With the recent talk of AI taking over our creative endeavours, I thought I’d try it out on an aspect of journalism that can be somewhat challenging: the art of headline writing for features. I’m not talking about simple headers for brief news stories, but for longform features, which require a succinct, witty collection of carefully targeted words summing up the content perfectly while providing a touch of humour. Some people excel at this, coming up with clever, relevant headlines on a regular basis, while others err towards mediocrity, with the occasional lucky stroke of genius.
So I turned to ChatGPT to suggest a couple of headlines for this issue. Its first instruction was to come up with a short headline for the recent Lollapalooza festival in Mumbai (p50). The result was underwhelming.
“Lollapalooza rocks Mumbai streets!” the algorithm crowed, completely overlooking the
fact it took place on a racetrack. I’d already this as a working title and was hoping for an
less accurate than) those of us on the most uninspired of days.
Undeterred, I turned to another Indian feature, this time about a new branch of the successful subcontinental bar/restaurant chain, Social (p54), anticipating a clever play on the brand name. “Social sizzles in Delhi” it said, revealing a somewhat formulaic approach to the art. When I hit the regenerate button for another option, it pondered for a while before announcing it was unavailable.
An interesting experiment, but I don’t think I need to worry about that aspect of my job just yet.
Richard Lawn General manager rlawn@proavl-asia.com
Simon Luckhurst Senior reporter sluckhurst@proavl-asia.com
Nick Smith Digital media manager nsmith@proavl-asia.com
Sue Su
Guangzhou manager T: +86 13609001455 ssu@proavl-asia.com
Sue Gould Advertising director sgould@proavl-asia.com
Karen Wallace Editorial coordinator kwallace@proavl-asia.com
Chris Yardley Video editor cyardley@proavl-asia.com
Frank Shao Beijing manager T: +86 10 8652 5184 frank@proaudioasia.com.cn
Carolyn Valliere Sales associate cvalliere@proavl-asia.com
Libby Stonell Digital content editor lstonell@proavl-asia.com
Adrian Baker Production manager abaker@proavl-asia.com
Marne Mittelmann Circulation manager F: +65 6491 6588 circulation@proavl-asia.com
of amazing installations it has completed all over the globe,” said Lila Snyder, CEO of Bose Corporation. “The sale to Transom will provide Bose Professional the additional attention it needs to support the professional audio customer, and to continue to develop products and technologies that stand out in the industry. It will also allow Bose to focus more deeply on our core business.”
“Bose Professional’s tenure in the professional audio business, its standout
product portfolio and customers, as well as its team dedicated to researching, engineering and delivering new and innovative products, made it a compelling business for us to bring into our portfolio,” said Russ Roenick, founder and managing partner at Transom. “We are working closely with Bose to ensure business continuity for Bose Professional going forward, and we look forward to continued success for the business as an independent company.”
Bose Corporation, a US-based multinational company, has announced the sale of the Bose Professional Division to Transom Capital Group, an operationsfocused middle market private equity firm. With this deal, Transom will assume ownership of the Bose Professional
commercial installation and conferencing businesses. Bose will retain its portable PA systems as part of its core consumer product business.
“We’re proud of what Bose Professional has accomplished – its legacy in the professional AV market and the diverse list
Solid State Logic (SSL) has announced its acquisition of US-based pro audio console and music production software manufacturer, Harrison. Since 1975, Harrison has been one of the leading console brands for music recording/mixing, film and television sound postproduction, cloud-based broadcast sound and live sound reinforcement. It is credited with bringing the first in-line console to market, which was said to “revolutionise” studio production allowing engineers to combine the features of recording and mixing into a single mixer strip.
Nigel Beaumont, Solid State Logic MD, commented: “Having been on our own growth journey these past five years since the investment from Audiotonix, the announcement today is a proud moment for all our staff as we now welcome the Harrison team to our SSL family. It’s been clear from the outset that Gary [Thielman] and his colleagues have a passion for console design and their aspirations align with our own.”
Enrique Perez, Solid State Logic CTO, continued: “Like SSL, Harrison has utilised their console heritage and know-how to create a range of plugins and the MIXBUS DAW, plus they have
developed audio processing in the cloud. This all sits well in terms of knowledge share and resourcing for the future as we align our hardware products and software solutions.”
Gary Thielman, Harrison president, stated: “Having been part of this business and the pro audio industry since the early 80s, it feels very apt that we would find our natural home with Solid State Logic and Audiotonix. This alliance provides Harrison a strong future with access to further manufacturing, knowledge in engineering and expanding our access to new channels and partners which increases our potential to grow this wonderful business.”
CHINA
ROE Visual has moved its LED production and production-related departments to the Unilumin Daya Bay Technology Park in Huizhou, China. The new location was officially inaugurated on 30 March with a festive celebration for the ROE Visual team. This upgraded production hub aims to enhance efficiency, allowing room for growth as the company expands.
ROE Visual’s independent new factory and base spans over 16,000m 2 of office and manufacturing space. ROE now has access to various facilities, such as a reception, lobby, production lines, showrooms, conference rooms and office spaces, all spread over seven spacious floors. The
new facility was said to be developed based on strict sustainability principles and responsible entrepreneurship.
“Opening this factory marks an important step toward the future. Not only are we assured of room to grow, but we can also further improve
“We’re excited about the new opportunities this will enable us to explore,” said Michael Bennett, CEO of Bose Professional. “Our customers are the key reason we develop systems that are easy to design, easy to install and easy to operate. As the pro AV industry continues to evolve, our focus is on ways to help our customers be more successful and clear the path to great sound.”
www.boseprofessional.com
www.transomcap.com
James Gordon, Audiotonix CEO, added: “From an Audiotonix perspective, it’s a privilege to help bring this unique partnership together with these two legendary UK and US mixing console brands. With their very individual and identifiable sound, their future together is going be unbelievable. What’s great too is that Harrison and Solid State Logic share a similar culture where their teams are personally invested in this industry, so I’m excited to see what new innovations and products this supergroup of technical talent can bring to market.”
www.harrisonconsoles.com
www.solidstatelogic.com
our R&D and production processes. Innovation and the use of advanced technology have always been the basis for our success, and it’s wonderful to see how the move to these new premises causes such positivity, enthusiasm and lots of ideas in our team,” stated Jason Lu, founder and general manager at ROE Visual. He continued: “With the headroom we now have in our production lines, the new facility will allow us to respond to our customers’ demands even better, leaving room for growth. We are true to our philosophy and goals, meeting customers’ expectations and creating the ultimate visual experience through our LED solutions.”
www.roevisual.com
Time is measured differently on set. Seconds converted into frames, minutes into card space, hours into precious remaining daylight. EW-DP will change the way you think of sound on set. A wireless microphone system that puts time on your side by blending best-in-class technology with an ergonomic build.
Whether you’re a crew of one or many, EW-DP is the ideal partner to simplify your audio workflow. After all, production has enough challenges; sound doesn’t need to be one of them.
www.sennheiser.com/ew-dp
Marking its 45th anniversary, loudspeaker manufacturer Genelec has launched the Genelec 45 World Tour. The extensive tour will combine demonstrations of Genelec studio monitors with a programme of premium learning and listening experiences for audio professionals, sonic creators and audiophiles across the globe. Central to the tour is the Genelec | Experience series of premium events, which includes face-to-face listening sessions at the manufacturer’s growing international network of experience centres, complemented by hybrid and virtual events, regional partner events and traditional tradeshows.
For those that can’t attend the Genelec | Experience in person, the company will also be making full use of its digital channels throughout 2023 to deliver a programme of online masterclasses, tutorials, webinars and informal knowledge-sharing sessions, while the new
Genelec Virtual Showroom allows customers across the professional audio monitoring, AV installation and home audio segments to access Genelec information and resources. Additionally, the Create With Genelec loan campaign will be run in selected territories to allow audio professionals, creatives and music educators to
Following the initial PAVA Facilities collaboration that saw five professional audio manufacturers develop what was said to be the first-ever multimanufacturer voice alarm solution that fully complies with EN 54-16, both LEA and d&b audiotechnik have now joined to achieve their EN 54 certification. More
EN-54 16 certification on an individual basis. “We started the PAVA Facilities project to level the playing field between manufacturers,” explained Roland Hemming of RH Consulting. “It’s been a huge success so far, as we have given more companies a means of achieving EN 54-16 certification for their products,
a company legacy, but none of this would be possible without our customers,” commented Genelec managing director Siamäk Naghian. “So we want to use this anniversary year to
look forward to the future and empower and celebrate the people that create and love sound and music.”
The final element of the tour is the Genelec | Harmony Tracks global music collaboration, which encourages greater end user engagement. Genelec | Harmony Tracks invites participants to submit a piece of music using their own style, sound and local culture to create a new and unifying patchwork of international musical harmony. The contest winner will receive a pair of Genelec 8330A studio monitors as a prize, and for every song entry submitted, Genelec will donate money to the charity Music Fund. Genelec will also be encouraging regional partners to get involved – with the goal of collecting and redistributing 45 different types of instrument globally.
www.genelec.com
Marshall Electronics has announced a collaboration with Audinate, developer of the Dante AV-over-IP solution. As part of the collaboration, Marshall will integrate Audinate’s Dante AV-H to its line of AV-over-IP (H.265/H.264) camera offerings.
manufacturers are positioned to join in the near future.
When the EN 54-16 voice alarm standard was launched in 2008, it was designed for companies who only made the entire system. Since then, the work PAVA Facilities has been doing has allowed over 40 products to obtain
allowing them to be sold in the European market. Specifiers can now build EN 54-compliant systems using a range of products from different manufacturers, which is far healthier for the professional audio industry.”
www.pavafacilities.com
“Marshall has been speaking Dante on the audio side of our business for some time with audio rack monitors. Now with the development of Dante AV-H, adding video to the equation is something we had to participate in,” said Tod Musgrave, senior director of cameras at Marshall. “Dante AV-H was designed as a high-performance network solution where low latency and ultrahigh video quality matters, which is exactly where Marshall IP cameras have matured over the past 12 years, making this an ideal partnership extension.”
“We’re thrilled to have Marshall Electronics adopt Dante AV-H,” said Wim Roose, senior product manager at Audinate. “Their exceptional quality cameras combined with
Dante AV-H’s flexibility and ease-of-use offers the market a high-quality, versatile solution for video workflows.”
Dante AV-H is to be ready and accessible from Marshall IP cameras in June starting with the CV730-BK/WH, CV355-30X-IP, CV420e and CV420-30X-IP, followed by the new CV630BI/WI platform, releasing in early August.
www.audinate.com
www.marshall-usa.com
Robert Bosch (Southeast Asia) hosted a successful Bosch Partners Meet event at the Ramada Singapore Zhongshan Park hotel. The meetings with local partners covered the latest technological developments in pro sound, public address and conference systems. The sessions focused on business and organisational updates, with product demonstrations including hybrid meeting functionality on the Dicentis Conference System including a bespoke 10-inch Delegate touchscreen, developed specially for the Indian Parliament. The Dicentis system has been upgraded with an Omneo transmitter. In addition, the Everse-8 battery-powered and Evolve 50M column speaker systems together
4Ω and 100V line mode with and without subwoofers.
Bosch senior manager Patrick Hau was joined by sales and marketing manager Jeremiah Joseph for the day’s event. “The sessions included a demonstration of Dynacord Sonicue software for systems integrators and sound engineers,” explained Hau. “Connected to the Dynacord MXE5 Matrix mix engine, the Praesensa PA system may override the live sound systems, broadcasting pre-recorded messages, live announcements or emergency alerts to both Bosch PA and Electro-Voice speakers.”
www.boschsecurity.com
“With the event and entertainment industry ramping back up at breakneck speed post pandemic, the Harman Connect Day 2023 in Jakarta is the perfect time to showcase our solutions for sectors such as Hospitality (AVL), Touring and Corporate,” said Amar Subash, vice president and managing director of Harman Professional, Asia-Pacific and India.
“Southeast Asia is a very important market for Harman Professional and Indonesia is at the core of our strategy. This event showed once again Harman’s commitment to our customers in this market. It’s clear that there is an appetite for our brands and solutions and this event was a fantastic opportunity to further engage with customers in Indonesia,” said Harman’s channel sales director for Asia Pacific, Nick Screen.
Day were said to be very timely, coinciding with the return of theatre, concerts and other live performances. There are also plans to grow the local Indonesian sales team to ensure service and support standards remain sufficient for partners and customers.
Harman distributors from across the APAC region also gathered in Singapore to meet with Harman Professional’s president, Brian Divine, senior vice president for global sales, Jaime Albors and senior vice president for global product development, Andy Flint.
The Harman Professional leaders led an inperson Partner Townhall to share updates on key wins, supply chain and the company’s new product roadmap, as well as to collect feedback from Harman’s partner network on trends in their markets.
The first Harman Connect Day of 2023 kicked off at Indonesia’s Pullman Hotel, Central Park on 9 March. The event welcomed hundreds of guests representing dealers and systems integrators that offer solutions for professional audio,
video and lighting systems in Indonesia. Highlights of the event included the official launch of the JBL SRX900 series of line array loudspeakers and the debut of the next generation of AMX video and control products.
Indonesia is set to grow exponentially, particularly in the MICE sector, with revenue in the event tickets segment projected to reach US$306.1m in 2023. A further revenue growth of 6.9% is predicted for 2024. As the world returns to normal after the pandemic, tourism and entertainment sectors are also steadily recovering. These launches at Harman Connect
ALC NetworX, developer of the Ravenna audio-over-IP technology, has welcomed Netgear to the Ravenna community. Under its Netgear AV brand, Netgear is offering AV-over-IP and wireless networking solutions for the commercial market.
Netgear’s Laurent Masia, director of product line management for managed switches, commented: “We recognise the importance of key affiliations and associations that make the pro AV industry work.”
ETC’s flagship line of lighting control consoles offers a sleek control interface engineered for your comfort and customization. With generous programming surfaces and the power to run complex rigs, Eos Apex is the ultimate hands-on, professional workspace –powered by the ultimate control platform.
etcconnect.com/Eos
visual environment technologies | etcconnect.com
Divine shared: “At Harman, we believe in taking that extra effort to gather feedback directly from our customers so that we can better understand their future needs, regional industry trends and get feedback on our recently launched products.”
pro.harman.com
luxury of complete control.Brian Divine with Harman’s APAC team
Sennheiser and Lumens have announced a collaboration that will see the integration of the former’s TeamConnect Ceiling 2 (TCC 2) microphone with the latter’s USB PTZ cameras. The combined solution is described as “delivering a leap forward in hybrid meetings,” with remote delegates and satellite offices benefitting from a “greatly enhanced experience”.
“We are very pleased that Lumens has added support for our TeamConnect Ceiling 2 microphone to their innovative CamConnect software,” said Charlie Jones, global alliance and partnership manager, Business Communication, Sennheiser. “It’s incredibly important for meeting attendees to have the ability to easily follow the conversation they are hearing through our best-in-class ceiling microphones like the TCC 2. When you combine the TCC 2’s dynamic beamforming technology with Lumens’ USB PTZ cameras
experience that ensures everyone to enable the in-room PTZ camera presenter. This means that remote delegates can immediately identify rather than watch a wide-angle view no cost from the Lumens website. The application runs in a standard Windows environment and supports optimised hybrid teleconferencing.
directly from the global sales networks of Sennheiser and Kramer respectively.
Gilad Yron, CEO of Kramer, said: “It’s a beautiful experience when two audiovisual heavyweights like Kramer and Sennheiser come together to create a solution that transcends our respective specialisms. This combined expertise will help to power creativity, collaboration and engagement within both meeting and education spaces worldwide –and with a wealth of innovations from both companies already shaping the audiovisual experiences of the future, we hope this is the first collaboration of many.”
www.kramerav.com
www.mylumens.com
www.sennheiser.com
DSP20-AEC audio matrix switcher,
Broadpeak has announced that GTPL Hathway Limited (GTPL), the largest multiservice operator (MSO) in India, has deployed a comprehensive video streaming solution from Broadpeak for OTT delivery. Using
“We serve approximately 11m cable TV households in more than 1,400 cities across 22 key states in India,” said Aniruddhsinh Jadeja, managing director at GTPL. “Finding an opex-friendly solution for high-quality video streaming was imperative, and Broadpeak met all of our requirements, providing us with an entire streaming suite including CDN, Origin Packager, cache servers, analytics, monitoring and managed services. With Broadpeak’s video streaming solutions, we can easily identify data patterns and predict end user behaviours to enable capacity planning and to improve our subscribers’ quality of experience and
“We’re thrilled to partner with India’s largest MSO and further strengthen our presence in South Asia,” said Jacques Le Mancq, CEO at Broadpeak. “By managing GTPL’s OTT service delivery, with 24/7 support, Broadpeak is helping to ensure increased business growth and success for one of the biggest television providers in India.”
www.broadpeak.tv
Chauvet has acquired LynTec, a global supplier of electrical power solutions for lighting, video and audio systems. Founded in 1982, Kansas-based LynTec is widely known for its lighting
company’s ongoing commitment to improving its products and level of service to customers. In this respect, it mirrors the same values that have powered the growth of Chauvet.”
control panels, with these products installed in well over 10,000 sites throughout the world.
“With the addition of LynTec to our group of companies, we will be able to offer our customers a complete solution that embraces lighting, video, show programming and control at every level from the creation of a design to the control of power at an installation,” said Albert Chauvet, CEO of Chauvet. “We not only value LynTec for its technology, we’ve also been very impressed by the
“We are very excited to be joining the Chauvet family based on our shared commitment to providing excellence to our customers in all facets,” said Mark Bishop, president of LynTec. “The synergies between the two companies will enable us to continue developing outstanding products while providing unmatched customer service and project solutions for our current and future customers.”
www.chauvetlighting.com
engine integration, practical lighting and cinematography.
With brands and marketers moving away from traditional digital experiences, Aux Media Group saw an opportunity to
brands a unique platform to showcase their products and services in a way that is both memorable and impactful. The studio combines technology with creative design to deliver a more engaging virtual
the only certified training facility for disguise’s Virtual Production Accelerator Program,” said Choong Chyi Kei, CEO and founder of Aux Media Group.
“Our studio and training programme is designed to bring people together, even when they are physically apart, and provide an unforgettable virtual experience. We have also dedicated ourselves to fostering future talent in the next generation with the skills and knowledge they need to succeed.”
with real-world on-set experiences to give trainees a true representation of the demands of virtual production. Designed to provide training to individuals of all skill levels – from student novices to seasoned professionals – the programme will help participants hone their skills in volume control operations, virtual art department integration and hands-on practice shoots.
The programme is taught in three phases – Learn, Classroom and Accelerator. In the Learn Phase, students can access online courses to learn real-time fundamentals in Unreal Engine. Next is the Classroom Phase, which involves hands-on, instructor-led training for more advanced concepts. The final stage, the Accelerator Phase, involves a four-day immersion experience where trainees participate in a pre-planned film shoot. This stage allows participants to experience various roles on-set, including disguise operations, game
revolutionise virtual events for marketers and content creators to connect with their audience in a more immersive way. Unveiled in 2020, Aux Immersive Studio combines Extended Reality (XR) technology and game engine systems to merge physical and virtual events, offering
event experience – viewers can witness both life-like sets and CGI animations alongside the performer or presenter, providing a 360° viewing experience with 3D visuals.
“We are thrilled to expand the use of our immersive studio further and become
The Virtual Production Accelerator Program runs in the third quarter of 2023, with classes scheduled every quarter.
Aux Media Group has also recently signed an MOU with New Perspective Korea. The company’s notable projects encompass the inauguration of Korea’s 20th President in 2022, XR concerts for famous K-pop artists like NCT Dream and aespa in partnership with LG U Plus, and Ailee’s 10th anniversary XR concert.
“We are thrilled to partner with New Perspective Korea and learn from their expertise in the virtual production industry. This partnership will allow us to expand our offerings and provide even better services to our clients. We look forward to exploring new opportunities and pushing the boundaries of what’s possible in virtual production,” added Choong.
www.aux.com.sg
Proel has signed an exclusive distribution deal with Basshead for the Philippines, which will see the distributor offer Proel Sound System, Proel Commercial Audio, Proel Stage Equipment, Die Hard (DH), Italian Stage, Axiom, Tamburo, De Salvo and Eikon Audio.
Chandan Mahtani, MD at M-Global, the agency which facilitated the deal, said: “A big plus point is that they do not distribute many other brands, hence putting focus and strategy as a priority towards the Proel’s umbrella of brands.
To top it off, Basshead have invested in a Proel Experience Centre in Manila where clients can actually have a touch, feel and even demo any products they want in the most suitable environment with the assistance of the trained team on the ground.”
Following discussions with Gabriella Di Giminiani, export area manager at Proel,
over a few years, Mahtani made a visit to Basshead and agreed to begin the distribution in 2023. Since the deal was put in place, the Proel brand has been specified in various potential projects and Mahtani said he is looking forward to them “bearing fruit”.
As well as the investment into Manila’s Proel Experience Centre, Basshead has hired dedicated staff for Proel brands and is in the process of arranging roadshows in which it can train dealers. Mahtani said:
“I appreciate the transparency between Marcel Yu [MD of Basshead] and us, which eliminates doubt. I like the fact that Basshead is all in and committed. They do not just carry a few SKUs, they carry and distribute a wide range of products in all of our brands which makes the Proel Experience Centre in Manila worth its investment.”
Professional Audio & Television (PAT) has been selected as an authorised Riedel reseller in New Zealand and Australia for Riedel’s Intercom products, such as ARTIST, BOLERO and the full range of SmartPanels. Over the last couple of weeks, PAT has already supplied two Riedel Intercom systems to customers in New Zealand.
The first system was a Riedel Bolero wireless intercom system delivered to New Zealand company Theatrical Solutions. Theatrical Solutions provides a range of qualified technicians from electrical and mechanical engineers, fabricators
Espen Brynildsen, technical solutions manager for Riedel Communications in Australia, said: “We are delighted to have been selected by Theatrical Solutions and Whakaata Māori. Partnering with PAT was an easy decision for us, as we needed a local and pro-active partner who is customer focused. PAT have already shown that New Zealand is an expanding market for Riedel and we are looking forward to a long cooperation with the PAT team.”
Mike Heard, senior solutions architect for PAT, said: “Riedel’s incredible pre- and post-sales support matches the outstanding quality, ease of configuration, setup and
Yu said: “We are excited and honoured to be working with Proel and M-Global to develop the brand in our country and we are expecting a long and fruitful partnership. With the brand recognition and diverse product portfolio of Proel, it will open up a lot
of opportunities for us to tap into different market segments and further develop our presence in the local pro audio industry.”
www.basshead.ph
www.proelworld.com
designers and developers, project managers and theatre consultants.
The second system was sold to Whakaata M āori (formerly known as M āori Television) after it took the opportunity to review its current technology platform against some of the other options available on the market today.
sales and technology teams have all been trained at Riedel in Sydney and are ready to hit the ground running. We are looking forward to servicing the local customers, while growing Riedel’s footprint in the market.”
www.proaudiotv.co.nz
www.riedel.net
Ayrton has announced the appointment of Inti Megah Swara (IMS) as its new, exclusive distributor for Indonesia. IMS will be responsible for the sales and rental of the entire Ayrton product range in Indonesia.
Established in 2000, IMS is the official distributor of many international brands of audio equipment, with a strong retail presence of approximately 40 Desound and JBL stores located across Indonesia. The company also has branch offices in Bandung, Surabaya, Makassar, Manado, Malang and Bali.
“There is a rapidly increasing market for professional lighting products in houses of worship, hospitality venues like cafés and restaurants, and entertainment industries including ballrooms, function halls, theme parks, theatres, clubs and television stations,” said IMS’s Irvana Theo. “In addition to this, we have identified a growing demand in Indonesia’s professional lighting market, especially with the post-pandemic boom in events and concerts. We believe
that Ayrton’s innovative product design and wide range of lighting solutions will satisfy the market needs across all the variety of installations and projects we handle in Indonesia.”
Ayrton has also announced the appointment of MQ Lightings as its exclusive distributor for the Philippines. Established in 1987, MQ Group serves as the official distributor and systems integrator for over 40 global brands of photographic, video, broadcast/livestream and stage equipment for the Philippine media and entertainment industry.
MQ Lightings’ product and marketing manager, Christian Ong, said: “We intend to develop the Ayrton brand with open house demos, private demos and roadshows and will be very active with our social media marketing. We feel the Ayrton products, with their very diverse range and versatility, will help to fill a significant role in our stage lighting projects.”
www.ayrton.eu
The Q-SYS NV-21-HU is a two input, one output device that simplifies end user connectivity with a single cable connection for video distribution, audio and video bridging and charging via USB-C. It’s softwareconfigurable and can be defined as an encoder or decoder maximizing flexibility and eliminating unnecessary cables and adapters. As a native Q-SYS device, the NV-21-HU enables frictionless no-code deployments by combining audio, video and control.
Analog Way has announced the signing of an exclusive distribution agreement in Vietnam with Acoustic & Lighting System, which specialises in the full spectrum of audiovisual and lighting solutions, from design to supply, integration and after-sales support. The companies already work together as Acoustic & Lighting System is the
feedback. The support from Analog Way’s team has been great and we’re excited about this partnership and growing the market together.”
“Given the current AV landscape in Vietnam, we see A&L as the best partner for Analog Way to drive our business plans in this part of the region,” said Jez Lim, Analog Way’s regional channel manager for Asia.
exclusive distributor of Analog Way in Malaysia, where they organised a product showcase and certification training for operators in February. At this event, individuals from the rental and staging industry, as well as consultants and systems integrators, participated in presentations showcasing the latest Aquilon, Alta 4K, Eikos 4K and RC400T products and were also able to handle the products.
“We had a great time reconnecting with the existing community of Analog Way in Malaysia, along with some new faces as well,” said Michelle Yeo, business development director of Acoustic & Lighting System. “We introduced them to the new product lines and heard useful
“The Vietnamese market is an untapped opportunity for high-quality image processing hardware that is often overlooked,” said Eugene Yeo, general manager of A&L. “We are happy to represent the brand in Vietnam.”
Benjamin Lee, who leads the Acoustic & Lighting System team based in Vietnam, concluded: “Introducing Analog Way into the Vietnam market will create a paradigm shift in how image processing is perceived and how solutions are created. We look forward to introducing these products to our client base here in Vietnam.”
www.acousticlighting.com
www.analogway.com
Xilica has announced a distribution agreement with Versatech International to cover the Philippines. With significant growth in its enterprise, education and government business, this new partnership with Versatech is a continuation of Xilica’s investment in growing market share in its core markets and deepening relationships with resellers across the Philippines.
As part of the new agreement, Versatech resellers have access to the benefits of Xilica One. Resellers participating in Xilica One can leverage stepped benefits across Authorized Reseller, Silver Partner, Gold Partner and Platinum Partner status, as their relationship with Xilica continues to grow.
“Adding Xilica to our portfolio of communication products enables Versatech resellers to offer powerful audio solutions for medium, large and specialty rooms that can be deployed over standard IT infrastructure,” said Stephen Yu, president of Versatech. “We’re excited
about the difference Xilica’s products can make to our resellers serving the corporate, education and government markets.”
Continuing its commitment to expanding its distribution network and to better serve its customers and partners in the region, Sennheiser has also appointed Versatech International as its exclusive distributor for the manufacturer’s Business Communication products in the territory.
John Oh, sales director for Sennheiser Business Communications in Southeast Asia, said: “The pandemic has demonstrated the key role that audio plays in a virtual or hybrid setup, which has created a huge demand for high-quality conferencing solutions suitable for meeting rooms, lecture halls or collaboration spaces.”
www.sennheiser.com
www.versatech.com.ph
www.xilica.com
Bosch Communications has signed a distribution agreement with Promedia Innovative Solutions (PIS). Bosch hopes to boost the visibility of its professional audio portfolio across the archipelago immediately.
“We have been looking for a reliable audio brand to add to our portfolio for some time, and I am delighted to make this announcement,” said CEO Yosua Yan Heriyanto. At its Citypark Business District location in West Jakarta, the Dynacord and Electro-Voice brands join Tascam, d&b audiotechnik and beyerdynamic within the PIS portfolio.
“Both Dynacord and Electro-Voice, which date back to 1927 and 1945 respectively, are well-known brands in Indonesia. Their price performance attributes are legendary, as is their dependability. Electro-Voice RE microphones and EVID speaker systems are industry standards, while Dynacord’s latest L-Series digital multichannel amplifiers have
Bosch country sales lead, Ronald Rusli, said: “We are excited to work with Yosua and his team. Their marketing channels are impressive, and we are confident that we will benefit from significantly increased market exposure. We also provide technical designs, 3D simulations and documentation for our distribution partners’ sales efforts to better support them.”
