such as video conferencing software and messaging apps,” continues Molho. “We created all the drawings using AudioCAD and presented the information as PDFs, translating the entire set of drawings into Mandarin. We have a reporting process whereby every week, the client sends us written reports and pictures of the progress of construction. We can check quality and respond to the builders with any queries. Here, Victor was acting as our liaison with the guys at T-One. We approved material samples, and also sent them acoustic fabric from the US. They were meticulous in getting it executed to the exact design we provided.” Molho cites two things that are essential for remote projects to be carried out effectively. “You need the commitment of the client to get it to the highest quality possible – and these guys were really committed to getting it done properly – and on having a weekly communication,” he explains. “That’s exactly what happened here, and the results are magnificent. We compared the original 3D renderings we’d provided them with the finished photos, and they are amazingly similar.” WSDG’s project management and work in acoustic calculation and simulation proved highly effective in maximising every inch of T-One’s available space and in developing acoustic treatments to ensure the best quality sound recording and playback. “The fact that we were able to do all this from the other side of the globe during a pandemic was a groundbreaking achievement for us and illustrates how our virtual design programme can serve clients around the world,” Molho says. T-One Studio occupies around 200m2 of duplex space in a residential building, incorporating a ground-floor control room linked to three live rooms at basement level. The control room and live areas were all designed as room-within-room constructions to maximise sound isolation. The facility combines international studio design aesthetics with highquality acoustics and plenty of natural light. The acoustics and layout are flexible enough to accommodate various forms of recordings such as solo instruments, ensembles, percussion and ethnic musical instruments, and to allow entire bands to play together. There is also a leisure area consisting of a Mongolian-style lounge, restaurant and courtyard. Main monitors in the control room are a pair of Barefoot MM12s supplemented by Genelec 8030B studio monitors and Yamaha NS10 nearfields, with a Grace Design m905 monitor controller. The control room is equipped with an Avid S1 control surface and a wide range of classic outboard gear including a Tube-Tech CL 1B compressor, Crane Song HEDD, Burl B80 Mothership and Apogee Symphony converters, and Rupert Neve Shelford Channel, Rupert Neve 5024, Manley and API 312 preamps. Plugins include McDSP, FabFilter, Slate Digital, IZotope, Soundtoys, Waves, Valhalla, Plugin Alliance, DMG, Auto-Tune Pro, VocAlign, HD Cart and UAD-2. To ensure maximum recording flexibility, microphone choices extend to Telefunken ELA M 251E, Neumann U87, JZ V67, Coles 4038, Microtech Gefell M930, Earthworks SR30, Shure SM7B/ SM57/SM58, Sennheiser MD 421, AKG D112 and Blue Baby Bottle models.

Ribbed ceiling panels of varying depths are accentuated by strip lighting

covered wall panels. Ribbed ceiling panels of varying depths are accentuated by strip lighting and baseboard floor illumination. The resulting studio is a world-class global collaboration designed to inspire creativity and produce world music. “In our communication with WSDG, we told them we wanted the room to have a natural, vibrant, acoustic characteristic,” says Yi He. “We sent some pictures of Mongolian acoustic instruments to them so that they could design interiors that would allow the musicians to work comfortably, and they matched the colour of the acoustic fabric to the tone of the instruments. WSDG has used a classic acoustic design for the control room and live rooms, which we like very much. The use of space enables simultaneous recordings to take place in different rooms, and there are windows between all of the live areas. Our lounge has been decorated in a Mongolian style, and we have displayed some music-related artwork so that musicians who will, in the future, come here from all over the

Windows and doors connect the three basement-level live rooms Although the end result has the look of a top-end studio, albeit with strong Mongolian styling, the duo hadn’t actually worked in any of the world’s leading facilities. Instead, they took their inspiration from what they knew of historic studios such as New York’s Electric Lady and Jungle City, London’s Abbey Road, LA’s Sunset Sound and Sonasterio in Brazil. “Our inspiration comes from the recognition of the high-quality and requirements that a recording studio should have, and the design team shared a common understanding with us,” says Yi He. Silvia Molho has created a modern yet warm environment for T-One, with extensive use of perforated wood and stretch fabric-

world, can experience Chinese culture and an Inner Mongolian atmosphere. WSDG has managed to combine all the elements we needed to create our perfect studio.” Adds Tan: “T-One is my first recording studio, and I am extremely pleased with the way it looks and sounds. We found the entire WSDG team to be responsible and highly professional. They provided us with excellent support and suggestions. Our initial recording sessions have all confirmed the wisdom of our decision to work with them.” www.wsdg.com

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May–June 2021 PRO AVL ASIA 65

PAA Pg64-65 T-One studio2.indd 65

26/04/2021 12:13

FEATURES: RECORDING

One step ahead

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The spacious live room is equipped with a grand piano

Providing recording, mixing and mastering facilities in the heart of Taipei, J.studio aims to stand out by offering livestreaming, video shoots and artist development, plus a newly installed Neve console. Caroline Moss finds out more IT DIDN’T TAKE LONG FOR AUDIO ENGINEER ZHU CHIAO Chen to realise where his passion lay. Having worked in the music industry for eight years as a live and studio sound engineer, producer and festival director, variously, Chen decided to open a professional studio in Taipei in 2019, offering recording, mixing and mastering facilities. And in a recent development, he has upgraded J.studio by installing a Neve 8424 console. “I would say I’m primarily self-taught,” Chen reflects. “Taiwan doesn’t have a dedicated school that I was particularly interested in attending. I initially recorded bands in my simple home setup and worked in studios around the city. I learned a lot just by asking other engineers for advice. As I got more and more opportunities to work with artists, I rented a small studio space to accommodate my needs, which eventually evolved to the point where I required a commercial studio.” Chen identified a gap in the market for a certain type of facility in the Taiwanese capital, which he describes as the biggest musical hub in the country. “A lot of musicians and producers have their own home studios nowadays, resulting in commercial studios being less sought after. However, there’s still a lot of opportunities for these sorts of studios to thrive here. As the role of the record label has also started to dwindle over the past few years, we’re also looking for talent ourselves, to work with artists we want to see succeed, helping them produce and market their work.” Having said that, the stakes when opening a professional studio are inevitably high, and J.studio was no exception to this rule. Well-established facilities are available in Taipei, and the city commands high rents. Chen aims to diversify by providing peripheral services such as shooting music videos, directing live shows, hosting DJ events and parties and renting out equipment, rather than relying solely on recording, mixing and mastering services to stay afloat.

Taiwa conc

Zhu Chiao Chen at the controls of J.studio’s Neve 8424 console The Neve 8424 has added another string to the studio’s bow. “We’re very happy to have had more foreign clients who have approached us for our services due to the Neve,” he says. “We’ve received a lot of mixing work because of the

recent upgrade, and local producers and sound engineers have contacted us to check out the Neve console as well.” Chen also invested in Neve 500 Series compressors and EQs and a Heritage Audio MCM20.4 summing mixer, which provides

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FEATURES: RECORDING the Neve 8424’s 48 channels with not only levels and pans, but also aux sends and inserts. “We wanted the space to be compact but still allow us to deliver the best quality possible for our clients. Having all of our outboard gear ergonomically positioned and within arm’s reach allows us to work more efficiently without having to move away from our optimal mixing position.” Chen’s main reason for choosing the Neve 8424 was to provide the routing flexibility, modularity and freedom to combine a modern, digital workflow with his extensive collection of analogue outboard equipment. “Our approach is to bridge old school gear and apply modern techniques to achieve sonically unique results. The studio is equipped with Urei 813C main monitors and we love collecting all types of vintage audio gear. The 8424 console is what connects everything together. It was an affordable option in this market segment, and it allows us to seamlessly use the gear we want to use alongside it. Plus, we are big fans of the iconic Neve sound.” Chen believes that a hybrid workflow delivers the best of both worlds. “Another benefit of the 8424 is that it retains an analogue signal path but allows digital control. This means we can preserve a vintage tone while still benefitting from modern workflow enhancements. “I initially assign all my channels, groups and sums to the console,” he continues. “We have six Switchcraft 9625 patchbays that are connected to a lot of 500 Series gear. This allows us to maximise the space we have in our studio and create a more ergonomic environment to work in. I’ll use a combination of outboard gear and software plugins to achieve my mix.” The vintage Urei 813C monitors were purchased from another studio that was disposing of them. “The Urei’s Altec speakers have exceptional-sounding woofers, and the vintage magnets provide outstanding dynamic range, accurate imaging and very natural sub-bass. These monitors are connected to a Grace Design m905 monitor controller; this has the ability to solo the sub, which has proven to be extremely useful for our mixing and mastering.”

Taiwanese jazz musicians took part in the Travel By Music concert livestreamed from J.studio

J.studio’s vocal booth

The mastering setup is equipped with a Maselec MTC-1X console

Additional monitoring includes a pair of Genelec 1031A monitors and a Genelec 7060B subwoofer. “These are very easy to listen to, making long mixing and mastering sessions less fatiguing,” he says. “We also have a mastering setup that is equipped with the Maselec MTC-1X mastering console, and our Urei 813Cs are positioned with the speakers directed towards our mastering console. We also have Avantone MixCube speakers situated at our mastering desk.” The 89m2 studio, comprising a control room, a live room and recording booth, occupies the top floor of a four-storey condo, away from road noise. It was designed and constructed together with acousticians and studio designers from local Taiwanese company, Moof. “The place was empty when we rented it, so we had a clean slate to work with, and rebuilt from the ground up. One of our biggest challenges was having the Urei monitors work well in our small space. We installed lots of bass traps to control the low end as much as possible. We believe we’ve managed to strike a balance between controlling the acoustics of the space, yet still sound natural, lively and exciting.” The space has been designed with live recording in mind, with windows between all three spaces that allow performers to see each other. J.studio has had to come to terms with the impact the global Covid-19 pandemic has had on the music industry, especially the live sector. Determined to be part of the solution, Chen took the innovative step of hosting the Travel By Music live jazz show that was broadcast from the studio to Japan. “Originally, the Taiwanese musicians were supposed to fly over to Japan for the gig, but of course this wasn’t possible due to the Covid-19 pandemic,” explains Chen. “The show was performed by Taiwanese musicians playing in our studio, and broadcast via the internet to another jazz band in Japan. They performed the show in real time before a live audience, together with the Taiwanese musicians. Being able to connect musicians from two different countries and have them play as if

they were in the same space was a very humbling experience, and it was a huge honour to be involved in this project.” To ensure that the show was able to run as smoothly as possible, Chen upgraded to fibre optic internet, with 500Mbps download and upload speeds. He also used Yamaha’s SyncRoom software, which allowed very low-latency audio streaming over the internet. “After lots and lots of preliminary testing, we were able to guarantee that the show would run perfectly, and there was no perceptible latency from either end,” he says. The show was livestreamed to an audience in Japan, in a venue with an audience capacity of 3,000 people. “Although these technologies have actually existed for some time, the music industry has only just now started to leverage them. With that being said, we’re very excited about what’s to come in the future after using these tools and understanding what is possible now.” The studio is also producing rock outfit Unknown Band composed of indigenous Taiwanese musicians who play a mixture of contemporary and traditional Taiwanese instruments, an ongoing project Chen describes as “a ton of fun”. “It’s been an unprecedentedly difficult time for musicians,” Chen reflects. “Even though Taiwan’s Covid situation has settled down considerably, lots of people have taken advantage of this downtime to record new music. We haven’t taken for granted how fortunate we’ve been to continue operations during the pandemic, and we truly hope that the world returns to some sort of normal as soon as possible.” Having not only survived but adapted and thrived in its first complete year in business, the future for J.studio looks promising indeed. www.jstudiorecord.com www.moof.com.tw

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May–June 2021 PRO AVL ASIA 67

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26/04/2021 12:16

FEATURES: BROADCAST

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Charting new highways JAA.S director David Chan outside RTM Perlis

JAA.S has carried out a series of Malaysian industry firsts at government broadcaster RTM’s new Perlis complex. Richard Lawn reports MALAYSIAN BROADCAST SOLUTIONS PROVIDER JAA.S has always thrived on a challenge. Based in Subang Jaya, the team of dedicated professionals has thrived over the years by negotiating tight budgets, completing works within ridiculous timeframes and providing consistent customer support. The company’s latest project took it to Perlis, 5km from the Thai border, during a period of heightened Covid-19 restrictions. RTM has committed to upgrade and modernise all regional radio stations, beginning with RTM Perlis. An invitation to tender for the Radio Modernisation and Transformation plan was made public in late 2019, highlighting an extensive

upgrade implementing the latest digital networking technology, for which JAA.S submitted a detailed proposal. Having developed a trusted relationship with RTM, JAA.S’s solution was chosen through VME Broadcast, which was contracted to design and build the broadcast infrastructure within RTM Perlis. “Through their TV, radio and media services, our client demands to be the main trusted broadcaster of choice,” explains JAA.S director, David Chan. “It’s vital that we accomplish that goal on their behalf. For RTM to create quality content and maximise their coverage over the coming years, JAA.S fully appreciated the requirement to implement the latest technologies into their Perlis infrastructure.” Since his time with Klotz Digital

The Master Control Room is equipped with a Touch LSP, a Router Core and two AES I/O boxes

at the turn of the Millennium, Chan and his teams have been instrumental in digitising Malaysian broadcasting. Working alongside systems integrator Medialab Alliance, JAA.S placed an AES67 infrastructure at the heart of the upgrade. “Compared to laying traditional analogue cabling and conduits, the AES67 infrastructure is actually straightforward,” Chan continues. “It is a lot simpler as standard Cat5e or Cat6 cables are installed throughout. However, we had to ensure synchronisation throughout the network, so it was important to select the correct PTP AoIP network-managed switch, such as Artel’s Quarra model. It’s more IT-based but understanding the configuration of these switches is crucial.” Incorporating an AoIP network together with professional visual radio and remote radio automations systems, RTM Perlis is being heralded as a reference for future RTM regional stations. As well as becoming the first facility in Malaysia to boast an integrated AES67 network, it also marked a first for UK manufacturer Calrec, which supplied a Type R console. “This was a landmark project for JAA.S,” says Chan. “In addition to Perlis being the first RTM location to accept an RCS Zetta radio automation software system, it was also the first to integrate a MultiCAM visual radio system as well as the flagship 8700i Orban audio broadcast processor.” In total, six modular and expandable Type R consoles are now operating within the main Conty and standby Conty studios, Edit rooms 1 and 2, Ingest, News Depot Studios and the Master Control Room (MCR). Incorporating standard networking hardware, the soft panels of the IP-based radio system have been configured to RTM Perlis’ exact requirements. Although the Type R control surface can accommodate up to 48 surface faders, 18 motorised faders are sufficient for the various workflows in the main On Air Conty studio. “Type R has been well-received in Perlis owing to its aesthetics, native AES67 AoIP network capabilities, full motorised fader module and customised buttons and encoders,” explains Chan. Following the configuration of the soft panels and user-definable elements, the station’s radio operators interface with the LSR touchscreen as their timing and monitoring GUI. “The announcers and DJs benefit from the simple, single touch operation of the LSR,” says Chan. “Different setups can be loaded quickly between shows, ensuring that the hosts feel comfortable operating it. In addition, the soft panels have been laid as the operators initially specified individual control levels.” The

68 PRO AVL ASIA May–June 2021

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The m

FEATURES: BROADCAST customer-focused radio system can be adapted as RTM Perlis’ needs evolve, including customisation across networks, control protocols and surface personalisation. Additional inputs and outputs can be connected to the AES67 network when expansion is required. The Type R is connected to a 2U DSP Core and a Combo I/O box for additional AES I/O options. The scalable nature of the AES67 networked consoles, routers and I/O interfaces allows the sharing and control of inputs and outputs throughout the sixth-level facility. Sharing DSP power with the main studio, the MCR is equipped with a Touch LSP, a Router Core and two AES I/O boxes. The Edit 1, Edit 2, Ingest and News Depot rooms have been equipped with single Type R 12-fader control surfaces together with an SSP touchpanel, SSP DSP Core and a further Combo I/O box. The visual radio system solution has been created by integrating the Type R surface with RCS Zetta radio automation software and the MultiCAM solution. This combination operates three PTZ cameras broadcasting high-quality audio and HD video livestreams to the station’s social media platforms. “Since going live, the latest RCS Zetta radio automation software has

The main On Air Conty studio

The Calrec Type R console installed in the main On Air Conty studio proved to be paramount in the daily operations of RTM Perlis,” explains Chan. “The software’s Zetta2Go feature extends RCS remote control radio automation capabilities from anywhere that operates a web-based platform. Zetta2Go proved to be invaluable during the work-from-home ruling in 2020, but it also plays a central role when remotely broadcasting outdoor events from anywhere.” Interfaced to the AES67 network in the MCR, a rack-mounted Orban Optimod 8700i audio processor asserts premium audio colouration standards. In addition to establishing consistent audio loudness levels, the processor’s Xponential Loudness feature brings detail into over-compressed audio, reducing listening fatigue and distortion. OB live applications and interstudio audio IP connections are enhanced with the addition of Prodys’ Quantum Lite and Quantum ST audio IP codecs. The OB setup also includes Shure digital wireless microphones, Yamaha digital consoles and dBTechnologies loudspeaker systems. “We designed RTM Perlis as a smart broadcast facility in which major equipment and systems are connected to a single centralised control and monitoring IP network technology,” comments Azhar Abdul Latiff from Medialab Alliance. Among the many linked systems are the Calrec console and router,

RCS Zetta automation system, Orban Optimod, Deva Broadcast switcher and Prodys codecs. Having completed the initial cabling infrastructure in two weeks, the JAA.S engineers were delayed during lockdown, resulting in a long period to complete the installation, terminate the hardware and configure software prior to commissioning. JAA.S engineers then made another six-hour journey from Kuala Lumpur to conduct training with the technology, most of which was new for Malaysia. “They were relieved to learn that it was easy to use,” recalls Chan. “The fully motorised Type R has been programmed so that a single press of the on- or touch-button moves the fader to 0dB by itself. The RCS Zetta software is also easy to operate as it is fully drag and drop, with major features automated into the system, while the RCS Zetta2Go allowed announcers to broadcast from home during the government’s MCO [Movement Control Order]. Furthermore, the Visual Radio MultiCAM system incorporates AI automatic pan-tilt-zoom control when detecting an audio level on a microphone. Should multiple voices be detected from different microphones, the PTZ camera focuses on the overall guests. The announcers and DJs don’t need to worry about the operation and can simply focus on the discussion.” Chan looks back with little nostalgia on the challenges that were thrown up by the pandemic. “We had to follow strict operating procedures that would ensure the safety of all personnel at site so that no one would be infected by the virus during the installation period. It was stressful – just one case and the whole facility would have been shut down for sanitisation with all personnel, contractors and staff quarantined. Ultimately, we completed the whole project without any infection cases and within the timeframe under the contract.” JAA.S’s trip back to Kuala Lumpur on the AH2 highway may not have been as quick as the AES67 network it installed, but the company’s latest journey has led RTM Perlis to new destinations. www.jaasys.com www.rtm.gov.my

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May–June 2021 PRO AVL ASIA 69

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19/05/2021 10:33

BUSINESS: COMMENT

A letter from America

Dan Daley considers the arrival of the new “normal” and how the music industry has adapted EVERYONE KEEPS TALKING ABOUT WHEN WE ALL GET back to “normal” after the pandemic. What’s becoming clearer by the week is there might be no going back, at least not in the sense that everyone hopes and expects. The reality is that the “temporary” workarounds developed during the Covid times have been in place long enough to have gone through several iterations of refinements, to the point that the workarounds have surprisingly good chances of becoming the new normals. Take concerts. This was the sector of music that was hit the hardest, kicking artists, musicians, their crews and staff off the road, which since the beginning of the century has been their best source of revenue. Once it became clear that live shows of all kinds were now kaput, alternatives began to sprout. At first, they were little more than conference call FaceTime events from artists’ basements with the barest instrumentation, lighting and sonic quality. But once it became clear that stages would remain dark for the foreseeable future, the alternatives blossomed. Early on it was drive-in concerts, with audiences sitting on the bonnets of their cars listening to PA systems that had sprouted lots of delay speakers, or else they stayed inside and listened to the show over the car’s FM radio. Then the online offerings became better and better. Livestreamed shows over apps like

Veeps, Vivid and Twitch offered better audio via more ability to let professional FOH, monitor and A1 mixers get between the microphones and the codecs. The picture went to 4K pretty quickly. Most importantly, the tickets were not only digital – the entire “venue” was virtual: capacity was no longer a concern. K-Pop band BTS grossed US$18 million for a single show – as much as some B-list touring acts collect in an entire season on the road. While few can hope to come close to that kind of an outcome, dependent as it is on the K-Pop audience’s combination of youth, disposable income, broadband access and manic intensity, just about everyone has taken notice. Live Nation, the world’s largest concert producer, jumped in early last March but was quickly joined by others like StageIt and Concert Window, even as shows on Instagram, Facebook and other social media sites burgeoned. Now that artists, promoters and other above-the-line entities have seen how much money can be made without the expense and hassle of travel and other exigencies of touring, and how much better the technology and quality of online shows have become, they are certain to become an integral part of their business strategies. That’s not as good an outcome for the below-the-line part of the equation – the mixers, the system techs and the rest of

the crews that make touring possible. That’s going to be a reality of the future. Of course, many of them have found their own ways to ride out the pandemic, from building DIY concert production venues in their basements and barns to teaching what they know to a still-hopeful next generation. In fact, education is another sector that’s been trounced by Covid, and is more deeply embracing its online alternatives. Remote learning had already been widely used throughout the education industr y before the pandemic, and pro audio academies like Berklee and Full Sail University have long had online degree offerings, but the pandemic has made them the primar y mode of instruction now. Some teachers and students will adapt well to that format, some will not. But it will let instructors teach larger classes than before, just as vir tual venues will allow audio mixers to work remotely – and thus more often – just as broadcast spor ts A1s have been doing for much of the last year. More work for fewer workers. Sound familiar? A shot of reality to go along with your shot of Moderna or Pfizer: the genie is not going back in the bottle, nor the toothpaste into the tube. Online alternatives to things like education and live music aren’t coming – they’re already here.

A letter from Europe

Phil Ward looks at the border chaos Brexit has unleashed upon the UK’s touring and events haulage industry YOU MAY HAVE WONDERED JUST HOW BIG A BACKWARD step Brexit represents. Everything about it is reactionary, isolationist and sentimental. Well one yardstick that provides us with a cast iron measurement reveals that Brexit is, in fact, a 68-year backward step. Now that it’s “done”, following the last-gasp deal finalised between the EU and the UK at the end of 2020, several arrangements that had evolved in a constructive spirit of post-war recovery have gone up in smoke. Not least of these is one that bears directly upon our cherished industry of arts and entertainment touring, and the heroic troops of truckers, riggers, logistics experts and technical wizards who strive to deliver concerts night after night; a crucial cultural cargo that the Brexiteers would be quite happy to sink as they pull up the drawbridge across the English Channel. It was 68 years ago, even as the European Common Market was a few scribbled lines in a memo passed between a small handful of coal and steel mandarins, that the European Conference of Ministers of Transport (ECMT) became one of the first breakthroughs in the development of a peacetime, business-building union. Given the need for some regulation of goods traffic so that national interests could be preserved in a balance of trade, taxation and

tariffs, the ECMT immediately recognised that certain types of haulage would need exemption from the more rigorous checks to do their job properly. Chief among these were those engaged in “events”: concert parties, theatre troupes, temporary exhibitions, outside broadcasting and so on. Remember, this is before the first Vox AC-30 had been loaded in anger onto a small van. The most likely dispensations would be preserved for costumes and wigs, cellos and tympani, Frank Sinatra’s supply of Brylcreem. Without an ECMT permit, default restrictions would have forced any haulier registered in one country to return its vehicles after only three stops in a seven-day sojourn, clearly a measure to put the brakes on any travelling production. Over time, the ECMT permit was joined by some customs streamlining too, leading to the Admission Temporaire/ Temporary Admission (ATA) carnet for the importation and exportation of goods and equipment that wasn’t going to stay in the country but would, in due course, return home. Valid for a year, in truth, their usage does not change with Brexit: it’s a global system and would still apply today, were it needed, for Frank Sinatra’s Brylcreem. However, EU member countries don’t need them at all. So, up until recently, neither did the UK.

“So what?” cries Jacob Rees-Mogg. “There was paperwork before, and now there’s paperwork again.” Two things: one, the sheer size of modern productions multiplies the carnets needed many times over, at £2,000plus each; two, even if you stomach the customs red tape, the Brexit deal at Christmas obliterated the ECMT dispensations for event trucking, making UK-registered vehicles and drivers virtually redundant on the scale of international touring today. The immediate and long-term effects of this change are almost unthinkable. Thanks partly to its “special relationship” with the US, and thanks largely to decades of market-leading achievement in the field, highly specialist UK transportation for events has come to dominate something like 80% of European touring, continental festivals and everything else that might need a few wigs. It also contributes hugely to economies from Scotland to Gibraltar. It is ironic to consider the aims of the Brexiteers in the light of this brutal diminution of Britain’s place, quite literally, on the international stage. Since 2007, the ECMT has been known as the International Transport Forum, based in Paris. It has 68 years of catching up to do.

70 PRO AVL ASIA May–June 2021

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26/04/2021 12:23

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BUSINESS: COMPANY PROFILE

Unrivalled progress

L–R: The Focusrite Group’s Phil Dudderidge, Dom Harter and Tim Carroll

The Focusrite Group has launched its seventh brand, Optimal Audio, which aims at simplifying the commercial audio installation market. Caroline Moss finds out what was behind the move, and the group’s plans going forward PHIL DUDDERIDGE, EXECUTIVE CHAIRMAN AND FOUNDER of Focusrite plc, has consistently demonstrated great foresight in his business moves. Having recognised the need for good, flightcased live mixing consoles from his days on the road with Led Zepplin, he started Soundcraft Electronics in 1983 with Graham Blyth. On its sale to Harman in 1988, Dudderidge acquired the assets of Focusrite, the company started by Rupert Neve, shrewdly broadening out the range of high-quality recording and production equipment to serve a wider customer base of professional, commercial and hobbyist musicians. The original company had gone into liquidation in an era when large-format consoles took a nosedive, and its new incarnation under Dudderidge focused squarely on Rupert Neve’s standalone module business. Today, it’s unusual to enter a recording studio of any level without spotting a piece of Focusrite gear in the racks or on the desktop. The group now encompasses the Focusrite and Focusrite Pro brands and has grown to include Novation, Ampify, ADAM Audio, Martin Audio and now, Optimal Audio. At the helm of the Focusrite Group today is CEO Tim Carroll, who joined from Avid in 2017. The group has a global distribution network covering approximately 160 territories. Focusrite and Martin Audio are headquartered in close proximity to each other, in High Wycombe, UK, and Focusrite also has marketing offices in Los Angeles and Hong Kong. ADAM Audio has offices in Berlin, Nashville and Dongguan, while Martin Audio has a US subsidiary, based in Los Angeles. In total, the group employs around 350 people. In the early days, Dudderidge and his engineers got to work expanding the Focusrite range of outboard equipment, transferring manufacturing from Scotland to China as output increased. By the mid-90s, as the era of computerbased recording dawned, so did a 10-year partnership with Digidesign to design and manufacture plugins and, ultimately, the inexpensive MBox ProTools inter face.

Martin Audio’s HQ lit red as part of the #WeMakeEvents campaign Dudderidge didn’t rest on his laurels by simply growing the Focusrite brand, however. In 2004, the company acquired Novation Electronic Music Systems, a British producer of keyboards, synthesisers and controllers; another shrewd move that extended the group’s reach into the fast-growing electronic dance music market segment. This spawned the Ampify Music brand, which develops music-making apps and software, as well as providing a sample library. Meanwhile, Focusrite has continued to develop its range of products, which today come under the Focusrite and Focusrite Pro marques. Notable milestones have been the introduction of Launchpad in 2009; its range of YouTube videos generating millions of views; and the Scarlett USB in 2010, one of the topselling product lines for home studio recording. In 2014, the company was floated on the London Stock Exchange AIM market as Focusrite plc. Five years later, in 2019,

another milestone was accomplished as the group moved into new territory – loudspeakers – with the acquisition of German monitor brand ADAM Audio. So far so studio-orientated: the move made sense in broadening the studio ecosystem the group was able to offer. More unexpected, however, was its takeover of fellow British brand Martin Audio in the same year. Legendary in rock and roll and touring circles since it was founded by the pioneering Dave Martin in 1971, the company had also gone on to make substantial inroads into installed sound, starting with the introduction of the EM Series in the 90s. “The acquisition of Martin Audio was a strong demonstration of our strategic aim to expand into new markets,” explains Carroll of the move. “Martin Audio is also an established brand that instantly added value. More importantly though, they are culturally aligned and have a clear part to play in our unfolding narrative. The Focusrite Group is, first and foremost,

72 PRO AVL ASIA May–June 2021

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BUSINESS: COMPANY PROFILE a professional music technology company, focused on enriching lives through music by removing barriers to creativity, from that first spark of musical inspiration to delivering an emotionally charged performance onstage. Martin Audio completes that journey, uniting the audience by creating the ultimate live sound experience. The Martin Audio family shares our hunger to innovate and our passion as music and sound enthusiasts. That we’re just a stone’s throw away from them, physically, will only further help unite us in achieving our common goal.” Another attractive element was the nascent brand that Martin Audio was developing, Optimal Audio, which the company claims will “enliven the rather traditional and unnecessarily complex world of commercial audio”. The company is quick to point out that Optimal Audio isn’t a reaction to the pandemic but a “longterm strategy to win in the commercial market”; a journey that started three years ago, before the Martin Audio acquisition. “It started inside Martin Audio as a project to investigate how to win market share of the commercial audio sector,” explains Martin Audio director of marketing, James King. “We quickly realised that the products required to win were not a suitable subset of the Martin Audio brand and so about two years ago we invested in a separate R&D team to develop the products under

Optimal Audio Up ceiling speakers

Martin Audio’s director of marketing, James King

Optimal Audio Cuboid on-wall speakers

L–R: Optimal Audio team Dom Harter, Tim Carroll and Matt Rowe at the company’s online launch the banner of Optimal Audio. When Martin Audio was purchased by Focusrite plc, the Optimal Audio brand concept – at that stage around 15 months into development – took on additional life with investment by Focusrite as well as support from the wider group to help bring us to this moment.” Optimal Audio’s approach is based around simplification, making product selection, installation and end usage all easier to achieve. More than 20 products made a debut at the April launch, offering a one-stop solution of control, amplification and loudspeakers for small- to medium-sized commercial installations, with a focus on supporting multi-zone venues. Central are the four- and eight-zone, powered and non-powered DSP zone controllers with three-band EQ, bandpass filtering on every output, limiters and delay. There is also an app for system setup, allowing installers to configure EQs and presets and structure time-of-day routines. Venue staff can be given a simple user interface to operate the system, while wall-mounted ZonePad controllers are available in one- or four-zone formats. The range also comprises three SmartAmp amplifiers with DSP, multichannel direct drive constant voltage and optimised presets, available in half-rack and full-rack options. The Up range consisting of five ceiling speakers, a series of four Cuboid on-wall wooden speakers and two compact Sub subwoofers complete the launch products. King cites the zone controllers and app as being the brand’s true differentiators. “At this price point there is nothing on the market that offers the flexibility, capability and ease of use,” he says. “In support of the amps and loudspeakers, these offer an ecosystem that works seamlessly together, ensuring sound quality and which can be easily operated by venue staff, not just engineers.” Not only will the seventh Focusrite Group brand entity offer differentiated product, software and pricing, it will also target a largely different market to Martin Audio, allowing the two brands

Optimal Audio’s SmartAmp amplifier series

Optimal Audio DSP zone controllers

to coexist within the group with little overlap. For this reason, it is not a given that sales and distribution channels will be the same. “Optimal Audio distributors will be based on what is right for that brand as the ambition is very much for it in the long run to be a completely standalone setup with a dedicated team,” says King. Initially, Generation AV has it sales agent for APAC to build distribution and sales in the region. A number of Optimal staff are in place, including an engineering team led by Matt Rowe, who has previously worked at Soundcraft and BSS and whose main focus has been the controller and web app. Gavin Eldridge, a production manager who the Martin Audio directors encountered through their work with the #WeMakeEvents campaign, has joined to project manage the brand launch. Existing Martin Audio staff, primarily MD Dom Harter, international sales director Brad Watson and King, also make up the team which, when the UK is able to fully return to the workplace, will be based at the High Wycombe HQ. As has been the case for all companies involved in live entertainment, the past year has been tough for the touring side of Martin Audio’s business, and the company has immersed itself in the #WeMakeEvents initiative aimed at highlighting the plight of the pandemic-ravaged live industry. At the same time, the company is well-placed to focus on other areas of sound reinforcement. “Martin Audio is absolutely committed to the live sound sector; it is our heritage,” says King. “Obviously, that part of the industry has been devasted during the pandemic and we have focused sales in the interim period on installation. Meanwhile, we’ve maintained close relationships with all of our rental partners, offering advice and support throughout the pandemic. We can’t wait for the return of live events and our roadmap of future product is already taking that into account. We have a positive outlook on the future given the world is slowly returning to some sort of normality.” Meanwhile, the entire Focusrite Group has gone from strength to strength in the past year, enjoying a lockdown boom resulting in part from a huge upswing in musicians recording at home, as well as studios wanting to upgrade their audio setups. Half-year sales figures from September 2020 to February 2021 doubled to a total of £90m as compared to the same period in the previous financial year. From acquiring the Focusrite brand 23 years ago, Dudderidge has steadily assembled an ecosystem that promises to push the future of audio and music ever upwards. www.optimal-audio.com

74 PRO AVL ASIA May–June 2021

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Unleash your creativity

Introducing GLM 4 loudspeaker manager software Pure, truthful sound reproduction. It’s the confidence of nearly half a century of research. An unending dedication to sound technology, and an inexhaustible passion for creativity. GLM 4 offers simplicity, efficiency and infinite possibilities. And intuitive power that helps artists evolve, naturally. It’s the promise of your very own, true sonic reference. GLM 4. Now nothing can stand between you and your artistry. Find out more at www.genelec.com/glm4

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FEATURES: TECHNOLOGY

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ROCing the world of remote production The Riedel ROC setup used to support Wacken World Wide

Collaborating with the RRN, Riedel’s Remote Operations Center in Wuppertal facilitated the first-ever fully decentralised live productions at the end of 2020. Simon Luckhurst investigates REMOTE PRODUCTION HAS BEEN THE TALK OF THE TOWN throughout the last 12 months as companies and end users have tried to cobble together new solutions, allowing outside access to their systems in order to keep activities running at a time when the pandemic was severely limiting movements. The broadcast industry in particular had already been trending towards fully remote production workflows for several years, but catering for this need undoubtedly took on a renewed importance more recently. Some companies were caught out by the overnight shift. Others, like German manufacturer Riedel, have been handed an opportunity to showcase its advanced capabilities. Riedel’s ROC (Remote Operations Center) has been in development by the company for several years and has recently supported a number of fully remote concert productions. The ROC is a communications and signal control centre located at the company’s headquarters in Wuppertal, through which all remote production connections converge. The ROC team is capable of centrally managing, programming and monitoring all intercom signals, data streams, audio feeds and CCTV feeds for a given project. “The topic of remote production at Riedel started around two to three years ago, just prior to coronavirus,” recalls Riedel project manager, Carsten Voßkühler. “We could see a lot of opportunities where we could support the productions we’re involved in through our rental business directly from our Remote Operations Center.”

Carsten Voßkühler

Peter Brandt Image courtesy of Jörg Grzenia

The accelerator was the German Football League. Having supported referee communications for the Bundesliga for the last two-and-a-half years on a weekly basis, the benefits of centralised control for Riedel quickly became obvious. “If we could support the match communications fully remotely, we wouldn’t need to send engineers out to all of the stadiums, removing all of the problems and costs associated with

travelling. In total, we have 36 stadiums connected to the ROC and every weekend, 18 stadiums are on air.” Prior to 2020, this approach had already brought Riedel and its clients a host of financial and logistical benefits. Artist Intercom matrixes, as well as Bolero beltpacks and antennas, are permanently installed at each of the stadiums and Riedel engineers are able to tap into the system remotely on match day with a minimal number of employees taking care of several sites simultaneously. “The benefit is that we can reduce the personal costs and the travel costs, which is good for customers, but we can also concentrate our technical experts and our knowledge in one place,” says Voßkühler. “However, we didn’t build this remote operations centre just for referee communications. From there, we started thinking about how it could benefit other projects, such as IT and CCTV, managing switch infrastructures from the ROC. From a very earlier stage, we also started talking with Peter Brandt at the Remote Recording Network (RRN). Peter came up with his own remote production idea and so we looked at how we could combine all these ideas together and start talking about the technologies required.” Founded by Brandt, the RRN has been exploring different methods of remote audio mixing for more than a decade. The technology is now finally starting to catch up to Brandt’s futuristic vision. “My core business is concert recording and live broadcast – everything that has to do with recording

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sound 40-to inside Over I star taxica get th becau explo TX4 a In 2 put a as th audio and c contro

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FEATURES: TECHNOLOGY

Wacken World Wide 2020 was mastered remotely from Valhalla Studios NY

Developments between the RRN and Riedel came to fruition at the end of 2020 with the production of several virtual live events that brought together teams working remotely across four countries and three continents. In November, a livestreamed Purple Schulz concert recorded at One2One Studio in Germany represented the first fully decentralised production of a live, global music event. The onsite production team operated with a minimal cast, the director working remotely and in real time from Vienna, the lighting designer from Munich and the lighting operator from Frankfurt. FOH and broadcast sound was mixed in Cologne, and the parallel sound recording was controlled in 5.1.4 from Valhalla Studios in New York. The TV Skyline Skycenter in Mainz acted as a hub for camera control, image mixing and stream delivery, while teams in Berlin managed quality control and remote audience aspects. The technological heart of the production was the Riedel ROC through which all remote production connections converged. The ROC team managed, programmed and monitored all intercom signals, data streams, audio feeds and CCTV feeds. Just prior to that, the RRN delivered audio for Wacken World Wide 2020 from the Live Nation stage in Hamburg to the Riedel ROC in Wuppertal, and then on to Valhalla Studios in New York for mastering by Ronald Prent. “It was the first virtual, mixed reality show that Live Nation had done and they used

elements of the Wacken festival site in northern Germany,” recalls Brandt. “There was no control room onsite, just the core machinery with the control room in New York. But it could have been anywhere. In theory, you can do it from your living room.” While this approach has proved hugely successful for the recent concerts – and in fact necessary in the midst of the pandemic – work on the remote mixing journey is ongoing. “We keep developing every day and working on bits and bytes to improve things like the audio quality, which is already amazing, and ways to reduce latency,” adds Brandt. “It’s a constant refinement process going on, but the basic system is working.” This new remote model developed jointly by Riedel and the RRN will surely set the bar for the future production of highquality remote productions. “We are redefining the possibilities for live productions,” says Voßkühler. “The ground-breaking remote workflow opens up exciting opportunities for a wide variety of distributed production applications. Creating the technical solution is one thing but the service aspect is also really important for us, so we’ll be continuing to explore ways we can further support customer productions with the ROC. Then, of course, the whole IT/IP conversation is very important for us as well, and we see a big benefit here for the ROC too.” Riedel also sees great potential for expanding support into other areas and the ROC workflow was once again called into action to provide a 360° coverage concept for the recent

Audio for Wacken World Wide 2020 was delivered from the Live Nation stage in Hamburg to the ROC in Wuppertal sound. In the past, we used to go out with big trucks, 40-ton/20-ton tractor/trailer combinations with a studio inside, all analogue machines and analogue consoles. Over the years this developed and, around 10 years ago, I started squeezing this setup into a typical London TX4 taxicab. This was the step in between, seeing how we can get the equipment smaller and smaller, but it was insufficient because you still couldn’t mix inside the taxi. We then started exploring how we could do the mixing remotely and use the TX4 as just a hub.” In 2018, Brandt pitched his vision to Thomas Riedel, who put a team together to help develop the idea using the ROC as the core centre for the entire enterprise. It started with audio and has since expanded to include controlling data and controlling mixing consoles. “Basically, everything that’s controllable goes through the ROC,” explains Brandt.

A Purple Schulz concert recorded in Germany represented the first fully decentralised production of a live, global music event

ROC Americas Cup in New Zealand. The company combined camera solutions, audio and sensor technology embedded in a comprehensive technical infrastructure. That was supported by an onsite team of just 30 members, managing all audio, video, communications, tracking and data transmission systems, including signals from onboard cameras, chase boats and helicopters. The ROC served as a monitoring and engineering hub through which operators could remotely access the entire system setup in Auckland. This enabled the team to monitor and control essential parameters of the equipment aboard the racing yachts, including camera control, audio setup, GPS data transmission and battery management, as well as to support the onsite crew in optimising system performance. “We’ve proven the concept that almost everything is controllable remotely – audio, lighting, vision and comms,” concludes Brandt. “The next thing we need to wait for is client demand. Even the best solutions are no good if there are no concerts. But one of the other great benefits of the approach is that we’re not taking away anyone’s jobs; in fact the opposite is the case. Furthermore, the quality we achieved with the Live Nation concerts was far better than anything we’d achieved before with a soundtrack.”