As the Indonesian government pushes forwards with its “Made in Indonesia” campaign, the certification of all imported electrical products has become more stringent. “We’ve been hampered in our sales efforts by red tape,” Heriyanto added. “Our partnership with Bosch has freed us from these administrative duties as they have a department that is dedicated to documentation of all their imported products.”
www.bosch.com
www.promediasolution.com
Kramer has announced its expanded distribution partnership with AVA Distribution (AVAD), an audiovisual distributor headquartered in Brisbane, Australia.
With this new partnership, AVAD will market, distribute and support Kramer’s entire portfolio while delivering audiovisual experiences through its wide network of resellers, integrators, consultants and installers across Australia.
The partnership falls under Kramer’s new ENGAGE Partner Program, designed to enable its network (of partners) to “grow, accelerate, gain and excel”. Accredited partners have access to various benefits and incentives such
as marketing development funds and special equipment discounts.
Marc Remond, Kramer president APAC, said: “We are very excited to partner with a value-added AV distributor such as AVAD to strengthen our position as a leading professional AV vendor in Australia. AVAD’s team is extremely professional, and the
Since 1993 our products spread all over the world, installed in prominent institutions, theaters, operas and in various international broadcast stations.
pro AV market.”
He continued: “Thanks to this close partnership, both resellers and customers will gain access to Kramer’s secure and reliable products along with the technical support, training and programming services they need
to ensure their technology deployments are successful and provide the best possible return on investment.”
Santo Pappalardo, managing director at AVAD, said: “We have been a Kramer distributor since 2016 and are delighted to have been chosen to become their principal distributor for the new ENGAGE Partner Program. Kramer delivers a complete range of innovative products designed to help our pro AV resellers create the absolute best audiovisual experiences.”
www.avad.com.au
www.kramerav.com
Jands, the well-known distributor of audiovisual technology solutions in Australia and New Zealand, has announced that its eight-year distribution partnership with Ampetronic will extend to commercial integration markets throughout New Zealand.
Ampetronic business development manager, Andrew Attard, said: “Jands have been an integral part of the international success and reputational growth of Ampetronic for the past eight years. Their commitment to providing the best possible quality solution to our customers has been monumental. We pride ourselves in providing the most meticulously engineered products to ensure that those who are hard of hearing feel included in their daily lives.
Jands are an extension of our team, and we are very excited to share the same passion and commitment in New Zealand.”
Maldwyn Greenwood, technical manager at Jands New Zealand, said: “Over the years that I’ve worked with Ampetronic, I’ve come to really love the brand but more than anything the mission the brand stands for, and its drive to provide a genuine benefit to others in need. This has extended into my thought process over the years, and it’s driven me to help people understand the need for hearing assistance that works for the end user and not just the tick on the box for compliance.”
www.ampetronic.com
www.jands.co.nz
Lawo has announced the appointment of Mahajak Trio Electronic (MTE), which will distribute its full range of audio production, radio and IP-based audio/video products in Malaysia.
“The timing was right for appointing Mahajak Trio Electronic to represent Lawo’s expanding IP portfolio,” commented Lawo’s Asian sales director, Boon Siong Tan. “After careful consideration, I’m delighted to confirm our partnership with Mahajak Trio Electronic for Malaysia’s increasingly sophisticated IP technology markets. Lawo has been a recognised brand in the country for two decades with clientele such as Astro and Media Prima, but I am confident that Mahajak Trio Electronic will take Lawo to the next level.”
Founded in late 2010, MTE was formed as a joint venture with the Mahajak Group of Thailand. “We are confident that IP-based products will define the future landscape of media broadcast technology investment here in Malaysia,” explained Mahajak Trio Electronic managing director David Yap. “The combination of Lawo’s Made in Germany SMPTE ST-2110 networked products and MTE’s technical expertise, resources and manpower will take us both to the next level. With Lawo now in our portfolio, we can offer our customers a complete AV-over-IP solution in broadcast.”
www.lawo.com
www.mahajaktrio.com
LEA Professional has announced a distribution partnership with Onkyo Tokki of Tokyo to support LEA’s rapidly growing business in the APAC region. This partnership allows LEA Professional to increase support for its existing customers in the region, as well as further develop new opportunities in the market.
Onkyo Tokki has been importing, selling and maintaining audio equipment in the Japanese market since 1979. “We are pleased to announce our partnership with LEA Professional, which provides us with innovative IoT and pro audio power amplifier technologies,” commented Koh Nishida, CEO of Onkyo Tokki. With this partnership, LEA plans to take its global amplifier technology, products and innovative software solutions to the next level in Japan. Nishida continued: “We consider it a great honour to represent such a pioneering brand, and we look forward to the exciting opportunities this partnership will bring.”
“LEA Connect Series has been a big success in Japan since launching in the market just
three years ago,” said David McKinney of Generation AV, LEA’s representative in Asia. “I’ve known Onkyo Tokki for over 20 years, and with its deep market knowledge and customer relationships, LEA will continue to grow exponentially in the coming years.”
“We are thankful for the opportunity to work with Onkyo Tokki, a respected leader in the Japanese AV market,” added Blake Augsburger, founder and CEO of LEA Professional. “Japan has been a target market for LEA since inception and we have had good success building our brand. I am confident that Nishida and his team will build on this early success and take us to the next level. These are exciting times for LEA Professional in the APAC region.” www.leaprofessional.com www.otk.co.jp
Sennheiser has appointed Vichai Trading as its exclusive distributor for its Business Communication products in Thailand. This partnership is part of Sennheiser’s commitment to expand its product distribution network in Southeast Asia.
John Oh, sales director for Sennheiser business communication, said: “We are extremely delighted to partner with Vichai Trading, a premier AV solutions provider that is well-known in the market and industry. With Vichai Trading’s expertise and their deep understanding of the Thailand market conditions, we are confident that this partnership will help us
to deliver our growing portfolio of premium Business Communication solutions to more customers and end users here.”
“We are excited to deepen our partnership with Sennheiser, a premium professional audio manufacturer that is well-known in the industry,” said Thitikorn Sopchokchai, managing director of the Vichai Group. “Sennheiser’s renowned TeamConnect Ceiling Solutions are among the best in the industry, and we look forward to closely working with them to bring their products to more customers in Thailand,” he added.
en-uk.sennheiser.com
Lars Weyer has been appointed as new executive board member and CFO of ARRI. In this position, Weyer is responsible for the finance, human resources, IT and facility management departments.
“The expansion of the executive board to include a CFO underscores the path we have already taken towards a faster and more flexible organisation with strong business units,” explained Professor Dr Hans-Joerg Bullinger, chairman of ARRI’s supervisory board. He continued: “We are very pleased to be able to fill this important position internally with a proven expert and experienced colleague like Lars Weyer.”
ARRI has also recently established two new senior management positions. The Business unit is led by Kevin Schwutke, who focuses on the strategic and commercial direction, and David Bermbach, now responsible for
executive board at ARRI, commented: “The ARRI Solutions will position this business unit alongside Camera Systems, Lighting and Rental as a fundamental pillar of ARRI’s
and Proshop Entertainment. Marketing consultant Kevin Alexander has also joined the team. His previous experience with TC Group and numerous audio brands allows Adamson to launch strategic marketing initiatives to support its sales network and product introduction plans. Paulo Guassi has taken on a new production management role, bringing extensive experience, including
“Our customers know we take incredible care and precision in creating speakers that perform beyond the highest expectations,” Adamson said. “We’re ready to increase that performance across the company.” Departing CEO, Marc Bertrand, will stay on in an advisory role to support the transition.
www.adamsonsystems.com
expand products and solutions offerings into exciting new areas.
Spicek joins GatesAir, a subsidiary of Thomson Broadcast dedicated to wireless content delivery, with an impressive business leadership background spanning nearly three decades, with executive roles at Fortune 500 companies such as Brocade Communications and Veritas Technologies. In 2020, she accepted the role of president and general manager for NewTek heading the company’s live production business.
Spicek said: “I see clear opportunities for GatesAir to bring new cloud and softwarebased solutions to market, both within its product portfolio and in collaboration with Thomson Broadcast and an extended ecosystem. That adds up to phenomenal growth opportunity for GatesAir, fuelled through a strong company foundation
retiring. “Barbara brings an amazing skillset to GatesAir that assures continued business growth through her proven track record as a proactive, innovative and strategic business leader,” said Aby Alexander, president, USA, Thomson Broadcast.
www.gatesair.com
Lightware Visual Engineering has announced the appointment of two key roles, with a focus on growth in the Australian market. Gordon Anderson is the national manager for defence, intelligence and government, while John Garfi has been named as the regional manager for Victoria and Tasmania. These announcements contribute to elevating the Australian Lightware office as a central hub for customers and partners across APAC.
“I am delighted to be part of Lightware Visual Engineering at such a pivotal time for the company, where new vertical markets like education and defence are taking an important role in its expansion,” said Anderson. “Together we’ll make sure to offer reliable and secure products to meet the needs of critical sectors that
Ushio, parent company to Christie, has announced the appointment of Koji Naito as the
credibility to Christie. He places significant emphasis on understanding customers’ needs
require the highest level of security, zero frame latency and robust quality.”
“I’ll focus on streamlining processes, boosting performance and growth and delivering positive results for customers and partners to contribute significantly to Lightware’s success so far in the regions,” said Garfi.
Jason Lewis, general manager, Lightware Australia, added of the duo: “Their extensive industry knowledge and experience will be invaluable in expanding our reach and delivering innovative solutions to our customers. We’re confident that their contributions will further elevate the importance of our Australian office as a strategic hub for the region.”
www.lightware.com
Riedel Communications has strengthened its Product Division management team with the promotion of
and CSO of Qvest. In the past couple of years, Url was head of global product management at Vizrt and chief product
Meyer Sound has promoted Amy Luley to the position of director of global sales operations. In her new role, Luley will assume responsibility for overseeing and coordinating operational activities of the Meyer Sound sales teams internationally. Luley was promoted from her prior position as director of US sales operations.
Senior vice president, John McMahon, said of Luley: “She has a unique ability to not only grasp the big picture of our global sales and marketing strategy but also to apply the focused mindset needed to manage the myriad of details and decisions that turn strategy into measurable results.”
www.meyersound.com
of Grass Valley. Eveleens worked closely with Product division CEO Rik Hoerée on the integration of Embrionix and, over the past year, teamed up with Zimmermann to help the company navigate the global component shortage and supply chain disruption.
Url brings over 20 years of experience in sales and customer success to his new role as CCO, having worked on the broadcaster, systems integrator and manufacturer side. He previously served as managing director
enhance customer experience.
“It’s great to see our reorganisation into three divisions, each led by their own division CEO, bearing fruit already. Our new structure has enabled us to drive more focus and growth in each of the divisions while staying close to our customers and company values,” said Thomas Riedel, group CEO of Riedel.
www.riedel.net
Andreas Rapp has assumed the position of managing director of beyerdynamic. Succeeding Edgar van Velzen, who is leaving the company, Rapp’s role will see him responsible for the operational business of the German audio brand.
Professor Wolf Michael Nietzer, chairman of the supervisory board of beyerdynamic, said: “We’re confident that he will make a significant contribution to the further success of beyerdynamic and seamlessly continue the company’s trajectory of positive growth.”
Rapp joins beyerdynamic once again, having previously held the position of global product and sales manager of the consumer unit. He began his career as marketing manager for Harman International and was also at Libratone as vice president EMEA, Sonos as regional director of Central Europe and Navman Europe as country manager of Central Europe.
Rapp said: “I will focus on strategic and sustainable growth goals, expanding the product portfolio with a
awareness. At the same time, we will work to become more agile as a company for high-quality audio products, so we can respond more flexibly to new customer and market requirements.”
www.beyerdynamic.de
The Q-SYS and QSC Pro Audio divisions of QSC have announced the promotion of Rajesh Mittal to vice president, SAARC. From the newly expanded regional sales, marketing and product development
“Rajesh’s vision for the India office has transformed the work environment and offers employees and customers a valuable opportunity to see new work in action,” said Markus Winkler, executive vice president, EMEASA and APAC, Q-SYS.
Furthermore, QSC has announced that Alan Chang has been named director of business development, APAC, where he will manage Pro Audio sales in the region. In this new role, Chang will be responsible for driving sales, developing business and
managing director of QSC India.
Mittal has been part of the AV and IT industry for almost 23 years. Since joining the company in February 2018 as managing director, India, he has played a vital role in driving SAARC’s successful growth. He has also established the vertical-oriented go-tomarket strategy which is now a fundamental part of the business and will serve as a benchmark for other markets in the EMEASA
“Rajesh has been a catalyst in transforming and scaling our organisation and business in India and SAARC,” said Jatan Shah, president and chief operating officer, QSC. “His business acumen, entrepreneurship and result-driven approach has played a key role in our continued success in the region.”
building go-to-market strategies for the entire region.
“Alan has been part of the team for almost two years and has made considerable contributions to our sales organisation in Japan and Korea,” said Perry Celia, vice president, sales and service, QSC Pro Audio. “We are thrilled for him to take on responsibility for the entire region as his knowledge of the region and distribution channel will continue to be an essential asset to us.”
www.qsc.com
www.qsys.com
The Singapore ensemble, StrIVngs, recently used the legendary, studio-quality AKG C-Series Reference Multi-Pattern Condenser Microphones to capture and record their performance at the Singapore School of the Arts (SOTA). The ensemble, founded by music director and conductor Dwayne Leow in 2022, is made up of 25 new and seasoned learners who all share a quest for orchestral music education and performing. One of their members is Stephanie Teow, an applications engineer supporting HARMAN Professional’s Asia-Pacific region, who introduced AKG to her director.
The microphones and how they were used to capture the ensemble
C214 – first and second violins – the C214 is ideal for acoustic instrument recording and for capturing natural sounds without adding unwanted frequency response or picking up ambient background noise. Five C214s were used for the first and second violins.
C314 – third violins and violas – the C314 comes with four multi-polar patterns of the renowned 1-inch diaphragm capsule microphone. The C314 has low self-noise and high headroom, a pre-attenuation switch and a switchable low-cut filter. One C314 was used to mic the third violins and viola using the cardioid pattern set, with no additional settings.
C414 XLII – cello and C414 XLS – double bass – the C414 XLII and C414 XLS models are the most versatile C-Series microphones. The XLS is known for its darker and warmer
the super-cardioid pattern.
C430 – concert master and overhead of conductor – the C430 is a small diaphragm unidirectional microphone that delivers exceptionally clear and well-balanced sound. Because of its neutral and meticulous sound image, the high quality of the C430 makes it best placed overhead. C430s are used as stereo overheads at the conductor’s stand and concert master’s location.
C3000 – cello – the C3000 is an incredible entry-level C-Series microphone that is excellent for podcasting or a variety of audio recording needs. It utilises a 1-inch capsule, making it ideal for high details and wide
C214, C314, C414 and C3000 microphones use larger 1-inch diaphragm capsules, which were ideal for producing a balanced frequency response, low self-noise, slower transient response and ultimately a beautifully lush and warm low-frequency range as well as increased clarity in the upper midrange. Using these microphones, the team captured a deep, rich, vibrant and gargantuan bass response from the cello and double bass while bringing up the mid-high frequency from the violins and viola.
The C430 was perfect for recording the soloist and for overhead recording. The small diaphragm of the C430 was ideal
AKG C-Series microphones to record the performance: “The microphones picked up the orchestra very efficiently as stringed instruments can be challenging to record due to the high frequency from the violins and the very low notes from the double bass. I have had previous experience with other brands of microphones, which required considerable tweaking and adjustment to get the correct sound. The recording was clear and concise, and the range and dynamics were great also. These microphones can be trusted and, most importantly, were easy to configure and use. They almost felt like plug-and-play. We also appreciate the sound engineers who did a great job getting the mix just right. This is a great microphone series from AKG!”
Stephanie Teow explains why AKG C-Series microphones are ideal for studio-quality capture of orchestral performancesStephanie Teow C414 XLS
Now more than ever, DiGiCo’s dedicated focus on the creative demands of tomorrow’s productions gives instant confidence to professional engineers. The new Quantum 225 has been designed to work with you, supplying unprecedented power, performance and flexibility, delivered today for less than you imagine.
www.digico.biz
An opening night in November saw the launch of the Forever Club, situated in the Xintiandi business district of Wuhan. Forever uses fashion, art and music to create a new entertainment landmark. The club has also invested in an audio system, which includes KV2 Audio’s VHD5, marking the second VHD5 installation in a Chinese nightclub. Financed by Chinese entertainment giant, Noah’s Ark Group, Forever Wuhan is a 5,000m2
venue consisting of three main areas: the principal 2,000-capacity “House Style” hall, a smaller “HipHop” area and several private KTV rooms.
The main hall contains trussing structures, lighting and 3D effects as well as the KV2 VHD5 system which was specified, designed and installed by Guangzhou Idee International Sound System (IDEE), part of KV2’s Chinese distributor AVMedia.
“As with everything else in the Forever club, the investors wanted a sound system that was out of the ordinary – something that would create an experience never to be forgotten,” said AVMedia’s Mr Tony. “Noah’s Ark were already familiar with KV2 as they’d previously replaced systems from other well-known audio brands with KV2 in five of their other nightspots around China, as the other systems simply didn’t live up to their expectations. When I suggested the flagship VHD5 for Forever, they didn’t hesitate.”
Mr Tony specified an L-R system comprising a VHD5.0 mid/hi and a VHD8.10 low/mid element per side with two VHD2.0 front fills. Sixteen ESD12 two-way full-range loudspeakers act as a fill system for the numerous private booths and VIP areas, while 50 ESD1.18 subwoofers provide powerful sub bass reinforcement. Twenty-four of the 50 subwoofers cover the 16m in front of the DJ booth, with eight subs built into the front of the booth itself and eight subs flown per side. The remaining 26 units are built into seating booths distributed across the back of the room. Power, processing and control for the VHD systems are supplied by dedicated VHD power units, the VHD5000, VHD5000S and VHD2000 respectively. Finally, a pair of ESM312 monitors act as DJ monitors.
Audio for the much smaller HipHop room, with a capacity of just 150 – is provided by a pair of ESM312s, a pair of TIME12s and 12 ESD1.18 subs. Mr Tony concluded: “Forever aims to impress at every level – visually, aesthetically and sonically – we’re very proud to be part of the Forever experience.”
www.kv2audio.com
Icelandic singer/songwriter Bjork’s visually and sonically immersive Cornucopia theatre show played a four-night residency at the recent Perth Festival in Western Australia. Staged in a purpose-built, 5,000-capacity pavilion in Langley Park, it has been deemed a “cybersonic Garden of Eden,” uniting nature and technology.
The tour’s lighting is co-designed by UKbased creatives Richard White and Bruno Poet; and for the Perth shows, equipment was supplied by local rental company Showscreens, including several Robe moving light fixtures from its extensive inventory.
The rig included 18 Robe BMFL Blades, 20 BMFL Spots, 15 BMFL Wash Beams, 30 Spiiders and 12 LEDWash 600s plus two more BMFL WashBeams on RoboSpot systems.
“Showscreens were an excellent choice of rental partner and came up with a great package for us,” stated White, who utilised the BMFL Blades for all the key lighting and sidelight.
The BMFL Spots and WashBeams also made up the remainder of the flown and floor fixtures, and these were primarily used for effects and beam work. Working as an over-stage wash light, the Spiiders were also rigged on the audience trusses and augmented with the LEDWash 600s.
Cornucopia’s sound design features a full 360° d&b Soundscape audio system with
ai167091684167_Pro AVL Asia(228x154mm)_#3.pdf 1 2022/12/13
approximately 100 speakers all around the auditorium, with numerous audio tracking and spot effects mapped to the lights, which requires plenty of fixtures above the audience to gain the full effect.
A two-base station RoboSpot system running with two BMFL WashBeams has been specified for Cornucopia right from the start, when the show was first staged at The Shed in New York in 2019. White described the RoboSpots as “vital” for the show. All the
tracking/following and sizing of the beams is undertaken by the RoboSpot operator, who retains control all of the other parameters via the lighting console, a setup that allows for lightning quick reactions to the sudden changes in the stage space that come with the repeated curtain moves happening live throughout the performance.
“Showscreens definitely listened to and fulfilled the brief,” White commented. “It’s not
an easy show to walk into as a local supplier, but Showscreen’s Kale and Rio were super supportive throughout, while Cameron and Josh ensured that everything ran smoothly and we were always well looked after.”
www.robe.cz
German Centre Shanghai installed five Sennheiser TeamConnect Ceiling 2 (TCC 2) array microphones across two of its conference rooms, Munich and Berlin, to enhance the audio experience during hybrid meetings and events. Spanning 200m2 each, the conference rooms can be used separately or combined into a 500m space that can accommodate up to 600 people.
German Centre Shanghai, located in Zhangjiang Hi-Tech Park in the heart of Pudong, Shanghai, is a 33,000m2 international office and service complex that offers modern facilities, commercial space, conference and meeting facilities as well as networking opportunities and advisory services for its tenants and partners.
“With the large meeting space and capacity that we can accommodate, we often needed to cater for staff to be on standby to pass microphones around the meeting hall. This is
not only time consuming and inefficient, but also poses hygiene risks in the current climate. We soon realised that our old setup was outdated,” said Christian Sommer, CEO and chairman of German Centre Shanghai.
“With this installation, we truly had a taste of Sennheiser’s highest standard of professionalism, service standard, as well as quality advanced solutions. This project has helped to modernise and improve our offerings and our customers’ experience. We hope that in the future, more of our partners will get to experience Sennheiser’s professional audio solutions,” said Sommer.
www.sennheiser.com
www.sennheiser-hearing.com
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Kampong Speu Provincial
Stadium is located in Chbar Mon, Cambodia. Completed last year at a cost of US$4m, the facility aims to raise the profile of Kampong Speu Province and contribute to the government’s development of the Kingdom’s sporting culture as it prepares to host the 32nd Southeast Asian Games. Constructed in a little over six months, the stadium covers 40,000m2, can host up to 3,000 spectators and features a football pitch and public gymnasium.
Essential for any modern multipurpose stadium is provision for an audio system that can cover the public areas with safety announcements, team and future event news, background music and media interviews. The project team at the stadium engaged Sounin Development Group of Phnom Penh in conjunction with distribution partner Fast Technologies, to supply and install a system that could provide a
required power to deliver complete coverage for the stadium’s potentially noisy and bustling main stand.
Engineer Sounin Chann recommended an HH Electronics solution based on the Tensor TRE-1501 15-inch active loudspeakers. Ten speakers were mounted on the rear stanchions of the main stand. For sports events, the stand accommodates up to 3,000 fans, all of whom are comfortably covered by a system that reportedly retains plenty of headroom.
Wacken Metal Battle Concert, held at Amoranto Stadium in Quezon City of Manila, Philippines, welcomed a crowd of 15,000 as metal bands from the Philippines fought to be featured in the Wacken Open Air 2023 concert in Germany in August. A total of 18 local bands performed along with seven bands from various countries like Japan, Australia, Thailand, Indonesia, Taiwan, USA and South Africa.
OnePro Corporation Professional Sound and Lights based in Manila was contracted to handle the sound for the 14-hour concert, selecting Audiocenter as its preferred PA system in order to meet requirements from the bands involved.
OnePro deployed Audiocenter’s K-LA212DSP, which is a two-way active bi-amplified line array module designed for live sound reinforcement. The rig consisted of 12 K-LA212DSP cabinets
TAIWAN
Radio Taiwan International (RTI), originally called Central Broadcasting System (CBS) of the Republic of China (Taiwan), was founded in 1928. It is a government radio station that broadcasts in 14 different languages. In 2022, the station decided to migrate several of its radio studios to digital
at its main headquarters in Taipei, with AEQ digital consoles at the heart of the new installation. AEQ FORUM SPLIT mixers are installed in the main broadcast studios and AEQ CAPITOL units in the secondary booths. The entire project has been coordinated by AEQ’s sales manager for Asia, Antonio
Perez, in collaboration with the technical services of AEQ’s local partner in the country, ADE-Corporation and RTI’s engineering and operations staff.
www.ade.com.tw www.aeq.eu
OnePro also utilised 18 Audiocenter K-LA218DSP, with front-loading subwoofers strategically positioned in front of the stage to deliver bass. Side fill for the stage was deployed with two clusters of Audiocenter K-LA12A line arrays, with each cluster containing two units of K-LA12A and two units of K-LA118. The onstage monitoring was provided by Audiocenter WM-DSP speakers. Front fill was taken care of by K-LA12A units.
The complete audio system was aligned and tuned by Audiocenter’s systems engineer, Roshan Malim, who oversaw the entire system setup for this tour. Reg Rubio, the director for the Wacken Metal Battle is said to have very much enjoyed the concert.
The latest addition to the TOA range of Conference Systems. The TS-790 series features 2 Central Units for selection - both have a 120 W built-in amplifier for use with external speakers and one is equipped with 2 dedicated slots for Wireless Tuner Modules. The TS-790 series can connect up to 64 units and USB audio interface allows easy setup for web meetings or audio recording. It is the most convenient and compact all-inone system.
easier to complete the changeover in the early hours of the morning and be ready on time delivering the rig for 10am,” noted Russell.
EET now has over 400 Astera fixtures –approximately 300 AX1s and 100 AX5 TriplePars – in its inventory, supplied by Astera’s Australian and New Zealand distributor, ULA Group. “The versatility of the products, their ease of use and deployment is what makes them work so well for us,” stated Russell.
Design Co. The AX1s were used along the three over-stage trusses – front, mid and rear – and to define the edges of all the orchestra risers on the deck, creating architectural looks as well as effects.
EET’s Darren Russell explained that he suggested Sutherland use the AX1s as there was a very tight overnight changeover after a Crowded House gig the night before, also with lighting, video and sound production supplied by EET.
“We suggested Astera due to the wireless operation which basically made it quicker and
The demand for new sky-high rooftop bars and lounges continues to soar in unison with newly completed high rise developments in the Indonesian capital. Topping the new Orient Hotel within the Sudirman business district, the owners of the Café California have distinguished themselves with the addition of an extensive L-Acoustics loudspeaker system.
Set against a backdrop of cabanas, a bar and the Jakarta skyline, a central swimming pool is the focus of the 32nd-level venue. The orient’s owners commissioned Gracia Auvindo to supply, install and fully commission the system. The design was executed according to the simulations created using the French manufacturer’s simulation software, SoundVision.
Furnished with Pioneer decks, varied music sources are output to a main FOH system comprising suspended L-R L-Acoustics ARCS II enclosures and floor-mounted KS28
dual 18-inch subwoofers. Powered by an L-Acoustics LA12X four-channel amplified controller, a full suite of onboard DSP parameters has been applied for various
BGM, DJ, live and foreground music settings. To the right of the DJ area, the bar is heavily reinforced for low-frequency beats with two A15 cabinets combined with a KS21 21-inch
Other recent EET Astera projects include the design and fabrication of a custom chandelier from 200 AX1s for the 2022 Master Builders and Asset Construction Hire Building Excellence Awards at Canberra’s National Convention Centre. A further 140 Astera AX1s complete with custom 3D printed toppers with string beads hanging around each tube were used as the feature part of the table centrepieces.
www.astera-led.com
subwoofer, which are powered by a single LA4X amplified controller. Low-frequency extension was required for the pool area, which has been catered for by five K21 subs. Firing down the length of the pool, a suspended array of four A10 10-inch enclosures are configured as a line source to provide between 70° and 110° horizontal dispersion. At the opposite end of the pool, two ARCS Wide constant curvature enclosures were selected. Five cabanas and VIP areas located in the peripheral areas are discreetly enhanced with the addition of wall-mounted L-Acoustics 5XT 5-inch coaxial cabinets. A larger X8 8-inch model has been applied to the central area. The vibe is similarly replicated in the dining room where dual L-Acoustics A10 cabinets are augmented by another KS21 subwoofer.
www.graciaauvindo.com
www.l-acoustics.com
Powersoft’s new AES67-enabled amplifier platforms, including the enhanced A+ versions of its innovative, half-size Mezzo range, have made their global debut at the recently reopened Abercrombie hotel in Sydney, Australia.
The Abercrombie, located in the inner-Sydney suburb of Chippendale, traces its roots back to 1843, when it opened as the Australian Inn. The art-deco building on the old Carlton United Brewery site was completed in 1938 and served as a much-loved watering hole and live entertainment venue until its closure in 2014. It was acquired by hospitality group Solotel in 2016 and reopened – two years late, as a result of Sydney’s coronavirus lockdowns – with a 36-hour launch party in December 2022.
The Abercrombie comprises three venues: a groundfloor club space, public bar and beer garden; latenight cocktail lounge and rooftop terrace Casa Rosa; and Lil Sis, an aperitivo wine bar inspired by the caves à vin of Paris.