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May–June 2021 PRO AVL ASIA 77

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BUSINESS: SPONSORED SHOW PREVIEW

Digital trends to take centre stage at PLSG

In terms of product variety and trade fair services, “Digital” is the buzzword set to dominate this year’s Prolight + Sound Guangzhou. Across a variety of newly launched elements, including three “Immersive Experience Zones”, and an online business matching platform, the organisers are busy making one final push in the lead up to the upcoming fair to deliver as much show content as possible OPEN FROM 16–19 MAY, THE PHYSICAL FAIR IS SET TO become the largest edition yet in terms of scale, with more than 1,300 exhibitors taking part across five product categories of pro audio, pro lighting & stage equipment, communication & conferencing, media systems & solutions and KTV & Theatre K. pub. In an extra effort to re-establish networks across the market, the organisers are launching “PLSG21: Live and Online”, which includes the fair’s new online business matching platform and a product showroom opening from 10–26 May. Discussing the platform, Judy Cheung, deputy general manager, Messe Frankfurt (HK) Ltd, says: “Although personal encounters cannot be replaced, digital tools are currently the best way to empower remote participants – particularly those overseas – to become a part of the show. ‘PLSG21: Live and Online’ includes broadcasts of product demonstrations and fringe events as well as interviews with company representatives and industry experts. Whether it’s online or at the fairground in Guangzhou, we are pleased to be offering plenty of avenues for participants to explore the latest industry developments across the entire pro AV product spectrum.”

www.prolightsound-guangzhou.com

PAA PLS .indd 3

New Immersive Experience Zones

PLSG Annual Training Course

To spotlight the concept of “Tech meets culture”, this year’s PLSG sees the introduction of three “Immersive Experience Zones” to demonstrate how lighting, sound technologies, stage machinery and digital media can be deployed to create a time travel experience, bringing audience members on a journey back to the past, immersing them in the present and allowing them to explore the future in new and creative ways. Located in hall 13.2, “The Glory of Guangdong: Immersive Interactive Showcase” follows the story of the first railway to be built in the country using Chinese capital. Combining the storyline with new media technologies associated with stage machinery, lighting installation, digital media art and more, this unique period of history will be presented in an immersive 3D format. In hall 12.2, the “PLS XStage” and “Lighting and Art Space” will adopt their own unique themes, including a multisensory experience of the four seasons and a demonstration of how art and pro AV technology can be integrated to deliver a boundless and technically sophisticated experience.

A mainstay of the fringe programme, the PLSG Annual Training Course is a long-standing initiative encouraging more cross-sector knowledge sharing and integration. This year’s topics include professional audio, media systems and solutions, communication and conferencing, professional lighting and visual art, design technology, stage equipment and live event production. Whether it’s in-depth interviews with industry leaders, live demonstrations or performances at the Immersive Experience Zones, online participants can engage with onsite activities through “PLSG21: Live and Online”.

Prolight + Sound Guangzhou is organised by Messe Frankfurt and the Guangdong International Science and Technology Exhibition Company (STE). For further information about “PLSG21: Live and Online” visit https://prolight-sound-guangzhou.hk.messefrankfurt. com/guangzhou/en/PLSG21_live_online.html or email plsgz@hongkong.messefrankfurt.com

March–April 2021 PRO AVL ASIA

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BUSINESS: SPONSORED SHOW PREVIEW

ISE 2021 Live & Online – The Future of AV

Embracing a hybrid approach to events, ISE Live & Online, 1–2 June 2021, will bring the industry together in a safe and richly rewarding way. Mike Blackman explained: “Whether joining online or in-person in Barcelona, attendees can access inspiring content from innovation leaders, networking opportunities and the latest technologies. This main ISE event, 1–2 June in Barcelona and online, acknowledges that we are at a stage where we can start to plan again for the future and these two days will assist the industry to build a new roadmap for a new era.”

ISE Live: ISE@ Barcelona: 1–2 June, Fira de Barcelona Gran Via In-person attendees can visit booths from exhibitors including Alfalite, Ampio, Barco, Control4, Equipson and WolfVision. Highlights from the exhibition will be broadcast from the Main Stage during the two days so digital attendees will not miss the live action. There will also be a Pavilion by ICEX to highlight Spanish brands and business opportunities, an AV Experience Zone and Catalan Innovation Zone as well as a host of other features.

the different phases of the pandemic. This story is set to inspire and help you reflect on your own leadership style.

• On the Sofa Keynote Interview: Sustainability accelerated Sustainability is at the top of the global agenda and modern society is increasingly concerned with sustainability initiatives and the protection of our shared environment, so ignoring it can only result in being left behind. We ask a thought-leader what corporates ought to be looking at, and why and what the perfect destination is in terms of a sustainable business. November 2020, ISE Digital will also feature On the Sofa Keynotes, Reporter Roundtables and of course Startup Nation, sponsored by ACCIÓ, highlighting start-ups that are shaking up the markets. Both AVIXA and CEDIA will be featured on the Main Stage with a range of sessions covering the latest market intelligence, global trends and taking a look at the smart technologies driving the residential and commercial marketplaces.

ISE Digital – The Future of AV: Live 1–2 June / On Demand for 2021

The full programme will be revealed on the ISE website over the coming weeks, but some highlights will include:

Powered by CISCO technology, ISE Digital will feature daily thought-leadership, roundtable discussions and market intelligence curated by TNW, AVIXA, CEDIA and ISE partners, with insights on how the latest technologies can futureproof business in 2022 and beyond. During this two-day festival of content, the Main Stage at the Fira de Barcelona, sponsored by KNX and Barco, will be at the heart of the ISE Digital content programme with livestreamed sessions throughout the day. Building on the RISE Spotlight programme which ISE has been running since

•

www.iseurope.org

ISE .indd 3

On the Sofa Keynote with TNW: Shaking out the trends in next tech Key insights showcasing the tech trends all businesses need to have on their radar and why. This session explores which technology has accelerated and what’s been put on the backburner as a result of the pandemic. • Rising to the challenge: Finding opportunity through crisis An influential AV thought-leader takes us on a journey of how they innovated and led their team to achieve growth through

• Roundtable: What’s your purpose? How to position your brand and service in a post-pandemic world. How important is brand purpose? Is it time to evaluate the values of your business? Focused “Tech Channels” with contributions from key technology sectors will inspire and spark lively conversations, with an opportunity for attendees to ask questions. Topic areas covered include Smart Buildings, XR in Today’s Reality, Digital Signage, Live Events & Audio, Workspace Evolution and Digital Learning. Mike Blackman added: “Whether it’s a global case study, expert presentation, roundtable, CEO interview or product demo, visitors to ISE Digital will learn about the latest innovations in a new and fascinating manner. We are excited to share this with the AV industry.” Attendees can access interviews, panel discussions, brand stories, product news, demos and more – either live or on demand.

Registration is quick and simple – www.iseurope.org/register.php?actioncode=W1KNX1DU

May–June 2021 PRO AVL ASIA

28/04/2021 14:06

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Martin Audio unveils Torus and Display 3 Two new products from British loudspeaker manufacturer Martin Audio have been unveiled in a special online launch event

MARTIN AUDIO has released its first constant curvature line array, Torus, and its new 3D prediction and optimisation software, Display 3. The new Torus system is intended to bridge the gap between a full-blown line array or a point source solution for applications that typically require a throw distance of 15–30m. The result of three years’ development in furthering the acoustic concept and performance achievable, the manufacturer states that Torus combines optimised coverage, SPL profile and cost efficiency. “Typically, constant curvature arrays have adjustable horizontal dispersion but their performance can vary considerably in terms of tonality and effectiveness of coverage when different dispersions are selected,” explained managing director, Dom Harter. “Equally, many lack sufficient sensitivity in the mid-band frequency, critically important for voice projection and clarity. They also can suffer from comb filtering. Torus fundamentally addresses these areas and more.”

Each Torus cabinet offers a horizontal dispersion pattern that can be manually adjusted between 90°, 60° or 75° (asymmetrical) via the Dynamic Horn Flare. This not only moves and locks the waveguide but also adjusts the horn mouth, including the low diffraction termination into the baffle, to ensure correct geometry and optimal performance in each of those settings. The Dynamic Horn Flare is moved by a rotating mechanism easily accessible from the front grille. A vertical pattern of either 15° or 30° is achieved via two separate cabinet types: the T1215 and T1230, respectively. These cabinets can also be combined to fit venue and coverage requirements. Torus cabinets feature a phase plug mounted in front of a 12-inch neodymium driver to increase mid-band sensitivity, along with three 1.4-inch HF polymer dome neodymium compression drivers. The sonic performance is said to be uncompromised even when driven at a higher SPL.

Torus is also the first product to take advantage of the Display 3 prediction and optimisation software. Intended for use in both live and installed applications, the software works with Sketchup in order to provide venue modelling, or allows for more simple venue and shape creation. Initially, the software will natively support prediction and optimisation of Torus, with line arrays being imported from Display 2. Over time, Display 3 will incorporate all of the manufacturer’s line array, point source, ceiling and subwoofer solutions for a complete self-contained system design and prediction platform.

ADJ Link/Element HEXIP Chrome 96 AJA OG-12GM/OG-FiDO-TR-12G 98 Alcons Audio CRMS-SRIW/9090 81 89 Allen & Heath AHM-64 update Amate Audio T-G7 80 90 Antelope Audio Zen Go Synergy Core Atlona AT-OPUS-RX41/AT-VTP-1000VL 100 Audac ALTI4/ALTI6/ALTI4M/ALTI6M 82 Audinate Dante Embedded Platform SDK 93 Audio-Technica ES945O/XLR and ES947C/XLR 86 B&C Speakers FB464 85 Barco G100 series 98 Biamp Devio SCX 87 86 Bosch Dicentis custom flush range Bose Videobar VB1 update 97 94 Brompton Technology Tessera V3.1 Cameo Flat Pro G2 series 95 CEDAR Audio/Sound Devices sdnx/Dante Virtual Soundcard 90 Celestion TFX0515 81 Chauvet Maverick Force 2 Profile and Force 1 Spot 95 Christie Pandoras Box V8 101 ClearOne Unite 10/Unite 50 AF/VESA mounting 98 d&b audiotechnik Soundscape update 93 100 Datapath Aligo Dejero LivePlus for Windows 101 80 DiGiCo Quantum225/DQ- and MQ-Rack DirectOut ViViD 90 Electro-Voice Evolve 50M 81 Eventide Pro Tools expansion card for H9000 90 Extron DTP3 T 202/DTP3 R 201 88 GLP Streamer 95 Grass Valley K-Frame on AMPP/AMX Express 101 KLANG:technologies KLANG:kontroller/KLANG:vokal 89 91 Klotz AIS D2 series Kramer KronoMeet/VP-551X 86 82 KV2 Audio CS Series LD Systems IMA 60/IPA 412 T/IPA 424 T 82 LEA Professional RCAF-2 91 Lectrosonics SMWB/SMDWB 89 LynTec Narrow Profile Panelboards 89 LYNX Technik RCT 1012 99 Mackie Onyx8/Onyx12/Onyx16/Onyx24 92 Magewell Ultra Encode 99 100 Magmatic Rocket Martin Audio Torus/Display 3 79 81 Meyer Sound Leopard-M80 NewTek Spark Plus IO 12G-SDI/ProTek 98 90 Palmer Grand Audition MKII Pliant Technologies CrewCom CB2 92 Powersoft M-Force 301P02/BIM 84 PR Lighting Aqua 380 Beam/Aqua 380 BWS 95 Precision Devices PD.185C003/PD.1885C0003 84 PreSonus ioStation 24c/Revelator/Sphere 86 QSC Q-Sys Reflect Enterprise Manager Professional Tier 88 RCF HVL Series/X MAX 10/X MAX 12 80 Renkus-Heinz CX/CA121M 82 Roland JUNO-60 software synthesiser/Zenbeats 2.1 94 Ross Video Ultrix Acuity/Tria Express Duet 99 85 Samson LMU1/DEU1/XPD2m Sennheiser TruVoicelift 93 89 Solid State Logic UF8 Sony Crystal C-series and B-series/DWR-S03D update 96 88 Sound Devices A-15PIN Studio Technologies macOS version of STcontroller 93 96 Symetrix T-10 Glass Tascam TM-70/TM-82 85 Tasker TSK401, TSK402 and TSK403 CPR Cca 91 Telestream Cloud Stream Monitor 100 Televic Conference Confidea Flex G4 wireless 88 Universal Audio Apollo Heritage Editions 94 Vaddio Ceiling Speaker/USB Audio Bundle 85 Visionary DuetE-WP-BT/DuetE-WP-H 99 94 Waves Nx Ocean Way Nashville/Vocal Blender Wohler Technologies Plugin option cards for iVAM1-1 92 Wolfvision Cynap Core Pro 101 XTA Dynamic EQ added to XTA DPA and MC2 Delta amps 92

www.martin-audio.com

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PRODUCTS

RCF unveils stadium solutions

Quantum225

INITIALLY DESIGNED for American football stadiums as a high-power solution, the HVL Series from RCF offers a modular and scalable system for large venues and events. The weather-proof cabinets combine six RCF neodymium Precision Transducers in a symmetrical, horn-loaded configuration for maximum efficiency and sound quality over long distances. The series features point source and line source speakers

close distance listening on a per fectly tuned crossover to repor tedly ensure even coverage and detail of the vocal range. The rotatable 90° x 70° horn allows installation either ver tically or horizontally. The X MAX 10 and X MAX 12 models feature a 1-inch compression driver with electronic protection. X MAX 10 boasts a 10-inch woofer and delivers a maximum SPL of 128dB with a total power handling

DiGiCo launches Quantum225 DIGICO HAS staged an online launch to unveil its Quantum225 console. Designed to adapt to changing market requirements, the Quantum225 can be specified with the new DQ-Rack with integrated Dante for AV installation and the demands of an AoIP networking environment, or alternatively with the MQ-Rack for MADI connectivity to existing touring infrastructures. The Quantum225 includes 72 input channels with 36 busses plus a master bus and a 12x12 matrix. There are four MADI ports and dual DMI ports for added connectivity, 8x8 analogue and four AES channels for local I/O, built-in UB MADI, optional optics, plus dual PSU. The console also incorporates features from the existing Quantum Range, including Mustard Processing channel strips, Spice Rack plugin-style native FPGA processing options, Nodal Processing and True Solo. There is a 17-inch, full-colour, daylight bright, TFT multitouch screen with the Quantum Dark application, seen before on the Quantum338, combined with 41 mini TFTs located across the surface. The custom-designed, multipurpose mounting bracket attaches to the left-hand panel of the console. This can accommodate an additional channel or overview screen, a KLANG:kontroller or be further expanded to fit either a laptop or a script – particularly useful for theatre applications. The bracket can be installed at two angles with quick release. The new, compact, 6U DQ- and MQ-Racks have been designed from the ground up

specifically for modern application demands. They feature 48 mic/line inputs, up to 24 analogue outputs or up to eight AES outputs. Users can reconfigure four of the analogue line outputs to be either analogue outputs or dual AES outputs. This I/O flexibility and other configuration changes are managed from the rack’s TFT Configuration screen. Standard features included Dual PSU and 48k or 96k operation. The Quantum225 offers the option to add single or dual loops of Optocore. On each

DQ-Rack loop – which is 504 channels of audio – there can be up to 14 DiGiCo racks, or a combination of racks and tie-lines around the loop. With dual Optocore loops, that’s 1,008 Optocore channels of audio and 28 racks running. In addition, the engine has a 48-channel UB MADI, so users can connect any laptop via USB and get 48 channels of recording and playback. www.digico.biz

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HVL 15-S along with subwoofers. The transducers feature neodymium magnetic circuits and new voice coil ventilation systems and voice coil assemblies. The HVL units have also been designed to lower overall system costs by delivering full coverage with fewer modules. HVL 15 cabinets incorporate a pair of 15-inch drivers at the low end, a pair of 10-inch midrange drivers and two titanium dome compression drivers with 4-inch voice coils at the top. With a frequency response of 43Hz – 18kHz (–10dB), these three-way, long-throw boxes are driven in biamped mode and are capable of producing a maximum SPL of 133dB (LF) and 145dB (MHF). Two coverage options are available: 90° x 30° (L) and 60° x 30° (P) and one bass module (S). The full-range, passive, two-way X MAX series has been designed as a multipurpose speaker, to achieve the best nearfield quality, vocal coherence and stable tonal balance at full volume. The products build on the heritage of the manufacturer’s MAX series to create a complete range of solutions for highpowered applications in bars, par ty rooms, clubs and discos. The series features a custom-designed mid-freq shaping for

X MAX 10 of 700W. The 12-inch X MAX 12 reaches a maximum SPL of 129dB with a total power handling of 800W. www.rcf.it

Amate transforms G7 DESIGNED TO enable conversion of the all-new G7 commercial speakers from low impedance to 100V line level operation in minutes, Amate Audio has announced the availability of the T-G7. The optional plate incorporates transformer circuitry and a faciamounted selector switch for 5W, 10W, 20W or 40W 100V line power settings or a switch back to “direct” 16Ω operation. In facilitating optional 100V line operation, this feature reduces potential waste, eliminating the need for redundant circuitry and added weight. Additionally, it offers contractors efficiencies

in providing all modes of installation from a single stock holding. Housed in a reinforced ABS plastic enclosure, the hexagonal, EN54-24 certifiable G7 is a dedicated commercial audio speaker. Continuous programme power handling and output capabilities of the 6.5-inch two-way cabinet are rated at 120W and 112dB SPL, respectively. Other features include integrated mounts for the U-bracket wall mount and a recessed connector panel with a protective cover. www.amateaudio.com

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PRODUCTS

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Leopard gains narrow coverage option A NEW variant of the Leopard line array loudspeaker designed to provide focused coverage and long-throw applications has joined Meyer Sound’s Leopard family. The Leopard-M80 sports an identical design as existing Leopard cabinets, but with a controlled 80° horizontal pattern instead of the original 110°. Because the vertical coverage and rigging hardware are both identical to the original Leopard, the M80 can be configured in mixed arrays of both variants. M80 loudspeakers in the upper array section will provide focused long-throw coverage, while Leopard loudspeakers below spread horizontal coverage for the closer seating sections. Arrays configured with only M80 loudspeakers can reportedly offer a long throw with reduced spill to the sides of the array, which can be advantageous in narrow venues with reflective side

walls as well as in outdoor applications where side spill into adjacent areas must be minimised to conform to noise regulations. In both variants, Leopard’s amplifier, driver and horn designs are said to ensure linear response over a wide dynamic range, as well as exceptional phase coherence, consistent coverage patterns, low distortion and high power-to-size and weight ratios. Basic Leopard arrays can be configured in Native Mode for optimum performance with minimal external processing; however, the system’s narrow profile and limited weight make Leopard arrays a good choice for mid-sized touring acts and fixed installations where portability, scalability and ease of rigging are essential. www.meyersound.com

Alcons spreads the wider word FEATURING PRO-RIBBON transducer technology, Alcons has developed the CRMS-SRIW/9090 as a wide dispersion reference screen or compact surround system for immersive sound-for-picture applications. The two-way design can also be used as a full-range enclosure within an inconspicuous in-wall setting or for on-wall mounting. Voice matching and tonal balance within the CRMS product family have been achieved by incorporating identical MHF components. The passive-filtered CRMS-SRIW system consists of a RBN401 pro-ribbon driver for HF and a vented 8-inch mid-bass for LF reproduction. The HF section has an 800W (peak) power input, enabling a 1:15 dynamic range with up to 90% less distortion from 1kHz to beyond 20kHz. The cabinet features 90° dispersion up to the highest frequencies that creates a very wide and coherent direct-field coverage throughout the listening space in addition to a consistent reflected diffuse-field response. The CRMS-SRIW system’s LF section is tuned for a usable frequency response down to 58Hz, enabling a smooth transition with additional LFE subwoofer systems. In addition to VHIR phase processing, Signal Integrity Sensing (SIS) significantly increases response accuracy. SIS pre-wiring ensures complete cable and connector

JOINING THE Evolve 50 and Evolve 30M, Electro-Voice has launched its Evolve 50M column loudspeaker system featuring the manufacturer’s new QuickSmart Link digital audio and control technology, an on-board mixer, DSP and effects. Available in black or white finishes, the full-range column array and its eight lightweight 3.5-inch neodymium drivers provide ultra-wide, full-bandwidth 120° coverage via proprietary waveguides. Array-formed 40° asymmetrical vertical coverage reportedly ensures acoustic output is directed towards both sitting and standing audience members.