Tasked with delivering an AV system worthy of the Abercrombie’s multimillion-dollar redevelopment were
Production Audio Video Technology (PAVT), Australian distributor, and local systems integrator BeyondAV, who inherited “a very difficult acoustic environment” complicated both by the age of the property and the presence of new residential buildings around it, explained PAVT’s business development manager, Dave Coxon. “Revitalising old buildings are always fun with unique challenges,” he said. “A major challenge with the Abercrombie was containing all the sound – patrons, voices and music – as, unlike in days of old, the venue is now surrounded by accommodation. It’s the only freestanding hotel I have ever seen with an apartment complex freestanding over the venue.” Additionally, he said, the Abercrombie’s original hotel rooms “remain in the upper two levels, creating many small spaces requiring multiple amp channels”. Amplification is Powersoft throughout, comprising 16 Mezzo 604 A+ and 13 Quattrocanali 1204 DSP+ amplifiers, all AES67
compatible, as well as two X8s. The Powersoft amplifiers, explained Coxon, are installed in two rack rooms, with all equipment (plus Netgear AV switches) fitting into a single rack at each location. Needing a “truly waterproof” loudspeaker for the two large outdoor areas, PAVT specified a combination of AtlasIED’s SM82 range with EAW subwoofers (SB120/150 WP), while a FunktionOne EVO X system was installed in the main room.
Coxon said: “The Abercrombie opened on schedule with a multiday launch party featuring some of Sydney’s hottest DJs. Being the first project to install A+ versions of the amplifier and with the release of the ArmoníaPlus 2.5 update, which added support for AES67, coming three days before handover made life fun!” he recalled. “That said, we had no major issues, and the project opened on time, tuned and loud, with a 36-hour opening party.”
Christie has announced that its 3DLP and 1DLP laser projectors are illuminating a new nighttime tourist attraction at the picturesque Jiuge-Shangui scenic area in Zhangjiajie, a prefecture-level city in Hunan Province.
Inspired by stories in the Chu Ci poetry anthology by renowned ancient poet Qu Yuan, Jiuge-Shangui integrates the legends of Xiangxi with cultural heritage of the indigenous Tujia and Miao ethnic groups, as well as the natural beauty of Zhangjiajie to deliver a large-scale extravaganza. Live performances staged across the scenic area spanning over 5km2 are lit by close to a dozen Crimson WU31, DWU2022-HS and DWU1612-HS laser projectors supplied and installed by Christie’s trusted partner, Jianye Display.
“Jiuge-Shangui is the first of its kind in the world and features majestic scenes set in natural landscapes such as mountains, forests, sinkholes and karst caves,” said Zhongliang Li, technical director for southern China, Jianye Display. “As the first largescale show in the post-pandemic era, we have pulled out all the stops to ensure that this massive outdoor spectacle is a great success. The Christie Crimson and HS Series laser projectors, with their rugged design, impeccable performance and dependability, are our preferred choice for this major endeavour.”
Housed in weatherproof enclosures overlooking the stage areas, the projectors deliver vibrant images at several performance venues that are interconnected via plank roads, including the massive Hibiscus tree and enchanted forest. “These sites represent the harmonious coexistence of nature and life depicted in ancient poetry, and they are vividly brought to life using a variety of advanced technologies including 3D projections, lighting, holography and water effects to create a stunning multisensorial experience that accentuates the timeless beauty of the Jiuge-Shangui scenic area,” Li added.
As visitors enter the scenic area, they are transported to somewhat of a magical
dreamland, encountering creative and enigmatic set pieces that alter their appearances as the story progresses. Besides a troupe of live performers, a slew of visuals on various surfaces featuring ancient trilobites, fireflies, mystical creatures and flowers heighten the storytelling process, leaving a lasting impression on anyone who experiences them.
April Qin, senior director of sales for China, Enterprise, Christie, commented: “The Jiuge-Shangui nighttime spectacular is a remarkable cultural tourism project that has elevated Zhangjiajie’s status as an exceptional and unforgettable destination, showcasing impressive scenes set in natural landscapes.”
www.christiedigital.com
White Eagle Entertainment recently installed APEX CloudPower amplifiers at the heart of a complete new audio system at Aura in New Delhi. Forming part of The Claridges, Aura is a luxury hybrid bar, offering live entertainment, cocktails and hors d’oeuvres.
White Eagle Entertainment has been appointed as the APEX distributor for India and chose to install four CloudPower 350W CP354, four 700W CP704 and four 3,000W CP3004 amplifiers. The amplifiers power Aura’s loudspeaker system, chosen from the Pequod Acoustics range, including two Kona Storm monitor speakers, a pair of Ovoid subs, eight Zephyrus 5-inch coaxial
speakers and four Borea 12-inch subs. A rackmount Soundcraft UI24R mixer provides wireless control of the system.
“The APEX CloudPower amplifiers are a perfect fit for a high-quality, cuttingedge venue like Aura,” commented White Eagle Entertainment director, Arun Kalra. “I am very proud of the audio quality we have achieved in the venue. CloudPower has all the processing tools needed to optimise the system and the ability to control and monitor the amplifiers remotely has been a big time-saver for the team.”
www.apex-audio.be
After three years of planning and more than two years of construction, the redeveloped O’Connells Pavilion opened at the Queenstown Mall in the city of Queenstown in the southwest of New Zealand’s South Island. The developer has leased two floors of the four-level building to global retailer DFS Group for its “Resort Galleria” concept, which includes a food hall – Eatspace – with a capacity of 230.
design, both A and B diversity connections are provided, so there’s no need to install two separately spaced antennas. The Diversity Architectural Antenna was supplied by New Zealand distributor JPRO.
“At JPRO, we understand that RF dropouts can ruin the most perfect production,” said Andrew Sorrill, marketing
Established in 2008, Sydney-based Jay Productions partners with its clients to develop what it hopes will be memorable and engaging events, catering to occasions ranging from live shows, promotional walk-throughs and brand activations, through to corporate, outdoor and large-scale experiences. Through the application of audiovisual technology, Jay Productions works across immersive spaces and event builds, where NEXO’s ID Series is often its solution of choice. Tasked with a brand activation for automotive manufacturer Kia, Jay Productions deployed a cluster of ID24 loudspeakers for playback ambience at the EV6 GT display, held during the 2023 Australian Open. In collaboration with event management company Studio Messa, Jay Productions designed and constructed a bespoke space featuring two display vehicles, LED imagery and extensive signage.
Jay Productions’ general manager, Phillip Dearle, revealed: “We had an evolving brief from Kia that included layers of concepts. We created a custom stand that was purpose-built for a vehicle to take centre stage and had eight ID24 loudspeakers playing ambience to set the mood. There was a central truss in the middle of the structure that allowed us to load one speaker on each side of the cross bracing. By
putting them all on the central column, we had full coverage of the entire space. We used the standard black cabinets and they looked terrific: super discreet and tucked away, so they didn’t distract from the display.”
He continued: “We cycled through a playlist of ambient tracks and the ID24s sounded perfect – you could have a conversation, but no matter where you were within the event space, you could still hear the music. Ultimately, it’s the combination of the sound, power and size that makes the ID24s something we regularly go for with high-end events like this.”
Having first used NEXO’s ID24 in 2022, Jay Productions’ director, Jason Ghazal, has since stocked up on the units. “I’m a big fan of the ID24, and so too are all the luxury brands we work with. They love the speakers because they are small and look fantastic at events. Not only do you get a speaker that is very punchy for its size, but its appearance is very discreet too. That’s the primary reason we use them for activations. Generally, we are using them for events similar to this Kia display every couple of months, and we have them in both black and white to suit different palettes.” www.nexo-sa.com
However, a hurdle presented itself: “In relation to where the customer mostly wanted to use their wireless microphone system, the electronics cabinet is located in the opposite corner of the building, behind a concrete wall,” said Reuben Pearce, director at AV systems integrator Strawberry Sound Queenstown. That, he explained, could result in significant RF dropouts.
Strawberry Sound selected the Diversity Architectural Antenna from RF Venue, which can be installed in any position on a wall or ceiling and can be painted to match any interior. Using a dual-feed antenna
customers for any small, medium or large-scale wireless project because they perform reliably with all wireless audio brands, ensuring no dropouts.”
Pearce added: “Our technicians were able to get in and out efficiently and deliver exactly what the client needed. We’ve used RF Venue products in prior projects, so we know we can rely on a good result. They simply do as they say they do on the box. RF Venue supplied a direct and reliable solution to what could have been a very real wireless problem.”
www.rfvenue.com
ROE Visual - Proven Technology for Virtual Production LED panels are the ideal solution to portray set and backgrounds created in virtual reality. Creating the right canvas is not just building any LED screen. It’s where the LED panel, processing and camera setting come together that stunning results are achieved. With its high-end manufacturing and premium parts the ROE Visual LED products are perfectly suited for virtual stages and productions. More information on: www.roevisual.com
More associated with peace and tranquility, graveyards and burial grounds are not readily related as a vertical market sector for AV systems integrators. However, the National Main Heroes Cemetery recently turned to Melati Indah to install outdoor loudspeakers ahead of Indonesian National Heroes Day, an annual event that commemorates those who fell in battle with full military honours.
Having opened in November 1954, the Kalibata Heroes Cemetery in south Jakarta is the final resting place for some 7,000 military victims and veterans of the Indonesian War of Independence. A VA loudspeaker system is required during military services to amplify prayers, speeches and military music.
“The large outdoor space dictated that the loudspeakers needed to generate high SPLs with clarity,” explained Melati Indah design engineer Fiki Sakijaya Waruwo. “Naturally, given the high rainfall, temperatures and humidity experienced year-round here in Indonesia, the enclosures needed to be weatherproof.”
The perimeter of the courtyard is served by eight Bose ArenaMatch Utility loudspeakers mounted in pairs on four poles focusing their energy on the central monument. “Delivering clarity of speech and foreground music with a maximum SPL output of 119dB, the AMU208 is ideal for an application such
as Heroes Cemetery,” added Waruwo. Another two clusters each comprising a pair of AMU208s have been installed on poles leading to the main courtyard on the avenue.
The 12 AMU208s are powered by two Bose PowerMatch PM4500 4x 500W amplifiers in 4Ω operation. The total available power of the Class-D amplifier can be allocated to one or more output channels by virtue of Quadbridge technology and the inherent ControlSpace Designer
software features parametric EQ, load sweeps of each output channel and auto standby. A feedback loop circuit continuously monitors and controls both the current and voltage delivered to the loudspeaker load.
The courtyard ambience is output to two wall-mounted Bose FreeSpace DS 40SE speakers located at the entrance that is powered by a Broadway X3600V two-channel amplifier located in the same control room located on the perimeter of the courtyard. Hosting a Belden two-core 8471 loudspeaker cable, black conduits have been discreetly channelled between the loudspeaker outputs and the control room. Mixing during events is performed on an Allen & Heath Zed 16FX console that receives signal inputs from Shure Microflex goosenecks, SM58 vocal and PG58 wireless handheld microphones together with a Tascam CD-A5000 combination player. Providing one-touch powering on and off functionality, a Nakamichi NPX-108 sequencer completes the audio setup.
Located to the right of the entrance, a separately zoned indoor exhibition area hosts external Bose Panaray 802 speakers powered by a PowerMatch PM4500 amplifier. A Yamaha MG10XU mixer can receive Shure wired and PG58 wireless microphone inputs during special events.
www.boseprofessional.com
The BURL AUDIO B80 MOTHERSHIP is a modular AD/DA converter interface that has revolutionized professional studio recording. Artists including The Black Keys, Green Day, Foo Fighters, Jack White, Lady Gaga, Chris Stapleton, Willie Nelson and many others have embraced the B80 MOTHERHSIP as their primary interface for recording their latest albums.
Using the B4 MIC PRE daughter card with Waves SoundGrid or Dante, the B80 MOTHERSHIP makes the perfect studio grade stage box for your digital console system.
Deja Brew is a premium Indian restaurant and bar situated in the stylish district of M Block Market in Greater Kailash 2, New Delhi. In keeping with the upmarket feel of the new venue, Deja Brew required a “compact yet exceptional” sound system to match, with the venue opting for Genelec speakers.
Deja Brew comfortably seats 80 people across two storeys, with seating areas distributed in small, intimate pockets. “In opening a hybrid brew lounge, we needed a sound system with good tonal quality and great bass. However, due to space
constraints, we were unable to install a subwoofer,” elaborated co-owner Naveen Sachdeva. “It was at this point that Sandeep Duggal at Value Marketing Systems (VMS) Delhi, who has over two decades of experience designing and installing sound systems, suggested Genelec.”
After visiting VMS’s dedicated demo facility and sampling the Genelec sound for themselves, Deja Brew opted for a selection of 4030 loudspeakers. In total, 13 4030 units were provided by Genelec’s partner Alphatec AV and installed by VMS.
Duggal, who is owner and technical head at VMS, explained the motivations behind the purchase: “Genelec is well-known for having an incredibly clean audio signature, offering unrivalled clarity and intelligibility irrespective of playback level. Taking this into consideration, opting for the 4030s was a no-brainer.”
The 4030s are distributed across both floors in a bid to achieve even coverage in every section of the restaurant, with no hot spots or dead zones. One of the key factors in the decision was Genelec’s active design, said to eliminate the need for external amplifiers, instead allowing the VMS team to run a reduced amount of cabling back to a single,
centralised music processor. This is connected to a media player so that staff can play whatever music they want, with the additional option of pairing their own devices.
“Alongside the wide range of RAL colours that Genelec offers, we noticed that the 4030s were also available in the RAW recycled aluminium finish, which is kinder to the environment as the models require no painting and less finishing material,” explained Sachdeva. “We work to reduce our carbon footprint however we can, so if we do so whilst matching our interior, that’s a bonus.”
www.genelec.com
An Aquilon RS4 4K/8K multi-screen presentation system from Analog Way was used by Formosa Television to provide coverage of the New Year’s concert and celebrations that took place in Kaohsiung, Taiwan. The event at Dream Mall, which was sponsored by Kaohsiung City Government, featured a double-sided performance stage, each with a different theme, and hosted an array of artists plus a gala midnight fireworks display. To support the event, the main contractor, Sing Tai Yang Stage, recommended the Aquilon RS4. Analog Way
Gaia Hotel Bandung aims to distinguish itself from other five-star hotels by offering modern accommodation for both leisure and business customers. This grand hotel with 280 rooms strives to provide inclusive solutions for all events, including meetings, weddings and conferences. To provide the best experience for customers, the hotel decided to update its audiovisual systems, opting for ViewSonic.
Considering that events may be held in different rooms and have different decoration needs even in the same venue, traditional displays that are fixed on walls will not suffice as they lack flexibility. In addition, installing such devices would require extensive effort and investment, not to mention the downtime needed to renovate the venue. In light of this, Gaia Hotel was looking for a comprehensive
solution that boasts visuals and powerful audio while remaining simple to operate and install.
“With the LDS135-151, the challenges of mobility, flexibility and connectivity are easily answered. ViewSonic’s LDS135-151 is a fantastic and innovative solution,” said Subakti Wangsanegara, managing director of Gaia Hotels and Resorts.
The LDS135-151 All-in-One Direct View LED Display Solution Kit with foldable screen, comes pre-assembled on an adjustable floor stand. With its foldable screen design and 360° wheels, the display can be moved from one floor to another. Deployed in the ballroom and conference rooms, the 135-inch screen is paired with built-in Harman Kardon speakers.
www.viewsonic.com
LVPEI, a World Health Organization collaborating centre for prevention of blindness, has chosen Shure’s Microflex Advance Ceiling Array Microphone to ensure good audio during live case discussions and practical sessions. The Shure Ceiling Array Microphone will enable doctors, surgeons and practitioners to focus on critical situations without worrying about any technical disruptions.
The Microflex Advance array line combines beamforming technology with digital signal for AV conferencing. It also offers voice lift and camera tracking that helps medical teams to teach and practise with complete freedom. The new audio system installed in the institute negates the need for holding microphones, someone to pass them,
provided an onsite technician to support the event for Formosa Television’s contractor.
“This New Year’s Eve concert was the first time the organiser designed and built a doublesided stage with a field of view of up to 260°, which was able to accommodate a larger live audience,” explained Yee Tat Nam, business development and technical services manager at Analog Way Asia. “One side of the stage had a
The client’s goal was to find a solution that could provide high-quality audio needed for discussing live cases and practical sessions, while respecting the aesthetics of the room. Shure’s Ceiling Array Microphone surpassed their expectations and was said to be the “perfect system” for these requirements. Rathinam Thyagaraian, head, Biomedical and Center of Technology Innovation at the LVPEI, said: “We are highly satisfied with the Ceiling Array Microphone as it offers exactly what we needed: best-in-class audio, voice lift and camera tracking without negatively impacting the space. Our surgeons and doctors require the most innovative technology and Shure gave us the perfect solution. We cannot be more excited about it.”
www.shure.com
Rüfüs Du Sol, a music group focused on a blend of house, electronica and alternative dance, recently wrapped up an ANZ tour of eight shows performed in four territories for over 30,000 people. For the concerts in Adelaide and Perth, tour promoters Fuzzy Entertainment chose L-Acoustics Certified Rental Partner, Novatech, to supply sound, visual, lighting and communication solutions for the outdoor sites. The Novatech team’s “open communication and collaborative style” have made the company a returning partner for band and mix engineer, Cam Trewin. Novatech was tasked with designing a system that would provide optimal coverage to the vast open field audience area while also taking the neighbouring residential areas into consideration.
“Of course, we needed to adhere to strict local council noise limits,” explained Matthew Ruggiero, technical project manager at Novatech. “However, being in an open field allowed us to have complete control over speaker placement.”
For both shows in Adelaide and Perth, the setup consisted of main L-R arrays of 15 L-Acoustics K2 with four K1SB subwoofers per side. Side fill consisted of nine K2 enclosures per side. Front fill consisted of 12 Kara boxes, while low-end extension was delivered by 24 SB28 dual 18-inch subwoofers. These were deployed in an end-fire configuration across the front of the stage.
www.l-acoustics.com
www.ncet.co
Shure proves to be critical for LVPEI
INDIA
TechData PS has collaborated with rental company, Raffoler, and Harman Professional Solutions to implement a range of weatherproof JBL Professional audio solutions for the Go Out Camping Music Festival.
campfires. Given the stage’s limited truss height and seaside location, the festival required a live setup that was lightweight and easily transportable across sandy terrain, also providing the output and coverage sufficient for a live show. To meet these requirements, Raffoler and TechData PS felt they should work with Harman Professional Solutions to deploy JBL Professional VTX Series V25 and S28, PRX ONE and EON ONE MK2 loudspeakers.
Along with sharing the same technology and components, both the V25 and S28 include JBL’s simple rigging system, making for easy setup and takedown before and after the festival.
With an attendance of 10,000 people over three days, the first post-pandemic edition of the Go Out Camping Music Festival took place at the Seokgangi Auto Camping Site located in South Chungcheong Province’s Taean County. Featuring an eclectic roster of artists from genres as diverse as R&B and indie – including Car, the Garden, Daybreak and more – the festival also hosted a wide range of outdoor activities including yoga, rock climbing and
The speakers also reduced the load-in weight and transportation time, which proved ideal for the festival given the stage’s limited vehicle access. Harman reported that festival organiser Media Bling said that “the system exceeded expectations and delivered a simple, seamless system with high-quality and impactful sound,” adding that the organisers were “impressed with Harman’s quality of service and experience with music festivals, both of which proved crucial to a successful festival weekend”.
pro.harman.com
Tree Tops Bar & Kitchen, a dining and nightlife spot located in the city centre of Bengaluru, has invested in an audio system that caters for its live music and DJ performances, as well as background noise when necessary.
Tree Tops Bar & Kitchen promoters contacted audio expert Philip Abraham of Concrete Audio and tasked him with the assignment of creating an
atmosphere – to which he suggested LD Systems’ MAUI i1 and Stinger subwoofer.
Abraham was full of praise for LD Systems loudspeakers, sharing that the LD Systems setup had the “perfect amplification required by his client and produced clear, crisp sound”.
www.ld-systems.com
speakers” meant buying fewer individual speakers to get the job done. With mounting accessories included with the speakers, it also made the audio installation quicker and much easier.
Mumbai can experience extreme weather, so Parekh felt weatherised speakers in outdoor spaces was a must. Four RS62-EZ coaxial pendants were selected for sound coverage and are timbre-matched with the RS1001i-II subwoofers. Two RS1001i-II pendant subwoofers
Nestled within the neighbourhood of Gulmohar Society, Mumbai, a lone gem of a restaurant serves tourists and locals with one focus: “stories over food”. Kissa is a contemporary restaurant and pub with an open-air, rooftop lounge space. The restaurant’s upstairs lounge is complete with booths, a full bar and several tables to enjoy the views of the city surrounding it.
When Nemish Parekh from Xpan Solutions was contacted by Kissa, he said he knew that this was going to be a “fantastic audio installation”, with an aim of creating a relaxing, open space that would be lightly complemented by audio. For Parekh, SoundTube’s audio technologies were an ideal solution that fit within the budget, stating that “the efficiency of the SoundTube
were chosen, giving the client the ability to host DJs and rooftop lounge events. Parekh decided to use Aerons products for amplification and mixing.
www.soundtube-int.mseaudio.com
have been delivered and are in action at the 2,466-capacity Hamer Hall, the largest indoor venue at the Arts Centre Melbourne complex, which has a busy schedule of orchestral and contemporary music performances and other
All three consoles were delivered by MA Lighting’s Australian distributor Show Technology, replacing Hamer Hall’s previous lighting control system. Arts Centre Melbourne’s head of lighting Peter Darby said MA devices were the most requested lighting control options by incoming productions.
Once the centre had decided on grandMA3 hardware, the next conversation was about the running mode, so it was decided that a full
fixtures, a mix of moving lights, conventional lighting and LEDs.
Darby insisted: “The Phasers are such a straightforward way to create very complex effects that have not been possible with previous versions of grandMA.”
Hamer Hall is the home to the flagship Melbourne Symphony Orchestra, who have their own grandMA3 showfile. Hamer Hall’s new lighting supervisor, Jake Kirby, and all the other operators have their own user profiles for maximum adaptability, and the console’s multiuser functionality is said to have been helpful for some shows.
www.malighting.com
Bhopal-based AMG Events, a provider of professional sound and lighting products, has recently acquired 12 DAS Audio Event 210A and six Event 218A loudspeakers.
Ved Nidhish of AMG Events, said: “Our clients deserve the best, and we’re confident that the DAS Event 210A and Event 218A loudspeakers will elevate our sound game to a whole new level.
With exceptional sound quality and performance, we can’t wait to exceed their
expectations and deliver an unforgettable auditory experience.”
Sudeep Shah of Stagemix Technologies, distributors of DAS Audio in India, said: “With the introduction of the DAS Event 210A and Event 218A, I’m confident that AMG Events will be able to deliver exceptional results, setting a new standard of excellence in the industry.”
www.dasaudio.com
www.stagemix.com
Salesforce World Tour Sydney is an event that promises “inspiration, connection and fun”. A key element of delivering on these promises is the campground breakout sessions that cover ideas like automation, customer relationships and more. Throughout the day, delegates listened to sessions such as “How
seating. These sent the signal through line of sight directly to the receivers. Throughout the hall, Congress installed 1,800 seats with Bosch Integrus digital infrared receivers across the seven breakouts. At the entrance to each breakout, delegates received a pair of headphones.
Lighting technology designer and installer, Global Multipro Technologies Group (GMT Group), recently recruited several experienced audio engineers, allowing the company to extend its AV services for its growing portfolio of clientele. Having successfully demonstrated a Martin Audio loudspeaker system, its latest project was entertainment outlet Dragon Chamber in the Jakarta neighbourhood of Gading. The venue recently opened its doors and is catering to diners from the early afternoon hours until after midnight when cocktails and drinks are in full flow. Naturally, the musical ambience interwoven into Dragon Chamber’s tapestry needed to reflect the changing dynamics of customers over the 12-hour opening periods.
Measuring 16m x 18m (WxH), the venue combines four separate retail plots. The pre-existing subdivisions including the pillars, lack of acoustics and ceiling height restrictions created challenges for GMT in its execution of the audio technology. The apex of the ceiling rises to 10m in the centre, while the peripheral ceilings are restricted to 3.5m in height, making speaker positioning slightly problematic.
commented GMT managing director, Henry Januar. “Martin Audio is an established and reputable brand here in Indonesia, especially in the entertainment sector, where their speakers have enjoyed good exposure for many years through the efforts of RMP.” With a limited budget available, GMT wall-mounted single 15-inch Blackline X15 models either side of the stage to act as the main FOH system. “Given the limited depth of the venue, this is more than sufficient for performing DJs or live bands. The basic system has been designed in such a way that it provides powerful background and foreground music with clarity for those seated guests wishing to have conversations without being subjected to excessive SPLs. For those on the dance floor, the X15s hit the spot.”
to scale up your customer service (without scaling up your headcount)”, “Bridging the skills gap from education to employment” and “Maximising margins through retail digitisation”.
Fitting all these simultaneous breakouts into one hall at the Sydney ICC, side by side, back-to-back, all with no sound leak or signal interference, was made possible by Congress Australia’s silent conference solution.
Rather than having sound play out loud using a traditional PA system, the silent conference equipment allows the audio to be sent via infrared signal directly to the receiver in the hand of the delegate. Delegates can listen to the presentation with the headphones provided or their own and have independent control over volume. This solution also means there is no need to wall off breakouts or host them in separate areas, preventing delegates from having to rush between rooms during the short break periods.
At the front of each more minor breakout were two infrared radiators; for the larger ones, six radiators were mounted on a truss above the
Although the system is simple and effectively plug-and-play, some delegates have not experienced a silent conference before. For anyone needing a hand plugging in headphones or to be shown the volume controls on the side, it was vital to have technical producers onsite during sessions. Congress had at least one technical producer overseeing each breakout. Sessions can sometimes have hundreds of delegates each, so ensuring such a vast area was perfectly covered with signal required extensive planning. Before the show, schematics were drawn up to estimate signal coverage and placement of radiators. In the days preceding show day, the placement of radiators and signal strengths was optimised with rigorous testing to ensure complete coverage and a smooth event day. Congress said the event was a “seamless experience” for delegates and breakouts packed throughout the day, even moving into overflow at times. www.congress.com.au
“We have been working closely with Goshen Swara Electronics for our current audio requirements and, in particular, we have been impressed with the price
Low-frequency extension is provided with the addition of two Blackline SX118 subwoofers crafted into recesses below the stage. When dining gives way to dancing later in the evening, a DJ operates a Pioneer XDJ-XZ all-in-one DJ system, while microphone inputs used by live performers can be mixed on a Yamaha TF3 console. The main audio system further benefits from the addition of an RDW RD4.8 digital processor loaded with DSP presets.
www.goshen.co.id
• Class-leading, extremely wide 60 MHz UHF tuning bandwidth for maximum versatility
• Unique multifunction button on the handheld and body-pack transmitters can be used to switch to a backup frequency should interference be encountered
• Automatically adjusts squelch setting to maximize range while minimizing interference
• Optional network transmitter charging docks
• Frequency scan and IR sync for ease of setup
• Handheld transmitter industry-standard thread mount for use with six interchangeable A-T microphone capsules, as well as other compatible capsules
The latest edition of the e-sports championship, Dota 2’s The International 2022, was held in Singapore and attracted 67.74m hours of worldwide viewing. Singapore-based systems integration company, Cgangs International, partnered with the games’ developer, Valve, to create a Brompton Technology-powered virtual production set, used during the filming of the opening video and teaser campaign featuring the top four participating teams.
Cgangs was introduced to Valve via PGL, an esports tournament organiser, to provide its virtual production services for the event. “Our primary objective was to construct a temporary virtual production setup for Valve’s pre-match and opening campaign,” said Cgangs’ director of strategic partnerships and business development, Alvin Lim. “These were used for online broadcasts and livestreams of the tournament to introduce the teams and players to the audience.”
With just a day to capture all the footage, Lim and the Cgangs crew needed seamless operation. “Valve personnel visited the set to inspect it and
finalise the content before we began filming the players in front of the LED screen,” continued Lim. “We had to guarantee that every aspect of our LED setup was functioning optimally to meet the tight schedule.”
The stage comprised a straight, in-camera wall of ROE Visual DM2.6 LED panels measuring 10m x 4m, plus a small 5m x 3m roof comprising further DM2.6 panels. The entire setup was powered by three Brompton Tessera S8 LED processors.
The client was thoroughly pleased with the results for Valve’s first experience recording with virtual production. “The project’s success was attributed to clear and precise communication between the director and our technical production team,” Lim said. “With a clear understanding of the director’s vision, we were able to conduct pre-planning and setup accordingly. The exceptional quality of our ROE LED screens, coupled with Brompton Technology as our technical partner, ensured
“We selected Brompton Tessera because it’s the gold standard in LED processing,” said Lim. “The Tessera S8’s advanced features, such as Genlock with Phase Offset and ShutterSync, allowed us to control the appearance of the LED on camera. We also took full advantage of the Tessera software’s comprehensive colour correction and control tools, which allowed us to effortlessly match, adjust or fine-tune colours to meet our desire.”
that everything was executed to perfection.”
“We are thrilled that our Tessera S8 LED processors were utilised to bring Valve’s vision to life in the teaser and introduction videos that Cgangs expertly delivered,” concluded Luke Hurford, regional technical manager for Asia Pacific at Brompton Technology. “We look forward to further turn-key virtual production projects with Cgangs going forward.”
www.bromptontech.com
Galva Technologies (GTC) to conduct the digital AV upgrade. Project manager and designer Leo Lukman proposed the visual upgrade by adopting an NDI network solution at its core. Catching the eye, a Videotron 6m x 3.375m (WxH) Videotron LED screen located at the rear of the stage serves as the main visual output. Comprising 100 individual panels within a frame, the P2.5mm pixel pitch screen receives its HDMI signals via a Netgear 24-port LAN switch. The 4K signals emit from four pre-existing NewTek PTZ3 cameras and up to three portable cameras connected to BirdDog NDI encoders over the LAN to be received by a NewTek eight-input 4K production switcher. A Novastar processor has been added to the signal mix should digital enhancements be required.
In addition to the main LED display, HDMI signals are routed to two pre-existing projectors that output its 4K content onto an LG 75-inch diagonal motorised screen to the left and right of the lecture auditorium stage
headsets and WM-5320 lavaliers over the Dante network. Ten wired DM-1300 unidirectional microphones can also be deployed onstage during special events. The digital signal is transmitted to a DP-0206 processor before being output to DA-550F and DA-250F amplifiers and L-R arrays each comprising three SR-A 12S line array cabinets.
Front fill reinforcement is fulfilled by L-R wall-mounted S/R-H35 column speakers powered by a single DA-250F amplifier. When required, the low frequencies are extended by two S/R-A180 subwoofers. Onstage, lecturers, speakers and performers monitor their performances on HS-120B 12-inch and H S -150B 15-inch coaxial array speakers powered by DA550F amplifiers. In addition to supplying and installing the digital AV components, the GTC engineering team repaired and replaced wall box connections.
www.gtc.co.id
At all times, the Brompton processors performed flawlessly, and the series was a resounding success.”
ASHLEY GABRIEL, DIRECTOR OF SALES & MARKETING, NOVATECH Image credit Novatech
on each side of the stage, plus a further cluster of four ARES 8a cabinets as centre fill. With the potential for large numbers of artists onstage, eight Audiofocus CM 15a low-profile monitor speakers were provided, together with four MTSub 218a twin 18-inch subwoofers.
In addition to live events, the PA system is capable of delivering full 7.1 Dolby cinema sound for screenings. Eighteen Quest HPI 110 loudspeakers were installed to achieve this surround sound capability, with a further 13 HPI25 cabinets employed as front fill under the stage and balcony and two QM4 as side fill, plus a pair of QM18SA speakers on each side of stage. Four Quest QSA200i active speakers have been positioned in the main and stage control rooms. Quest QX2280 amplifiers were installed to power speakers in the main control room and entrance foyer.
Shure wireless microphones were deployed throughout the auditorium and control rooms, including the Axient digital system for the main presenter, plus ULX-D, SLX-D and SVX systems for the audience, anchors, performers and main control. All Shure systems are networked and can be checked and controlled through the Shure Wireless Workbench application. The system is designed to cover the entire facility, enabling communication between audience members and guest speakers during panel discussions, and allowing interaction between the stage and control rooms.
Founded in 1940, Patna Women’s College was the first higher education facility of its kind to open in India’s Bihar state. The college recently invested in new audio, video and lighting systems for its recently completed 2,500-seat Veronica Auditorium.
Following the completion of another project for Patna Women’s College, Punjab-based Soundxperts won the contract to supply a complete turnkey solution for the auditorium, including audio, video, lighting, control, acoustics, seating and flooring. Soundxperts worked closely with distributor Sun Infonet on the audio aspect of the installation.
The Veronica Auditorium’s vast stage accommodates more than 350 performers and can be used for the full spectrum of live band performances, theatre shows, cultural events, video conferencing and cinema screenings. The main Samsung P4 active LED screen is said to be the biggest of its kind, with switching provided by AMX. Four networked cameras and 14 smaller Samsung display screens were installed alongside the main screen and in the green room, VIP room, control room and main hall. For the main PA system, Soundxperts installed eight Audiofocus ARES 8a line array elements and three B 18a LF extensions
A pair of Allen & Heath Avantis mixing consoles were supplied for both FOH and monitor mixing duties. The main PA and surround systems are controlled by an Allen & Heath AHM-32 matrix processor, supported by DX168 and DX012 I/O expanders connected over S-Link.
“Allen & Heath’s AHM DSP is built for scenarios where we have multiple sources and zones,” commented Soundxperts owner, Amninder Warraich. “The ability to link the AHM-32 to external input and output modules expands its horizons and allows you to control the entire system with surrounds, green rooms, control rooms and more. The AHM is a very versatile, powerful DSP and it is readily available on the market.”
In addition to the wireless microphones, wired Shure CVG 18RS-B/C gooseneck mics have been installed at the podium. SM7B vocal microphones were supplied to enable studio quality recording of key performances and speeches. Patna Women’s College has also invested in its inventory of microphones for musicians and performers, adding Shure Beta 91/A/C-X, SM57, SM58, PGDRUMKit7, MX 418D/C, MX393/C, SM81-LC, PSM 300, PGA57 and PGA8 units to cater for all performance scenarios. Shure UA844+SWB antenna distribution systems and UA874 active directional antennas have also been used to ensure strong, uninterrupted wireless signals.
Warraich said: “The auditorium goes above and beyond to provide high-impact entertainment, from video to music to live performances, delivering an awe-inspiring experience.”
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From its humble beginnings as a local event hire business in Victoria, Production Corp is said to have undergone a remarkable evolution. In operation for over 15 years, the company has cemented itself in the industry and grown to become a notable provider of audio, visual, lighting and mobile stages for live production. Since taking the reins in 2022, Production Corp’s owner, Eden Jefferson, has brought an enthusiasm to the development of the business, expanding its portfolio of hire solutions to include LED videowalls and a collection of RCF loudspeaker systems. Production Corp’s most recent project was Phillip Island’s most recent MotoGP.
MotoGP is an iconic fixture of the island’s cultural landscape, drawing in crowds since 1997. With attendance at the 2022 event climbing to over 90,000 people, Production Corp’s involvement was no insignificant undertaking. Servicing a stage hosting an abundance of live entertainment from day to night, Jefferson explained why he chose RCF’s HDL 20-A line array system for the event: “For the MotoGP stage, we needed something that would pack a punch. We went with four RCF HDL 20-A’s flown in an array on either side of the stage, with dual
18-inch SUB 8006-AS subs. I just love the HDL 20-As, we call them our ‘gods of thunder’ because they have great clarity and power. You wouldn’t expect it from such a lightweight cabinet, but they really did the job well and threw a long distance.”
An RCF enthusiast, Jefferson also employs a collection of the brand’s other solutions to round out his aural arsenal:
“The RCF 4PRO series system absolutely kicks; it’s our ideal pub kit. It’s perfect for inside venues and performs for 500 people easily. We also love the HD 10-A wedges, again for their size and what they can put out – they’re just really nice little monitor wedges, especially when space onstage is limited.”
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Essam Refai, an award-winning property technology, user experience and workplace technology expert based in Australia, leads the audiovisual and UX technologies team at Aurecon Consultants. An AVIXA Certified Technology Specialist for Design and Installation, he was awarded the Oceania Young AV Professional of the Year award for 2018 by the organisation and, in 2019, was recognised InAVate magazine’s feature, 40 Under 40, in the APAC AV industry. Refai has worked with clients across Australia, Asia and the Middle East to deliver smart and collaborative buildings across different sectors including commercial, entertainment, education and government. He shares his experience of delivering smart buildings with Pro AVL Asia, exploring emerging trends in smart buildings and the role of AV technology in shaping the future workplace.
“The rapid evolution of technology has given rise to smart buildings, transforming the way we experience and interact with workspaces. The convergence of audiovisual technology and smart building systems will reshape the workplace, making it more efficient and userfriendly.
“A key trend in smart buildings is the integration of systems such as HVAC, lighting, security and AV technology. This integration enables building managers to monitor and control all aspects of the building from a single platform, improving efficiency and occupant comfort. IoT devices and sensors
collect and analyse real-time data, optimising energy consumption and enabling predictive maintenance.
“AV technology plays a crucial role in this integration, enabling seamless communication between different systems and devices. For example, occupancy sensors can trigger automated AV systems for meetings, adjusting lighting and audio levels based on participants. Additionally, integration with room booking systems can streamline the allocation of meeting spaces and resources, reducing the time spent on manual scheduling and resource management.
“As automation and integration continue to advance, machine learning and artificial intelligence (AI) will play an increasingly important role in smart buildings. AI-driven analytics can identify patterns and trends in building usage, enabling facility managers to make data-driven decisions to optimise space utilisation, energy consumption and overall building performance.
“The rise of remote work has emphasised the need for advanced collaboration tools in the workplace. AV technology is at the forefront of this trend, with videoconferencing systems, interactive displays and unified communications solutions becoming essential components of modern offices.
“High-quality audio and video solutions ensure clear communication between remote and inoffice teams, while interactive displays enable
real-time collaboration on shared documents and projects. Cloud-based platforms facilitate seamless file sharing, project management and resource allocation, ensuring access to essential resources regardless of location.
“As hybrid work models become more prevalent, the need for flexible and adaptable workspaces will grow. AV technology will play a pivotal role in creating spaces that cater to diverse work styles and preferences, allowing employees to choose the environments that best suit their needs.
“Smart buildings focus on creating a personalised workspace experience for occupants. By integrating AV technology with building automation systems, occupants can tailor their environment to suit their preferences, including lighting, temperature and audio levels. Employees can use their smartphones to control AV systems and adjust workspace settings, improving comfort and productivity. Personalisation can also extend to the selection of background music and ambient noise levels, with employees able to choose from a range of soundscapes to create their ideal work environment. This trend extends to wayfinding solutions, with digital signage and interactive displays guiding occupants through large office spaces and providing realtime information on available workstations or meeting rooms.
“Virtual and augmented reality technologies are gaining traction in the workplace, offering
immersive experiences for training, design and collaboration. AV technology plays a significant role in enabling these experiences, providing high-quality audio and video for realistic simulations.
“Using head-mounted displays and spatial audio systems, employees can engage in virtual meetings and collaborate on projects in a shared virtual environment, eliminating distance barriers and enhancing team productivity. As these technologies continue to develop, their applications in the workplace will expand, offering new ways for teams to connect, collaborate and create.
“As smart building trends continue to evolve, AV technology will remain a central component in shaping the workplace of the future. From facilitating seamless integration between building systems to enhancing collaboration and providing personalised experiences, AV technology is set to play a transformative role in redefining how we work and interact with our surroundings. To stay ahead of the curve, building technology consultants and businesses must embrace these trends and invest in cutting-edge AV solutions to create workspaces that not only meet the needs of today but are also prepared for the challenges and opportunities of tomorrow.”
“It’s a very technical business; it’s not a question of gender, it’s more what skills you bring. Specifically for women or for younger talent, we look at educational trade fairs, education events and conventions where we can search out specific talents.
“The AVIXA Women Council initiative puts women at the centre, with interesting interviews and portraits of women. That’s impressive because you rarely see women in the media world, you mostly see men. When I started in the music business 26 years ago, it was full of men. It has changed over the years, but it’s maybe a question of evolution. As girls, we don’t get a car to play with, we get a teddy bear
or a doll. If we want to change the mindset of people, we have to start very early. We should be empowering girls to get into technical areas, starting from kindergarten rather than only starting at secondary school.
“I was really lucky, I had two very good mentors, one was and still is a strong woman, still is in the business, who helped me to stand my ground and showed me that it doesn’t matter if you are a woman or man. I also had a brilliant male mentor, and I’m also grateful for that. In my leadership position, I try to use what I experienced myself and help young people, no matter if they are male or female or diverse. I try to help them to grow, to see what their passion is, because I believe that when you’ve found your passion, you’re going to be successful no matter what. So how can we encourage women to look at the AV business? Just look around at what we do – you just need to walk around a trade fair. I don’t know any other industry that brings so much magic onto stages and conferences or product presentations. Women should be brave enough to explore that and give it a try. It’s a magical business.”
“I think one way that we could get more women into AV would be to show girls from a young age that this industry is for them and make them believe that they belong here. I work in the software development side of the AV pro audio industry; one of the initiatives we’re taking as a company to try and encourage more young women and girls into the industry is by hosting a ‘Girl’s Day’. This involves partnering with a local school and hosting a day where they can see what we do here, including all manufacturing and software. It’s
“We need to get to the heart of what I think is a potential solution for a better future for accessibility for women in this field: more mentoring and accessibility. We need people who are at the top of their game, at the top of companies who are willing and able to reach out to people underneath them and say: ‘I am here. I am ready to take up space and I am ready to help you guys take up space.’ Just look at Helen Meyer. She rose to the top of an incredible company at a time when not many women were doing that, and she’s been able to
really important that we can make them believe that this industry is for them,
that they can do it and they do belong there.”
lower the ladder so that other people at the company can climb up behind her. The hope is – for me at least – that once other companies start seeing that, it begins to start a model. If you get enough people at the top who this really matters to, then they’ll lower the ladder, and it will just go down, down and down until it’s at the ground floor and you reach girls at primary or secondary school who want to be a scientist or an engineer. If we can start to get outreach where people are going into secondary schools, explaining that audio engineering is an industry and there are women who are taking up space in it, that’s how we start to get this solved.”
“As a woman in this industry, I had no idea that there was such a bias towards men. But as I’ve grown in my role and in operations, I believe there is nothing that women can’t accomplish and can’t be. I’ve had great opportunities to be successful
amazing. Don’t limit yourself, women. Get out there, do what we need to do. We are strong and this industry needs us. We can bring a lot to the table.”
“Slowly but surely we’re making progress, but the mindset has to change; I don’t think we’re there yet. I’m encouraged by communication with clients where manufacturers are for women, for inclusivity, for a lot of things, but it seems that it’s taking a long time to really make it happen. There are women out there who are brilliant but maybe sometimes feel a little bit intimidated. We need to educate, emphasising that there are women at the top. There’s not a lot of them, admittedly, but there are some good ones and we need to attract more and more of them.”
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CONCEIVED IN 1991 BY PERRY FARRELL AS A farewell tour for his band, Jane’s Addiction, and special guests, Lollapalooza has grown over more than three decades to become one of the biggest festivals globally, its annual edition in Chicago now joined by events in Brazil, Chile, Argentina, Germany, France and Sweden. In late January 2023 it headed east to Mumbai as Lolla India landed at the Mahalaxmi Racecourse, entertaining more than 60,000 fans with its trademark blend of music, culture and alternative lifestyle. Attracting the participation of top international and Indian artists as well as sponsorship from the automobile, retail, digital commerce, social networking and food and beverage industries, the inaugural event – a feat of planning, logistics and sheer endurance in such a crowded metropolis as Mumbai – was an unqualified success. Finding a suitable venue in the city was a major coup; Mahalaxmi Racecourse, spanning 0.91km2, is a centrally located open space with good public transport links. Co-presenting sponsor Budweiser Beats Energy Drink was behind the festival’s main BudX stage, with Imagine Dragons headlining on day one and The Strokes on day two, along with Liverpudlian indie band The Wombats, Indian singer-songwriter Prateek Kuhad and Indo-Canadian rapper, AP Dhillon. To deliver, Mumbai-based rental company SNL Pro with Manish Mavani at the helm provided complete audio and backline support with a main system consisting of 40 L-Acoustics K1 and 30 K2 line array modules, with a total of 36 Kara II speakers and 56 SB28 subwoofers. Consoles supplied for the stage, which was manned by SNL Pro engineer Rohit Poredi and supported by assistant engineer Vishal Giradkar, were three DiGiCo SD10s, a DiGiCo Quantum 338 and an Avid Venue S6L. The company also provided trussing, special effects and pyrotechnics for all four stages.
Over on the second stage, Walkers & Co – sponsored by Johnnie Walker Refreshing Mixer – Sound.com provided an Adamson E15 line source system for headliners, US rockers Greta Van Fleet and K-pop megastar Jackson Wang as well as US singer-songwriter Chelsea Cutler and Mumbai musician Kayan.
“Lollapalooza coming to India is a big milestone in festival production and a manifestation of the next generation of audiences wanting to consume mainstream and indie music,” asserts Sound.com director, Warren D’souza. “For us, getting a call to do one of the main stages of Lolla was an honour itself. Unlike any other festivals [in India] Lolla was closed on contracts 4–5 months in advance – something never ever done by local promoters – with every piece of equipment contractually bound by the rental houses with the promoters. This was a first and it definitely won’t be the last.”
D’souza, who’s risen to the top of his game by working closely with international live entertainment providers, is also full of praise for the Lolla India’s production company, Greenstone
Entertainment. “They were hired by the promoters BookMyShow and did an amazing job by bringing a consortium of the best vendors in the country to do this festival,” he continues. Sound.com deployed a flown system of 18-per-side E15 enclosures as the main PA, supported by six E12s per side as out fills, four S10ps and six S10s as centre fills, with low-frequency extension bolstered by 72 E119 subwoofers. Two delay towers were equipped with six E15s, four S10s and three E12s, while a delay tower for the VIP enclosure featured eight E12s, four S10s and two E219 subs; onstage monitoring was provided by eight M15 wedges. The entire system was powered by 46 PLM 20K44, six PLM 12K44 and four PLM 10000Q Lab Gruppen amplifiers. Two DiGiCo SD10 consoles were used at FOH with a further two on monitors for the live acts. “We swapped between desk sets – while one pair was being set up and line checked, the other pair of SD10s were going live,” explains D’souza. “We
The seminal Lollapalooza festival has arrived in India. Caroline Moss talks to the sound rental companies who supported the two-day, four-stage event
of the headlining acts that travelled with their own consoles.” This included another DiGiCo SD12, an Avid S6L and a Waves LV1. All the backline equipment for this stage was provided by Sound.com’s GearHouse division.
“We were very clear that we wanted to put out a world-class PA system with a control systems package that was befitting of the festival, while also resonating with the culture of our company and team to provide all that was needed for a successful and slick changeover from act to act, right through the two-day event,” explains D’souza. “Support from Adamson and local distributor
with reserved tables offering premium culinary and beverage experiences, front stage access with an open bar, valet and shuttles to the entry point and between the stages. Here, Roger Drego provided a main PA system of 18 L-Acoustics K2 line array modules with three Kara cabinets per side as down fill, eight Kara per side as out fill and a further eight as front fill, a total of 40 SB28 subwoofers and 12 X15 HiQ coaxial monitors onstage. The system was powered by 12 LA12X and 36 LA8 amplified controllers. Roger Drego also provided two Avid S6L and two DiGiCo SD10 consoles for FOH and monitors with a DiGiCo SD12
and two B2 subs, and the system was powered by 30 d&b D80 amplifiers. Two DiGiCo SD10s were provided for FOH with another two for monitors. Pioneer CDJ-3000 players with DJM-V10 DJ mixers, Shure and Sennheiser in-ear monitor systems, Shure Axient digital handheld microphones and an extensive package of backline equipment were also provided by the company.
Audio Dimensionz engineer Neil Lean, assisted by Sean Lobo, time-aligned and tuned the systems, with Lobo also mixing artists who didn’t have their own engineer, and monitor mix handled by Nadeem Ali. “We received a lot of compliments from Lollapalooza team members, artist managers and sound engineers,” says Audio Dimensionz owner, Herman Lobo. “This felt great to hear as we were among the best sound rental companies in Mumbai on the other stages. Special thanks goes out to Jagdish Mutke, Zarwan, Sainath and Surya from the production team who helped us to put on a glitch-free performance, and to Greenstone Entertainment India who gave us this opportunity to be a part of
At the close of Lolla India, Perry Farrell, who’d been spotted walking proudly around the festival grounds during the event, announced on social media: “Things are looking up for India.” And with the second edition of Lolla India announced for 2024, it’s fair to say that live entertainment has come a very long way on the
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TOA Corporation has unwittingly developed a winning formula for producing vandal-proof, intelligible and long-lasting audio systems within the prisons and corrections sector. Nothing to advertise, perhaps but, fortunately, the same loudspeaker solutions find other homes beyond such institutions – including shopping malls.
Formally closed in 1996 after 101 years of service, Kuala Lumpur’s notorious Pudu jail would remain abandoned for another quarter of a century before LaLaport Bukit Bintang City Centre (LaLaport BBCC) shopping mall would rise from the deep foundations. TOA Malaysia was called upon to provide an extensive public address system that stretches from the subterranean car park to retail outlets on the 6th level.
The Japanese lifestyle shopping mall was a RM1.6 billion (US$362 million) mall joint venture investment made between BBCC Development and Tokyo-based real estate company Mitsui Fudosan (Asia). Maintaining a Japanese theme, TOA Malaysia’s project sales team was commissioned to collaborate closely with mechanical and electrical consultant Perunding Kotrek in the design of an audio system for the 130,000m2 mall. Complying with EN54 standards, a TOA VX-3000 Series IP network base and decentralised concept was selected for the BBCC project that had been deployed for numerous projects and based on a good relationship with security and communications specialist, Interstate Solutions.
Specified for its reliability, energy-saving credentials and ease of operation, a VX-3000 system manager lies at the heart of the TOA matrix for all the public address paging, BGM and voice evacuation requirements. Offering up to 5,760 control inputs and 2,880 control outputs, the scalable system architecture provides up to 1,280 remote microphones, 1,920 audio sources, 1,024 internal messages and 2,560 speaker lines. Operating over BBCC’s LAN infrastructure, the centralised concept was conceived by the TOA Malaysia engineering team.
Connected to VX-3000DS power supply managers (PSMs), individual VX-3004F frames control the voice evacuation announcements of TOA’s VX-3000 Series evacuation system. Saving fire control room space, just 11 3U VX-3004F wall-mounted
and dual switching power supplies. In the event of power supply failure, the VX-3000DS PSMs automatically switch to auxiliary battery power from a connected charger at the rear of the rack for
bracketed within the steel pillars both inside and outside the shopping centre. The IP65-rated enclosures can produce 90dB SPL (1w/1m). The extensive ceiling speaker solution consists of 2,334 PC-648R 5-inch models, which are integrated with a resin panel and speaker frame, feature a spring clamp mechanism which can be mounted to the ceiling and input impedance that can be switched by changing the tap position on the transformer. Combining power with intelligibility in challenging acoustic areas, the back of house zones feature the same PC-648R ceiling speakers in addition to paging horns and wall-mounted cabinets. A total of 652 SC-615M paging horn speakers have been wall mounted in the delivery bays and the car park. A total of 542 BS633 wall-mounted speakers adorn zones where a ceiling solution could not be installed including the fire escape staircases. The remote protocol of the VX-3000 allows Gan Xian Tek from Cofreth facilities management service to oversee the audio parameters from his own office, 20km away in Sabang Jaya. “In addition to complying with the Modbus protocol, the VX-3000 is EN54-compliant,” comments Xian Tek. “As such, the VX-3004 matrix frames transmit all their signal status information for each line and highlight faults should they occur. This saves me a lot of time having to unnecessarily visit the site and gives me huge peace of mind.”
Advancing technology continues to save time – the most valuable commodity of all.
Munro Acoustics and Axys Integrated Solutions continue their collaboration to provide acoustic and sound system design and integration to the burgeoning Social chain.
Caroline Moss visits Aerocity Social
INDIA’S
OVER THE past decade, with Indian and international players presenting a diverse smorgasbord of options across the subcontinent as well as showcasing its own rich and varied culinary heritage. However, following the country’s strict lockdowns in 2020 and 2021, many operators – particularly smaller, standalone outlets – have struggled to keep going, diversifying into pop-up and street food ventures to escape crippling rents and overheads as the market became flooded with second-hand industrial kitchen equipment and restaurant fittings and fixtures.
In this environment, it was the stronger, well-financed chains that had more chance of survival; none more so than Social, which has gone from strength to strength since it opened its first restaurant in Bengaluru in 2014. Now, as a post-Covid spending boom propels the Indian economy – the world’s fifth-largest – to pick up faster than most other leading nations, the chain has been opening more and more restaurants over the past year, bringing its total to 43. “They are really on a roll,” comments Prince Philip from Axys Integrated Solutions who, together with Kapil Thirwani from Munro Acoustics, has now provided acoustic design, audio equipment packages and installation at 17 of the chain’s venues since fitting out Odeon Social in New Delhi’s Connaught Place (Pro Audio Asia, July–August 2016).
The Social chain was founded by Riyaz Amlani, CEO and managing director of Impresario Handmade Restaurants, who initially planned it as a café and workspace before it quickly expanded into a bar and nightclub concept. Some of the branches, dubbed Antisocial, are geared towards partying and live music, with sound systems to match. Each branch has a unique themed image, taking inspiration from its location, and Aerocity Social’s industrial aeronautical concept is a
classic example of this. Located 2km from the Indira Gandhi International Airport with good connections to the capital, Delhi Aerocity offers commercial premises, five-star hotels, shopping malls and restaurants in a sleek, modern environment that has encouraged the likes of Google, Adobe Systems, General Electric, Hewlett-Packard, Nokia and PepsiCo Holdings to take office space.
Aerocity Social opened in mid-2022 with a vintage twist that suggests travelling in a bygone, more glamourous era, with hints of a luxury airport lounge. Aluminium rivetted tables suggesting aircraft fuselage are combined with leather bucket seats, airlinestyle “windows” displaying moving cloud formations double up as LED signage screens, a neon sign proclaims (“airport terminal” in Hindi) and the outdoor terrace features waiting area-style seating. Like most Socials in predominantly business areas, the Aerocity branch offers dedicated coworking space – quieter zones and desks equipped with charging stations and a monthly membership fee which entitles those working at their outlets to food and beverages as they toil.
A sound system based around Spanish brand Work Pro was chosen for the venue, supplemented with EAW subwoofers. The main area is covered by a pair of Work Pro Entar 12 passive two-way speakers augmented with a self-powered EAW RS118 subwoofer, while the bar and side fill system consists of four Work Pro Entar 10 units and a powered EAW RS115 sub. Covering the main room to the left of the entrance is a pair of Work Pro Entar 8 speakers, while the area to the right of the entrance is covered by a pair of Work Pro WND-6s. The system is powered by QSC RMX2450a amplifiers with DSP provided by an Amate Audio LMS608 loudspeaker management processor and a Soundcraft EPM6 mixer handling inputs for occasional DJ sessions. Audio is relayed to the terrace by four Work Pro Neo 6 IP speakers for outdoor installations.
meet or come to work between appointments and travelling, not a live music or party place,” explains Philip. “Most of the output is from Social’s own music server, and sometimes a DJ will come in to play in the evenings. It’s a simple setup zoned into just a few separate areas for people to work, the outside area and around the bar, where more energy is concentrated.” Munro/Axys have also jointly completed several more Social branches in the past year, including Saket Social, the 31st outpost of the chain to open, in the heart of New Delhi. The two-storey premises, based in a shopping mall, has brought the outside in by creating a park with a holographic waterfall, swings and seesaws surrounded by greenery. The main
room system here is a combination of Work Pro ARQ 18 and Work Pro Mino 8 speakers combined with Quest FR12 and JBL SRX728S models and JBL SRX718S subwoofers, with Tannoy DVS 6 ultra-compact speakers for the outside area, and JBL AC15 ultra compacts with JBL AC115S subwoofers for a covered terrace. The system is powered by Lab Gruppen, Crown and Zenith, with control provided by two Work Pro WPE 48 N digital audio processors.
Work Pro has also been used extensively at Social Hauz Khas Village, also in Delhi. The 800m2 lakeside property, with views over the historic Hauz Khas Islamic monument, spans two floors, one of which is used for live music, and has been equipped with upcycled furniture in an industrial setting with bare walls, large communal tables and naked lightbulbs. Work Pro Entar 12s and EAW RS118 have again been used in the main room, with Work Pro Mino 8s and a Work Pro MP 18 subwoofer in the main bar, Work Pro ARQ 18s and a Work Pro MP 18 in the Brick
Z15 subwoofer, while Work Pro Neo 5s have again been used for the smoking section on this level. Work Pro Zenith amplifiers power the system, with Work Pro WPE 48Ns handling DSP.