The array enclosure is constructed from a durable composite material and incorporates an ergonomic aluminium handle. A 12-inch subwoofer is housed in a 15mm wood enclosure with a high-efficiency, laminarflow vent design. The array and sub are connected via a symmetrical aluminium pole with internal wiring and magnetically assisted latching. The speakers are protected by a black, powder-coated, 18-gauge steel grille. An array/pole carry

case is also included. An advanced Class-D amplifier provides up to 1,000W of power. The M classification refers to the integrated eight-channel digital mixer. Developed in collaboration with sibling brand Dynacord, the mixer has multiple inputs (four XLR/TRS combo mic/line inputs, one XLR/TRS combo stereo line input, one RCA, one 3.5mm stereo and one Hi-Z instrument input) with professional-grade preamps and mix functions. High-resolution, low-latency Bluetooth streaming is provided for music playback or accompaniment. Independent channel aux sends and a foot switch input are also included, and a range of effects (30 presets, including chorus, delay, flange and reverb, via two FX channels) are said to add a myriad of options for musicians to fine-tune their tone. QuickSmar t Link can be used to combine two Evolve 50Ms for use with larger bands or gigs needing more inputs. The systems can be linked together via an Ethernet cable or paired to a single mobile device via the QuickSmar t Mobile app. For applications requiring fewer inputs, but still requiring a mixer and stereo output, the Evolve 50M can be matched with an Evolve 50 via the Mix Out XLR connector. QuickSmar t DSP allows the navigation and adjustment of all audio, effects and mix functions via an LCD with single-knob control or via the QuickSmar t Mobile app, as well as multiple options for signal routing and inputs. Functions include four presets (Music, Live, Speech and Club), three-band system EQ (low, mid and high), sevenband graphic EQ (in Mixer mode), five user-programmable presets (Store and Recall settings), phantom power, visual monitoring of limiter status, input level control and meters, and a master volume control to optimise gain structure. www.electrovoice.com

Celestion remodels TFX coaxial

compensation between the CRMS-SRIW and the ALC amplified loudspeaker controller. In addition to boasting a 150mm depth, the CRMS-SRIW features an optional cloth grille and Architect Colour Option in 180+ RAL colour schemes. www.alconsaudio.com

DESIGNED FOR sound reinforcement applications that demand a full-range point source solution, Celestion has introduced an updated version of the TFX0515 5-inch ferrite magnet coaxial driver. With a rigid pressed steel chassis and 1.5-inch diameter polyimide voice coil, the redesigned TFX0515 incorporates larger LF and HF voice coils together with a larger ferrite motor for driving the LF element and improving power handling. For HF reproduction, the device features a high-sensitivity, 1-inch silk dome tweeter, driven by a highly compact neodymium

magnet motor. With neodymium having a stronger magnetic force than ferrite, this permits the HF element to be smaller in size. The resulting compact size of the HF unit enables it to be positioned inside the LF driver’s voice coil, at the exact point where the acoustic centres of both sources are “coincident”. The benefit of this is well-matched directivity and time alignment of the LF and HF signal, reportedly delivering maximum signal coherence for a more natural-sounding reproduction. www.celestion.com

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PRODUCTS

More from less with KV2’s CS Series FOLLOWING CUSTOMER demands, KV2 Audio has developed the new CS Series loudspeaker range. Specially designed to deliver ultra-high vocal intelligibility and music reproduction in a compact form factor, the series also combines a variety of flexible mounting options and simple connectivity, making the CS range suited to the corporate and rental markets. The range consists of three two-way passive loudspeakers: the compact CS6, medium-sized CS8 and larger CS12. Voiced for speech and utilising KV2’s analogue delay line first developed in the ESD Series, these discreet solutions are reportedly able to cover surprisingly large areas with relatively few boxes, providing results in even the most challenging acoustic environments. For rapid deployment, the focus has been placed on handling and quick connectivity. Accessories include a

KV2 pole mount for speaker stands, as well as vertical and horizontal brackets with a precise tilt angle setting. The M10 fixing points cater for other standard accessories, such as spiggots, clamps and couplers. The low-profile trapezoidal cabinet design offers 35° and 55° angles, which also makes the CS range suitable for use in a variety of personalised monitoring situations. The simple connectivity of the boxes, with a 1+/2+ speakON connection (switchable in the field), means less time is wasted during setup, allowing an additional speaker ring to be run independently down the same cable. The CS6 also features speakON connectivity in the top and bottom alongside the rear panel for neater cabling possibilities on a truss. www.kv2audio.com

LD Systems expands portfolio LD SYSTEMS has extended its range of installation solutions with additions to its IMA and IPA amplifier series. Joining the IMA 30 (30W @ 4Ω), the IMA 60 (60W @ 4Ω) mixing amplifier incorporates a wide range of input and output options, including Bluetooth wireless connection of music sources and a multi-stage priority circuit. Housed within a 9.5-inch chassis, both IMA models offer four priority levels for emergency calls, microphone/line inputs, connected music sources and an optional automatic standby mode. Incorporating transformers for each channel, a 70V/100V tap and a lowimpedance output up to 4Ω, a new series

IMA 30

of DSP-based power amplifiers is available in the form of the IPA 412 T (120W) and IPA 424 T (240W) four-channel models. An expansion card slot allows the IPA amplifiers and their DSP parameters to be controlled remotely via Dante (AoIP). Operating as a conventional installation amplifier, the DSP section includes a parametric EQ, compressor, matrix mixer and delay with an ability to select prioritised sources. The IPA series can be operated with LD Systems’ remote control units and paging microphones by using a controller area network-based remote bus (in/out). www.ld-systems.com

ALTI series

Audac adapts for rain and higher altitudes DESIGNED FOR foreground music and BGM applications with open architectures and high ceilings such as large retailers, Audac has added the ALTI4 and ALTI6 to the ALTI series of pendant-style loudspeakers. Both twoway models include an internal 70V/100V transformer with a 16Ω bypass. Housed in a polypropylene enclosure, the ALTI6 incorporates a 6.5-inch driver with a coaxially mounted 1-inch soft dome tweeter fitted with a phase plug. Connections are made through a terminal block connector behind the rear cover, accompanied with a power tap selector switch for the tapping of a 70V/100V line transformer with tappings for 60W, 30W, 15W and a 16Ω bypass connection. Mounting the speaker is performed with a connection cable, including two integrated steel cores for suspensions, two snap-hooks on one end and a dual Gripple

fixation on the other end. The 60W (RMS)-rated ALTI6 includes a 3.5m cable and a speaker rear cover can be added after installation to conceal the connection and suspension on the speaker end. Comprising a 4-inch driver with a coaxially mounted 1-inch tweeter, the ALTI4 is a smaller, 30W (RMS)-rated model. Connections are made through the terminal block connector, accompanied with a power tap selector switch for the tapping of a 70V/100V line transformer (24W, 12W, 6W) and a 16Ω bypass connection. In addition, the Belgian manufacturer has developed two wall-mounted versions of the same speakers in the form of the ALTI4M and ALTI6M. Equipped with a die-cast mounting bracket, the IP65-rated ABS enclosures feature a weatherproof AWX5 connector. www.audac.eu

Renkus-Heinz Cs beyond the stage RENKUS-HEINZ HAS extended the C Series stage monitor family with the introduction of the CA/CX121M. Available in both passive (CX121M) and powered (CA121M) models, the single 12-inch stage monitor comprises next-generation coaxial driver technology and doubles up as a multipurpose loudspeaker. With identical horizontal and vertical off-axis performance, users are provided with greater freedom of movement without changes in frequency response courtesy of acoustically time-aligned point source, phase coherent devices. Capable of delivering a 128dB peak output level, the two-way enclosure features a 1.75-inch voice coil HF compression driver with a 1-inch throat coupled to a complex conic horn. The 90° x 40° (HxV) rotatable Complex Conic horn reportedly eliminates high-frequency beaming and provides wide angle coverage out to 20kHz, while the 12-inch woofer extends the low frequencies down to 60Hz (±3dB). For portable and installed PA functions, the 20.4kg enclosure can be used as a polemounted side-fill or sound reinforcement system. The integration of 12 M10 universal mounting points and an optional mounting yoke extend fixed installation options. Finished in black or white and housed in an 11-ply birch plywood

cabinet, the CA/CX121 also includes discreet recessed handles. The optional SA625 power amplifier matches the power needs of the CA121M, providing optimised protection. Controlled via RHAON II, the SA625’s built-in DSP has eight fully parametric EQ filters, high- and low-shelf and high- and low-pass filters together with a delay of up to 358ms. Remote configuration can be managed via a Windows computer running RHAON II. In addition, a single CA121M can power one additional CX121M with biamplified, processed output via an NL4 output. The CA121M-RD adds Dante digital signal distribution capability, including AES67 compatibility and network redundancy. www.renkus-heinz.com

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CONQUER THE

ELEMENTS Outdoor rated speakers need to conquer more than just the elements. To be considered high-end audio, a speaker needs to deliver full range high-fidelity sound even in challenging open spaces. In the MX series, this sound is perfected in an ultra-compact architectural case, mounted on a leading-edge single arm bracket that is IP rated to withstand nature in all its fury. The MX series - a conquest of the elements, a conquest of design.

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MX601/MX801 HIGH FIDELITY WEATHERPROOF MONITOR

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PRODUCTS

Powersoft advances its M-Force technology

Precision Devices reveals fruits of 2020 labours

THE M-FORCE 301P02 is a new iteration of Powersoft’s M-Force linear transducer originally launched in 2013. It is described as a complete solution that enables all levels of speaker builders to incorporate the M-Force into any design, both in selfpowered and passive configurations. The motor is factory matched to a purposely built diaphragm, through a newly designed coupling and a lightweight chassis that helps improve thermal dissipation, while the addition of a front spider aims to further stabilise the design. The new

INCORPORATING NEWLY optimised features, Precision Devices has added nine new products, including three sub-bass drivers, to its portfolio. As a natural successor to the PD.1850, the PD.185C003 is suited towards bassreflex and horn-loaded enclosure systems on account of its high power handling, long excursion and optimum linearity. Offering an AES power rating of 1,000W, the PD.1885C0003 offers 99dB sensitivity across its working bandwidth. Features include 5-inch inside/outside winding, a copper voice coil and a “bumped” back plate for enhanced excursion. A vented aluminium chassis and motor system design effectively increases cooling while reducing power compression effects. A BL of 31 T/m and dual suspension system provide linearity with 50mm peak-to-peak travel. Building on the legacy of the PD.186, the PD.185C001 incorporates a traditional ferrite magnet motor system, 5-inch copper voice coil, vented chassis frame and a double spider suspension assembly. Weighing 13kg, the 18-inch sub-bass driver is rated at 1,200W (AES) power handling with a sensitivity of 97dB. Designed as an alternative to the PD.1550, the PD.154C001 is suitable for use in a variety of enclosure designs. With 900W (AES) power handling provided by a 4-inch copper clad aluminium voice coil, the PD.154C001 has a sensitivity of 98.5dB across a frequency range of 45Hz – 1kHz. The composite alloy and steel pole piece produces a uniform magnetic field giving the driver a high BL in excess of 25 T/m and providing linear control of the moving mass. The PD.153C002 succeeds the PD.153ER for two-way or multi-way systems. Operating within a frequency range of 45Hz – 5kHz with 101dB sensitivity across its working bandwidth, the 15-inch PD.153C002 incorporates a

301P02 reference designs have been created to help users increase the SPL capabilities of their systems. All of the designs are free and come along with a cut list and presets that can be managed using the company’s ArmoníaPlus software. The EDM SUB bandpass design features two M-Force 301P02 transducers, which can be built both as a self-powered or passive infra-sub, driven either by an M-Drive amplifier module coupled with a DSPL ETH or an X4L amplifier platform, respectively. When powered by an X4L, the sub can be connected to a Dante network. The design has been optimised for producing ultra-high SPLs down to 18Hz. The four available presets provide coverage for different music programs: Standard, Punch, Infra and a Cardioid version of the Standard preset. The DV SUB is a bandpass cabinet loaded with the M-Force 301P02 transducer for subwoofer applications. The design has been optimised for producing very high SPLs down to 28Hz in a compact package, reportedly making the DV SUB an ideal upgrade for an existing subwoofer,

EDM SUB

DV SUB eliminating non-linear distortions. Two presets are available – Standard and Punch – each of which is also available for cardioid configurations. The CINESUB is a hybrid transmission line cabinet loaded with the M-Force 301P02 transducer for infra and subwoofer applications. The design has been optimised for producing low distortion and high SPLs from 16–120Hz, as per Dolby and THX recommendations. As a result, one single unit can reportedly replace four double 18-inch speakers, making the CINESUB suitable for low-frequency systems in cinemas. The modular design can be used in both single and double cabinet configurations, and both presets are

CINESUB available for linear and minimum phase setups. The Italian manufacturer is also set to release Building Information Models (BIM) for each of its rackmount amplifier platforms, as well as Mover and Deva HD. The BIM files can be inserted into building information modelling software to inform other specialists involved in a project of each product’s particular characteristics. The new models have been created to help a prospective architect or consultant to specify Powersoft products in their BIM project and to keep all parties informed of their operational characteristics. The models will be available for use across a broad range of software platforms, including Revit, AutoCAD, Procore, BIM 360, InEight, Archibus, ISETIA BIM and ProjectWise.

copper shorting ring and copper CCAW wire. Designed as a high-power mid-bass driver in multi-way systems or as a dedicated woofer in bass-reflex and horn-loaded designs, the PD.124NR1 offers 99dB sensitivity across its working band. The dual spider configuration with siliconebased damping control includes neo-radial motor system technology, while forced air venting and other construction materials effectively manage heat dissipation. Capable of producing 126.5dB SPL in a 45l ported enclosure tuned to 60Hz, the 4-inch CCAW voice coil is capable of handling 1,100W (AES). Following on from the PD.121, the PD.123C001 exhibits 600W (AES) power handling and 99dB across its working frequency band of 45Hz – 4kHz. An optimised vented 3-inch copper voice coil provides enhanced cooling and reduces coil gap turbulence in combination with a vented chassis design. Optimised for midrange performance, the 700W (AES) rated PD.103NR1 features neoradial motor system PD-103NR1 technology that is capable of exhibiting 100dB sensitivity across its 100Hz – 5kHz frequency range. Replacing the PD.615WG and PD.615WG/2 drivers, the PD.615C002 is ideal for waveguide applications. Capable of producing a sensitivity of 105dB and operating within a frequency range of 600Hz – 10kHz, the unit includes a 1.5-inch copper voice coil capable of handling 140W (AES), while the sealed chassis also offers independence from the main enclosure.

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PRODUCTS

Tascam goes live DEVELOPED FOR live broadcasting, podcasting and audio streaming, the TM-70 dynamic microphone from Tascam combines supercardioid and dynamic elements and is

shock mount to reduce low-frequency rumble, a 1.8m cable and a tabletop mic stand. Featuring a unidirectional cardioid design, the TM-82 has been developed for recording and

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Samson signals latest USB designs DESIGNED FOR content creators, presenters, educators and virtual learning applications, Samson has launched the LMU1 lavalier and DEU1 headset broadcast microphone bundles. The UP1 3.5mm to USB Type-C audio adapter converts any headphone, microphone or headset with a 3.5mm plug into a USB-compatible device. Plugging directly into a computer via USB, the low-profile LMU1 omnidirectional lavalier is distinguished by a miniature condenser capsule that can be positioned either close to a subject’s mouth or on clothing. The UP1 3.5mm to USB Type-C audio adapter features a mute button, a 3.5mm headphone output and a 3.5mm mic input. Similarly, the DEU1 headset microphone also features a miniature capsule

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reportedly resistant to ambient noise. With a frequency response of 30Hz – 20kHz, the TM-70 was specifically engineered to capture what it is pointed at, isolating sound sources such as directional dialogue. The mic’s super-cardioid directivity is said to enable users to achieve a clean, clear audio signal that results in “first-class speech intelligibility”. Accessories include a

performance applications. It has a frequency response of 50Hz – 20kHz and is said to capture the character of performances without introducing room sound into the mix. Suitable for both vocals and instruments, the mic comes with a holder that is compatible with all standard microphone stands. www.tascam.com

Ceiling solutions from Vaddio

VADDIO HAS added its Ceiling Speaker and USB Audio Bundle to its collection of conferencing and collaboration products. The Ceiling Speaker has been developed for easy installation and accurate voice reproduction. The two-way speaker is built with a specially designed coaxially mounted cone tweeter and a high-performance 4-inch metalised cone woofer and rubber driver surround. It can be flush mounted in a wall or ceiling and comes with a lightweight ceiling tile brace. RoboFLIP 30 HDBT

Ceiling Speaker The USB Audio Bundle is a refresh of the manufacturer’s EasyTalk Audio Bundle and includes a pair of the new Ceiling Speakers, two CeilingMIC ceiling microphones and an EasyUSB mixer/amp. Suitable for most conference room and classroom sizes, the bundle provides driverless, plug-andplay audio with popular video conferencing platforms such as Microsoft Teams, Zoom, Google Meet and GotoMeeting. The manufacturer has also released an in-ceiling “flipping” PTZ camera. The RoboFLIP 30 HDBT fully rotates into its enclosure when in standby mode, allowing room occupants full assurance that video

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feeds are not active. The camera provides 1080p60 resolution through its Exmor R CMOS sensor. It is equipped with 30x optical zoom and is suitable for a corporate boardroom, law office, courtroom, medical institution or any application where it’s critical to know the camera’s active status. Users can power the camera with a PoE++ network switch or mid-span power injector for an IP streaming configuration, or connect to an HDBT video switch or OneLINK extension system for a variety of video outputs. Depending on the OneLINK system, users can choose between HD-SDI, HDMI, USB and IP streaming. The camera comes with a presenter-friendly IR remote control, plus Telnet and Serial RS-232 for connection to an external third-party controller. RoboFLIP is also compatible with Vaddio’s recently released Device Controller for touchpanel control of the camera’s pan, tilt, zoom and presets. Integrators can adjust 16 stored PTZ presets, colour, white balance and focus, and access system diagnostic logs and streaming settings.

with an omnidirectional pickup pattern together with a UP1 USB adapter. Available in handheld or presentation microphone configurations, the XPD2m dual-channel digital wireless transmits uncompressed audio for multi-performer applications in the 2.4GHz frequency spectrum. The portable RXD2M tabletop receiver includes two balanced XLR outputs for each channel as well as ¼-inch and 3.5mm mix outputs for connection to a mixer, PA system or audio interface. One-touch pairing syncs the HXD1

handheld or PXD1 beltpack transmitters with the RXD2M receiver. Comprising two HXD1 handhelds with a Q6 dynamic microphone capsule, the XPD2m wireless transmitters offer 30m of wireless range with up to 20 hours of dual AA battery operation. The Presentation system comes with two LM7 unidirectional lavalier microphones, two DE5 low-profile omnidirectional headset microphones along with two PXD1 beltpack transmitters. www.samsontech.com

B&C adds FB464 passive crossover AVAILABLE an asymmetrical IN both 8Ω slope crossover and 16Ω at 3.6kHz versions, B&C without reducing Speakers has efficiency. The designed the Italian manufacturer FB464 passive claims that this crossover for the crossover frequency DCX464 coaxial best balances compression energy between the driver. two diaphragms for Specifically minimum distortion designed at all output levels. for use in Series protection conjunction is additionally with the ME464 provided by The DCX464 with the ME464 and the FB464 300Hz horn, the industrial filament accurate point bulbs which source solution promotes a flat, highprevent overpower or inconsistent tonal fidelity response. The FB464 crossover balance at very high output. phase aligns the mid- and high-frequency www.bcspeakers.com elements of the DCX464 and implements

www.legrandav.com

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Audio-Technica sets new boundaries DESIGNED FOR surface flush-mount applications such as conferencing, Audio-Technica has unveiled several new variations of its ES945 omnidirectional condenser and ES947 cardioid condenser boundar y microphones. Enhancing shielding immunity from radio frequency inter ference, the six new models include UniGuard RFI. Available in black or white, the existing standard ES945 and ES947 models are being replaced and enhanced by the IPX4 water-resistant ES945O/XLR

(omnidirectional) and ES947C/XLR (cardioid) versions. The ES945O/TB3 and ES947C/TB3 miniature, spacesaving versions are ideally suited for inconspicuous tabletop, ceiling and wall mounting. Specifically intended for conferencing, the existing ES945/LED and ES947/LED models have been upgraded with the ES945O/FM3 and ES947C/ FM3 mics. Termed FM3 on account of the inherent three-pin XLR output connector, both mics feature a two-state RGB LED ring (seven selectable colours + OFF) to

indicate mute status and a touch-sensitive capacitive switch that enables local muting. New to the ES series, the ES945O/FM5 and ES947C/FM5 are similar to the FM3 models but incorporate a five-pin XLR output connector. With the FM5 models, the switch can be configured to toggle between mute and live audio. In addition, the microphone’s external contact closure allows it to be set up to trigger an external device such as a camera or lighting. www.audio-technica.com

New ES945 and ES947 models

PRESONUS HAS announced the launch of its ioStation 24c, a two-channel 192kHz audio interface combined with the functionality of the FaderPort USB production controller to provide a holistic production hub. A keyboard and mouse handle the tasks they are better suited to, while the ioStation 24c handles the mix. The ioStation 24c provides 100mm touchsensitive, motorised fader transport controls as well as the Session Navigator section, which provides access to eight missioncritical functions. The ioStation 24c audio interface features two of PreSonus’ XMAX Class-A analogue microphones. High-quality converters provide 115dB of dynamic range to capture complex musical harmonics naturally. The result, according to the manufacturer, is clear, consistent audio that makes mixing easier and creates a polished sound and a faster process.

Meeting the recent demand for microphones that can be used at home for webcasting, meetings, podcasting or general home studio use, PreSonus has also announced a new entry in the USB

outfitted with presets, loopback audio and selectable polar patterns. Revelator is equipped with the same EQ and compression algorithms found in the company’s StudioLive Series III mixers. Eight user presets are provided to customise sound using the StudioLive Fat Channel controls available in Universal Control. Up to four presets can be stored, quickly selectable via the Preset button. The mic also provides two stereo streams for loopback audio for applications such as video conferencing, recording gameplay or showcasing the audio in a YouTube video while adding commentar y. Two streams for loopback audio allow users to mix and record the audio from two different applications on a computer, along with their voice, at the

same time using the inter face in Universal Control. Built-in monitoring and an onboard headphone amplifier facilitate mixing in real time. Last but not least, PreSonus has launched Sphere, a new membership package that includes licences for the complete collection of PreSonus’ software solutions for recording, mixing, scoring and producing. It includes Studio One Professional, Notion, ever y single PreSonus add-on for both applications, plus additional sample and loop libraries. In addition to these tools, PreSonus Sphere members are also given cloud collaboration tools and storage, the ability to chat with Studio One exper ts from around the globe, access to exclusive livestreams, masterclass videos, promotions, sneak peeks and events.

Polished audio from PreSonus

ioStation 24c microphone category. Revelator is a new bus-powered, USB-C-compatible microphone

www.presonus.com

Dicentis flushes with pride REDESIGNED TO encourage constructive dialogues, Bosch has enhanced the Dicentis discussion system series by creating a custom flush-mounted version. Measuring 56mm x 100mm x 80mm, the flush-mounted device installs into a tabletop to ensure an uncluttered work area. The custom range offers bespoke

software modules. An integrated Near Field Communication (NFC) card reader enables quick par ticipant identification and voting for which par ticipants can use an existing authorised NFC registration card.

conference solutions that can be adapted to a customer’s needs. The Dicentis discussion unit comprises a 4.3-inch touchscreen display that can fold flat when not in use and a local language user inter face. Device functionality, such as voting or language selection, can be enhanced by adding additional Dicentis

www.boschbuildingtechnologies.com

Schedule meetings from the cloud KRAMER HAS unveiled KronoMeet, an enterprise-class, cloud-based room scheduling and management platform for KronoMeet touchpanels. The solution is said to streamline and automate the management side of room bookings in addition to providing live notifications to meeting participants. KronoMeet is designed to work seamlessly with the manufacturer’s management software and AV products, enabling users to sync room management with AV management and deployment. KronoMeet is fully integrated with widely used scheduling platforms such as Google Calendar, Microsoft Office 365 and Microsoft Exchange, and can be scaled to meet the needs of both small

businesses with a few meeting rooms up to a large corporation. Integration with VIA collaboration devices enables automatic

reminders on the main display when the meeting is nearly over and another meeting will be starting.

In addition to KronoMeet, Kramer has introduced a new scaler/switcher for 4K@60 (4:4:4) HDMI, VGA and composite video signals. The VP-551X scales the video and provides options to use the embedded HDMI audio or breakout audio from one of 10 analogue audio input signals. After processing and scaling, the embedded AV signal is sent to the HDMI and the HDBaseT outputs simultaneously, as well as to a balanced stereo audio output, S/PDIF digital output and a pair of loudspeaker outputs. The scaler/switcher also provides two independent microphone inputs (each with optional 48V phantom power) for mixing, switching or talk-over. www.kramerav.com

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Biamp extends appeal of Desono, Devio and TesiraFORTÉ platforms INITIALLY DESIGNED for huddle rooms and smaller conference spaces, Biamp’s Devio platform of conference room signal processors has been expanded with Devio SCX. Created for larger conference spaces, the one-touch automatic discovery, roomtuning and commissioning feature Biamp Launch is included. By tuning the audio, Biamp Launch simplifies BYOM (bring your own meeting) scenarios by measuring the acoustic characteristics of a room before automatically applying signal processing, AEC, speaker tuning and noise reduction. Biamp Launch supports Biamp Parlé microphones and a range of other Biamp network peripherals, including the AMP450 range of PoE+-powered amplifiers, the HD-1 dialer and the EX-UBT USB extender. Joining the existing Devio SCR-20 and SCR-25 models targeting smaller spaces, Devio SCX 400 and SCX 800 support up to four and eight Parlé microphones, respectively. As the first Devio product to feature VoIP, Devio SCX includes five

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(four PoE+-powered) network ports to connect other Biamp devices, together with a USB port to connect to UC host platforms. Devio SCX is fully supported by the SageVue AV device monitoring and management platform that provides full access to the status of Biamp devices while promoting other functions such as scheduling, firmware and system updates. Designed to simplify meeting room deployments such as UC-based or VoIP conferencing applications, Biamp has introduced TesiraFORTÉ X. The openarchitecture meeting room series combines the signal processing of the original TesiraFORTÉ system with streamlined TesiraCONNECT network connectivity in a new, smaller chassis. Supporting both Dante and AVB connectivity, the TesiraFORTÉ X Series currently includes three models with mounting hardware included. The X 400, X 800 and X 1600 offer four, eight and 16 channels of AEC respectively for up to 16 Biamp

TesiraFORTÉ́ X Series Parlé beamtracking microphones supported by Biamp Launch. Each unit includes five network ports to connect other conferencing peripherals for Dante, AVB media and VoIP connectivity, while a USB interface is included for audio connections to UC host devices,

family. Designed for high-fidelity music or speech reinforcement in indoor and outdoor applications, the surface-mount loudspeakers are available in 6.5-, 8- and 10-inch two-way coaxial versions in addition to a 10-inch subwoofer. All EN-54-24 certified full-range Desono EX Series

supporting HID synchronisation between Tesira and soft codec applications. TesiraFORTÉ X also pairs with Biamp’s Modena wireless presentation systems for BYOD conferencing applications. With the launch of the EX Series, Biamp has extended the Desono loudspeaker

models include 70V/100V transformers and low-impedance inputs. Flexible mount and orientation options are available in the form of the ClickMount Pan-Tilt Bracket or the indexing ClickMount U-Bracket. www.biamp.com

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Televic shapes the future of meetings MEETING SOLUTIONS provider Televic has unveiled a new wireless conference product range. Confidea Flex G4 wireless has been designed for a quick and hassle-free setup. Able to fit in a compact and easily transportable case, the solution is based on WiFi5 technology, the system that uses a combination of advanced techniques to improve the quality and reliability of the signal reception. Each wireless unit comes with a compact Li-ion battery that offers 12 hours of autonomy on a two-hour charge. A second battery can be added in a dual compartment to double the meeting time to 24 hours. The device can also run on a standard USB-C charger. With Confidea Flex G4, Televic reports that wireless meetings stay

private and confidential. For added security, features include advanced WPA2 Enterprise encryption and individual unit authentication.

Sound Devices and Sony slot in together PROVIDING COMPATIBILITY with Sony’s proprietary slot for wireless receivers, Sound Devices has collaborated with the Japanese manufacturer to create the A-15PIN adapter for the A10-RX slot-in receiver. Many Sony camcorders feature Sony’s proprietary slot, which was exclusively compatible with Sony DWX/ UWP wireless slot-in receivers. With the A-15PIN, the non-Sony wireless system can natively slot into Sony cameras and pass two-channel digital audio with no extra cables. Supported by A10-RX v3.00 firmware, the A-15PIN D-type cradle extends compatibility to the A10 Digital Wireless System. An A10-RX is

affixed to the A-15PIN and then screwed to the wireless slot on the Sony camcorder or extension unit. The latest Mic2Wav 3.0 companion application connects the A10-RX in its A-15PIN via USB, allowing the transfer of user group files and updates to the A10-RX. www.sounddevices.com

www.televic-conference.com

Q-Sys adds Professional Tier NEW CLOUD management capabilities and processing options have been introduced to QSC’s Q-Sys platform with the availability of the Professional Tier feature set for Q-Sys Reflect Enterprise Manager, the manufacturer’s remote monitoring and management service. The new features allow both remote access to UCIs for helpdesk applications, as well as remote system and design file update capabilities. The Professional Tier joins the existing Basic and Standard Tiers for Enterprise Manager, offering end users and managed service providers a range of cloud-based service options for connected Q-Sys systems. The Professional Tier provides additional tools to truly centralise operations support for geographically disparate AV systems, as well as reduce the need for technicians to be onsite in order to perform system updates. The new Remote UCI feature provides the

Professional Tier

EXTRON HAS extended the 4K/60 HDMI product portfolio with the addition of the DTP3 T 202 transmitter and DTP3 R 201 receiver. Capable of providing up to 100m signal extension of HDMI and bidirectional RS-232 signals over XTP DTP 22 shielded twisted pair cable, the extenders support video resolutions without compression up to 4K/60 at 4:4:4 colour sampling and comply with HDCP 2.3. The low-profile transmitter features an HDMI loop-through input to support a local monitor and the receiver provides stereo audio de-embedding for streamlined integration. In addition to enabling uncompressed extension of video data rates up to 18Gbps, the DTP3 Series supports HDR, Deep Colour up to 12-bit,

3D and embedded HD lossless audio formats. The DTP3 T 202 transmitter is capable of simultaneously transmitting bidirectional RS-232 signals from a control system for AV device control. EDID Minder technology ensures power can be delivered from either the transmitter or receiver, allowing both devices to share one power supply. Designed to pair exclusively with the IPCP Pro xi Series of control processors, the IPL EXP I/O Series of IP Link Pro expansion interfaces are securely configured with Global Configurator Professional or programmed with Global Scripter. Housed in 1U, 1⁄4-rack enclosures, the PoE interfaces can be controlled and monitored over a network. They can additionally mount

Extron extends

DTP3 Series

ability to interact with a UCI for any Q-Sys Core connected to Enterprise Manager via a standard web browser, enabling a central support team to resolve operational user issues without sending technicians onsite. In addition, the Remote Q-Sys Designer feature enables users to troubleshoot, update and redeploy design files to systems from anywhere, without the need for complex network or remote desktop configurations. Features within the Professional Tier require a system upgrade to the newly released Q-Sys Designer Software v9.0 or higher. In addition to the inclusion of Professional Tier features, the latest Designer Software brings enhanced Microsoft Teams Rooms integration, new Core and loudspeaker options and support for software-based Dante updates.

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smartphone onto a display. Bypassing the need for software, the ShareLink Pro WFA 100 is a Wi-Fi Miracast adapter that promotes the sharing of content from a Windows 10 device to a ShareLink Pro device. By connecting to a USB port on a ShareLink Pro 1100 or ShareLink Pro 500, it can be discovered by Windows 10 PCs. Content is shared by selecting the desired ShareLink Pro device and mirroring the screen from within Windows. Content shared via Miracast can be presented on the ShareLink Pro display together with content shared via the ShareLink Pro app, Apple mirroring, WebShare browser sharing or the HDMI input.

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IPL EXP I/O Series on or under tables, lecterns, on projector poles and table legs using an optional Extron ZipClip 200 mounting kit. Using the Extron PURE3 codec, the NAV E 511 and NAV SD 511 fibre pro AV-overIP encoder and scaling decoder transmits ultra-low-latency, real-time, lossless video at resolutions up to 4K@60Hz with 4:4:4 chroma sampling, audio, USB and Ethernet signals over standard 1Gbps optical Ethernet. Fully compatible with NAV 1 and 10Gbps encoders and decoders, the NAV 511 encoders and decoders enable the secure deployment of AV signals from one to thousands of endpoints. Designed for collaborating, ShareLink Pro devices enable the presentation of wired or wireless content from a computer, tablet or

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A&H expands AHM control options ALLEN & HEATH has released new drivers for its AHM-64 matrix processor to facilitate control from Crestron and AMX. The drivers add existing control options, including IP hardware controllers and wall plates, GPIO interfaces and Allen & Heath’s BYODfriendly Custom Control App. Based on the TCP/IP control protocol for the AHM-64, the drivers enable integration with control systems. They also offer modules for all key routing parameters and represent a starting point for building user interfaces in various installations. Control elements include levels and mutes for input and output channels, crosspoint levels and mutes

together with preset recall. An AHM-64 driver for the Kramer control platform is also available. www.allen-heath.com

KLANG announces new hardware controller KLANG:TECHNOLOGIES HAS held an online launch to unveil its KLANG:kontroller hardware controller for KLANG immersive processors. It has been designed in response to requests for a standalone hardware controller that offers the same mixing functionality as the KLANG:app, combined with a studio-grade Dante headphone amp. The hardware reportedly delivers fast tactile user control of channels, groups and immersive mixing via an intuitive interface. Features include relative DCA group mixing and full single channel control via eight push rotary encoders. The

KLANG:kontroller

studio-grade headphone amplifier is said to deliver crystal-clear audio for in-ear monitors and high-impedance headphones, with both 3.5mm as well as 6.3mm stereo TRS connectors. Two XLR outputs can be connected to, for example, wireless in-ear transmitters. Installation-friendly features like PoE, remote setup via the KLANG:app and automatic Dante routing reportedly streamline any stage or orchestra pit. KLANG:kontroller gives musicians full control of all relevant functions, while the engineer can still overview and control all mixes via the KLANG:app or DiGiCo SD or Q series consoles. KLANG has also announced the launch of the 1U KLANG:vokal immersive mixing processor, which allows up to 12 musicians to select up to 24 mono or stereo channels out of 64 Dante and MADI inputs. Mixes can be sent out via MADI to a console or via Dante to KLANG:kontroller. Based on KLANG’s ultra-low-latency FPGA core, KLANG:vokal offers 12 mixes of 24 mono or stereo inputs at 48kHz and 96kHz, including the company’s Root-Intensity EQs. www.klang.com

LynTec keeps a narrow profile

MEASURING LESS than half the width of a standard panel, LynTec has unveiled its Narrow Profile Panelboards. The 9-inchwide, column-width panels can hold up to 42 controllable circuit breakers and can be mounted in a structural support column on the rigging. The boards have been designed for mega churches or other spaces with unique infrastructure requirements. Customers can mix and match the boards with the manufacturer’s power control panels, including the RPC Remote Control Breaker panels, RPCR Automated Relay panels and NPAC Multi-Circuit Rackmount units within the same network on a single interface. From a single IP address, customers can set up, control and monitor all their AVL sequences or controllable lighting zones across the facility.

Lectrosonics adds two transmitters to 941MHz frequency band LECTROSONICS HAS added the SMWB/ E07-941 (single AA battery) and SMDWB/ E07-941 (dual AA battery) to its Digital Hybrid Wireless SM Series to cover the Part-74 licence-only frequency range from 941.525–959.825MHz. The transmitters have the same dimensions and features as the earlier UHF SMWB and SMDWB units, including the ability to either act as a transmitter or as a body-worn recorder. RF power is selectable at 100mW, 50mW or 25mW. The models feature the standard TA5 connector with servo-bias mic input, as used on all previous SM Series units and

all current TA5 beltpack units, such as the LT and LMb. Any lavalier microphones wired for these other Lectrosonics transmitters will also work on the new models. Accessories

for the existing SMWB/SMDWB series – including pouches, belt clips and battery eliminators – are also compatible. The units can be configured either as a transmitter or a recorder, with files stored on Micro SD card memory, allowing use as body-worn recorders. Audio files are recorded in the industry-standard Broadcast Wave (.WAV) format at 24-bit/44.1kHz sample rate. The Micro SD memory card can also be used to update firmware in the field. The transmitters feature the same large, backlit LCD found on the latest Lectrosonics transmitters, including the LT, HHa, LMb and DBu. They also include an IR port to allow for quick setup when using any IR equipped receiver, such as the SRc-941 or Venue 2-941. This is said to allow for easy integration with a larger wireless system using Lectrosonics Wireless Designer software for frequency management and system monitoring. www.lectrosonics.com

SSL expands DAW control THE UF8 advanced studio DAW controller is expandable to a 32-channel control surface with integration for all major DAW platforms. It has been designed for music creation, production and mixing, postproduction and webcasting. The 360° control software manages multi-controller configurations, customised user keys and DAW switching across multiple layers, and reportedly allows for seamless switching between numerous sessions. Features include 100mm touch-sensitive faders, high-resolution colour displays, eight endless rotary encoders, custom workflows

(five banks of eight user keys and three quick keys totalling 43 assignable keys per UF8), a multipurpose channel encoder, mouse scroll emulation (providing control of any plugin parameter users hover the mouse over), and workflow-ready templates. Users can switch control between three simultaneously connected DAWs. The UF8 is powered by the SSL 360° Mac/PC application and includes SSL Native Vocalstrip 2 and Drumstrip plugins. Four UF8s can be chained together to create a 32-channel SSL control surface. www.solidstatelogic.com

www.lyntec.com

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Expansion on the cards for Eventide Palmer hosts Grand Audition PALMER HAS revealed the 24-channel Grand Audition MKII switching system. Designed for routing in showrooms, sales floors and multiroom applications, the 2U rack-mountable unit is equipped with 16 mono or eight stereo outputs and eight parallel subwoofer outputs. Channel selection and volume control can be managed individually or as a stereo pair directly from the front panel or via a browserbased web interface, including a tablet or laptop. Multiple mode selection enables several connected loudspeakers to be simultaneously selected, while loudspeaker channels can be defined and individually

named for fixed or recurring setups. The Grand Audition MKII’s output combinations can be freely configured, promoting it as a control centre for measurements. Alternatively, a signal source can be supplied to a maximum of 24 headphone amplifiers in conferencing applications. Playback sources including mixers, CD players or a digital audio workstation can be routed via two balanced XLR inputs. A built-in USB media player can also access WAV, AIF, FLAC, MP3 and OGG data formats. www.palmer-germany.com

Now and Zen WITH THE Zen Go Synergy Core, Antelope Audio has created its first bus-powered, portable 4x8 USB-C audio interface. Incorporating AD/DA converter technology together with the Synergy Core on-board effects processing platform and a 64-bit Acoustically Focused Clocking algorithm, the plug-and-play interface supports sample rates of up to 24-bit/192kHz.

I/O has been included on RCA connectors for expansion together with a dedicated In-Plane Switching display for signal monitoring. Direct monitoring mixers provide real-time, hardwarebased monitoring with on-board effects and a secondary USB-C connection has been included for external power supply and reverse charging. Some 80+ analogue-modelled, real-time effects can be selected during live tracking or

Synergy Core incorporates two linear and discreet transistor-based preamps in the form of two MIC-XLR and line/Hi-Z ¼-inch jack connections and two independent (HP1 and HP2) headphone outputs with dedicated DAC (digital-to-analogue converter). A stepped analogue rotary encoder provides precise gain adjustment and an alternative monitor line out on RCA connectors is directly fed from the main DAC. In addition, an S/PDIF digital

postproduction, while 37 emulations can be accessed, including Impressor (stereo knee compressor/limiter) and Opto-2A (tube optical compressor/limiter). The combination of DSP and FPGA processors provide real-time effects and direct monitoring, bypassing the need for a host computer CPU or an external DSP accelerator.