Two more branches of Social were due to open at the time of writing, one further north in Dehradun, in the foothills of the Himalayas, and another in Gurugram. The Dehradun property has opened in response to increased tourism in the region; the town is becoming established on the party circuit, being in close proximity to holy sites such as Rishikesh, where alcohol is prohibited. This large branch is styled as a school, with a main room kitted out like a sports arena, a library-themed bar, seating areas based on a classroom and a dormitory and an outdoor terrace with views of the nearby hillstation of Mussorie.
Meanwhile, IFC Social has opened in Gurugram, a satellite city of Delhi. Munro and Axys have installed both branches with a combination of Work Pro and Amate Audio speakers with Amate Audio DSP and QSC amplification. The acoustic consultancy and integrator, like the restaurant chain itself, is onto a winner as Social expands across India.
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postproduction studios are almost as historic as the 40-year facility. Back in 1991, the studio, located in Kagurazaka, Tokyo, purchased a pair of Genelec 1035 wall-mounted monitors for its main audio room, a large studio which can accommodate up to 15 clients in the control room. Now, after more than 30 years, the original speakers have undergone a retrofit upgrade and are reborn as a pair of 1235A SAM studio monitors equipped with state-of-the-art technology.
“The people involved in the project back then aren’t working here anymore, but I’ve heard the concept was to create the leading multi-audio studio in Asia,” explains Toshiyuki Otaki, manager of Brain’s studio division. “The marketing department played a central role in creating this room, and I think they had a desire to attract customers with good speakers.”
Various factors were behind the decision to go down the upgrade route rather than investing in brand-new studio monitors. One of these was that the 1035s had been in use for a long time, and there were parts that needed maintenance. This led to discussions about refurbishing the entire system rather than just maintaining some of it.
Of course, economics also played a role. “I am really costconscious, so a part of me thought that maybe we should take this opportunity to downsize the monitor system,” reveals Brain director, Mitsuhide Takamura. “But once we took the 1035s out from the wall, I noticed that the foundations inside the wall were very solidly built. I thought that since we already have this, we should make good use of it. Compared to the cost of downsizing, there was no difference in price at all. The fact that we could upgrade the 1035s we trust and have been using for a long time with the latest technology is truly wonderful.”
Takamura also works on projects such as video and projection for live events, some of which take place outdoors, and in this work he relies on a large monitor system to produce the SPLs and ambience that would be created onsite. “That would be impossible with nearfield monitors,” he explains. “I also work with directors to decide how things will sound onsite, so I felt that a large monitor was necessary for that to be possible.”
All things considered, the most appealing option for Brain was Genelec’s retrofit upgrade programme, a sustainable update which retains the 1035 enclosures and updates them with Class-D amplifiers with more driving power and less power consumption. The upgrade also supports Genelec’s GLM calibration software, giving monitor control.
“Once the monitors were refurbished and reinstalled, we listened to the uncalibrated sound without using GLM, and the sound was very close to the original 1035s,” says Otaki. “This left a lasting impression since, for us, it’s a big problem if our reference sound changes. Calibration improves the sound, but GLM allows you to fine-tune the characteristics yourself after calibration, so I can create a balance between the outstanding sound characteristics and the sound I am used to.”
Adds Takamura: “Also, in a large room like this, something that customers are often concerned about is that even if the mix sounds good in the sweet spot, the sound won’t be as good in the back. GLM can measure and store the settings for the client’s seat in addition to the mix position, and switch between the settings quickly. This is a vital feature in terms of sharing the same sound with the client.
“I have been mixing with Genelec’s large monitors since I started in this business, and I think Genelec is really special. The sound of these monitors is ingrained in my body, and I can easily imagine how things will sound on TV, for example. It’s fascinating that I still have the same feeling following the retrofit upgrade, in addition to now having speakers fitted with the latest technology.”
Not only has the upgrade created a pair of cutting-edge studio monitors which provide the studio with a sound reference it’s familiar with, the cost-effective solution also scores highly when it comes to sustainability. “Brain has other studios with Genelec products, and they last a long time,” says Otaki. “This is truly a connection of trust, and we will keep moving forwards into the future while cherishing this sound. I feel that the retrofit upgrade was a worthwhile thing to do.”
www.genelec.com
www.studio-brain.com
Rather than completely replacing its main monitors, Japanese postproduction studio Brain instead opted for a sustainableupgrade of its Genelec 1035
system. Caroline Moss finds out moreToshiyuki Otaki Mitsuhide Takamura
Hearing, seeing, feeling, connected. A new listening experience. Involvement with a most beautiful intensity. The interaction between artist and audience, more intimate than ever before. Enveloping sound reinforcement, succeeding so much more than right and left.
d&b Soundscape gives designers, engineers and artists the tools to create exceptional audience experiences.
Studio in Shimbashi, Tokyo. Fifteen years later, the studio relocated to its current premises in Azabudai, also in Minato prefecture, changing its name to Sound City. Today, it offers a music recording studio and postproduction facilities, employing around 60 people.
“Our strength at Sound City is our ability to flexibly adapt to changing times,” explains COO, Ken Akechi. “We are constantly updating our studios to attract new work and bring in new business.”
This is evidenced by the latest update at the studio – the addition in August 2022 of tutumu, an immersive studio that supports both Dolby Atmos and Sony 360 Reality Audio with a 9.2.5.3 configuration based around PMC’s new studio monitors, the PMC 6-2. tutumu – which means “to envelop” in Japanese – was converted from an existing audio and music production studio. “Due to the high ceiling, this room was a great space for planning an immersive studio,” continues Akechi. “The idea of opening something that supports both Dolby Atmos and 360 Reality Audio formats at Sound City emerged in July 2021. The vision of the tutumu project was to create a flagship studio – not only for Sound City, but for Japan.”
The project stemmed from the Sound City team’s belief in the future of immersive audio. “We were convinced that, in the future, we will be creating works in a three-dimensional space,” explains Akechi. “Given the rapidly evolving technologies, it won’t be long before we can listen to the exact same sound on headphones as the engineers hear in the studio. Furthermore, we may eventually be able to enjoy sound and visuals in 3D in a setting such as a car or in the metaverse. Also, unlike previous multichannel formats, immersive audio can be experienced via existing streaming services. We thought it would be wonderful if tutumu could become a starting point for popularising immersive audio in Japan.”
Although there were already Dolby Atmos studios in Japan for postproduction and gaming, only a few studios were designed for Dolby Atmos for music production. One of
Akechi’s first jobs was to convince his fellow engineers of his idea to open an immersive audio studio within Sound City. “Without staff who supported my opinion, we would not be able to build a competitive studio,” he says. “I researched immersive audio and found proof of the market’s growth potential, and carefully explained it to each staff member. The technical executive engineer, Satoshi Nakazawa, and chief engineer, Masanori Hata, agreed with me from the beginning. I was worried about how other colleagues would react to my ideas, but they accepted them very positively, recognising that, in order to progress, we need to learn about new technologies.”
Constructed in 1976, Sound City’s existing building proved ideal for converting into an immersive studio. Compared to more modern buildings, its ceilings are higher, providing the necessary height for speaker placement in an immersive setup. The building’s solid construction also provided a good low-frequency response and sound quality. However, there were still challenges to overcome. Despite the 3m ceiling height, obstacles such as air conditioning ducts became evident once the ceiling was dismantled. However, the room’s shape and layout has remained almost unchanged, with no loss of functionality, while the layers of sound absorption in the walls and ceiling provided for the original studio were kept largely unchanged. The front baffle was redesigned to accommodate the L-C-R speakers using the same absorption material as before, and AGS (Acoustic Grove System) material was placed behind each speaker to help achieve consistent sound quality and characteristics.
“AGS is a room-tuning mechanism developed by [acoustic design and construction contractor] Nihon Onkyo Engineering to create an ideal acoustic space that resembles a forest,” explains Akechi. “An ‘ideal acoustic space’ means a soundfield that can achieve both a good bass response and detailed mid- to high-range sound quality.”
All the front speakers have been built into the wall to prevent the bass response becoming overly energetic. “We embedded the speaker stand in the wall with mortar
One of Tokyo’s longest-established studios has a new immersive facility designed to handle multiple formats. Caroline Moss reports from Sound City
to make the characteristics of the five front speakers the same, and to improve separation with the subwoofer,” explains Akechi. “We couldn’t do this for the height and rear speakers, but we made efforts to install them as firmly as possible.”
While based on the Dolby Atmos configuration, the layout was also designed to be compatible with Sony 360 Reality Audio. A sliding door and window at the entrance to the booth became a primary reflection surface for the front speakers, so the window was covered to create a layer of absorption, while the sliding door was replaced with a hinged version and treated with an absorption material. A glass sliding door in the machine room at the left rear was also replaced with a hinged door and similarly treated. To meet both Dolby Atmos and 360 Reality Audio regulations simultaneously, the technical
manufacturer’s Japanese distributor, Otaritec Corporation. The system consists of three PMC 6-2 speakers for the front L-C-R channels and 14 PMC 6 speakers for the remaining channels, with two PMC 8-2 SUB subwoofers providing low-frequency extension.
“We listened to about eight different models of speakers from various manufacturers,” explains Akechi of the selection process. “As soon as we heard the PMC demo equipment, it was unanimously decided to go with them.”
The Sound City team cited the speaker’s high resolution, ample headroom, good frequency balance and a natural sound conducive to immersive work as reasons for choosing the brand. “In comparison to the sound image produced in a conventional channel-based method, there is a listening problem with object-based formats, where the sound image can become distorted during panning if all the low frequencies are sent only to the subwoofer,” continues Akechi. “In PMC’s new model, the speaker has been redesigned and the amplifier capacity has been doubled compared to the previous model, so that each speaker can reproduce a wider-frequency bandwidth without distortion. This is also reflected in the design of the subwoofer.”
main studio monitor controller, and a Merging Technologies Anubis headphone amp. Two Avid Pro Tools MTRX units are being used, one to manage inputs and connection – via Dante – to the Dolby Atmos RMU, and the other handling analogue output to the speaker system. The Pro Tools MTRX systems can be expanded by adding cards to handle a wide range of signals including analogue, Dante, MADI, AES/EBU and DigiLink. As well as handling I/O, Pro Tools MTRX also plays a role in correcting the soundfield, with Datasat AP-25 optimising frequency, phase and time characteristics, and a Pro Tools SPQ card used for final adjustments.
tutumu is now being used for immersive mixing projects for major Japanese artists, as well as some Dolby Atmos mixes for film animations to be screened in cinemas. The studio can also handle 5.1 and 7.1 mixing.
“tutumu inspires creative desires and touches the hearts of engineers, and we believe that it is one of the best immersive studios in Japan,” concludes Akechi. “It has received high praise from creators and engineers. We designed it to be expanded as needed, to give it longevity and to promote immersive audio in Japan.”
www.pmc-speakers.com
www.soundcity-w.com
WSDG has designed and installed a Dolby Atmos film audio mixing theatre at the postproduction facility of China Film Group (CFG). Caroline Moss finds out more
SINCE BEGINNING LIFE IN 1949 AS THE CHINA FILM Corporation, state-owned China Film Group (CFG) has been at the forefront of many of the country’s technical developments in picture and audio. The corporation not only develops and distributes films throughout China but is also the only importer of foreign films into the country, as well as a major exporter of Chinese films. As such, it needs to keep abreast of all technical upgrades that are relevant to the film industry. Back in 2015, CFG opened the first Dolby Atmos postproduction studio in China (Pro Audio Asia, July–August 2015). This has been joined over the years by more 3D audio facilities, the latest of which is a cutting-edge Dolby Atmos mixing theatre designed by global acoustic consultancy, WSDG, with equipment supplied and integrated by Chinese distributor, DMT. The extensive Meyer Sound cinema speaker system installed in the theatre was supplied to DMT by the US manufacturer’s distributor, Shanghai Broad Future.
The group’s China Film Postproduction Company (CFP) is located in spacious premises in Yangsong Town, just north of Beijing, which it moved into on the eve of the Beijing Olympic Games in 2008. This handles all stages of the film production process, with studios and facilities for TV and video work, dubbing, Auto Dialogue Replacement (ADR), Foley work, scoring, pre-mix and picture and sound editing. The production systems have been designed and constructed according to the highest international standards, resulting in a large-scale, fully networked, all-digital production environment.
The WSDG-designed and integrated Dolby Atmos film audio mixing theatre – an upgrade of a previous 5.1 and 7.1 studio – is one of the latest additions to the ever-evolving production facility. Equipped with state-of-the-art audio mixing technology and a giant video screen, and furnished with comfortable leather seats to accommodate industry screenings, the CFG mixing theatre is
the first facility of its kind in China. WSDG director of business development, Sergio Molho, and the company’s China-based representative, Víctor Cañellas, first visited CFG headquarters in 2019 for initial meetings with Lei Zhen Yu, general manager of CFG Digital Production Base, and Johnathan Wang, technical director of Chinese AV distributor, DMT. The China Film Group State Production Base, which has strong support from central government, was committed to creating a world-class mixing theatre that would rival the technological and acoustic excellence of Hollywood’s finest facilities. Top priorities were cutting-edge technology, a giant HDR Harkness screen compatible with CFG’s Cinity laser projection format and plush seating.
“Of equal concern was the need to adhere to a fixed budget,” explains Cañellas. “CFG’s decision to engage WSDG to design and execute this project was informed by our portfolio of Dolby Atmos recording, mixing and editing facilities including Blue Table Post in New York, Berklee College of Music in Boston, Spotify in Los Angeles and Rue Boyer in Paris.”
The CFG mixing theatre is divided into four areas: screen, audience section, sound mixing and director’s section. There
is also an isolation booth to capture anything that might need rerecording, such as occasional dropouts or inaccurate tones.
“This was a turnkey project,” explains Sergio Molho. “DMT provided all equipment and systems integration. In addition to the high requirements for acoustics and interior design, the advanced, highly efficient system epitomises the China Film
Group’s focus. DMT was the systems integrator when the original China Film production site was built in 2008, so they understood the client’s needs very well. For this upgrade, DMT focused on flexible signal routing, with Dante architecture simplifying the routing of all mixed signals, simultaneously sending them directly to Pro Tools recorders, editing stations, format renderers and level monitoring meters.”
Centre stage is a 104-fader Avid S6 console with three operator positions and six Avid Pro Tools Ultimate DAWs, each equipped with an HDX3 DSP card and Avid MTRX routing matrix capabilities. Three of the DAWs are dedicated to playback, two for editing and one for recording. Above the audio setup looms a 14.2m x 7.22m (WxH) Harkness screen outfitted with five Meyer Sound Acheron 100 screen speakers providing 100° horizontal coverage for the left, left-centre, centre, right-centre and right channels, with eight X-800C subwoofers handling low-frequency extension. The screen speakers are all managed by Meyer Sound’s Galileo system. Surround speakers for left-wide, right-wide, side surround, rear surround and top surround channels consist of six HMS-15, six HMS-12 and 30 HMS-10 speakers from Meyer Sound’s selfpowered HMS range. Four X-800C subwoofers have been installed in each corner of the room, providing phase coherence to transition from screen channels to low-frequency effects (LFE). Other audio equipment includes Focusrite RedNet AoIP interfaces, an RTW TM9 loudness monitor and audio meter and a TAC System VMC-102 surround and immersive monitoring controller.
A large-format Christie CP4450-RGB laser cinema projector has been provided for screenings, along with a Cinity format, HDR + 120 FPS server. The room is equipped with Avid Media Composer video editing software with a DNxIQ video I/O interface. The studio, which has been awarded Dolby’s Premier Certification and is equipped with the manufacturer’s Dolby CP850 Atmos digital cinema processor and RMU (rendering and mastering unit), also features a DTS:X object-based audio codec.
LED light lines have been embedded within the walls to create mood lighting with flexible options according to different uses of the room. “We were especially proud of the seating options we consigned,” says WSDG partner/art director Silvia Molho. “Working within the fixed parameters of CFG’s budget, we delivered nearly 60 plush leather seats for high-level executives and celebrity guests. This is one of the most elegant and comfortable mixing theatres anywhere in the world’s film postproduction industry.”
“Considering the Covid issues and the budget cap, our architects, acousticians, project managers and designers delivered miracles on every phase of this project, and we are extremely proud of our accomplishments,” adds Sergio Molho. “Our design and production teams collaborated between our offices in Europe, Latin America and across the US. Every one of our 60+ designers, project managers, architects and acousticians provided hours of work and invaluable input.”
Appreciation for WSDG’s work was demonstrated by a video screening organised by CFG in the new theatre at a special meeting of the group’s top executives, featuring interviews with the design group’s co-founding partner John Storyk together with Cañellas and Silvia and Sergio Molho. Meanwhile, proof of the new facility’s relevance to the burgeoning Chinese film industry has already been evidenced by its work on the latest Frant Gwo blockbuster, The Wandering Earth II, a prequel to one of the highest-grossing non-English films of all time.
www.dmtpro.com
www.dolby.com
www.wsdg.com
FEW OF MUSIC’S BROADER GENRES HAVE CLEAR-CUT starting points. Jazz is considered a product of New Orleans’ racialised gumbo, one that serendipitously elided much of the viciousness of America’s Jim Crow era of “separate but (not really) equal” apartheid in place from the 1860s to the 1960s. Nonetheless, the august Smithsonian Institute’s magazine awards a group of white musicians credit for having made the first jazz record: the Original Dixieland Jass [sic] Band’s rendition of Livery Stable Blues on 78rpm disc, in 1917. For better or worse, making the first recording is kind of like planting a flag, which is how Christopher Columbus managed to claim discovery of America despite showing up 500 years or so after Eric the Red.
Same goes for rock and roll, where the consensus is on Rocket 88 by Jackie Brenston and His Delta Cats, recorded in 1951. At least Brenston was Black. Unfortunately, cultural archeologists looking back centuries from now at Billboard charts from the 1950s would be forgiven for thinking that it was Pat Boone and The Kingsmen who were rock and roll’s true pioneers.
The picture is clearer for rap and its progeny hip-hop. It’s become canonical that the first time that genre was fixed in vinyl and tape was 1979’s Rappers Delight by the Sugar Hill
Gang. Yes, plenty of arguments are made for other pretenders to that gritty throne, going all the way back to a 1930’s US gospel-music group The Jubalaires. But by the time Eminem and the Beastie Boys came along, no one was confused about the genre’s racial etymology.
So it was satisfying to see the 50th Anniversary of Hip Hop, a rap free-for-all featuring 26 rappers and half again as many musicians celebrating rap’s half-century, be the hub of the recent Grammy Awards show (and set the faders on two FOH consoles flying). The segment, which featured Missy Elliott, Big Boi, Run-DMC, Queen Latifah, Public Enemy, Busta Rhymes and Grandmaster Flash and the Furious Five among others, and backed by a combination of tracks and the Roots playing live, was essentially a statement of ownership. In an entertainment industry in which cultural appropriation has been not only rampant but an actual business model, the 15-minute-long, Questlove-curated terpsichorean history lesson was as much an occupation of the Grammy stage as a celebration on it.
The Grammy Awards took place exactly a week before another event made a similar statement: Rihanna’s 13-minute-long strut on the Super Bowl’s half-time stage. It was the third such event produced by Jay-Z’s Roc Nation and, like the preceding ones which featured Dr Dre, Snoop Dogg, Eminem and others in
2022 and The Weeknd in 2021, it was a not-subtle declaration that Black music has a bigger seat at the table now.
Country music, long a bastion of whiteness, is trying to change its tune. The Academy of Country Music this year inaugurated “OnRamp”, an annual guaranteed-income programme for 20 young, Black members of the music community. Around the same time its larger but more staid counterpart, the Country Music Association, announced Country Proud as part of its annual event, billed as the first-ever LGBTQ+ Pride event at a country music festival.
Whether that takes hold or becomes mere window dressing remains to be seen, but it’s worth noting that it’s taken a lot less time for music to acknowledge the contributions of others who diverge from the hetero-Eurocentrism that’s been at the heart of the business for the last century than it did Black artists. Rappers in particular were targeted by societal gatekeepers during the genre’s early years – NWA’s F*** Tha Police was neither intended nor received as a term of endearment. But post George Floyd et al., the anger expressed in that era of rap is understandable. And even if the 50th Anniversary of Hip Hop had its sharper edges blunted a bit for a prime-time Sunday night television audience, the fact that it was there, in the middle of music’s most iconic institution, said everything they needed us to hear.
SOME THINGS NEVER CHANGE. SIX YEARS AGO, UK full-service provider Britannia Row was in charge as usual for the technical marshalling of the BRIT Awards, London’s answer to the Grammys, the Japan Record Awards and the Korean Music Awards. It’s also London’s answer to the question: what happens when you spike the drinks with ego-juice at a banquet for pop stars? At the end of the evening, you do not pour the guests into taxis. You load their self-admiration into a fleet of articulated lorries. Britannia Row – Brit Row, to its friends – has plenty of such lorries. But they are reserved for the payload of kit that has stayed remarkably consistent over the years, notwithstanding the obvious hiatus caused by the pandemic. In 2017, DiGiCo SD7s were at FOH and monitors supported by what were then the new SD12s, set aside for the gushing blather that greets each award. This year, the SD7s were upgraded to Quantum 7s but the SD12s were there again for the same purpose, plus an SD11 for comms.
In 2017, L-Acoustics K1 was at the heart of the loudspeaker landscape, with KS28 subs and sundry infills, especially the lighter K2. This year, L-Acoustics K1 was again at the heart of the loudspeaker landscape, with KS28 subs
and sundry infills, especially the lighter K2. Same goes for Sennheiser’s Digital 9000 series, 2000 series and EK 2000 IEM. Plus ça change, and all that.
This is of course a victory for consistency of service, reliability of technology and fitness for purpose. It’s a pity the same can’t be said for several other aspects of the BRITs, to which the word “consistency” can only be applied to the evening’s propensity for calamitous bungles.
This year’s contribution came from the £500,000 set constructed for a duet between out-there crooner Sam Smith and German singer-songwriter Kim Petras, featuring the song Unholy. Minutes before the performance, something mechanical went wrong on the set, which included a lot of moving parts (some of them very human), featuring an array of dancers performing on cars in a garage setting. As a result, Stormzy’s performance was rushed forward, a backup video of Adele from last year was shown and the presenters ratcheted up the piffle quota by several degrees. This was all while pitstop-style maintenance was carried out behind the scenes, appropriately enough.
Smith nearly didn’t perform at all, partly as time ran out and partly following routine tantrums. History doesn’t record
the Richter scale of tantrums that ensued in 2015 when Madonna, no less, was dragged off the stage at the BRITs by her own Armani cape during a performance of Living for Love. The choreographers had apparently tied it very tightly around her neck to prevent it from falling off, so when it was supposed to be released with a well-timed tug, it didn’t. Anyway, the team was at least partially successful, so it wasn’t all bad.
Last year, English Rockabye chantreuse Anne-Marie fell down the stairs, twisting her ankle while performing Don’t Play with rapper KSI and producer/DJ Digital Farm Animals. In both cases, professionalism shone through and the song was completed, followed by a few teethclenched attempts at brushing the whole thing off. But that simply wasn’t possible during the greatest BRITs debacle of all: 1987’s presentation by totally untrained ingenues Mick Fleetwood and Sam Fox, complete with autocue failure, envelope errors and false entrances galore. They should have stuck to drumming and modelling, honestly. Although Sam Fox was a lousy drummer. You know what? They should just let Britannia Row handle the whole lot.
to its traditional January slot, the 2023 NAMM Show reunited the MI, pro audio and entertainment technology communities following its last outing just nine months earlier. Held at the Anaheim Convention Center (ACC) from 13–15 April, the threeday event stimulated business opportunities and valuable reconnections as the industry continues its reboot in the postpandemic economy.
The transition in dates continued to leave its mark in the ACC North Hall’s pro audio-focused hub. It was a NAMM Show full of enthusiasm for most but, as in 2022, it wasn’t a typical NAMM. Rather than attempt to stage a show on the upper level, the exhibits were confined to the lower floor. However, eight audio demonstration rooms on that upper level drew avid listeners and potential buyers alike. Here, they could deduce the acoustic nuances and hardware features of DAS Audio’s SARA, LD Systems’ MAUI G3, Meyer Sound’s Milan-certified Ultra-X20, d&b Soundscape and Opera Reevo, EAW’s AC6 Adaptive column, QSC’s L Class and the Neumann immersive soundstage. Set against the backdrop of a food hall where exhibitors once showcased products, the demo rooms won critical praise from exhibitors and attendees alike.
Down in the music halls, the larger floorspace received visibly less foot traffic than previous editions despite the usual cacophony, which maintained high energy levels. Even though Yamaha had commandeered a large chunk of 3rd-level real estate to highlight 40 new products, big brands including Fender, Gibson and Paul Reed Smith were no shows.
Worryingly for all show organisers, there are fewer standout product launches taking place in these post-pandemic times. Exhibitors such as Shure and QSC elected to launch their GLX-D+ wireless and L Class intelligent loudspeaker systems respectively a full month before NAMM 2023. Having successfully unveiled new innovations during the pandemic, the trend set by manufacturers to bypass exhibitions as a launchpad continues.
With pandemic restrictions having been lifted throughout the world, this year’s NAMM drew an increasing number of international visitors from 120 countries. The mandatory photo ID, badge and bag search for gaining entry to the ACC had been preceded by visa applications and ongoing construction works at LAX airport. Together with a strong US dollar, the exhibition’s genuine efforts to draw greater overseas visitor numbers may be stunted owing to reasons
beyond its control. Having announced its 2024 show dates in advance of ISE, it appears incredulous that the ISE organiser has opted to stage its four-day event just one day later.
Despite the lower visitor numbers and scaled-down footprint, the exhibitors are determined for NAMM to succeed. The overwhelming assumption is that once NAMM returns to its usual January slot in 2024, there will be a return to some sort of normality. Whether exhibitors will return to display their wares on large-format booths is another matter as some clearly prefer the downsized networking format.
Adding to the out-of-sync feel to the 2023 edition, the Californian sun was also absent for the first two days of the show. In addition to the chilly weather, vacancy signs at the South Harbor Blvd lodgings and early closing restaurants do not bode well for the future. The accelerated decline of Prolight + Sound Frankfurt over the past 10 years serves as a warning to any exhibition organiser who fails to heed market trends or recognise problems. Having benefitted from the strong leadership of outgoing president Joe Lamond since 2001, NAMM continues under the new management of John Mlynczak.
QSC’s Christopher Brouelette demonstrates the L Class
13 – 15 April
2024 Dates: 25 – 28 January
Venue: Anaheim Convention Centre
Total exhibitors: 1,200
Attendance: 46,7119
Contact: www.namm.org
The NAMM Show was out of step again, but the clouds are scattering, reports Richard
John Mlynczak, NAMM president and CEO:
“Exhibitor reservations for 2024 are already exceeding expectations, and we are hearing from countless industry partners that they can’t wait to return to the right place at the right time. The rhythm of our industry is back with the NAMM Show in January.”
“NAMM is an important show when it’s staged in January. However, many of our international partners were coming to NAMM this year, so Meyer Sound felt the need to be present. Driven by the vision of John and Helen Meyer, we launched the Panther large-format line array system towards the end of the pandemic. Designed initially for Ed Sheeran’s world tour, Panther has been transformational for us coming out of the pandemic. It’s an odd time of year to stage NAMM, and we were cautiously optimistic about the response, but all our demos turned out to be standing room only. Our top 10 products are exceptionally hot since we just launched the Leopard compact linear line array and companion 2100-LFC low-frequency control element last year. In addition to the Ultra-X40 compact and the LINA line array, we have been demonstrating the Spacemap Go spatial sound design and mixing tool, the Milan-certified Ultra-X20 loudspeaker and USW-112P subwoofer, with Milan inputs driving directly out of a MacBook Pro.”
“Every aspect of our NAMM presence has been outstanding this year. With L Class, we knew we had a terrific product as we had previewed it for select customers some time ago and the response was overwhelmingly positive. On the heels of the official product launch on 3 April, we were anticipating that NAMM would bring a large audience to see and hear L Class in person. It did not disappoint: NAMM has done a tremendous job at bringing this show back. I feel badly for those who stayed away this year due to uncertainty about the show’s viability because they missed out on the energy, enthusiasm and optimism that the music-making community brought with them this week. I anticipate that come January, NAMM will not only be back to full strength but be even more vibrant than it was in 2020.”
“It feels good to be back with our US partner LSI and see our customers again. In addition to some of our renowned loudspeakers such as Mitus, Myra, Muse and Ventis, we’re showcasing the CLA203 and 204 column and active point source Canto speakers, together with the Miura multichannel amplifiers. We knew NAMM would be different this year, and we reduced the size of the booth, but we are very happy to support the
“NAMM is incredible for RCF because we consistently increase our presence in the United States and our brand grows with each successive appearance. For both our customers and the RCF family, we felt it necessary to have a strong presence at this year’s NAMM. When NAMM returns January 2024, it will be even better, but we are happy with the results of the 2023 show. Coming to this temple of music conveys great emotion for everybody. There has been a renaissance in the MI business, but our business is different as we must transfer the emotion that the artist is putting into the microphones, which basically means connecting the art with the technology.”
“NAMM has been a great show as it has been almost four years since most of us last met. It’s an interesting show, but it’s still in transition as it returns to its original January date, when I believe it will bounce back. Although NAMM has grown a little since my last visit, I still think it’s got some way to go with the pro audio side of the business as there are fewer new products on offer compared to previous years. This is a passionate industry and, to be honest, that is the main reason why we come and meet people here.”
“The decision to exhibit at NAMM was simple because our biggest market is the United States. If we want to continue to grow this market, there is no other choice, as we need to be here to sell into the American market and service our customers. However, we have met a lot of international visitors from Latin America and Asia Pacific, who have not visited for quite some time, so that has made this NAMM even more successful. Our budget was limited to one booth, so we decided to exhibit in the MI halls rather than the professional audio section, because our guitar speakers are the biggest draw in the US market. However, we are also showcasing new compression and coaxial drivers together with the PowerPro 18-inch subwoofer. The professional audio community knows where we are, and customers meet us here.”
Anne Berggrein, DPA Microphones:
“For NAMM 2023, it was important for us to show the love and the passion that we have for the live segment following the pandemic. Following last year’s launch of the 4055 kick drum mic, we have followed up this year with the addition of the 2012 compact cardioid and a 2015 wide cardioid stereo pair. By adding three 4099 CORE instrument mics to these models, DPA has released its first drum microphone kit with the DDK4000. It’s had a great reception. We’ve had many people come here asking about the new mics and the kit, so NAMM has been a success for us.”
INITIALLY FOUNDED AS A SUBSIDIARY TO THE company headquarters in Minnesota, USA, Intricon –the company name denoting “intricate connections” –manufactures hearing solutions for the healthcare and medical sector. However, the inheritance of an electret transducer patent in 1991 diverted the company’s course and diversified its portfolio with the creation of a pro audio devices and accessories (PADA) division.
Current general manager and managing director, Winson Chan arrived at the Woodlands-based headquarters several months before Covid took hold. Unaware of the company’s audio industry experience prior to taking on the role, Winson is now fully versed. “Intricon goes back all the way to 1977, but it was the acquisition of Lectret Precision led by Preston V Murphy in 1991 that changed everything,” he says. “The company acquired the rights to the patented miniature capsule module that Preston developed for integrating within our hearing aids.”
Several other acquired patents, including a shielded electret transducer and a unidirectional condenser microphone, have contributed to the success of Intricon Asia, as it is known today. Over the years, the R&D team has developed technologies for integration into professional audio devices, ultimately leading to the creation of the PADA division serving customers engaged in radio communications, security and aviation. In addition to R&D, PADA is solely responsible for its own profit and loss with its product development, R&D, sales and go-to-market departments.
“One of the key elements that attracted me to this role was the potential of the pro audio business unit,” explains Winson. Empowered to fully manage Intricon Asia operations, Winson was also given full autonomy for product development. “When I came onboard, my immediate challenge was the OEM business. However, this is a somewhat reactive way of doing business, whereby you are generally waiting for a customer with a problem or an idea to design for them. With our team of talented
engineers, I realised that we could revamp the business and take it to the next stage.”
The impact of Covid led to a drop in demand and a downturn
there was both a gap in our marketplace knowledge and of current applications. Robert would fill that gap for us.”
Appointed as technical consultant for product and strategic development programmes at Intricon in October 2020, Robert’s experience is now driving the professional audio products division. “Given the fact that Robert has worked within the Intricon R&D team before, the partnership is relatively seamless and works efficiently with his proven track record,” says Winson. “Robert is accelerating both the product and business development for Intricon.”
Robert admits that he had reluctantly left Intricon in 2011 to focus on his growing consultancy business that demanded more attention at the time. “To continue my consultancy business and return to Intricon, I had to find a good balance,” he admits. “When Winson called me, I had forgotten how much I had missed product development. I enjoy taking ideas from real-world applications and creating something of value. By figuring out what people want and working on computer designs, I then test the prototypes myself. Primarily, I’m a sound engineer, so I understand the fundamentals and like to listen, test and see how the microphone or headset
so we decided to create a product that would serve that market segment.”
Based on strategic thinking, Winson opted to engage with respected consultant and previous Intricon R&D employee, Robert Soo. Having left Intricon in 2011, Robert established Cogent Acoustics, consulting for schools, performing arts centres and houses of worship in addition to conducting audio training. “When we started our market research, I realised that
The adage that you should never go back did not apply to Robert, who maintains unfinished business remained. “Following my first spell at Intricon, I still retained a lot of ideas that I wanted to work on,” Robert continues. “I wanted to return and develop these ideas in addition to exploring the interactions that have taken place over the past 10 years to see if I could create new ones. Intricon is a great place to work, with a friendly team that is very open to ideas and who made it very easy for me to fit back in. The engineers have taken my ideas positively and, as a result, we have achieved so much over the past two years.”
A different management structure was in place during Robert’s first spell at Intricon so, when Winson shared his vision for the company, Robert knew the opportunity to return was right. “In addition to being open to change, Winson exerted a drive that would take the company in a different direction,” he says. “Intricon needed this following the pandemic as we knew that we
transducers and condenser microphones for distinguished
brands
the past three decades.L–R: Intricon’s Winson Chan and Robert Soo Intricon’s miniature electret condensers
could no longer rely solely on the OEM business. Whether you’re in the oil business or in the consumer business, everything has changed, and all industries need to adapt to survive.”
Dedicated to professional gamers in the esports arena, the launch of the Iinvictor brand has revealed Winson’s forward vision for Intricon. Equipped with spatial awareness for accuracy and a v-command detachable broadcast-quality microphone, Soturi was revealed as the first military-inspired gaming headset under the Iinvictor umbrella. The design emphasis on comfort and durability are qualities deemed essential for long game plays. “Although there are many competitors in this market, we believe our decades of experience in making medical and military products have helped us to provide a delightful gaming experience,” says Winson.
Robert and Winson did not exclusively discuss product development ideas in the run-up to the launch of Iinvictor. Strategic marketing, however, quickly appeared on the radar for Robert, who readily admits he was not an esports afficionado. “Commercial and house of worship users are generally very approachable regarding their brand of microphone, so R&D welcomes the feedback I directly provide,” he explains. “Although gaming products have a similar appearance in that they integrate a professional audio headset with a microphone and a hearing device, they are quite different. When I was initially trying to develop for esports, I was looking for a different frequency
response and audio feel, but it didn’t work. Therefore, I went back to basics and talked to professionals within the esports arena so that I could fully appreciate what was required.” Having connected with gamers, Robert could analyse what was wrong with his primary designs. “I had to wear a different hat as I couldn’t be that audio engineer I’ve been for the past three decades,” he continues. “I had to ask what the gamers were doing, what they needed to hear and incorporate different styles into the redesign. What I’ve learned before still applies because I know how to tune it. Additionally, it was a steep learning curve for both myself and the R&D team and, although we’re still learning, we’ve managed to develop the new products very quickly.”
User feedback on Iinvictor’s headsets has been encouraging, and no one at Intricon can be accused of becoming complacent, with Robert quickly picking up the pace with the gaming community. “Some gamers have claimed 25% better kill statistics using our headsets because they can hear better, and we have enhanced critical audio content such as footsteps or gunshots. It is also more immersive, allowing gamers to become absorbed in the game. Additionally, because the headsets are more comfortable, they’re being adopted for Zoom and Teams users as they are easier to set up and sound a lot better compared to others available on the market. With these dedicated esports headsets, we have inadvertently created a hybrid model which can be used for learning or conferencing.”
Looking ahead, Winson is spearheading investment for wireless product development, including Bluetooth technology. “I believe that in 3–5 years, we could heavily leverage our technical capabilities from the healthcare sector including medical sensor features and functions for our audio lifestyle products,” offers Winson. “Some of the best pro audio technologies come from developments in aerospace and military. These sectors are usually five years ahead of what is current in the entertainment sector so, by looking closer at them, you can glimpse the future. As a developer with roots in more industrial markets, I believe that we are well-positioned to lead in innovation.”
Taking note, Robert insists that the pooled collective knowledge the team has amassed over the years will lead to a golden decade ahead. “Intricon has been ingrained within the OEM business, but we can interact better over the next 5–10 years,” he assesses. “It will take time to carve out a bigger market share but, by creating new innovations, we will lead the market rather than be just another follower.”
Under Winson’s leadership, the Singaporean manufacturer continues to develop intricate, complex technology by connecting devices and people. With Robert and a team of committed developers pioneering and driving those technologies into new sectors, the company’s stealth credentials will be traded for neon lights. www.intricon.com.sg
Operating reliably in the background, Stagetec’s Nexus modular routing, networking and DSP system isn’t an obvious entry into the professional audio hall of fame. Richard Lawn finds out more about this acclaimed industry standard
CELEBRATING
THIS JULY, Stagetec has continued to listen to its customers and reinvest its resources, ensuring that its distributed router equipment remains at the cutting edge of technology. But when the Berlin-based manufacturer launched its first product just four months after inception, few of the engineers working on that pioneering project could have imagined that the digital audio interconnection and routing system would remain in production today.
The unveiling of Nexus as the first distributed audio router connected by fibre-optic cabling may have been somewhat muted at the outset. Combining an audio network, a router and an I/O matrix, its longevity is partly down to a modular structure. Based on the industry-standard 19-inch rack, the Nexus system consists of one or more base devices into which up to 21 plugin boards can be inserted on one level. Available in 1U, 3U, 6U, 9U, 12U and 15U versions, the mainframe base devices are suitable for mobile use and fixed installations, its flexible modular design accommodating I/O boards for analogue and digital audio, DSP boards for audio processing, custom routing boards for data or switching signals and fibre-optic interface boards for interconnecting base devices.
By adopting a proprietary protocol to transmit audio and control data, Nexus combines high reliability with low latencies. The network is created by connecting several base devices with XFOC cards, each offering four ports for fibre-optics. Available connections include point-to-point, daisy-chain, star- and meshshaped networks. Nexus also relays all the system’s control information via the fibres. Each XCPU board incorporates a word clock connector allowing Nexus to function as a master or to be synchronised to external sources. Video sync can be fed directly and, when working in an IP ST2110-based environment, Nexus switches to PTP ST 2059 system timing.
In parallel to the router, Stagetec’s team developed the Nexus network, with all its inputs, outputs and complex signal routing
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ability, as the basis for multiple digital mixing consoles, the first of which was Cantus in 1994, becoming the first digital console to be installed, a year later, at Bavarian public service broadcaster, Bayerischer Rundfunk. The same TDMA technology integrated within the DSP of the consoles has been transferred into the Nexus router. Without the burden of creating tie-lines between studios, engineers were provided with unrestricted access to all the resources within the network.
As demand grew for a switching node for large audio networks, the Stagetec designers launched the Nexus Star in 2000, with the ability to route 4,096 inputs to 4,096 outputs and network 31 Nexus base devices up to 100km. The 6U, 19-inch rackmounted unit comprises I/O boards for connection to Nexus base devices together with external MADI equipment, a wide range of synchronisation options and redundant power supply units.
“With Nexus Star, the concept remains the same,” explains Stagetec’s director of business development, Jean-Paul Moerman. “With each additional audio format that is brought to market, there is added demand for more resources whereby all the channel strips on the console need to be routed to the network. The Star is not limited to the whole network. If you have a 400-channel console, there is a multiplier of eight, which is the number of connections required to connect the console to the outside world.”
High hardware standards, including the development of compact, lightweight modules with low power consumption, has spawned intelligent, flexible products. Subsequent consoles have built on the proven Cantus concept with its unique I/O matrix and user interface. Cinetra, launched in 1997, was followed by Aurus, Auratus, Crescendo, On Air 24, Aurus platinum, Crescendo platinum and, most recently, Avatus. Continued innovations – including the patented 32-bit TrueMatch converter without analogue gain stage, resulting in a 158dB dynamic range – have contributed to Stagetec’s rising brand value. “If feeding a microphone signal directly without preamp stage into a 24-bit convertor, you would be using only 8–10 bits, making it unusable,” says Moerman. “The extra 8 bits of the 32-bit convertor push down the noise floor virtually by some 48dB. The gain is done after the AD-converter in the digital domain. As a result, there is no risk of clipping, no added distortion or spectrum change from an analogue preamp.”
From the outset, most software and hardware including circuits and PCB layouts has been designed by Stagetec’s inhouse development team. This has led to the availability of the Nexus Logic Control (2004), loudness metering (2011), Dante connectivity (2012) when integrating the Nexus XDIP interface card, Nexus XRT routing for more than 8,000 channels and Nexus XACI for complex control tasks (2015). A single Nexus configuration can be scaled up to 655,362 addressable I/Os, 72 million cross points, a maximum of 63 base devices or nodes, up to 2,048 audio channels of non-compressed PCM per fibre and 32 streams of 256 audio channels per AoIP port.
Nexus has been largely futureproofed with AVoIP capabilities. “Nexus has always adapted to current requirements, but it can also allow an engineer to connect to MADI and legacy audio formats,” says Moerman. “As technology increasingly operates over IP with AES67, Dante and ST2110 connectivity, Nexus has interfaced with these evolving networks, and that has renewed the life of the product. By replacing the fibre-optics with an IP stream, Stagetec has created a Nexus IP Link, which is essentially the same AES3-based 32-bit transparent mode format used in fibre TDM. The traditional fibre is 32-bit in AES3 transparency mode, which consists of 24-bit audio plus four users and four databits for communicating. An ST2110-31 audio stream is 32-bit format, which is also referred to as a transparent format, with space to add the Nexus UDP protocol. This allows the base devices to communicate to one another over the datacentre on a TCP/IP layer 3 broadcast backbone. The beauty is, it has become backwards compatible. Nexus has evolved to become a hybrid system and can operate with TCP/IP layer 3 or our traditional TDM fibre or mix TDM and IP. A customer with an existing system can gradually upgrade by replacing a couple of IP boards with fibre
boards. Those base devices become the edge- or endpoints in an IP workflow.”
IP connectivity can be expanded by adding more IP interfaces. “The transition can be made in one go or a full IP-based Nexus system can be acquired, so the most budget-friendly transition into IP fits perfectly in what Stagetec calls its intergeneration compatibility. Whatever format, on the router page the sources and destinations present themselves to the user in a uniform, uncluttered way. Just as the whole system can be connected over IP, consoles such as Avatus can also be connected over IP to a switch or a datacentre and finally to the core. “The console is connected to the core as simply as a laptop to the local network by assigning an IP address.”
The rack-mounted hardware has enjoyed limited penetration in remote production and recording studios, workstations with local audio sources and broadcast cameras with mounted microphones. Therefore, the compact TrueMatch was recently engineered in response to demands for a compact, IP-based, standalone system to interface with on-camera, eight-channel immersive microphone arrays. Offering a low channel count with basic audio processing as an extension to existing Nexus networks, the portable unit supports established protocols including EmBER+, NMOS IS-04/05 and SMPTE 2110/AES67/ Ravenna AoIP formats and can be equipped with a Dante interface.
Although TrueMatch dates from the 1990s, users continue to specify the technology on account of the wide dynamic range it offers. “The lack of clipping owing to the astronomical headroom is a huge benefit,” asserts Moerman. “The Nexus compact TrueMatch, which is scaled down to an internal 82 x 82 matrix, is a further evolution of the Nexus family. Designed as non-configurable, it is fixed with eight microphone inputs, eight analogue outputs and four AES3 in- and outputs plus GPIO. A 64-channel AoIP interface completes the Nexus compact and connects to the outside audio world. As it’s then connected over IP to other Nexus base devices, access to all the resources within the network is available from a console surface. There’s no difference in operation if the microphone is connected via analogue, digital or over IP. Phantom power and other functions are transmitted to the interface, an internal http GUI is available in any browser and Nexus compact is easily accessible via a tablet, even remotely.”
Having launched Nexus compact TrueMatch at Tonmeistertagung 2021, Stagetec is acquainting itself with new end users. “Some engineers have cited the PoE [power-over-Ethernet] function as a distinct benefit,” says Moerman. “In addition, the external microphone inputs and local GPIOs have been cited as desirable features for TV studios. With GPIO-configured source selection, producers can play content to guests during or after rehearsals by installing this compact node. Furthermore, with access to the network, the compact TrueMatch can be programmed as a commentary box, using the internal DSP to mix interviews and provide IFBs, leaving out latency issues. The Nexus compact can also be used as an extra to add a few resources to existing networks or record a few microphones on location.”
As well the broadcast market, Nexus also has a vast customer base in theatres, opera houses and public buildings across the globe. “The market share between broadcast and live sound varies from country to country,” adds Moerman “Globally it’s around 50/50, with a large intake from applications where audio is being transmitted from point A to point B with a third-party control system. The systems integrators and consultants we interface with at ISE in Barcelona are completely different from those broadcast devotees attending IBC in Amsterdam. Although Stagetec showcases console technology to catch the eye, there is increasing interest in the less visible network devices. For each installed console with a Nexus configuration, there are ±10 Nexus systems without a console in museums, parliaments, conference centres, motorsports, amusement parks, military buildings and even space agencies.”
However, Nexus wasn’t released with a development roadmap ahead of it. “Customer feedback played a significant role in its evolution, and the compact TrueMatch is a good example,” says Moerman. “In principle, the original Nexus from 15–20 years ago is still relevant – it has simply evolved from a TCP/IP layer 1 using the same SFPs as the IT industry, to using a TCP/IP layer 3 format which we call Nexus IP-link, streaming 24-bit audio plus control in the eight user and databits entirely over the network in a compatible SMPTE 2110-31 (32-bit transparent mode) format
kHz Digital USB Interface with AES/SPDIF/ADAT/Analog
layer 3, so anyone can have access to it. Sure, in an ST2110 environment, Nexus nodes are used as so-called edge- or endpoints, but the concept and purpose still stand.”
Nexus has been working reliably and consistently for up to 30 years in many applications, but Moerman admits that some engineers continue to be unaware of its existence. “I occasionally show these operators exactly what it is. Promoting the achievements of Nexus remains a challenge because it stays hidden, operating flawlessly backstage like an unsung hero.”
Reliability, connectivity, flexibility, portability and ultimately longevity – Nexus’s place in a less illuminated section of the hall of fame is assured.
www.stagetec.com
Professional, bus powered 14 input /16 output channel USB 2.0 interface with 2 Mic/Line universal analog input channels, 4 analog output channels (2 XLR, one phones), an excellent set of digital connectivity with integrated SRC (Sample Rate Converter) and the latest SteadyClock FS technology for recording digital & analog sources or flexible playback/monitoring via TotalMix FX.
you’re constantly trying to fit work and family into seven days. Although, my role is pretty flexible – I live quite a long way from the office, so sometimes I’ll get up at 5.30am so I can miss the traffic, and I’ll also work from home to break things up.
I started doing triathlons in my 30s – I started with a lot of pool swimming, then a bit of competitive open water swimming. As work got busier and my kids came along, the triathlons slipped and with it the open water swimming, though I did swim in pools when I had time.
Then, like a lot of people, I had a bit of an open water rebirth during the pandemic. In the early part of 2020, I went to a lake not far from me called Redricks. It felt like ultimate freedom to be out in nature and able to do something fun with like-minded people in a safe, socially distanced way. I then found they were holding open water swimming classes into the winter, which is where I learnt the dos and don’ts. One of the main ones is to get changed really quickly when you get out, so after-drop doesn’t set in. After-drop is where the cold blood in your skin and outer tissue returns to your vital organs, which could lead to hypothermia. It’s a very personal choice whether you swim with or without a wetsuit (skins) but, for me, I really enjoy the adrenaline and endorphin rush of the very cold water when it first hits you.
How do you find the time to practise open water swimming in among your work life?
I try to ring fence the Saturday mornings while the rest of my family are asleep. There’s always a nice atmosphere at the lake, so I’m motivated to get along there come rain or shine. They light a fire and when we’ve done our swim, we stand around it to warm
up and have a cup of coffee and chat. I also try to swim in pools when I can, but it’s always harder to get there during the week.
Where is the most interesting place you’ve swam?
Luxborough Lake in Chigwell is my normal place, which I love and is closer to home than Redricks, but the most interesting place I’ve swum recently is in the Mediterranean in the dark, after a day at the ISE Show this February. That was quite exhilarating in its own way.
Tell me about a time when you felt open water swimming challenged you
Luxborough doesn’t usually reach below 5°C but Redricks is shallower and gets much colder. It froze over this winter, and they had a session where they broke the ice and we bobbed around
with the chunks of ice around us. I stayed in for 10–15 minutes
Do you have any plans for the future – any
I toyed with the idea of trying to do an ice mile (a mile swimming in a temperature that’s below 5°C). It’s a big challenge and I’m not having enough regular exposure to tackle it right now. So, for the moment, I’m enjoying having cold dips, but, if I can improve my fitness, I might do some swimming/running competitions round our local lake.
What advice would you give to someone wanting to start open water swimming?
I would look for a lake like Redricks or Luxborough where there are lifeguards and instructors, and you know there’s a degree of care. If that’s not possible, I would swim with a partner. Open water swimming, especially cold water swimming, isn’t to be taken lightly. But, with the right instruction, it can be safe and a lot of fun.
Why do you think it’s so valuable to have a hobby like this outside of work?
I think it’s healthy to have some kind of hobby that takes you away from what you do to earn a crust, particularly in this business where work and pleasure blur. It’s good to have something so you can switch off from what can otherwise be an all-consuming industry.
There’s something about cold water swimming that really does help me leave any worries or tensions I might have behind me. When you swim in very cold water, your sympathetic and parasympathetic nervous systems are focused on keeping you alive. Subconsciously and consciously, survival becomes your focus, so you can’t think of anything else. I call it a bodily hard reset, in the same way as you do when your computer isn’t working. It’s a great way of clearing your cache!
In an industry where work and pleasure often blur, Libby Stonell talks with Brompton Technology’s Rob Fowler about open water swimming and “clearing the cache”Fowler in an icy lake
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Meyer Sound has reduced the weight and size of the 1100-LFC to create the 2100-LFC low-frequency control element
THE 2100-LFC low-frequency control element has been introduced by Meyer Sound, extending the technology of the Panther large-format linear line array loudspeaker down to the lowest limits of audibility. By pairing a Class-D amplifier with a single, new 21-inch driver with four voice coils, the 2100-LFC subwoofer is capable of producing a linear acoustic output suitable for demanding applications. With an extended frequency response from 30–125Hz, performance is achieved in a loudspeaker that is more than 30cm narrower and about 20% lighter than the 1100-LFC product.
For the new driver, the Meyer Sound engineering team built on the experience gained from the dual voice coil 18-inch driver in the 900-LFC, but stepped up to four voice coils. The amplifier is rated at 1,200W maximum continuous power, with peak power of 8,000W. The frequency and phase response of the 2100-LFC is tailored to complement not only Panther but the entirety of the manufacturer’s linear line array products, making it a fit for customers who already own 900-LFC or 750-LFC products and want to expand their inventory.
Reducing the weight and size of the cabinet is said to aid flexibility as productions are faster to rig and easier to fly in a wider range of venues. This flexibility also allows users to bring high levels of low-end performance to even the smallest venues, and do so with a product that could be touring into stadiums the next day.
A new integrated power supply and signal distribution unit for multichannel audio systems that utilises the company’s IntelligentDC technology has also been released. By delivering both balanced audio signals and 48V DC for loudspeakers powering over a single composite cable, the MPS-488X combines the sonic superiority of self-powered loudspeakers with the installation ease of low-voltage systems.
Each MPS-488X supplies eight channels of power and balanced audio signals.
The MPS-488X incorporates a network connection as standard, with telemetry and control data accessed via an RJ45 connector on the rear panel. Critical data such as load status, current draw, fan speed and temperature are reported for visual display and fault alerts in Nebra. Current
draw is reported for each output channel, enabling the operator to assess the status of connected loudspeakers. The Nebra platform also allows the operator to mute or solo individual channels of the MPS - 488X.
Unlike its predecessor, the MPS-488HP, network connectivity on the MPS-488X doesn’t require the use of an external RMServer device. However, for mixed system compatibility, both the MPS-488X and MPS-488HP with RMServer can report their status on the same Nebra interface.
Designed principally for installed sound applications, the MPS-488X utilises threepin Phoenix connectors for balanced audio input and five-pin Phoenix connectors for audio and DC power output. It also features a new two-way Wink mode, which allows for identification of the unit when multiple units are in a rack. Pressing a button on the unit identifies it in Nebra while clicking on it in Nebra winks an LED on the unit. In addition, a Safe Mode facilitates troubleshooting while a Restore option allows resetting to the original factory settings.
KLING & FREITAG has extended the line sources of the PIA family with the PIA LFX. Denoting “Low Frequency Extension”, the loudspeaker corresponds to a PIA M in dimensional size and shape but is equipped with six 4-inch woofers in a bass-reflex chamber that extend the low-frequency response of a PIA M to approximately 50Hz. The PIA LFX has a nominal power handling of 100W, a program power handling of 200W and a nominal impedance of 8Ω. The speaker comes with speakON NL4 (1+/1–) and Phoenix connectors.
The PIA LFX low-frequency extension can be mounted on an M20 thread using the latest accessories and is compatible with any M20 base plate or subwoofer. A connector enables a PIA M to be mounted on a PIA LFX in just a few simple steps. Long mixed line systems consisting of PIA M and PIA LFX can also be built. Sharing the same dimensions, existing PIA M accessories in addition to existing cases can also be applied. One channel of a K&F system power amplifier is required to operate the PIA LFX. The PIA LFX is compatible with K&F’s PLM+ and D-Series along with the IPX 1200 and IPX 2400. www.kling-freitag.com
any ratio, size or custom orientation to create a modern, borderless panel that will enhance any environment. They can even be mounted on the ceiling.
The SPACE by CODA system consists of three ultra-flat immersive loudspeaker modules – the M1, M2 and M4 – which allow each screen to be built in 600mm increments. The M1 measures 600mm x 600mm x 70mm for distances up to 10m; the M2 is 1,200mm x 600mm x 70mm so double the size and double the SPL (+6dB) for distances up to 18m; and the M4 measures 1,200mm x 1,200mm x 70mm, so four times the size and four times the SPL (+12dB) for distances up to 25m.
SPACE BY CODA combines AV technology with art to create an audiovisual experience that is scalable and adaptable to any environment –and where the mechanics of what is a concertgrade audio experience are rendered completely invisible. The system can be used to create an environment of any type or nature or it can be integrated into existing environments, such as cultural spaces, high-end retail, education, highend residential, hospitality and nightclubs.
SPACE by CODA integrates immersive 3D audio, a 4K projector screen, ambient lighting and acoustical treatment with a choice of art or projection into a united system solution to transform spaces with audio. The result is the SPACE Panel. At just 70mm deep, SPACE Panels can reportedly offer sound quality and performance surpassing that of conventionally designed (cabinet) loudspeakers. This driverequipped canvas can transform spaces to feature invisible audio, enabling high-quality, full-range sound in previously limitative environments. “Instafit” magnetic waveguides native to the SPACE audio modules facilitate production of directable sound with the capability for immersive audio.
Sound diffusors and acoustic treatments may be interleaved between loudspeaker modules for better control over sound reverberation in
the room. Optional sensor-controlled sub-bass modules can be deployed to deliver even lower frequencies to concert sound proportions. Matching CODA LINUS DSP amplifiers complete the package. The addition of the SPACE Hub processor opens up the possibility for true 3D immersive audio.
The loudspeaker modules and diffusor/ acoustic panels are arranged and connected like building blocks – and then completely hidden behind an acoustically transparent 4K projector screen – or a SPACE Art high-resolution digital canvas print. SPACE Panels can be arranged in
All loudspeaker modules include 10-inch passive radiators for LF, 6.5-inch MF drivers and 1.75-inch HF drivers with “instafit” interchangeable waveguides for optimum directivity control. Each module achieves a frequency response range from 45Hz–21kHz, with a maximum SPL of 121dB (A weighted) for the M1 module and up to 137dB SPL (A weighted) for the M4. The MF/HF sections are rotatable to enable both horizontal and vertical plane steering.
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FOLLOWING IN the footsteps of the original XPRS Series, Pioneer DJ has added two active speakers and two active subwoofers suitable for mobile DJs, live sound, houses of worship, and rental and fixed installations. The XPRS102 and XPRS122 full-range speakers feature Class-D 2,000W amplification, while the XPRS1152S and XPRS1182S subwoofers offer Class-D 4,000W amplification. Enclosed in black, protective plywood cabinets and suitable for harsh outdoor and indoor environments, the models come with a durable handle to support system portability and handling during setup and tear down.