EVENTIDE HAS unveiled its Pro Tools expansion card for its multichannel effects platform, the H9000. The card allows Pro Tools HDX or HD Native users to connect the H9000 directly for up to 32 channels of I/O with ProTools via its Primary DigiLink

Launched alongside the expansion card is the release of 1.3 software for the H9000. Included in the release is enhanced MIDI functionality, Pro Tools support and two new effect algorithms and their associated presets from the

port or it can be daisy-chained with other Pro Tools interfaces via the Secondary DigiLink port via the included 12-foot mini-Digilink cable. The H9000 can be either slaved to an external master clock via loop sync/word clock or can be the master clock.

H9 stompbox: TriceraChorus is a three voice stereo chorus based on the classic DynoMyPiano and Harmadillo, a harmonic tremolo algorithm. www.eventide.com

Scorpio bitten by CEDAR’s sdnx HAVING SUPPLIED a small number of products to location sound recordists over 15 years, CEDAR Audio technology is available for the first time in a portable mixer/recorder. The development of sdnx noise suppression technology has been specifically created for Sound Devices’ Scorpio and other 8-Series mixer/recorders. Sound Devices believes the enhancement ensures the capture of dialogue in noisy environments. Available in 2-, 4- and 8-instance configurations, the sdnx can be run on any combination of channels and busses selected at sample rates up to and including 96kHz. The sdnx differs from hardware solutions such as the CEDAR DNS 2 and DNS 8D dialogue noise suppressors by offering a

modified algorithm optimised for Sound Devices systems and a simplified user interface with just a single attenuation control per instance. Together with its near-zero latency making it ideal for use in the field, clean audio can be recorded for dailies and confidence checking, in addition to providing viable alternatives to the mixes and isos supplied for postproduction. In brief, CEDAR Audio has also announced its approval of the Dante Virtual Soundcard for CEDAR Cambridge, with the hope of providing a cost-effective way to connect its flagship system to Dante networks. www.cedaraudio.com www.soundevices.com

www.antelopeaudio.com

DirectOut + Vivivaldy = ViViD A COLLABORATION between DirectOut and Vivivaldy has resulted in a customised service promoting easier remote production setups using standard internet connections. ViViD packages Vivivaldy VPN solutions in combination with DirectOut products that support Ravenna, including PRODIGY.MP and EXBOX.RAV. DirectOut’s Ravenna implementation allows uncompressed real-time audio-over-IP transmission with ultra-low latency with buffer times up to 500ms. The PRODIGY.MP components used in the ViViD packages include microphone pre-amplifier modules to collect analogue signals on location and headphone outputs

for monitoring purposes. The built-in DSP also allows local equalisation and mixing at zero latency. The Vivivaldy infrastructure ensures connection at distant locations communicating at ultra-low latency of less than 15ms to enable live cross-monitoring. DirectOut’s Ravenna to MADI converter, EXBOX.RAV, collects the broadcast feeds with the audio packets sent over the network at a higher latency to ensure reliable transmission. The globcon control software extends remote management functionality at any location on the network. www.directout.eu www.vivivaldy.com

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Klotz advances to D2 AVAILABLE IN standard lengths from 0.3–20m, Klotz AIS has added the D2 cables to its family of professional digital leads. Designed to transmit digital audio signals in compliance with AES/EBU, the D2 cables can also be used for analogue microphone signals or digital DMX lighting control. Within the 6.5mm diameter PVC outer jacket that provides mechanical stability without compromising flexibility, dense shielding and a spiral shield combine to

offer interference-free signal transmission over long distances. Closely twisted pairs of conductors boost resistance against external electromagnetic interference fields. Based on the OT2000 cable and featuring Klotz’s own (nickel) or Neutrik’s (black chrome) three-pin XLR connectors, the D2 has a characteristic impedance of 110Ω low capacitance and attenuation.

LEA’s CONNECTSERIES cable IN AN effort to reduce any points of friction for users of its CONNECTSERIES amplifiers, LEA Professional has created a dedicated custom cable to aid users that are attempting to input an

unbalanced RCA signal through the amp’s analogue inputs, saving them the need to wire their own. The new cable, named the LEA RCAF-2, is a female RCA to Amphenol Anytek balanced threepin connector specifically for CONNECTSERIES products. The cable is a 25.5mm-long, 22 AWG (0.33mm2) two-conductor plus ground-shielded audio cable with a nickel-plated female RCA connector. www.leaprofessional.com

www.klotz-ais.com

Tasker fights fire FOLLOWING NEW CPR legislation, Tasker has increased the standards of its medium-risk class (Cca) and high-risk class (B2ca) cables. In addition, the Italian manufacturer has launched a new range of products consisting of different sections (2x1.00, 2x1.50, 2x2.50mm²) in OFC red copper, stranded, with the following codes: TSK401, TSK402 and TSK403 CPR Cca. New microphone and DMX cables have also been added in the audio category, both with a

tinned copper braided shield covering 85% and with a section of 2x0.35mm². The C128 CPR Cca and the TSK1038 CPR Cca provide a clear signal up to 100m away. In the video sector, the manufacturer has been focusing its attention on 6G- and 12G-SDI and developed the TSK1078 CPR Cca (0.80/3.50/5.00mm) and the

TSK1079 CPR (1.13/4.80/6.80mm). They are suitable for applications up to 60m and 80m at 8K, respectively, according to the latest SMPTE 2082 transmission standard. Finally, the Tasker C722 B2ca is a LAN Cat6 SF/UTP, 4x2x0.25mm² section with multiple operative applications and is approved for the maximum risk class according to CPR legislation. www.tasker.it

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Mackie builds on a legacy MACKIE HAS released four new analogue mixers building on the legacy of the original Onyx 1620 mixer release back in 2004. In contrast to that model which sported a FireWire interface, the new Onyx8, Onyx12, Onyx16 and Onyx24 models have replaced this with USB connectivity. The models are named according to the number of tracks that each can record simultaneously. The Onyx mixers are capable of high-resolution 24-bit/92kHz recording with low-noise, highheadroom mic preamps offering up to 60dB of gain. The inputs comprise a combination of mono and stereo channels and sport a three-

band Perkins EQ based on British EQs found on mixing consoles from the 1960s and 1970s. The mono inputs feature semi-parametric midrange EQs and the stereo channels offer a fixed mid-band. USB connectivity allows all channels of multitrack audio to be sent to a DAW, while SD card compatibility enables users to record mixes without a computer. The mixers can also stream two stereo channels from a DAW, along with the option to hook up a Bluetooth device to stream audio into a channel. Moving across to loudspeakers, the manufacturer has also debuted the SRT series of powered speakers. There are three new

d& 1,600W speakers in the series – the 10-inch SRT210, 12-inch SRT212 and 15-inch SRT215 – intended for use by working musicians and DJs that are seeking an upgrade in sound quality without breaking the bank. In addition to being “built like a tank”, the cabinets boast maximum SPL – 133dB on the SRT215 – and feature Advanced Impulse DSP, input overload protection and wireless streaming and control. www.mackie.com

Pliant brings CrewCom into smaller applications SUITED FOR users that need an intercom with more capabilities than its MicroCom products, but without the requirement for roaming or the full feature set of its larger CrewCom systems, Pliant Technology has introduced the CrewCom CB2 professional wireless intercom system.

The CB2 is a full-duplex, install-friendly solution for small- and mid-level applications that require a reliable wireless intercom with superior RF coverage and range, such as theatres, houses of worship and other small events.

Available in both 900MHz and 2.4GHz frequency options, as well as 900MHz for Oceania and 2.4GHz CE-compliant models, the system includes the CrewCom CB2 base station and up to six CRP-12 two-channel radio packs. This provides customers with two intercom channels as well as interconnectivity to industry-standard, two- and four-wire intercom systems. An added feature of the CB2 is system expandability. Two CB2 base stations can be connected and the audio synced to create one system with up to 12 full-duplex users.

Two separate CB2 systems can also be synced to ensure RF performance if they need to be co-located in the same RF area. Furthermore, the CB2 can also sync and be co-located in the same coverage area as an existing CrewCom system. The solution’s CrewCom CRP-12 radio packs feature the same batteries as CrewCom, making the batteries compatible with its 6+6 Drop-In radio pack and battery charger. The system is also compatible with Pliant’s complete line of SmartBoom headsets. The out-of-the-box wireless system is said to boast simple setup and its IP65rated beltpacks are described as durable and easy to operate.

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Wohler upgrades its iVAM1-1 monitor WOHLER TECHNOLOGIES’ iVAM1-1 16-channel audio-video monitor has received an upgrade in the form of new AoIP and analogue plugin expansion cards. When upgrading the iVAM1-1 to monitor Dante, Ravenna or 2110-30 signals, the AoIP card is included. Customers can specify either Dante or Ravenna and both options are capable of monitoring 2110-30 signals. The card also includes primary and secondary RJ45 Ethernet ports and a 1GB network SFP cage capable of monitoring AoIP input streams via fibre input. A TOSLINK (SPDIF) input connector, often used to monitor the output of set-top boxes, is included for convenience. For users requiring additional analogue inputs, the new analogue option card offers a further eight balanced inputs and outputs on DB-25 connectors as well as a TOSLINK (SPDIF) connector.

iVAM1-1 A free firmware update has also been released by Wohler for its flagship iAM12G-SDI when purchased with the Dolby Atmos option. Two new screens have been added to the inter face to help users visualise the location of each audio bed or dynamic channel for both actual and dynamic channels. The first screen shows the listening room with a 3D front view, with a representation of the video

programme screen location shown in the centre as a white rectangle. The various objects are shown as named channels for the audio bed objects or as numbered channels for the dynamic objects. Dynamic objects move around through the 3D screen as they move in the programme material, with the objects appearing according to what is present in the Dolby Atmos bitstream. A maximum

Dynamic EQ for MC2 and XTA CELEBRATING 20 years since XTA launched what is arguably the first digital implementation of dynamic EQ in an SIDD processor, the manufacturer has released a firmware update that introduces dynamic EQ in the XTA DPA and MC2 Delta amplifiers. Up to two bands of dynamic EQ are available per input and, as well as managing the four quadrants of dynamic processing (boost below, boost above,

number of 16 objects can be displayed simultaneously. The second screen shows the listening room from a 3D top-down view. This display gives a representation of the video programme screen location, shown in the centre top (front wall) as a white rectangle. Also shown are audio bed objects, which are in fixed positions as speakers in the listening room. Either dynamic channel objects or audio bed objects can be shown in the Dolby Atmos 3D Room Visualiser. Furthermore, a Metadata screen is also included, providing three sets of data: traditional Dolby metadata, loudness data and presentation data, which provides X-Y-Z coordinates for the position of objects in the 3D Room Visualiser. www.wohler.com

cut below, cut above), they can be configured as a PEQ, lo shelf, hi shelf or full bandwidth dynamic control. OSC Control has also been implemented within XTA DPA and MC2 Delta DSP products with the latest update. This enables gain control from devices such as phones, tablets and mixing consoles – any OSC-enabled device can now control an XTA/ MC2 system over a standard Ethernet network.

XTA’s DPA 100

www.mc2-audio.co.uk www.xta.co.uk

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PRODUCTS

d&b evolves to revolve in the 360 Soundscape IN RESPONSE to customer feedback and ensuring preparedness for events postlockdown, d&b audiotechnik has made new advanced features available for its Soundscape immersive audio system. A DS100 Signal Engine lies at the heart of the Soundscape system to provide system configuration and matrix functionality in either standalone mode or combined with one or both of two software modules together. Operation is enabled with En-Scene objectbased positioning and En-Space room emulation software, with the latest feature update including significant developments for the En-Scene and En-Space tools. The En-Scene software module is an object-based positioning tool for the 64 audio inputs on the DS100 Signal Engine. The sound object routing control brings individual level adjustment and mute for each sound object within each section (Function Group) of a loudspeaker system. This control option offers flexibility for a wide range of acoustic settings and multiple audience areas. Sound

object routing ensures that a sound designer or mixer has ultimate control over the imaging and sound object performance as they relate to each Function Group in a distributed or immersive system. In addition to sound object

Sennheiser introduces TruVoicelift for TCC2 COMBINING THE convenience of Sennheiser’s ceiling mic array with voice amplification, the availability of TruVoicelift firmware marks a new chapter for the

DANTE AV networking technology developer, Audinate, has made a software development kit (SDK) available for manufacturers of Armbased audio products. Designed to reduce costs in addition to conserving space, the

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SDK allows manufacturers to deploy Dante audio networking as on-chip software in their products. The Dante Embedded Platform SDK provides the required tools to develop Dante-enabled products built upon 32- and 64-bit Arm Cortex-A processors using a Linux operating system, and supports online licence activation for OEMs. Ensuring reliability, the SDK allows manufacturers to validate their own designs for performance and capability. In addition to support for Arm Cortex-A processors, a Dante Embedded Platform SDK for x86-based audio products is currently in development. www.audinate.com

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TruVoicelift also includes a TCC2 feedback prevention mute function to stop any feedback should the levels become too loud. During pauses in speaking, if a pre-

routing, the update delivers two new function group modes for En-Scene in the form of Delay line embedded and Outfill embedded that support advanced 360° loudspeaker configurations. This update addresses

those installations that use delay lines for the audience areas within a surround (360) Soundscape setup to distribute a higher number of small loudspeakers or to enable immersive sound for larger audience areas. En-Space room emulation software provides ease of setup and operation to access acoustic emulations. Suitable for a range of applications from orchestral room treatments to virtual acoustic environments, En-Space uses the sonic signatures of some of the most acoustically renowned performance spaces and provides individual adjustment parameters to make these a reality. En-Space now supports delay lines delivering room emulation on all loudspeaker function groups in a Soundscape loudspeaker system. The impulse response (IR) assignment has also been optimised for the simultaneous use of multiple instances of the same function group mode, such as a delay line, within one loudspeaker system.

TruVoicelift in an education setting TeamConnect Ceiling 2 (TCC2) microphone array. Designed for use in corporate and higher education institutions, TCC2 has become a leading microphone solution for conferencing audio in business and distance learning applications. Existing TCC2 users can add the TruVoicelift functionality by installing the free firmware update (1.6.4) via the new version of the Sennheiser Control Cockpit app (4.3.0). Depending on the size and configuration of the room, additional TCC2 microphones can be installed as audience mics to create a completely touchless microphone solution that reduces potential hygiene risks. Powered by an advanced frequency shift algorithm that delivers added dB gain,

defined audio threshold is not reached, a noise gate is activated, muting TCC2 to prevent any background noise from being amplified. All TruVoicelift settings can be conveniently controlled via the Sennheiser Control Cockpit app, allowing the creation of priority zones, from areas where audio is predominantly picked up. Advanced exclusion zones can also be identified for targeting and excluding noise sources, such as air conditioning or ventilation equipment with accuracy. The Sennheiser Control Cockpit software allows users to determine priority zones for voice amplification to focus on the speaker. www.sennheiser.com

STUDIO TECHNOLOGIES has released a macOS-compatible version of its STcontroller software application. First offered to support the Windows operating system, Mac users can now directly benefit from STcontroller’s support of many Studio Technologies’ Dantecompatible products. STcontroller allows personal computer users to access a product’s operating configuration, displaying existing settings and allowing rapid changes. Both the macOS and Windows versions of STcontroller are available for download, free of charge, from the manufacturer’s website. The new version is a “native” Mac application and is compatible with macOS X Sierra 10.12 and later. On starting STcontroller, the application scans an associated local area network and automatically identifies compatible Studio Technologies’ Dante devices. Users can then confirm and revise selected parameters. Some devices will have just two or three configurable choices, while others can have dozens. In all cases, users are presented with a concise GUI interface. STcontroller has been designed for time-sensitive on-air sports

and entertainment applications where “on the fly” changes are sometimes required. It allows complete device configurations to be created, saved and loaded, and enables technical personnel to implement their desired configurations for later deployment and duplication. In addition, Studio Technologies recently added real-time audio level display for some products in both its Windows and macOS versions. www.studio-tech.com

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Universal appeal

Roland adds to Legendary series

UNIVERSAL AUDIO’S Apollo Heritage Editions provide a software suite of five or 10 UAD plugin titles – including the full Collections from Teletronix, Fairchild, Pultec, Helios and UA – packaged with Apollo hardware. These core UAD plug‑ins include vintage compressors, EQs, mic preamps, tape processing and reverb to give users a library of classic analogue, straight out of the box. The suite includes the Helios Type 69 Preamp and EQ Collection; V76 Preamplifier; Oxide Tape Recorder; Teletronix LA-3A Audio Leveler; Fairchild Tube Limiter Collection; Teletronix LA-2A Classic Leveler Collection; Pultec Passive EQ Collection; 1176 Classic Limiter Collection; Pure Plate Reverb; and UA 610 Tube Preamp and EQ Collection. www.uaudio.com

JU-06A for one-to-one, hands-on control of the JUNO-60 plugin. Roland has also announced a free update to its Zenbeats music creation app. Zenbeats 2.1 includes plug-and-play functionality with the recently released Verselab MV-1 Song Production Studio hardware and Audio Editor improvements, including Reverse and Fade functions. With Zenbeats, users can connect Verselab to a computer, tablet or smartphone, while

The software captures the original’s character and enhances it with modern additions. Users have the ability to switch to the HPF circuit of the next-generation JUNO-106 and its characteristic bass bump. The oscillator range has also been extended, and there’s a second envelope for extra flexibility. Polyphony has been expanded to eight notes, with the option to limit it to the original’s six (or less) for an old-school vibe. The software version has two push-button chorus modes, plus a third “secret” mode accessed by pressing both buttons at once. An additional chorus option provides the sound of the vintage BOSS CE-1 pedal, along with a selection of reverb, delay, flanger and overdrive effects. It is compatible with VST3, AU and AAX and also supports Roland’s PLUG-OUT format for computer-free operation with the SYSTEM-8 hardware synth. For DAW-focused workflows, it’s possible to use the SYSTEM-8 or a Roland Boutique JU-06/

new audio output routing options reportedly enable fluid integration with outboard gear, such as mixers and effects.

Helios Type 69

Waves heads to the ocean WAVES IS now shipping its Nx Ocean Way Nashville plugin which brings the acoustic environment and monitoring system of the Ocean Way Nashville studio control rooms to any pair of studio headphones. Producers and engineers are reportedly able to create better mixes using their

AVAILABLE THROUGH Roland Cloud, the JUNO-60 software synthesiser is the latest addition to the manufacturer’s Legendary series of software-based instruments. The original Roland JUNO-60 hardware synth is still respected for its vintage vibe and unmistakable character. With the JUNO-60 software synthesiser, the authentic experience of the keyboard is now available as a modern software instrument for Mac and Windows DAWs.