The XPRS2 Series also features rubber feet to create separation and shock absorption between surfaces.
The XPRS102 and XPRS122 contain four different DSP preset modes – Live, Music, Speech and Floor Monitor – to address the needs of different listening environments. Each full-range speaker also includes 16 custom user DSP modes – which can be saved with different names – so that EQ settings can be maximised for every scenario.
The XPRS102 pairs a 10-inch woofer and
2.5-inch voice coil with a 1-inch exit compression driver and 1.75-inch voice coil. It has a maximum SPL of 129dB and a frequency response of 50Hz–20kHz. The XPRS122 is the larger counterpart. Featuring a 12-inch woofer and 3-inch voice coil with a 1-inch exit compression driver and 1.75-inch voice coil, the XPRS122 boasts a frequency response of 48Hz–20kHz and a maximum SPL of 131dB.
The XPRS1152S and XPRS1182S contain three different DSP preset modes – Boost, Extended LF and Normal – to suit different listening environments. The XPRS1152S employs a 15-inch ferrite woofer with a 3-inch voice coil with long excursion, while the larger XPRS1182S relies on an 18-inch ferrite woofer with a 3-inch voice coil with long excursion to produce accurate low frequencies. The XPRS1152S provides a frequency response of 45–120Hz and a maximum SPL of 129dB, while the XPRS1182S offers a 40–120Hz frequency response and 130dB maximum SPL.
www.pioneerdj.com
WITH SUPPORT for Bluetooth audio streaming and remote control, the STAGEPAS 200 is a flexible 30cm x 30cm x 30cm portable PA from Yamaha designed for a wide range of applications, from street performances to events, parties and speeches. The unit has a 1.4-inch HF and 8-inch LF high-quality coaxial
high-capacity, rechargeable, lithium-ion battery pack. Delivering up to 10 hours of continuous operation between charges, the BTR-STP200 battery is also available separately.
Yamaha has also redeveloped its ProVisionaire suite of system design, control and management software, which allows fully customisable configuration and operation of
solution.
compression driver powered by a 180W Class-D amplifier, plus an onboard fivechannel (three mono mic/line and one stereo line) digital mixing section. Each input channel is equipped with Yamaha’s proprietary 1-knob EQ/preset and 1-knob Effect controls; together with the “Mode” compressor on the main outputs, Yamaha claims users can easily and intuitively create the sound they want.
complex audio systems. It is being launched alongside the DME7 digital signal processor. ProVisionaire has been redeveloped with three core applications to support the user’s entire workflow: ProVisionaire Design for system design, ProVisionaire Control for system operation and ProVisionaire Cloud for system management. The parameters of systems created in ProVisionaire Design are assigned to the ProVisionaire Control application, which provides unified remote control and monitoring
The T820 provides a defined 100° x 20° coverage pattern from a compact enclosure that weighs 14kg. Its small size and portability are said to extend its range of applications from live sound and permanent installations to corporate events, gigging musicians and DJs. A phase plug is mounted in front of an 8-inch neodymium driver to increase mid-band sensitivity, while two 1-inch exit, 1.4-inch voice coil high-temperature polymer dome neodymium compression drivers reportedly ensure sonic performance is not compromised, even when driven at higher SPLs up to 130dB.
The TORUS 8 comes in a plywood cabinet, finished in hardwearing PU paint and incorporates two pocket handles for easy installation and deployment, as well as fixings
One has introduced a new generation of Compact Range speakers. Enhancements in high-frequency driver technology and porting techniques have led to a new collection of loudspeakers – the F5.2, F81.2, F101.2 and F1201.2 mid/high speakers, plus the self-powered SB8A and SB10A compact
configurations. It can also be teamed with the SXCF115 cardioid subwoofer, which features a forward-facing 15-inch driver and a 12-inch rearfacing driver capable of 137dB peak. The TORUS 8 features two NL4 connectors with passive configuration using pins 1+/1– or 2+/2–, selected via a rear-mounted switch, and the systems are powered by Martin Audio iKON amplifiers, which support VU-NET control software and Dante integration. The TORUS 8 also features an LED indicator that can be illuminated via VU-NET software to identify its location on the network. Systems can be modelled in 3D with optimising filters to deliver consistent and defined coverage, using DISPLAY 3 software.
www.martin-audio.com
The F5.2 is the smallest speaker in the range with a 5-inch driver. It has a 150Hz–13kHz frequency range and a nominal impedance of 16Ω. The F81.2 comes with 8-inch and 1-inch drivers, a 110Hz–20kHz operating band and a nominal impedance of 8Ω. The F101.2 has 10-inch and 1-inch
The 1-knob EQ/preset for input channels two and three also feature a built-in microphone simulator, allowing the sound for acoustic guitars to be set with a single control. A priority ducker reduces the volume of other sources when a microphone or specific source is in use, while a smart feedback suppressor automatically eliminates unwanted feedback.
Meanwhile, Yamaha’s iOS/Android STAGEPAS Controller app provides real-time remote control of volume, EQ and effects – including reverb, compression, microphone simulator, ducker and feedback suppressor – and all settings can be saved and recalled.
Alongside the standard STAGEPAS 200, Yamaha is also offering the STAGEPAS 200BT, the first Yamaha pro audio product to include a
through custom-designed panels. ProVisionaire Cloud will initially manage additional functionality licences for Yamaha audio equipment, with activation and deactivation of licences reportedly allowing for an efficient management of assets.
The DME7 provides 64 channels of Dante I/O and matrix mixer as standard, with further channels added via three additional 64-channel licences, activated through ProVisionaire Cloud. These offer the ability for 128x128, 192x192 or 256x256 channels of Dante I/O and matrix mixer to be handled by a single DME7. Additional licences can be activated on a permanent or temporary basis.
www.yamaha.com/proaudio
TWO MODELS have made their debut in Peavey Electronics’ Aquarius AQ Series – the AQ 12 and AQ 15, the key difference being a heavy-duty 12-inch woofer versus a 15-inch woofer. The woofer is described as having a warm, punchy sound made possible by a built-in dynamic bass boost function that is said to provide the maximum amount of bass in a small package. The DX 14 compression driver tweeter, with 1.4-inch titanium diaphragm, is coupled to a 110° x 80° coverage Quadratic Throat Waveguide. The design reportedly provides a smooth, even response, as well as low distortion and good high-frequency dispersion.
Each fan-cooled unit features a biamped power section that provides a total 1,000W of peak available dynamic power with signal compression to prevent audible overload. There is 670W peak available for the woofer and 330W peak for the tweeter. Both amplifiers are said to feature sophisticated signal compression with
the aim of eliminating power amplifier clipping. A low-noise fan provides cooling for operation under any conditions.
Both AQ Series speakers have advanced DSP, providing a crossover function, driver limiting, as well as the driver EQ to enable the speaker system to provide an accurate and neutral sound for any type of music. The DSP processing uses 56-bit doubleprecision for accurate and transparent sound processing, and the input/output sections use a 48kHz sample rate at 24-bit for maximum fidelity. According to the manufacturer, low-jitter clocking and professional-grade components ensure superb sound quality.
On each speaker’s back panel, six EQ presets are accessed via a one-knob rotary selector switch. The six presets are Live Music, Club/DJ, Stream/Playback, Monitor, Acoustic and Voice. There’s a balanced TRS ¼-inch input, which can connect to a mixer or an output from a media player, as well as a balanced XLR
1 SOUND has launched the Cannon C8, a full-range, high-fidelity coaxial loudspeaker that rounds off the Cannon Series. The Cannons are described by the manufacturer as unique point sources that boast an impressive extended low frequency for their size. The C8 uses an 8-inch coaxial driver with a proprietary high-frequency element and has a 7-inch rear-facing passive radiator.
It has a bandwidth of 55Hz–18kHz and a maximum SPL of 120dB. The C8 measures 260mm x 260mm (HxW) and comes with two speakON connectors and a two-circuit switch, allowing for a
Cannon products along with all 1 SOUND loudspeakers are IP55-rated for indoor/ outdoor use and can be used in salt water
The manufacturer has also added an installation version of its wall subwoofer. The WSUB45i is described as an ultra-compact, slim and powerful lightweight subwoofer with four 5-inch low-frequency drivers and one 10-inch passive radiator. It comes with two French cleats in the back of the cabinet for flush-mounting to a wall either horizontally or vertically and measures 167mm deep. The wall subwoofer can be paired with any of the loudspeakers in the Cannon Series.
The WSUB45i is IP55-rated and available in
AQ
input, which allows for linking of additional speaker systems or feed of the signal to a powered subwoofer. A dynamic microphone can be connected directly via the XLR input and accessed via the mic/line switch. Alternatively, a Bluetooth signal can be streamed in, with a separate control for signal level adjustment. Combined, these features make the AQ Series suitable for sound reinforcement, public address, side fill system, karaoke or musical playback.
Both the AQ 12 and AQ 15 have light yet durable injection-moulded plastic enclosures, with a 1⅜ -inch moulded-in pole mount for live music or PA sound. The trapezoidal cabinet has three handles, while two extra angled sections on either side allow for use as a floor monitor. A full-length black powder-coated perforated steel grille provides system protection and a professional appearance. www.peaveyelectronics.com
PORTUGUESE MANUFACTURER
NEXT Audiocom has unveiled the FLEXI15, a 2,000W active 2.1 compact PA system with an integrated DSP processing engine that forms a matched, compact system that DJs and musicians can deploy for both portable use or permanent installation.
The FLEXI15 houses a 15-inch reflexloaded subwoofer that is said to provide a “powerful, accurate bass sound”, along with the satellites featuring 8-inch mid drivers and 1-inch HF. To expand the system, it is possible to link two or more FLEXI15 via an XLR cable (solid line).
The system’s presets are selected by rotating the encoder, which optimises the
for additional hardware, software and, most importantly, time.
The FLEXI15 active PA system features sturdy plywood cabinets, protection circuits, XLR/jack combo, speakONcompatible connectors and ergonomically shaped, recessed handles. A scratchresistant polyurea surface, steel grille and flanged edges complete the design.
The package includes the subwoofer with a pole mount for the satellite speaker, plus four castors, two with locking brakes and two speaker cables. Speaker protective covers, matching speaker stands, spacer tubes and wall mount brackets are also available
TRANSDUCER MANUFACTURER Lavoce has introduced a 6.5-inch ferrite common HF/LF magnet coaxial. The CSF061.71K incorporates a precision crafted common HF/LF motor which has been carefully optimised by the Italian R&D team and complements the CSF082.00K, an 8-inch version launched in 2021. Both models form the beginning of a wider range of steel basket common motor coaxials with 10-, 12- and 15-inch sizes coming later in 2023.
The CSF061.71K has a 150W AES power handling and 96dB sensitivity for the LF, and a 35W AES power handling and 103.5dB sensitivity for the HF. The LF woofer uses a 1.7-inch edgewound copperclad aluminium voice coil and the HF uses a 1.4-inch copper-clad aluminium voice coil on a one-piece polyimide diaphragm and surround. The addition of double demodulating rings helps minimise distortion. Together with a 75Hz–20kHz frequency range and 100° nominal coverage, the CSF061.71K is suitable for high-performance point source applications or ceiling speaker projects.
The Italian company has also announced the launch of its first 1-inch exit annular diaphragm design compression drivers. The DN10.143 and
DF10.143 are said to deliver a higher sensitivity and extended low-frequency performance than typical dome diaphragm designs. This also presents a lower distortion characteristic across the whole operating frequency range, which is further enhanced by the first breakup modes of the annular diaphragm exhibiting at a higher frequency. Both models specify a 1.8kHz recommended crossover
The DN10.143 has a neodymium magnet motor structure and offers 35W AES power rating with 110dB sensitivity and a frequency range of 1.2–20kHz. The driver uses a 1.4-inch edgewound copperclad aluminium voice coil and one-piece high temperature polymer annular diaphragm and surround. The DF10.143 has a ferrite magnet motor structure and offers 35W AES power rating with 107.5dB sensitivity. It uses the same 1.4-inch edgewound copper-clad aluminium voice coil and one-piece high temperature polymer annular diaphragm and surround. The DF10.143 has been designed for pushing the operating HF bandwidth limits for more costconscious line array projects.
www.lavocespeakers.com
WITH THE UBX Series, Renkus-Heinz beamsteering technology can now be obtained in passive column arrays. Unique for the UBX Series, Passive UniBeam Technology addresses each transducer with all-pass filter networks and gain sharing. Reportedly delivering consistent front-to-back coverage with minimal side-lobe artefacts, the inclusion of additional frequency filtering generates an asymmetrical vertical dispersion with constant directivity.
Neodymium 3-inch full-range drivers contribute to the compact 111mm x 121mm (WxD) dimensions of all three models. Weighing between 4.4kg and 13.6kg, the UBX4, UBX8 and UBX12 columns comprise four, eight and 12 3-inch drivers respectively. Registering a horizontal dispersion of 120° below 5kHz, vertical coverage varies between 15° and 30° asymmetrical.
Available in black or white, the aluminium cabinet can be plumb surface-mounted with the included W-Wall UBX bracket. In addition to the inclusion of audio transformers for 70V/100V constant voltage operation in large, distributed audio systems, all UBX Series models are weather resistant to an IP64 rating with a gland nut protected input cover.
www.renkus-heinz.com
SEVERAL ADDITIONS to ic audio’s portfolio have been unveiled by the EN54 specialist, including a two-way coaxial horn speaker, a two-way speaker that can form a four-element line array for voice alarm applications and an ultra-slim wall speaker, all of which are tailored for voice alarm applications and come with the required EN54 certification.
The PRO 250-300/T plus black-EN54 is a coaxial horn speaker engineered for outdoor applications and capable of providing foreground sound reinforcement. According to the manufacturer, it delivers a powerful beam-type sound for a large range of venues, such as airports, megastores and stadiums. The 250W powered cabinet is equipped with a twoway bass-reflex system consisting of a 12-inch woofer and high-performance HF driver crossed over at 2.5kHz. It offers three different 100V power tappings, while low-impedance operation is also possible. The cabinet is constructed from a sturdy ABS housing in white, with a
metal hexagon-shaped aluminium grille offering IP66-rated protection. Connection is via a screw terminal at the rear of the speaker, protected by a cover plate with two PG11 cable glands. A metal mounting bracket with adjustable inclination assists installation.
The DS 100/T plus-EN54 is described as the compact powerhouse of the manufacturer’s PRO series, which integrates specially developed waveguide technology. The unit promises a “club-like experience”
cabinet can also be deployed as a line array in order to cover even bigger areas. The compact array consists of four pre-assembled DS 100/T plus-EN54 modules in a steel bracket, each of which can be adjusted in three vertical steps of 0°, 15° and 30°. Lastly is the WA-S 06-100/T-EN54, an ultra-slim wall speaker for unobtrusive installation where space is limited. The 6W 100mm unit provides a full-range output in an impact-resistant and UV-resistant ABS housing. To aid reliability, ceramic terminal blocks are provided, while an IP21 rating
cardioid design allows it to be positioned close to walls or corners without reflection problems, while a flared vent manages low-frequency www.audiofocus.eu
THE FS12T-66 arena horn from AtlasIED is a two-way, full-range loudspeaker system engineered to provide voice and music reproduction in applications requiring weather resistance. It has been designed to withstand exposure to environmental conditions and provide long-lasting reliability. It incorporates a 12-inch LF driver and 1-inch exit HF compression
driver concentrically mounted to a highdirectivity waveguide. It provides 60° x 60° coverage and is tuned for optimal source reproduction. The unit is constructed using moulded linear low-density polyethylene (LLDPE) and includes a stainless-steel U-bracket and fly-points for easy mounting. The EN54-24-certified FAP42TEN’s 130° dispersion angle reduces the number of loudspeakers necessary to achieve
magnetic snap on/off grille provides a minimalist aesthetic. For applications that require invisible audio, the KZ1R I and KZ14R I versions have been designed for flush mounting into walls and ceilings. A wide range of colours and metallic finishes ensure that all Lyzard models blend into any décor. Offering the same functionality as its larger siblings, K-array’s minimalist Azimut systems have been updated with the latest version
and indoor installations, with a marine version for challenging environments. Designed for boutique and home cinema applications, the Thunder-KSC12P infra-subwoofer offers versatility for smaller spaces. Both Rumble and Thunder are now Dolby ATMOS certified and feature in the DARDT Dolby ATMOS Room Design Tool.
www.k-array.com
coverage in distributed systems with low ceilings. The loudspeaker component matches the performance of AtlasIED’s Strategy FA Series. The 4-inch coaxial cone-type driver includes a 1-inch voice coil and polypropylene cone with a butyl rubber surround. The 19mm coaxially mounted tweeter is constructed of PEI.
www.atlasied.com
JOINING THE existing 4410, 4420 and 4430 on-wall Smart IP speakers to provide a wider range of IP solutions, Genelec has announced the release of the 4435A in-ceiling and 4436A pendant models. All speakers in the series can be freely combined on a network, and are compatible with both Dante and AES67 streams, deriving power via PoE or PoE+ formats. As well as receiving both power and audioover-IP, the 4435A and 4436A feature a rearpanel RJ45 connector which allows access to Genelec’s Smart IP Manager – a downloadable software tool that allows installers to configure an “almost unlimited” number of rooms, zones, loudspeakers and audio channels, and includes device discovery, a versatile room equalisation tool set, system organisation and
status monitoring. A public API command set is said to allow easy integration with third-party automation systems or, for less complex Smart IP systems, Genelec’s Smart IP Controller mobile app can be used to provide the end user with basic control of key loudspeaker functions.
Both models share identical acoustic and electronic specifications, and feature proprietary internal power supply technology that stores power in order to produce 104dB of short-term SPL whenever needed. With support for uncompressed low-latency audio with loudspeaker synchronisation to submicrosecond level for solid acoustic imaging, both models deliver a frequency response of 55Hz–39kHz via two independent internal 50W Class-D amplification stages – which
small and medium-sized applications, UKbased HH Electronics has launched two versions of its TNiWPRO installation loudspeakers.
The TNi-W12PRO features a 12-inch high-power, lowfrequency driver with a 2.5-inch voice coil and a 1.4-inch Celestion CDX1-1445 highfrequency driver. Meanwhile, the smaller TNi-W8PRO features an 8-inch high-power, lowfrequency driver with a 2-inch voice coil and a 1-inch Celestion CDX1-1070 high-frequency driver. Designed for a range of environments such as bars, clubs, houses of worship,
ballrooms, conference halls, education and live music, both models have rotatable waveguides horizontal dispersion coverage to enable precise control of the TNi-WPRO speakers feature all-wood enclosures with input connection options via either M4 barrier strip or Euroblock. Mounting options include seven M10 Penn-Elcom fly points and four M8 mounting points for optional mounting with a TNI-BRK30 bracket.
Both models are available in black or
www.hhelectronics.com
WITH THE addition of two compact column loudspeakers and the GM44 analogue audio matrix, KGEAR by K-array has reinforced its GF family. Despite featuring 2-inch drivers that are common to the existing GF22 and GF82 models, the GF42 and GF162 column enclosures vary in terms of throw and dispersion angle options. Featuring a built-in amplifier with auto On/Off with the added ability to drive a passive speaker, KGEAR has released active versions – the GF22A, GF42A and GF82A – of the three existing models. In addition, 70V/100V versions – the GF42T, GF82T and GF162T – are also available for large-scale loudspeaker deployments.
GF42
installation and a cleaner aesthetic, the GF series comes with a totally re-designed bracket
this active design provides both optimum audio performance and removes the need for bulky racks of external amplifiers and their associated cabling. Alongside the support for IP audio streams, analogue connectivity is also supported via a Euroblock connector, which can be used either as a failsafe backup or to enable IP control of an analogue source.
well-established AIC25 analogue-only in-ceiling model. Both models can be ordered in a variety of finishes: black or white for the 4436A, while the 4435A can be ordered with circular or square magnetic grilles, which come with a choice of black or white colour schemes.
www.genelec.com
NEXO HAS added the ePS12 and eLS18 sub to its ePS Series launched in 2021. The ePS12 combines a 12-inch neodymium longexcursion LF driver with a 1.7-inch diaphragm HF compression driver and NEXO’s
Both cabinets are fitted with a hard-wired strip for connection, offering two 7mm pitch in/out screws connectors. The IP cover protects the connectors from moisture. On each side of the cabinet, two M6 with 80mm pitch and one M10
eLS18
trademark rotatable horn design offering dispersion options to the user, a peak SPL at 1m of 133dB and a frequency response at –6dB of 60Hz–20kHz. The ePS12 can be stacked or flown with the eLS18 18-inch sub which shares the same design aesthetic and extends the LF response down to 32Hz. Dedicated accessories allow ePS cabinets to be flown beneath the subwoofer, creating small-footprint wideband systems that are described as visually pleasing.
fitting allow connection to a U-bracket, bumper or eye bolts. The back is fitted with three M6 with 70mm pitch for wall mount in both horizontal and vertical positions. The eLS18 features two 7mm pitch in/out screws connectors and M10 rigging points. The units are finished in black structural paint (white and all other RAL colours are available to order), with a UV-resistant acoustic fabric stretched over the front grille.
www.nexo.sa.com
The GM44L is a four-zone analogue audio matrix featuring four stereo line inputs with gain control, four stereo line outputs with treble and bass adjustment, four zone input selectors and one auxiliary input that can be independently assigned to each zone output and mixed to the selected input channel. Five link outputs correspond to each one of the inputs (including aux-in) allowing several GM44L units to be interconnected. Up to four GA201s can be mounted in a 1U frame with the G-RACKMINI2 accessory and all signal connections incorporate 3.5mm stereo jacks.
accessories, promoting their use for outdoor applications.
www.kgear.it
NEXT-PROAUDIO HAS unveiled the LA210x, a medium-format, three-way, coaxial, active line array element designed to support a wide range
loading encoder, can be remotely monitored and controlled via a PC through Ethernet. The accompanying PC software automatically
THE NX
coverage down to 300Hz, as well as accurate transient reproduction. Custom-made European transducers and an optimised acoustic design are said to provide excellent sound fidelity at very high SPL levels.
The onboard 96kHz/40-bit SHARC DSP engine, monitored by a built-in LCD screen with a preset
with the LA210x elements easily connected via two front links. A rear centre link allows the user to define relative splay angles from 1° to 10°. The system will automatically lock to the predefined angles when lifting the array.
www.nextaudiogroup.com
RCF are stage monitors designed for musicians, bands and DJs. The combination of a 1.75-inch compression driver, 15-inch woofer (12-inch for the NX 912-SMA), twochannel 2,100W amplifier and the TRW waveguide is said to produce coherent 100° x 70° coverage for the listening area with up to 131dB SPL (130dB for the NX 912-SMA) of distortion-free sound. It can be used as a stage monitor, standalone speaker system or satellite paired with a subwoofer. The NX 915-SMA combines the manufacturer’s proprietary FiRPHASE and Bass Motion Control DSP processing to deliver “absolute clarity and deep, powerful bass response”. The tour-ready, rugged, all-wood cabinet is described as easy to carry and set up onstage or on a pole.
RCF has released its DMA 504 four-channel Class-D matrix amplifier. Equipped with what the company describes as a powerful DSP platform, the DMA 504 manages inputs
BOSCH HAS added the Integrus OMNEO transmitter to its Integrus Wireless Language Distribution System, which
to the built-in OMNEO IP architecture, the Integrus OMNEO transmitter can seamlessly interconnect with Bosch’s fully IP-based
Dicentis conference devices. This allows all existing Dicentis users – building owners, rental companies and system integrators specifying the Dicentis conference system –to integrate Integrus systems in a timesaving and futureproof manner. By becoming part of a complete IP workflow, open industry standards and protocols such as Dante and
A complete set of processing functions is available, including RCF speaker presets, proprietary bass enhancer algorithm, FIR filters and environmental equalisation. Thanks to its installation flexibility, accurate design and robustness, the amplifier is suitable for a wide range of business music and installed sound applications.
The manufacturer has also released GLL (Generic Loudspeaker Library) data for its ART 9 Series speakers. The files allow users to accurately model and visualise the performance of RCF speakers in various configurations and environments. This data is described as an essential tool for audio professionals, helping them to make informed decisions about system design and optimisation concerning loudspeaker placement, EQ settings and other critical aspects.
www.rcf.it
Staying with Dicentis, the manufacturer has added new modules and connectivity options to its Dicentis flush range. A voting panel incorporates standard parliamentary-style voting options
on identification, voting access for each participant can be controlled to ensure fraud prevention. By using the new ID card holder, the card is placed inside a clip holder, making logging on and off to meetings as easy as possible. Once the card is extracted out of the holder, the participant is automatically logged off the meeting.
www.boschsecurity.com
DYNACORD HAS created its V600:4 multichannel power amplifier for small and mid-sized installations, such as education, hospitality, retail and houses of worship. It has a total power of 600W and a compact 1U form factor, along with multiple power drive options using Dynacord’s patented VLD (Variable Load Drive) technology. It allows the amplifier channels to be driven in 4Ω, 8Ω, 70V or 100V, without compromising the available output power. The newly developed Dynacord powerTANK technology is said to add even more installation flexibility, working like a power reservoir for the amplifier. With direct access to the 600W of power, the V600:4 can deliver asymmetric power across all channels (up to 300W per single channel)
as needed. There is reportedly no waste of energy, which promotes greater flexibility –especially when driving multiple audio zones with different power requirements. A single V600:4 can simultaneously serve as a system drive for the compact loudspeakers in a small zone such as a kitchen area as well as for larger loudspeakers with up to 300W such as in an auditorium.
Overall power consumption can be significantly reduced thanks to ecoRAIL. This technology delivers almost a standby level of power consumption, while simultaneously delivering high-quality background music. APD (Auto Power Down) contributes to further optimise efficiency, reducing energy consumption by automatically powering down the amplifier when no audio signal is present.
fully operational.
The V600:4 also incorporates Dynacord’s new dualCOOL technology. Designed as a convection-cooled power amplifier, the device operates silently, making the V600:4 also suitable for installations in quiet environments. Thanks to dualCOOL, a built-in
from limiting while maintaining full operation, even at temperatures of up to 45°C. Power Factor Correction (PFC) for the power supply has also been added for unstable power conditions with large voltage swings.
www.dynacord.com
UNICA IS Powersoft’s third-generation fixedinstall amplifier platform. In Italian, UNICA means both Unique and Single, and this is what the manufacturer hopes the platform will bring to the audio industry: a unique and single new-generation amplifier series that is versatile enough to cover a wide range of applications, while at the same time delivering high-quality audio, reliability and efficiency. The platform has also been designed to deliver consistency across the entire family range of Powersoft amplifiers. The UNICA range comprises three fourchannel (UNICA 9K4, 12K4 and 16K4, with 9,000W, 12,000W and 16,000W respectively) and three eight-channel models (UNICA 2K8, 4K8 and 8K8, with 2,000W, 4,000W and 8,000W). In conjunction with Universo, Powersoft’s cloud-based platform, UNICA offers cloud-native connectivity and remote monitoring functions without the need for specific product registration or configuration. Cloud integration allows for the storing and sharing of projects online, keeping the amplifier’s firmware up to date, or simple integration in third-party systems through APIs.
UNICA’s power supply section has been designed to result in less power dispersed
through wasted heat. The latest generation of single-stage power factor correction (PFC) and system-on-chip technology processing grant low power consumption and thermal dissipation, while Powersoft’s Smart Rails
PRIMARILY DESIGNED for touring applications, the DALIM Series of four-channel, high-power amplifiers have been introduced by Valencia-based manufacturer RAM Audio.
The 5Q, (5,000W), 10Q (10,000W), 14Q (14,000W) and 20Q (20,000W) models are all equipped with an FIR-EQ section and 96kHz DSP processing. The IIR EQ section includes crossover, gain, delay and 12 EQ filters, while the FIR EQ section comes with linear phase crossover/EQ filters and phase shaping filters. The input EQ section includes eight filters and a library for storing 20 preset memories.
The DSP settings can be configured using the RAM_OCS software or the large IPS display with a capacitive touchpanel user interface. In
addition, power sharing between the channels allows just one channel to receive maximum power should it be required. User functionalities include an analogue input routing matrix together with optional Dante AES67 and AES3 connectivity options. Weighing 7.5kg, the 2U
Management (SRM) allows the supply rails to adapt in real time to the required output voltage to maximise efficiency and reduce idle losses. An Eco Mode reduces consumption when engaged, resulting in
cooler racks and reductions in long-time running costs.
UNICA’s architecture allows high-quality amplification through newly designed input and output sections, reportedly boasting the highest signal-to-noise ratio on any Powersoft amplifier. Based on the latest system-on-chip technology, the DSP section is operable even when only PoE+ power is available, simplifying deployment and pre-configuration operations.