Formant controls, users can manipulate vocals in real time for the most popular sounds in hip-hop, pop, R&B and electronic genres. In addition to the main Pitch and Formant controls, the plugin also has a Flatten feature to lock into a single pitch and sound robotic. Users can also access

www.roland.com

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LED PROCESSOR manufacturer, Brompton Technology, has announced that the

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Vocal Blender four extra modulators, including LFO and sequencing. The modulators are said to bring more musicality and movement to sound and help users differentiate their style. www.waves.com

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Nx Ocean Way Nashville favourite reference headphones. Mixes monitored on headphones through the plugin will translate to multiple audio systems and platforms, reportedly without the issues that often plague mixes created on headphones. According to the manufacturer, the plugin delivers faithful representations of the control room’s finely tuned acoustics, as experienced through the Ocean Way Audio HR1 and HR5 farfield and near-field monitors. Users are said to be able to better judge mix depth, panning, reverb placement and amount, and low-end response. Waves has also announced the availability of its Vocal Blender plugin. With zero latency and two simple Pitch and

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PRODUCTS

Chauvet unleashes a new force

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Cameo shines bright outdoors THE FLAT Pro G2 series has been designed to expand Cameo’s range of IP65-certified LED outdoor PAR spotlights. The units can be used to uplight a building façade, as a noiseless light source in a HOW or theatre, or an effect light for live shows. Benefits include improved convection cooling, a selectable PWM (650Hz – 25kHz) for flicker-free camera images and a revised housing design with integrated carrying handle. The new series incorporates the Flat Pro 7 G2 (seven 10W RGBWA, 2,400 lumens), Flat Pro 12 G2 (12 10W RGBWA, 4,300 lumens) and Flat Pro 18 G2 (18 10W RGBWA, 6,600 lumens). The lights cover the entire RGBWA colour spectrum and are said to enable even more flexible colour blends for warm, rich saturated and pastel colours. According to the manufacturer, the adjustable PWM frequency means that lighting technicians no longer have to worry about flickering LEDs during dimming. In addition, the integrated

LED calibration chip reportedly ensures that saturated and pastel colours from the RGBWA colour spectrum are implemented in combination with several Flat Pro G2s without deviations. The units also incorporate the manufacturer’s patented EZChase feature (DMX delay), which can be used to create running lights without external control. In terms of design, the handle has been integrated into the compact metal housing, and an OLED display with touch-sensitive buttons has been added for “quick and easy operation” on the device. Features also include revised convection cooling and professional connection options with Neutrik True-compatible inputs and outputs, as well as three-pin IP65 DMX sockets. The units can be optionally retrofitted with a fold-out 16mm TV spigot based on patented Cameo SPIN16 technology. www.cameolight.com

GLP adds streaming solution BROUGHT ABOUT as the result of the coronavirus pandemic and social lockdowns, GLP has designed Streamer, a small and versatile light source for hosts and interviewees that plugs directly into a standard USB-C socket on any computer. The light is UL-listed and includes a flickerfree, high-intensity output with a colour temperature range of 1,900–5,600K provided by three different colour sets of LEDs. A range of in-built colour temperature presets can be accessed directly from the on-board buttons. These presets can also be modified

by the user within the desktop app, available on both Mac and PC. Streamer has an aluminium outer shell and is easy to transport in its compact case and moulded foam interior. The control app provides full management over the output

software the release of Tessera V3.1 software. A host of features including HFR+ and Frame Remapping deliver key benefits for designers operating in virtual production and cinematography in addition to sports broadcast, simulation and virtual reality. Tessera’s High Frame Rate (HFR) function currently supplies sufficient power to display video content on an LED screen at up to 144fps. Designed to provide smoother visuals in esports and simulator applications using HFR content, HFR+ now extends this to 250fps in the latest update. HFR+ also makes it possible to shoot slow motion visual effects with overcranked cameras against LED screens and still retain synchronisation between screen and camera. The UK manufacturer testifies that the combination of 250fps and ultra-low-latency mode can deliver an end-to-end system latency of just 4ms.

Frame Rate Multiplication is another pre-existing feature within the Tessera software that allows each input frame to be output multiple times when creating a higher output frame rate on the LED screen. A new Frame Remapping feature is included with the V3.1 update for interleaving different areas of the video raster or solid colours in the output. At its most simple, this allows the output frame rate to be doubled so that a black frame can be inserted between every frame of actual content, which also decreases motion blur. Any 24-bit RGB colour may be specified for each output frame, including black (dark frame insertion), white (supplemental lighting) or solid colours (green for visual effects). www.bromptontech.com

ADDRESSING THE demand for compact but powerful fixtures, Chauvet has released its Maverick Force 2 Profile and Force 1 Spot. Weighing under 27.2kg, the Maverick Force 2 Profile is powered by a 580W LED engine that produces a 21,000-lumen output. Lighter than its companion, the Force 1 Spot weighs 22.7kg and features a 470W LED engine capable of producing 20,000 lumens of brightness. Both fixtures produce an array of hues from brilliant reds to soft pastels with CMY+CTO colour mixing and an added colour wheel with CTB and CRI filters for design flexibility. Chauvet believes that lightweight fixtures make load-in times faster and more efficient. They also translate directly into faster movement and speedier effects for designers and programmers. Maverick Force 2 Profile features a quick four-blade framing shutter system with 120° rotation for precise control, a 7–55° zoom to cover a wide range of areas and 16-bit dimming for smoother fades. Added versatility is provided by its five-facet prism with frost, motorised iris, two rotating gobo wheels and animation wheel. Maverick Force 1 Spot’s effects wheelhouse has one rotating and static gobo wheel instead. Both fixtures feature Pulse Width Modulation and several TV fan modes. A variety of advanced control options are offered with

level and colour, allowing the user to create “a perfect balance”. But it’s Streamer’s full remote-control capability that GLP believes provides the real bonus, according to product manager, William Irwin. “If Streamer needs

Maverick Force 2 Profile DMX, WDMX, sACN, Art-Net, preset synch and RDM capability for remote accessing. www.chauvetprofessional.com

to be operated from a remote location, full control can be achieved with instantaneous response. Thanks to the browser-based app, Streamer can be controlled from computers, smartphones and tablets, giving a lighting designer full control over the device.” Streamer has been designed for any video conferencing needs, along with vloggers, remote broadcast and also for still photography. The Streamer Deluxe Control Kit comes complete with mounting accessories, including an extendable tripod, a 12-inch gooseneck extension for hard-to-reach places, a suction cup and a USB-C to USB-C cable. www.glp.de

PR Lighting adds to Aqua family THE AQUA 380 Beam is a 380W moving beam 300S Flex lamp. It comes with a CMY linear that features a Philips Platinum 300S Flex colour mixing system with macros. The colour lamp, 7,800K, an advanced optical system, wheel provides 12 dichroic colour filters plus an IP66 rating and a tight 2° beam for outdoor CTO and the same rainbow effect as the Aqua searchlight and aerial effects. It 380 Beam. The fixed gobo wheel comes with comes with one colour wheel, 11 gobos and an animation effect, while 12 dichroic colour filters plus the rotating gobo wheel incorporates CTO and a rainbow effect 12 interchangeable gobos. The unit with bidirectional and variable also provides three prisms, speeds. The fixed gobo wheel frost and bidirectional rotation incorporates 16 gobos and with variable speeds, and the rotating gobo wheel is made comes with optional threeup of 12 interchangeable gobos. facet, 16-facet and gradient Other features include three prisms. prisms, frost, a motorised linear Both units include focus and 540° pan and 240° adjustable pan and tilt tilt head movement with auto speed, an LCD display position correction. screen, fixture and lamp The Aqua 380 BWS is a usage time display and a waterproof IP66 moving head DMX512 wireless receiver that integrates three features and transmitter. (beam, wash and spot) in a Aqua 380 Beam www.pr-lighting.com single unit and a Philips Platinum

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ADJ creates a Link buttons – together with a two-digit backlit LCD display – help users keep track of a large quantity of scenes. Dedicated buttons provide quick access to each of the app’s main screens and an additional set of buttons provide shortcut control of key app functions. The lighting manufacturer has also added a chrome version of its Element HEXIP outdoor-rated wireless up-lighting fixture. The model has been created for applications where, instead of blending into the background, lighting fixtures are required to make a bold statement. The Element HEXIP Chrome is powered by four 10W HEX (RGBWA+UV) LEDs, which generate a consistent colour wash with a 20° beam angle. The 6-in-1 LEDs allow for the creation of a large palette of colours ranging from vivid saturates to subtle pastels. For DMX control, the unit features a built-in WiFLY EXR receiver which allows wireless control from a distance of up to 760m. The fixture also features an internal rechargeable lithium ion battery which, according to the manufacturer, can be fully charged in just 4.5 hours and is capable of running continuously for up to 16 hours between charges. An IEC power inlet for charging, as well as an on/off switch, are positioned below the menu display and a USB port is included for future firmware updates.

DESIGNED TO fill the void between small, single universe DMX controllers and largeformat lighting consoles, the Link is a hardware/software system that combines the processing power, wireless connectivity and multitouch screen of an iPad with lighting-specific tactile controls and a fouruniverse DMX interface. It has been created to simplify control for lighting designers and is powered by the free Airstream Link iOS app for iPad. The platform includes an extensive fixture library and incorporates tools to allow the easy creation of complex movements and colour chase effects. It allows the iPad’s memory to be used for storing custom Scenes and Shows that can be quickly reloaded when required. The software also makes use of the iPad’s precise touchscreen interface to facilitate actions, such as colour mixing and drawing custom movement shapes. The Link hardware offers a selection of ergonomic controls designed to give lighting designers the hands-on experience of a traditional lighting console. Four large rotary encoder wheels, with push-in selection, provide control over functions such as movement, zoom and focus. Alongside these are eight 100mm channel/submaster faders together with an additional master fader with dedicated blackout button. Each fader is also paired with a dedicated rotary control, with push-in selection, as well as two-page playback buttons. A matrix of 32 buttons provides access to specific scenes, fixtures or effects, while page scroll

Element HEXIP Chrome

THE T-10 Glass is described by Symetrix as its “largest, brightest and most powerful touchscreen yet”. The 10.1-inch 1920x1200 display provides high-resolution images at over 224ppi. The 850 nits maximum brightness reportedly ensures full image clarity and colour, even in direct sunlight. It is the first touchscreen from Symetrix offering simultaneous 10-finger control. Like the T-5 and T-5 Glass 5-inch touchscreens, the T-10 Glass is an IP-based touchscreen with data and PoE power

delivered over a single Ethernet cable. Compatible with standard two-gang wall boxes in both US and EU form factors, the T-10 Glass includes a newly designed mounting bracket which allows it to be wall mounted in any of four landscape or portrait orientations. An optional tabletop accessory allows it to be deployed on a table or desktop for added flexibility. The touchscreen incorporates the manufacturer’s SymVue GUI authoring software, allowing control screens to be

Crystal Clear views displayed by Sony CATERING FOR different application needs from corporate showrooms to productions, Sony has unveiled the modular Crystal LED C-series with high contrast and B-series with high brightness. Available in two pixel pitch sizes (P1.26mm and P1.58mm), both displays expand Sony’s Crystal LED portfolio.

or in a curved arc. Finished in a deep black coating, the Cr ystal LED C-series provides high contrast of 1,000,000:1. Offering a high brightness (1,800cd/m2), the B-series is distinguished with a matte finish and anti-reflection coating. With lower power consumption, the fan-less

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Symetrix shines bright

Both series are equipped with the X1 for Crystal LED image quality processor, which incorporates LED control and signal processing technology. The new displays provide enhanced content that is upscaled while maintaining high-resolution (Reality Creation), smooth and artefact-free pictures without motion blur (Motionflow) and showcase impressive gradation expression (22-bit Super Bit Mapping). Highlights also include a wide viewing angle and wide colour gamut, in addition to various input signals, including HDR, HFR (120fps) and 3D. Enhancing flexibility, each display is comprised of modular and bezel-free tiles that can scale to accommodate a range of sizes, layouts and resolutions. The display’s lightweight and streamlined design promote installation in various configurations, including wall mounting

displays repor tedly reduce the total cost of ownership and provide quiet operation. Forming part of the DWX wireless series, Sony’s DWR-S03D slot-in receiver has received a firmware upgrade. Using the dedicated DWASLAU1 adaptor, sound engineers can now benefit from the DWX series using the UniSlot or SuperSlot interface. This new compatibility will reportedly offer a wideband digital audio solution for location sound recording for movies, dramas and documentaries. The free v1.10 firmware upgrade, which includes direct frequency input function and digital or analogue audio output settings when the DWA-SLAU1 adaptor is attached, means that existing owners of the DWX series can expand the use of their equipment for new applications. www.pro.sony

created, tested and simulated offline before being deployed to the T-10 Glass. As part of Symetrix’s free Composer software, SymVue can be used to manipulate control objects, text and images in a “simple, convenient workflow”. Multiple pages with custom controls and backgrounds can be created and exported to a single T-10 Glass or batch exported to multiple touchscreens simultaneously. www.symetrix.co

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Bose and Barco click and collaborate offer ease of setup. The management of devices can be performed remotely with the Bose Work Management app, which displays real-time status and allows for easy single-unit or system-wide changes. Adjustments of parameters, including volume, mute, PTZ, presets and Bluetooth pairing, can be controlled from the Bose Work app via a smartphone or the included IR remote. In addition, conversations or music can be streamed from a smartphone to the VB1 via Bluetooth connectivity. Bose Professional is partnering with Barco to offer a complete AV meeting

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solution by combining any Barco ClickShare Conference device to the VB1. For rooms with different configurations requiring an additional mic pickup, Barco ClickShare Conference can also be partnered with the Bose ES1 EdgeMax in-ceiling and Bose DS4 DesignMax loudspeaker solutions. Fully certified for Barco ClickShare Conferencing, each solution is combined with the Sennheiser TeamConnect Ceiling 2 microphone, a Bose ControlSpace EX-440C processor and a PowerSpace P2600A amplifier. pro.bose.com

Bose is combining any Barco ClickShare Conference device to the VB1 FOLLOWING ITS launch at ISE 2020, Bose Professional is now shipping the all-in-one USB conferencing Videobar VB1. Proprietary transducers reproduce audio from multimedia presentations in addition to playing Bluetooth, while six beam-steering microphones focus on voices in the room and reject noise. A 4K HD camera with auto-framing delivers video that allows remote participants to visualise presenters, whiteboards and other in-room objects. With USB connectivity simplifying setup, mounting options include a table

stand or a wall-mount kit, both of which include tilt to ensure a central video image. The Bose Videobar VB1 connects to existing network infrastructures and integrates with third-party cloud services, including Microsoft Teams, Google Meet and Zoom. Remote management and configuration capabilities make it simple to deploy and manage remotely as a single unit or install up to 1,000 in conference rooms. Available as an app or via a web browser, the Bose Work Configuration software is included to

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PRODUCTS

AJA releases two 12G-SDI solutions “AS DEMAND for high raster 4K/UltraHD content increases, convenient 12G-SDI solutions are critical to simplifying cabling and transport of high bandwidth content,” said Nick Rashby, president of AJA Video Systems. As a result, the manufacturer has added two 12G-SDI openGear products to its lineup: the OG-12GM and OG-FiDO-TR-12G. Both are designed for use in high-density openGear 2U frames and compatible with Ross DashBoard software for flexible device control and monitoring. The OG-12GM is an openGear-compatible SDI transport converter that supports single-link 12G-SDI to/from quad-link 3G-SDI, two Sample Interleave (2SI) to/from Square Division (Quadrant) pixel mapping and selectable Distribution Amplifier (1x4). It provides detailed timing analysis for validating alignment of quadlink SDI inputs via a timing analyser that helps to identify possible timing issues for quad-

link signals. The converter also features openGear’s high-density architecture and DashBoard support on Windows, macOS or Linux for monitoring and control over a local network or remotely. The OG-FiDO-TR-12G is said to offer flexibility and cost-efficiency for 12G-SDI to fibre conversion and fibre to 12G-SDI conversion with single-link LC connectivity, enabling long cable runs up to 10km for single mode. It is compatible with all certified

OG-12GM openGear products and supports Ross DashBoard software for remote control and monitoring over a PC or local network to help simplify production workflows.

OG-FiDO-TR-12G

In other news, AJA has introduced Ki Pro Go v3.0 firmware, providing expanded recording options for its multichannel H.264 recorder and player with new network-based recording and support for SMB protocols via GigE network connectivity. V3.0 enables any channel to be recorded directly to network attached storage (NAS) via Ki Pro Go’s integrated GigE port, providing a central storage location for primary or backup recording channels independent of local USB storage. For live event workflows, NAS can be used as secure backup or archival storage, while local USB drives can be handed off to customers following shoots. Multiple Ki Pro Go devices can connect to the same centralised NAS storage to increase system flexibility. www.aja.com

NewTek adds a bright Spark WITH THE creation of the Spark Plus IO 12G-SDI converter, NewTek aims to enhance resolution, frame rates and colour fidelity in media workflows. By converting 12G-SDI UHD video into an IP-based media production workflow, the Spark Plus IO 12G-SDI encodes and decodes 12G-SDI sources to and from IP-friendly NDI at up to 2160p UltraHD. The IO converter connects to 12G-SDI cameras or devices, converts the video signal to NDI and shares it with any compatible system, device or application anywhere on the network, including UHD screens, monitors, projectors

or videowalls. It can also turn any legacy 12G-SDI-enabled output device such as a screen or monitor into an NDI signal on the network by using the decode functionality. A web-based interface provides remote configuration and monitoring in addition to support via NDI with an option to mount onto cameras. The manufacturer has also announced the release of ProTek, a tiered support programme that allows customers to choose between four levels of coverage, including Basic, Standard, High and Ultra. Each tier incorporates support

ClearOne upgrades learning spaces DESIGNED TO enhance the ease and visual quality of online collaboration beyond the capabilities of integrated laptop and PC cameras, ClearOne has created two new cameras. Attached to a PC or laptop with a simple mounting bracket and a 1.5m USB-A cable, Unite 10 is capable of capturing five megapixel images with a field of view up to 87°. Unite 50 4K AF features Auto-Framing technology that automatically frames meeting participants to maximise screen use through intelligent image algorithms and electronic PTZ automation. Features include 4K video quality at 30Hz, auto-focus capability, 4x digital zoom, eight megapixels of total resolution and a 110° field of view. To further simplify use and enable real-time PTZ control, the camera can be operated by an IR remote when capturing multiperson meeting environments. A standard damping mount is adopted for installation and a USB 3.0 cable provides both power and video. Both the Unite 10 and Unite 50 cameras support up to 1080p video quality and incorporate autofocus when adopted for web-based conferencing applications, including ClearOne’s Collaborate Space, WebEx, Google Meet, Zoom, GoToMeeting and Microsoft Teams.

Spark Plus IO 12G-SDI

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elements under Warranty, Software Maintenance, Technical Support and Extended Services. www.newtek.com

Barco expands laser portfolio with G100 DEVELOPED FOR more budget-friendly applications, Barco has expanded its laser projection portfolio with the G100 projector series. Intended for both indoor and outdoor use, the three singlechip projectors provide native WUXGA resolution in brightness options of 16,000, 19,000 and 22,000 lumens. The G100 supports HDMI 2.0 to enable deep colour palettes and operates at

exceptionally low noise levels. With throw ratios ranging from 0.38–10.8 together with a large shift capability, a newly created GC-lens range has been made available for the G100 models. On-board cooling ensures that the G100 can withstand a maximum ambient operating temperature of 50°C. www.barco.com

Unite 10 The Salt Lake City-based manufacturer has also made the VESA mounting option available for its beamforming microphone array ceiling tile. VESA is designed to allow pole-mount or projector-mount options for the BMA CT and the Versa BMA CTH solutions. Mounting options can be extended to non-drop, hard and angled ceilings with easy positioning at a convenient height from the floor. The VESA bracket is attached to pre-existing holes on the back of the beamforming array ceiling tile microphones before connection to a VESA-compliant, hardceiling mount or pole mount. www.clearone.com

98 PRO AVL ASIA May–June 2021

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Visionary adds Bluetooth connection VISIONARY HAS added two PacketAV Duet Wallplate Encoders, one featuring Bluetooth (DuetE-WP-BT) and the other featuring simplified HDMI-only connectivity (DuetEWP-H). The DuetE-WP-BT combines 4K UHD video and Dante/AES67 audio embedding and de-embedding over a single gigabit Ethernet port, with built-in Bluetooth wireless audio connectivity. With Bluetooth 5.0 for extended range, faster data throughput and reliable connections, the DuetE-WP-BT supports bidirectional smartphone connectivity via Bluetooth for web conference soft-codec AV integration and eliminates the need for separate bridging hardware. The PacketAV Duet Wallplate Encoders fit into a two-gang, US or UK-style back box without additional electrical box modification. They mount into standard Decora-style wall plates for use in a wall, tabletop, lectern or floor box. The 45° Ethernet connector is said to enable simplified access from any side of the

electrical box while providing bend radius relief for category cables. The encoders feature a

DuetE-WP-BT and DuetE-WP-H single Ethernet port with internal VLAN tagging capability to separate audio and video network traffic as needed.

status information on primary and redundant power supplies when installed in a yellobrik rack frame (model: RFR 1000-1). www.lynx-technik.com

Ultra Encode family extends universal appeal CREATED FOR applications ranging from livestreaming and remote contribution to IP-based production and AV-over-IP, Magewell has introduced the Ultra Encode family of universal live media encoders. The flexible encoding hardware solution supports multiple encoding formats, including H.264, H.265 and NDI | HX, together with a wide array of delivery protocols.

Providing a balance between broader viewing device compatibility and higherquality/bitrate efficiency, Ultra Encode features H.264 and H.265 (HEVC) video compression for livestreaming deliver y. The new encoder also suppor ts a wide range of streaming protocols, including RTMP, RTMPS, RTSP, RTP, HLS and SRT (Secure Reliable Transpor t). Configurable

DESIGNED TO ease the process of controlling, configuring and updating the yellobrik line of throw-down bricks, LYNX Technik has introduced the Rack Controller to its catalogue of modular signal processing interfaces. The RCT 1012 is a “first-of-itskind” module allowing a facility to combine the control tasks for up to 12 yellobriks housed in a yellobrik rack. Bypassing the need to update, configure and set parameters of individual yellobrik modules, the RCT 1012 provides a bulk update method by using a single slot as part of a yellobrik rack system. Once the yellobrik rack controller is installed in a yellobrik rack, it automatically detects the USB-connected yellobrik modules and displays them in the APPolo software. The yellobriks can be visualised and controlled over the IP network via the rack controller’s Ethernet port connection. The RCT 1012 also detects

www.vsicam.com

LYNX Technik creates rack controller for yellobrik Series

Ross merges Acuity and Ultrix BUILDING ON its Acuity switcher and Ultrix routing and AV processing platform, Ross has also announced the release of its hyper-converged production platform called Ultrix Acuity. It takes routing, audio mixing, multiviewers, trays of frame syncs and audio embedders/de-embedders – all solutions that have traditionally filled multiple equipment racks – and compresses them all down to a single 5U chassis. Ultrix Acuity has been designed for environments where size really matters, such as OB vans and mobile units. Users can add 2U of rack-mounted redundant power and the result is a complete 7U system that can replace packages requiring multiple racks, complex cabling and control system integrations. As with the current Ultrix solution, Ultrix Acuity is based on the manufacturer’s Software Defined Production philosophy. The Software Defined Production Engine (SDPE) provides base hardware that can grow

via convenient and relatively inexpensive software licences. Ultrix Acuity’s SDPE backbone reportedly reduces the uncertainty around meeting future creative or technical requirements. Users can also transition from HD to UHD with a software licence and mix SDI and IP sources in the same frame

Ultrix Acuity

presets enable streaming to YouTube Live, Facebook Live, Twitch or custom targets with select protocols allowing simultaneous streaming to multiple destinations using independent encoding parameters for each stream. Combinations such as H.265 compression and the SRT protocol provide a secure deliver y of highquality, bandwidth-efficient livestreams. For IP production workflows and AVover-IP signal distribution architectures, Ultra Encode suppor ts second-generation NDI | HX, the lower-bitrate mode in NewTek’s NDI IP media transpor t technology. The bandwidth-friendliness of NDI | HX enables it to be transmitted wirelessly over Ultra Encode’s integrated Wi-Fi suppor t, maximising flexibility in onsite production and monitoring workflows. Ultra Encode units can be combined with Magewell’s multi-format

Pro Conver t decoders for end-to-end, live media transpor t in either NDI | HX or streaming formats. The Ultra Encode HDMI and Ultra Encode SDI models offer a choice of HDMI 1.4a or 3G-SDI input and loop-through inter faces. Both models can encode and stream content up to 1080p60 at bitrates up to 16Mbps, although the Ultra Encode HDMI also accepts 4K HDMI inputs, down-conver ting them automatically to HD. Embedded audio is complemented by analogue, linelevel audio input and output connections. In addition to Wi-Fi, the encoder offers an RJ45 Gigabit Ethernet por t for wired networking. The encoder can be configured and controlled via a browser-based web inter face or programmatically via HTTPbased APIs.

transparently. Ultrix Acuity can become one node of a larger distributed routing environment, reducing the incremental cost of adding I/O and further production switchers.

Replacing the current Tria Express launched in 2016, Ross Video has also unveiled the Tria Express Duet production server. Housed in a similar 2U chassis and built on the same video hardware as its predecessor, Tria Express Duet expands the number of possible video I/O configurations up to 15 channels. Two software options are available with the hardware: the TRIA-XD-2SW enables two symmetrical record/playout channels and the TRIA-XD-4-SW features these same two symmetrical record/playout channels with two additional playout-only channels. Tria Express Duet also features a built-in multiviewer which can be undocked and moved onto an extended desktop computer display. A two-channel Tria Express Duet can be upgraded in the future to four channels (two record/playout with two playout only) via a software licence.

www.magewell.com

www.rossvideo.com

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PRODUCTS

Magmatic adds cryogenic effects Opus works extended

ROCKET IS a line of CO2 cryogenic simulation effects from Elation’s sister brand Magmatic that produces dense white clouds of fog which engulf an area in a few seconds and also dissipate instantly, with each effect arrayed with high-output RGBA LEDs. Compared with traditional liquid CO2 or liquid nitrogen cryogenic effects, the Rocket series does not require high-pressure liquid CO2 or liquid nitrogen cylinders, making for a “safer, less expensive and faster setup that requires no local authority approvals”. Three Rocket series effects are available: Javelin, Sidewinder and Tomahawk. Javelin features 34 2W RGBA LEDs and can rotate 90° for horizontal or vertical bursts of fog. Sidewinder features 22 2W RGBA LEDs and can rotate 180° for multi-position bursts of fog. The maximum throw distance for both units is 6m with a 1,416m3 per minute output. The maximum continuous output is 10s on full and fluid capacity is 2.5l.

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Tomahawk provides 2,405m3 per minute output for wide coverage applications. It features 34 8W RGBA LEDs and can rotate 180° for bursts of fog in multiple positions. The maximum throw distance is 7.6m with a maximum continuous output of 12s on full. Fluid capacity is 5.6l. All three units include thermally protected heat exchangers and feature Advanced HPA (High Pressure Air) pump technology to reduce the risk of heater clogging and automatic selfcleaning and energy-saving auto shut-off (when no fluid is detected). On-board LCD touchscreen control panels come with manual and timer control options, intuitive DMX-512 and RDM control, and wired and wireless remote-control options. Javelin, Sidewinder and Tomahawk use Magmatic’s Atmosity effects fluid, a non-toxic and odourless fluid that dissipates fast and leaves no condensation on walls, floors or equipment. www.elationlighting.com

Telestream looks to the cloud TELESTREAM HAS announced a strategic collaboration with Skyline Communications which will integrate Telestream’s cloudbased video monitoring solutions with Skyline’s DataMiner network management, orchestration and operations suppor t solution. With this initiative, the two companies have integrated the new Telestream Cloud Stream Monitor ser vice to provide flexibility for validating and troubleshooting live as well as on-demand video streaming ser vices across the globe. The ser vice can deploy transpor t stream monitoring, leveraging Telestream IQ QoS and QoE solutions. This allows video providers to deploy monitoring for SRT or Zixi feeds, either as contribution streams to the cloud or across the global cloud backbones for global transit

of transpor t streams as a satellite replacement or augmentation strategy. The transpor t stream monitoring has the

AT-OPUS-RX41 NEW TO the Opus Series of 4K HDR integration products, Atlona has added a 4x1 HDMI HDBaseT switcher and receiver combination in the form of the AT-OPUS-RX41. Comprising three HDMI inputs for local devices and one HDBaseT input to receive video, the combination also accepts embedded audio, Ethernet pass-through, power and bidirectional control signals for distances up to 100m. Capable of displaying 4K/UHD HDR content from a centralised matrix switcher or one of the connected local sources, the AT-OPUS-RX41 supports 4K/UHD @ 60Hz with 4:4:4 chroma sampling and high dynamic range formats, such as HDR10, HLG and Dolby Vision. Extension of CEC as well as bidirectional IR and RS-232 signals over HDBaseT allows a control system connected to the OPUS-RX41 to select inputs on the matrix. Alternatively, it can manage its sources for the matrix to control the local room display. The US designer has also unveiled a Velocity System 10-inch touchpanel for integrations into lobbies, corridors or meeting space exteriors where a visual means of displaying room availability is required. The AT-VTP-1000VL features PoE connectivity and a 1280x800 native resolution screen with a capacitive glass surface for supporting multitouch use. The larger 10-inch size provides additional space for more

same global reach as the OTT monitoring ser vice across multiple public cloud providers.

The path is laid for pristine video HERALDED AS an AVoIP technology for allowing different video resolutions to be shared across different network bandwidths, Datapath has launched Aligo. Working seamlessly with Datapath’s Aetria solution, Aligo connects and shares video sources in any resolution without affecting the original quality. Aetria works in harmony with Datapath’s display processors in addition to third-party products, bringing control

complex user control of videowalls, high-density matrix switchers or audio DSPs. For adoption in either landscape or portrait orientation, bezel LED lighting surrounds the panel edge to create a visual representation of room status in scheduling applications. Scheduling and AV

AT-VTP-1000VL control GUIs can be automatically uploaded from the Velocity System hardware or software server gateway during system configuration. A dual-purpose wall or glass mount kit is included with the standard VESA 75 pattern providing compatibly with other options. An optional AT-VTP-VTM tabletop mounting kit is available for placement on a meeting table or lectern. www.atlona.com

Telestream has also announced that its Cloud Stream Monitor and Wirecast streaming solutions have achieved “SRT Plugged” status by successfully completing interoperability testing at the SRT InterOp Plugfest. The event is held annually for developers to test interoperability and compatibility between different technologies and vendors using the SRT protocol. Stream Monitor now enables users to monitor live video quality from streams transported via SRT. Tests confirmed interoperability with over 20 different SRT-enabled devices from a variety of market-leading encoding and content delivery systems. The latest Wirecast release was used as a live video contribution source via the SRT protocol. www.telestream.net

room design, management and monitoring solutions to a single, secure interface. Aligo simultaneously delivers 4K content across a 10G network and compressed streams on 1G infrastructures with sub-millisecond latency. The series currently includes the Aligo QTX100 quad 4K transmitter and the Aligo RX100 single 4K receiver with quad HD outputs.

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www.datapath.co.uk

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GV’s K-Frame in the Cloud CONTINUING TO expand its cloud-based live production portfolio, Ross Video has introduced a Software-as-a-Service (SaaS) version of its K-Frame switcher engine that runs virtually on the Grass Valley Agile Media Processing Platform (AMPP). K-Frame on AMPP expands the recently introduced GV Media Universe ecosystem by providing operators with the resources needed for professional media production in the cloud. With three M/Es and four keyers with 2D DPM per M/E, the solution uses the same UI and control surfaces as any other K-Frame solution. Stills and animations with fill/key including transparency also provide a production look that is reportedly easy to create, store and recall at the touch of a button from the hundreds of E-MEMs and Macros available. Kayenne, Karrera, Korona and KSP control surfaces maintain their performance regardless of whether they are tied to a physical frame or to GV K-Frame on AMPP. AMPP-connected solutions can also scale to as many instances as required without upfront buildout, allowing for flexible I/O with access to any source on the AMPP fabric. “For those operating our switcher technology, such as technical directors, much of the switching is done by muscle memory,” noted GV’s Marco Lopez, general manager for live production. “They know the panel so well that it’s like playing an instrument; their

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conscious attention can focus on the incoming video sources and cues to build a show, and the physical actions simply flow. With GV K-Frame on AMPP, users can immediately transfer that intuitive knowledge – along with their existing show files – to cloud-based video production.”

AMS Express The GV AMPP platform is cloud-native and cloud-agnostic, while supporting the secure processing of video/audio in the public cloud on any of the major platforms, in a private, on-premises data centre or in hybrid topologies. Users also benefit from responsive and frame-accurate, cloud-hosted performance – even when connected via typical residential internet – as a result of the manufacturer’s patented intelligent timing technology system. The broadcast solutions manufacturer has also introduced a scalable network attached storage (NAS) solution for content producers named AMS Express (Advanced Media Storage) that opens up shared storage capabilities for small- and medium-sized media operations. AMS Express works with GV’s existing editing and playout solutions and combines compute, network and secure storage capability in a compact 2U footprint. Offering up to 384TB of raw capacity (256TB usable), it is built on the StorNext operating system and comes pre-installed with Grass Valley software for tracking media assets. www.grassvalley.com

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FEATURING A host of new features, a simplified workflow and streamlined licensing, Christie has made Pandoras Box V8 software licence available for real-time video processing and show control. A single licence incorporates the full Pandoras Box software family feature suite in the delivery of media processing per formance in fixed installations, live events and other

entertainment environments. Designed to be simpler and more robust, the latest software supports NDI network streams, offers a comprehensive and deep implementation of Notch and accessibility to native Dante audio without requiring configuration. It can be paired with an existing custom setup or any Christie hardware, such as the Pandoras Box Server R5. The Pandoras Box software product licence incorporates Server, Player, Compact Player, Software Player, Manager and Educational licences. Features formerly only available with hardware and software combinations (Server) are now available to all software users operating with any custom hardware system. Ideal for content-heavy shows, the ingestion functionality promotes timesaving batch handling of multiple folders of image sequences. Benefits offered by the previous versions – including highframe-rate 3D stereoscopic video playback and processing, multi-user control, 64bit processing and 10-bit colour depth playback – are available in V8. www.christiedigital.com

Wireless presenting from WolfVision PRESENTATION AND collaboration solutions manufacturer WolfVision has added a wireless presentation, web conferencing and collaboration system to its line of solutions. The new Cynap Core Pro provides wireless screen mirroring capability combined with built-in web conferencing, annotation and a range of other popular collaboration tools. BYOD screen mirroring functionality allows for wireless screen sharing of all iOS, Android, Windows, macOS and Chrome OS devices onto a central shared display. Connection is said to be “quick and easy”, with support for AirPlay, Chromecast, Miracast and WolfVision’s own vSolution Cast mirroring protocols, which means that no additional software, apps or dongles are needed when sharing content onscreen. A suite of annotation tools enables markup of any open window, with the option to save the generated content. Other key features include support for Zoom, Microsoft Teams and WebRTC-based web meetings, plus a built-in media player allowing files to be displayed onscreen from network drives, cloud services, USB sticks, mobile devices or via the integrated Microsoft Office 365 interface.

For classroom, meeting room or cour troom installations requiring additional connectivity options, Cynap Core Pro includes an HDMI In por t, which can be used for connecting an inroom PC or camera. An optional lecture capture feature pack enables operation as a capture agent for Panopto, and other compatible video management platforms, and multiple Cynap Core Pro units can also be used as client devices as par t of WolfVision’s vSolution Matrix networked-AV multi-screen collaboration solution. Like other Cynap systems, the new model comes with 4K output resolution, up to a four-window onscreen display, and free firmware updates and remote management tools. www.wolfvision.com

LivePlus reports from home CANADIAN DEVELOPER Dejero has created the LivePlus for Windows app to simplify broadcast setups for reporters working from home. Journalists working remotely with a wired or wireless broadband connection can now transmit high-quality, live video up to 20Mbps while

simultaneously receiving two ultra-lowlatency return video and teleprompter feeds from a laptop. Dejero’s integrated Smart Blending Technology provides the option to blend Ethernet with a Wi-Fi connection. Access to a cellular network can be made with a Wi-Fi connection to a portable Wi-Fi hotspot device or a smartphone with a built-in Wi-Fi access point or personal hotspot feature. Reporters can receive up to two return video feeds simultaneously for programme video delivered via a Dejero CuePoint

return server. Delivering teleprompter and return video feeds with latency as low as 250ms, CuePoint combined with LivePlus for Windows assists on-air presenters synchronise with central production during live broadcasts. Providing confidence

monitoring and teleprompter scripts, presenters can view from a customisable user interface, while looking directly at the camera and adjusting oncamera positions to account for overlays and graphics. A bespoke display layout can be created on a second monitor or by moving or resizing the camera preview and the return video or teleprompter tiles around the screen. The app supports the use of an internal camera, an external USB webcam or the connection of an SDI or HDMI camera. www.dejero.com

May–June 2021 PRO AVL ASIA 101

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BUSINESS: ANALYSIS

Decisive manoeuvres

Third-generation custodians of the family business, brothers Daniel and Andreas had lined up a year of celebrations and innovations to commemorate Sennheiser’s 75th birthday in 2020. Then a gate-crasher arrived in the form of Covid-19, signalling an end to the party. Richard Lawn finds out what happened next AS PLANS FOR 2020 WERE PUT ON HOLD INDEFINITELY, Sennheiser published its financial results for the fiscal year 2019. Declaring a turnover of €756.7 million, earnings before interest and profit for the company were slightly down on the previous year. More significantly, and with refreshing candour, the company forecast a significant decline in turnover and earnings for the 2020 fiscal year. Citing the “accelerated dynamics” in the consumer headphone market and the long-term effects of Covid-19, Sennheiser announced that it would cut around 650 jobs by the end of 2022. Having identified potential weaknesses, the company was forced to regroup. By 2019, Daniel Sennheiser was convinced that he and his brother needed new perspectives to transform the company. In addition to being a late entrant in the development of wireless headphones, consumer sales had been disappointing. “Following a rather mixed fiscal year in 2019 and major challenges this year, we are adapting our organisational structure to the changing conditions,” the product designer and strategist said at the time of the report in July 2020. “Sennheiser will align it with the new requirements in order to position the company for a successful future.” Fast forward and the joint CEOs have announced a new focus that will garner greater independence for its business units. The pro business will be accelerated once a partnership – or acquisition – has been secured to strengthen the German brand’s market position in consumer electronics. “It is important to us that all business areas emerge stronger from the realignment,” comments Daniel who, having studied product design at university, joined the family business in 2008, initially to head strategic innovation. Prior to this, he had run his own agency and had been employed by multinationals such as Procter & Gamble, learning along the way that family enterprises have much to learn from other businesses. To achieve sustainable growth, Sennheiser aims to increase visibility in the consumer business. Despite this being a highly dynamic market with strong competitive pressure, both the soundbar and wireless headphone markets in particular offer significant growth potential. “Our products are known for the best sound and for delivering a unique sound experience,” says Daniel. “These crucial aspects are at the heart of the purchasing decision for our customers in the premium headphones, enhanced hearing, audiophile and soundbars segments. These are the strengths that we want to work with a partner to build upon.” A par tnership for the consumer business will enable Sennheiser to place its focus and resources on strengthening its pro audio, business communications and Neumann business units. Having earned a doctorate in supply chain management from the Swiss Federal Institute of Technology in Zurich in 2004, younger brother Andreas was initially responsible for lean management and strategic supply chain design. “In all of these areas we see great potential for growth but, at the same time, they are characterised by different customer groups, customer requirements, product life cycles and market dynamics,” he explains. “To be best able to exploit the potential in each of these markets, we are concentrating our own resources on these three business areas. In the pro world, Sennheiser stands for a superior audio experience, the highest reliability and the best customer understanding.”

L–R: co-CEOs Daniel and Dr Andreas Sennheiser Here, Sennheiser plans to independently invest in its sound competence as well as in its market presence and visibility. The company has forecast that this will allow it to continue to grow at an above-average rate and to further expand its position in the global market. The business communications market in particular offers significant opportunities for growth that Sennheiser intends to capture. “By nature, we need to collaborate with other companies to create a solution for our customers,” continues Andreas. “We already benefit from many collaborations for the existing Team Connect 2 product range, including Microsoft Teams certification. In addition, our technology has to work seamlessly with Crestron and Extron control inter faces.” The growth of this professional segment cannot be underestimated and looks set to surge long into the future. “Touchless audio has been driven by the pandemic, but our customers want to walk into a meeting room and not have to fiddle around with microphones and inputs,” adds Daniel. “Further opportunities exist to increase our market share within business communications. Therefore, we have already started to create a dedicated sales force and Sennheiser will expand the portfolio by investing in product development to create real solutions such as improved connectivity for the end user.” The brothers firmly believe that the implementation of their current strategies in all four segments will yield success. “As much as we can grasp the growth opportunities, we need to stay close to all our customers right now,” explains Andreas. “For example, the live rental market was decimated last year. The investments that we make during the current situation will pay off at a later stage. The live sound industry will come back to life but, in the meantime, our other business sectors are doing really well. Covid-19 can be credited for the significant rise

in demand of recording studio upgrades from artists who could no longer per form live. On the home recording side with the Neumann brand, 2020 was a great year for us. You cannot expect all four sectors to be booming at any given time.” Andreas credits Covid-19 as a catalyst for new technological developments. “Today, we are all much more used to virtual meetings, but the technological demand has extended beyond the immediate business communications sector,” he emphasises. “Universities and academic centres have equipped their lecture halls with microphones for streaming to students at home. New hybrid formats mix live per formances onstage with broadcast streams. Academic facilities, houses of worship and live events will extend their audiences and increase their profitability in future. This will greatly benefit everyone in the professional AV industry.” Sennheiser is now searching for a strong partner that shares its strategy and vision within the consumer business. “With that, we will have everything we need to succeed,” concludes Andreas. “With greater brand visibility and additional marketing capabilities, we will be better equipped to play to our strengths, and this will further benefit our customers. We always focus on the needs of our customers and will continue to do so in the future.” The Sennheiser brothers may not have grown up on the factory floor, but their combined experience and vision betrays that of a typical family-owned setup. Sennheiser has reinvented itself and rapidly adapted to the demands of the highly dynamic market. Rather than rest on the laurels of their rightful heritage, the brothers are making bold decisions that will take their professional and consumer divisions to the next level. www.sennheiser.com

102 PRO AVL ASIA May–June 2021

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BUSINESS MUSIC

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