In addition, because each UNICA amplifier is able to automatically archive backups on a flash memory drive situated on the rear panel, users can easily replace a faulty unit with a new one in a matter of minutes, without any configuration or product knowledge. Networking is achieved through three Ethernet ports, allowing both AoIP and control redundancy and splitting control vs AoIP traffic. Thanks to a firmware-level protocol, audio-over-IP is managed through both Dante and AES67. Compared to existing Powersoft products, UNICA also benefits from enhanced Power Sharing developed for the output section, with each output channel capable of delivering up to twice the power when loaded asymmetrically. www.powersoft.com
chassis incorporates two Ethernet ports and a USB port for DSP control.
The high-efficiency Class-D models are capable of driving both low impedance and 100V, 70V, 50V and 35V high-impedance loads directly. Equipped with Neutrik XLR and
speakON connectors and a powerCON mains connector, the temperature-controlled upsidedown design and foam filters reduce fan dust accumulation.
www.ramaudio.com
THE sPOWER Series multichannel smart power amplifiers from MediaMatrix have been designed for applications that require a large quantity of constant voltage output channels. Seven 2U rackmount models are available: the four-channel 754 and eightchannel 758 offering 75W per channel, the four-channel 1504 and eight-channel 1508 offering 150W per channel, the four-channel 3004 and eight-channel 3008 offering 300W
per channel, and the high-power four-channel 6004 offering 600W per channel.
The units come with optional 70V RMS (true 100V peak) or 100V (true 140V peak) output amplifier channels. They also offer Class-D output topology for maximum efficiency and minimal heat dissipation, reportedly resulting in product longevity while not requiring forced air cooling and typical service demands. Instead, the units are cooled with a low-volume internal
air-exchange system. Further helping to control power efficiency, a Switch Mode Power Supply (SMPS) regulates power supply rails, delivering full specified power regardless of A/C power conditions operating anywhere between 85–250V (43–63Hz at 2,400W). Each unit has a 110Hz high-pass filter with 12dB per octave per selectable channel.
The serial RS-485 control port, in conjunction with the MediaMatrix nWare 3.0
ControlManager software suite, allows for amplifier monitoring and control. Additionally, loudspeaker loads as low as 5W-rated output can be monitored. All sPower amplifiers are designed to enable the use of intelligent load limiting on the amplifier output stage, preventing over-drive and designed with protections against short circuits, overheating, over-currents and DC over-voltage. An automated high-power change-over relay per output channel provides an N/O connection, allowing any of the internal amplifier channels to act as a backup in case the primary amplifier channel fails. Alternatively, an additional external amplifier channel to back up the primary amplifier channel can be used for a true “n+1 redundancy” at the same output port without the need to physically change the speaker cable circuit.
www.peaveycommercialaudio.com
ENCOMPASSING TWO throat sizes, four voice coil diameters, three diaphragm materials and two magnet types, Beyma has introduced a next-generation series of compression drivers in both neodymium and ferrite variants. A total of 12 drivers are available with 3- and 2.5-inch voice coil diameters for 1.4-inch output diameters, and 1.75- and 1.5-inch voice coil diameters for a 1-inch output. The diaphragm materials of titanium, high-temperature polymer and advanced polyester offer different nuances and characteristics.
The current drivers include VPEQ and Deplocex technologies to minimise resonances and power compression losses, while extending the SPL output, adding linearity and providing an improved transient response. Other features include a copper shorting cap that extends and linearises the frequency response, kapton former and copper clad aluminium coils, Beyma-optimised diaphragms, phase plugs and a higher power-to-size ratio.
The CD-151Fe/PK 1-inch exit compression driver features a 1.5-inch copper clad
aluminium voice coil with kapton former. Rated at 140W program power above 1.8kHz and with a sensitivity of 110dB (1W/1m), the driver incorporates a high-temperature polymer annular ring optimised with FEM for linear and extended response with minimised
resonances. Operating within a frequency range of 0.8–20kHz and weighing 1.3kg, the Spanish manufacturer recommends a crossover of 1.8kHz or higher (12dB/oct min.) for mounting onto a TD-164 horn on M5 threaded holes. Comprising a 1.75-inch copper
CAPABLE OF decoding IP audio streams into analogue audio signals, TOA has added a PoE-powered audio interface to its catalogue. The IP-A1AF is equipped with an integrated 15W amplifier to drive low-impedance speakers and internal memory, capable of storing up to 20 audio files, although an external amplifier can also be connected to the analogue audio and control outputs.
Capable of receiving broadcasts from Video Management Systems via ONVIF backchannel, device control is accessed through remote API (HTTP) or local control inputs. The PoE-powered Gateway Unit integrates multiple IP audio devices by converting the SIP voice or ONVIF backchannel audio into multicast audio streaming and the IP-A1AF can also transmit built-in sound sources or input audio as multicast audio streaming.
Equipped with a built-in 8W amplifier and internal data storage for up to 20 audio files,
the IP-A1PC238 and IP-A1PC580R are PoEpowered ceiling speakers. Both models support the SIP protocol for integrations with VoIP devices and come with 20 available multicast ports for group paging operations. Boasting the same features, the IP-A1PC580S is a PoEpowered surface-mount speaker.
Connection to the VMS network via a single LAN cable and assigned an IP address, the IP-A1SC15 can combine both video and audio systems. Live announcements or pre-recorded messages can be prioritised for broadcast during emergency situations with one of four different audio broadcasting modes (SIP Direct Call, Multicast Streaming, VMS Broadcast and Remote API).
An IP Setting Tool can assign IP addresses to all IP horn speakers during setup. Once network and host ID has been established on one speaker, all others are automatically assigned
IP addresses for the remaining devices. Each
clad aluminium voice coil, the CD-171Fe/PK model offers 160W program power above 1 4kHz and a sensitivity of 109dB (1W/1m).
Featuring a 3-inch voice coil with a 1.4-inch exit throat, the CD-314 Nd/Ti compression driver measures 260W p r ogram power above 1.2kHz with a sensitivity rating of 110dB (1W/1m). Other characteristics include a titanium dome and a metal alloy phase plug with an FEM-optimised neodymium magnetic circuit. Measuring 4.3 inches in diameter, the 1.8kg titanium and neodymium model couples to a TD-385 horn.
The CD-2514 consists of a 2.5-inch voice coil with a 1.4-inch exit compression driver. The ferrite and neodymium model is rated at 200W program power above 1.2kHz with a sensitivity of 108.5dB (1W/1m). Operating with a frequency range between 0.6–20kHz, the manufacturer recommends a crossover of 0.8kHz or higher (12dB/oct min.)
www.beyma.com
The IP-A1 range
Q-SYS HAS announced support for spatial audio capabilities for Microsoft Teams Rooms, including Signature Teams Rooms. For systems using certified Q-SYS audio, video and control processing in Teams Rooms environments, users can now experience spatial audio allowing the audio of the remote participants to come from the direction of where the specific person talking is located on the screen, creating a more immersive and natural experience for in-room participants. Furthermore, the spatial audio feature with Teams Rooms can be supported at the software level via Q-SYS Designer Software, eliminating the need for additional hardware. The manufacturer has also released a major firmware v3.0 update to its TouchMix-30 Pro digital mixer, providing the platform with the addition of Scenes, Snapshots, Cue List management and offline editing functionalities. Scenes provide the user with the ability to store and recall the entire mixer configuration, while Snapshots allow the user to save and recall selected settings for designated channels without affecting other mixer settings. Cue Lists select and arrange Scenes, Snapshots
and audio files into a predetermined sequence for recall during a show, while offline editing provides the ability to create and edit mixer configurations without the mixer being connected to Wi-Fi.
Previous TouchMix-30 Pro firmware updates added features such as two independent 24-channel, gain-sharing Automatic Microphone Mixers, Custom Fader Banks and the capability to interface with certain third-party external motorised fader control surfaces.
The TouchMix-30 Pro features 32 mixing channels (24 mic/line, six line, stereo USB) and 16 outputs. It features Class-A microphone preamplifiers, Anti-Feedback and Room Tuning Wizards, two real-time analysers, a patch matrix, 32-channel direct-to-external-drive recording and DAW interface with macOS and Windows computers. The v3.0 firmware release is also supported by an updated TouchMix Control app for iOS and Android devices, providing further enhancements to the remote control experience.
www.qsys.com
XILICA AND Sennheiser have announced the launch of an IT-centric audio bundle that allows users to span the full breadth of collaboration space with the introduction of the Xilica x Sennheiser Small Room Kit. Following on from the Xilica x Sennheiser Medium Room Kit and Large Room Kit, both featuring Xilica audio systems with a Sennheiser TeamConnect Ceiling 2 (TCC 2) beamforming microphone array, the latest addition includes the newly released Sennheiser TeamConnect Ceiling Medium (TCC M).
Comprising a Sennheiser TCC M, a Xilica Solaro QR1-UC PoE-powered digital signal processor, two Xilica Sonia C5 Categorycable-based in-ceiling speakers and a Xilica Sonia Amp PoE++ amplifier with integrated network switch, the Small Room Kit requires only a single network cable to the ceiling for the full in-room audio system. Using existing network infrastructure, the Xilica Sonia Amp supplies power to the TCC M and relays audio over the Dante protocol back to the system’s
The Small Room Kit provides the most suitable, pre-designed room audio system for smaller spaces: meeting rooms, classrooms and collaboration spaces that don’t require the sizeable coverage of a TCC 2, but still demand flexibility and freedom when presenting, reconfiguring room layout or involving
AUDAC HAS launched what it describes as “the biggest project in the brand’s long history”. The new family focuses on four major pillars: the Luna series audio matrix processors, the NCP series networked control panels, the NWP series networked wall panels and the NPM series networked paging microphones. At the heart of the system is the manufacturer’s control platform, Audac Touch. The Luna F and Luna U matrix processors provide 32-bit ADC and DAC (@48kHz sample rate) and a scalable mixture of analogue and network channels. Features include AudioBridge for Dante/AES67 audio transfer
for all inputs and outputs, compatibility with all Dante/AES67 paging/in and output devices and scalability from medium-sized and large enterprise solutions.
The NCP105 universal network/PoE wall panel controller comes with a 360° LED light bar, a transparent window, four programmable touch buttons, a rotary encoder and is compatible with most TCP-IP-supported AV equipment. The NWP222 is a networked audio in- and output panel with two XLR inputs and
TAIDEN HAS released its HyCon System, a hybrid conferencing solution for both onsite and remote attendees. It creates a seamless, collaborative and immersive conferencing experience for the remote participants by solving the frequent challenges of hybrid setups, such as creating a seamless engagement of onsite and remote participants, poor audio quality, complexity in deployment and use, and insufficient compatibility.
This combination of local and virtual venues brings an immersive experience of HD video communication. The aim of the HyCon System is to create an experience that is as close to the real-world experience as possible, leveraging in-room microphones for virtual participants so that they get a comprehensive, intelligible experience on-par with other attendees and gain access to remote features.
www.taiden.com
laboratories to ensure compatibility with Microsoft Teams Zoom and Webex by Cisco. All kits include voice-based camera tracking via Xilica technology with any common PTZ camera, integrated mute and status sync for popular UC platforms, and pre-built modules to promote easy setup while leveraging Xilica HearClear acoustic echo cancellation technology.
WITH MORE than double the bandwidth compared to the first generation, the GLX-D+ Dual Band has been designed for guitarists, bassists, vocalists and presenters looking for improved wireless performance without complexity. The system’s dualband wireless technology can operate in 2.4GHz and now 5.8GHz, providing “reliable and consistent signal” by automatically scanning for and selecting the cleanest available frequencies.
The GLX-D+ avoids interference and dropouts, enabling users to focus on performing. It is available in rackmount, tabletop and guitar pedal receiver options with a wide selection of lavalier, headset and handheld microphone choices, including the SM58.
Featuring improved battery life over the previous generation, the GLX-D+ offers up to 12 hours of runtime. The system’s quick charge capability provides 1.5 hours of use from a 15-minute charge. It also features multiple smart rechargeability options. The lithium-ion SB904 battery can be charged directly on the tabletop and half-rack receivers or through a USB-C connector on the transmitter.
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The system provides improved RF performance, antenna distribution and automatic frequency management for up to 11 half-rack systems in typical environments (16 under optimal conditions). Separately available Frequency Manager (GLXD+FM) and directional antenna
The tabletop and rackmountable GLX-D+ systems are available with three handheld wireless microphone options, including the SM58, Beta 58A and Beta 87A. Since all GLX-D+ dual-band wireless systems operate in a licence-free frequency range, users won’t have to worry about technical hurdles while travelling.
Updating its Microflex system, the manufacturer has released the A900-CM ceiling mount which allows ure ceiling array microphones to be mounted to a drywall/joist, plywood/joist or concrete ceiling, or a 4-inch octagon junction box. The ceiling adaptor plate attaches to the top of the microphone. The two plates then slide together and are secured by a hex screw. The A900-CM is compatible with MXA910 and square and round MXA920 ceiling array microphones.
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10 audio outputs, including the headphone and monitor outputs, the Bluetooth channel, onboard recording mix and the three USB outputs. This is described as particularly useful for streamers who need to create custom sub-mixes for different audio destinations, such as stream and chat applications and their headphone mix. In addition to the advanced sub-mixing feature, firmware 1.1.1 introduces a number of system optimisations and workflow improvements, including the routing of
WITH THE creation of the Diversity Fin Antenna, RF Venue has bypassed traditional “shark fin” directional antenna technology with a cross-polarisation approach. Designed to ensure a constant wireless signal is attained by the microphone signal receivers, one log-periodic dipole array (LPDA) captures vertically polarised signals and one dipole antenna in an orthogonal (right angle) configuration receives horizontally polarised signals.
Offering the core capabilities of the Diversity Fin Antenna in a slim-profile footprint, the remote antenna line includes the Diversity Architectural Antenna. For indoor multizone projects, or outdoor large areas, the RF Venue Diversity Omni Antenna provides omnidirectional reception. Most frequently used with IEMs, the RF Venue CP Beam Antenna is a circularly polarised antenna that ensures a consistent signal.
The RF Spotlight floor pad antenna enables wireless mics to function reliably in applications where open channels are limited and multiple wireless systems must inter-operate. The low-profile antenna can be placed under carpets or beneath wooden stages. Operating range varies according to transmitter power, coaxial cable type, cable length and nearby obstructions, although a typical range at 10mW is a 30m diameter and 100m at 30mW.
Compatible with all of RF Venue’s antenna distribution systems and multi-zone antenna combiners including DISTRO4, DISTRO9HDR and 4Zone, the true diversity solution is compatible with the RF Venue band pass filters. With the OPTIX Series 3 fibre-optic remote antenna distribution system from RF Venue, users can locate an antenna up to 5km away. High-grade, low-loss coaxial cable has always been the traditional solution for antenna runs over 45m. The manufacturer has designed the OPTIX Series 3 so that systems will work better by moving the antenna closer to where it matters the most, but also saving the project budget from expensive and less effective runs of copper cabling. It can be used with both wireless microphone and IEM systems from any brand and is described as easy to integrate into buildings with existing fibre runs. The OPTIX1-S3 includes one transmitter and one receiver for a single antenna connection. The OPTIX1-S3 includes two transmitters and two receivers for Diversity Antenna systems.
In brief, D-Tools users can now natively include RF Venue wireless audio essentials in D-Tools software-generated project documentation, from quotes to purchasing to system wiring and layout.
www.rfvenue.com
allowing users to capture these effects while maintaining the flexibility in postproduction that multitrack recording offers.
The RØDECaster Pro II’s companion software RØDE Central has also been updated to mirror all of the configuration options now available on the RØDECaster Pro II itself, including setting up the advanced APHEX audio processing, SMART pads and custom sub-mixes.
www.rode.com
NEUTRIK’S SPEAKON series has been expanded further with the introduction of the NL4FXX and NL2FXX four-pole and twopole cable connectors. Featuring a locking boot that protects against unintended opening and a strain relief chuck snapping
a standard D-shape cut-out for simple integration, a push/pull locking mechanism, an automatic sealing shutter and an anti-kink boot. Compatibility with Neutrik’s FOCD-STC and FOCD-STM cleaning devices promote ease of maintenance.
to the insert, the latest additions are housed in a two-compound casing. Conforming to relevant device standards, the powerCON NAC3FXXA and NAC3FXXB connectors are colour coded blue for power in and grey for power out.
The single mode opticalCON MTP16 and the multimode MTP48 offer 16 and 48 data channels respectively in a single cable. Designed to offer high data capacity, reliability, speedy setup, instant playback and cost optimisation per single fibre/data channel, the MTP16 and MTP48 can operate in harsh conditions. Housed in a compact, lightweight chassis, other features include
Promoting onsite maintenance and repair with a replacement chassis to board connections clipped in place with manual connection of common LC patch cords, the Fibrefox HMA fibre-optic system converts a standardised LC patch cable into an expanded beam solution. Terminated with LC patch connectors, the Fibrefox range includes briDge connectors and pre-assembled cables, a weather-proofed Adaptor Box with several connectivity variants and the foxBRID multimode hermaphroditic connector module and Fibrefox rotary joint.
www.neutrik.com
PUNQTUM BY Riedel offers a plug-andplay digital intercom system with a variety of communication channels on a single wire. Described as easy to install, easy to use and reliable, punQtum solutions include standalone beltpacks, headsets and speaker stations. The products can be integrated with existing systems via an IP switch, giving venues the flexibility to extend and customise existing systems on a budget.
punQtum supports multiple communication channels along a single wire, which makes
with four channels of communication, programmable buttons and the ability to trigger logic outputs. All functionality is designed to be instantly accessible thanks to ergonomically designed buttons and an easyto-read colour display. The feature set also allows for any missed comms to be replayed in a “voice-mail”-style setup. In terms of scalability, the Q110 reportedly suits systems of any size, ranging from small events requiring just two beltpacks to however many are required for large, complex systems.
THE KLOTZ FiberLink series, which includes the FiberFlex Ultra cable in single-mode, is now available not only with the standard FC, SC or ST connectors with PC/UPC polish but also with E2000-APC, FC-APC, LC-APC connectors and SC-APC polish.
APC is short for Angled Physical Contact; on these connectors, the ferrule surface is polished with an angle of 8°. As a result, the connector is said to offer improved return loss compared to other PC/UPC polished connectors. Connectors with APC polish must not be paired with connectors with PC/UPC polish – this could lead to very high insertion losses and damage to the
To avoid faulty connections, all KLOTZ APC connectors are available in the typical green colour. PC/UPC connectors are usually blue,
The compact E2000 connector features an automatically closing protective cap. This shields the connector from contamination and also prevents the human eye from being exposed to the laser. The FC connector is characterised by its ceramic ferrules as well as its alignment accuracy and is preferably used for precise and securely lockable connections. Green LC and SC-APC connectors are comparable in handling and size to the conventional blue PC/UPC connectors. The cable manufacturer has also released the OT234H-D high-quality digital cable for long distances with an FRNC jacket. Based on the OT234H digital cable, the OT234H-D cable fulfils the CPR class Dca – s1, d1, a1 according to EN50575 for the installation sector. It has a particularly low signal attenuation as a result of its 0.34mm² (AWG 22/7) conductor cross-section and low capacitance. This is said to make the cable suitable for extremely long distances and transmits both analogue microphone and line audio signals, as well as digital signals such as AES/EBU and DMX control commands. Two shields protect against noise, while a tinned copper braid facilitates assembly with connectors. The FRNC jacket with an outer diameter of 5.8mm is suitable for a temperature range of –30°C to +70°C. With a minimum bend radius of only 35mm, the OT234H-D is said to be suitable for all installations.
www.klotz-ais.com
same way that polyethylene (PE) provides users with a high resistance to water and chemicals to keep installation costs low.
to its high resistance to cutting, abrasion and trampling, UV rays, water, chemical and atmospheric agents and also for being flame retardant and halogen free. It is also suitable for continuous winding and unwinding in operating temperatures of –40°C to +80°C. These features make PUR recommended for both indoor and outdoor applications, in the
In the public sector, the manufacturer recommends the use of a Low Smoke Zero Halogen (LSZH) sheath, even when CPR homologation is mandatory. For medical applications, silicone is suggested because it guarantees most of the features available with PE products but with an operating temperature of –60°C to +180°C.
For underground installations, Tasker recommends a metallic braided armour which covers the entire cable sheath and provides protection against damage from rodents.
www.tasker.it
SENNHEISER HAS added a talkback feature to its MobileConnect assistive listening solution. Named Audience Mic, the feature transforms any smartphone into a microphone, allowing MobileConnect users the ability to communicate the way they want. Audience Mic takes MobileConnect from an assistive and personal listening solution to a bidirectional communication tool. The speaker simply talks into their smartphone to have their voice brought directly to other participants’ phones in the room, over the room’s loudspeaker and to those who may be participating remotely.
The manufacturer has also announced a ceiling microphone for mid-sized meeting rooms and lecture or collaboration spaces. The TeamConnect Ceiling Medium (TCC M) brings across all the features from the TeamConnect Ceiling 2 (TCC 2) but with a coverage area of up to 40m². Unlike the TCC 2, the TCC M is round, but does offer the same ceiling installation
choices – surface-mounted, suspended or flush-mounted. These options allow for cable-free tables and flexible furniture arrangement.
are added to the product portfolio, Sennheiser will develop additional versions of the tool.
In other news, the company has
Sennheiser is collaborating with Lumens for the integration of its TCC 2 microphone with Lumens’ USB PTZ cameras. As a result, Lumens’ CamConnect software will synchronise with the TCC2’s patented automatic dynamic beamforming technology to enable the in-room PTZ camera to track the position of the live presenter. This means that remote delegates can immediately identify and engage with the speaker, rather than watch a wide-angle view of the entire room.
helps customers find the most suitable Sennheiser solution for their specific meeting room environment. Users will be able to identify the most appropriate solution and the optimal placement for it based on factors such as room size and speaker positioning. As further customer feedback is considered and new solutions
Tencent Meeting. With this certification, TCC 2 also officially becomes a member of Tencent Meeting’s hardware certification ecosystem. The certified Sennheiser and Tencent Meeting communications system solutions include the TCC 2, Q-SYS Core 110f, an SPA Series amplifier and an AcousticDesign Series loudspeaker.
Finally, a solution combining the TCC 2 and TCC M with Kramer’s AFM-DSP20-AEC audio matrix switcher has been created to provide an “engaging and inclusive” audiovisual experience in any medium or large space. This partnership will reportedly expand both companies’ ecosystem, offering ultra-immersive user experiences in hybrid meeting and learning spaces and expanded flexibility for customers and partners.
www.sennheiser.com
The ESW-T4101 bodypack transmitter combines a built-in microphone, a transmitter neck strap, sweat-resistant cH-type connectors and two built-in antennas. Compatible with a wide array of interchangeable Audio-Technica wireless capsules, the ESW-T4102/C510 handheld is equipped with a cardioid dynamic capsule and a slide-to-mute switch. Equipped with a two-state RGB LED mute status indicator and a USB-C connection, the ESW-T4106
The AT8175 microphone pop filter has been designed for up-close use to assist in reducing excessive pressures on the microphone’s element. The AT8175 is described as sleeker than standard pop filters and custom-designed to clip onto the front of 20 Series side-address mics. Created for recording, podcasting or streaming applications, the AT8175 provides added protection against plosive consonants, without any compromise to the audio quality.
In response to customer feedback, Audio-
A roaming function also allows transmitters to connect to multiple receivers for wideranging coverage in larger venues. Ease-ofinstallation features include a PoE power supply for the receiver, Dante audio output capabilities and a single Cat5e cable connection to a PoE-compatible switching hub. Detailed settings can be configured to meet multiple requirements via AudioTechnica’s Wireless Manager software, which can manage multiple wireless systems, including UHF wireless systems from a single screen. In addition, AES256 encryption support comes as standard, providing superior security.
unidirectional polar patterns, even while charging. Finally, the ESW-T4107 desk stand transmitter is compatible with the ES925 gooseneck series and features a two-state RGB LED mute status indicator and a selectable mute operation.
The four transmitters incorporate lithiumion batteries for all-day operation on a single charge. Two charging options are available: the ESW-CHG4 two-bay bodypack and handheld charging station together with the ESW-CHG5 four-bay desk stand and boundary charging station. The charge stations provide full power recharge in two hours and the stations are connected by an AC adaptor and Cat5e cable.
Digital SmartMixer with a range of new features to improve its performance for online and live meetings. The ATDM-0604a offers improved echo and noise-cancellation performance; LED-based remote control of Audio-Technica’s ES954 hanging microphone array; cascade connectivity for up to eight mixers sharing audio busses; and mic/line level support for input channels 1–6.
In brief, the manufacturer has announced that its ATND1061DAN ceiling array is now certified for Microsoft Teams Rooms as part of a Q-SYS system.
TASCAM HAS released its Portacapture X6 32-bit float portable audio recorder, d esigned for videographers, podcast/ YouTube creators, sound designers and musicians in search of high-quality stereo mix recordings for smaller-scale production projects. The user-friendly GUI is tailored to the launcher screen and offers multiple recording modes for different scenarios. These recording modes include Field recording, Voice, Music, Podcast and ASMR in addition to Manual, which allows access to all setup parameters manually. The compact size makes it suitable for dialogue recording and interviews with or without a camera and high-quality stereo music recording. As a multi-track recorder, the unit provides six simultaneous tracks (four tracks plus two mix) of recording with support for upwards of 96kHz/32-bit float recording resolution.
The recorder is equipped with two XLR input terminals with support for both mic and line level (maximum input level: +24dBu), aux-in/camera in and line out/camera out
The onboard processing functions include Low cut and Noise gate for reducing background noise and frequencies, a Limiter and Compressor for signal level management, plus four-band EQ for defining the character and tone of the recording. This four-band EQ also offers presets for several common scenarios in addition to full manual setup with the GUI. To eliminate wind noise and plosives even more, the manufacturer has developed the WS-86 Wind Screen, which is a custom form fit design made for the Portacapture X6, Portacapture X8, DR-40X and other largeformat portable audio recorders. The Portacapture X6 also has a USB interface function without the need for any additional drivers. As a result, the unit can be used as a compact mixer with built-in microphones for livestreaming via OBS or similar platforms. It also offers direct recording of narration and dialogue directly to a DAW and editing software. The system can stream the total mix via the USB Type-C connector. By adding the optional AK-BT1 Bluetooth adapter, users can gain remote control functionality by using Tascam’s Portacapture Control app on their phone or tablet, which is available for both iOS and Android. The app can be downloaded free of charge via the Apple store or Google Play.
www.tascam.com
AUDINATE HAS released a Dante Studio 2.0 software update and new subscription pricing. Dante Studio is a suite of software tools comprised of Dante RX, Dante TX and Dante Video Viewer that brings Dante AV video directly into a PC from Dante AV Ultra or Dante AV-H cameras, encoders or other computers running Dante Studio on the network with no additional hardware needed. Dante Studio is part of the Dante AV family of AV-over-IP solutions and shares the Dante control and management platform. Dante Controller handles all device routing, naming and configuration for audio and video devices, allowing operators to control the entire AV network via a single interface. With Dante Domain Manager, all audio and video endpoints can be secured with user access control, actively monitored and remotely accessed to simplify system maintenance and support.
Features in Dante Studio 2.0 include added Dante AV-H (H.264/AVC codec) support in Dante Video RX and Dante Video Viewer; Dante Video TX support for sending video flows to Dante AV Ultra devices; Dante Domain Manager support; and the ability to purchase Dante Studio on a monthly subscription.
www.audinate.com
FOLLOWING THE debut of the X1 matrix array, Holoplot has released the Beta version of its Holoplot Plan design and simulation software in addition to the newly designed X1 rigging system. The X1 rigging system provides further system flexibility. Scalable arrays can be deployed vertically or horizontally for use in the fixed installation and rental market sectors.
The incorporation of 3D audiobeamforming and wavefield synthesis technologies vertically and horizontally steer the audio directly to the listener’s precise location. Consisting of the X1 Modul 96 full-range speaker and the X1 Modul 80-S loudspeaker with built-in subwoofer, the X1 series is a fully in te grated system which combines software and IoT capabilities.
To simplify the designing, simulating and setting up of a Holoplot sound system, the Berlin-based manufacturer has developed Holoplot Plan. Using Plan’s 3D graphical interface, matrix arrays of different configurations can be designed and soundfields based on 3D audio-beamforming and wavefield synthesis technologies can be created.
Providing a realistic prediction of the audio coverage in the venue, Holoplot Plan simulates and visualises direct SPLs. For further analysis and advanced simulations, projects can be exported to EASE. The company is inviting users to sign up to the Early Access Program, try out the Beta version of Holoplot Plan and share feedback.
www.holoplot.com
HK AUDIO’S DSP Control is described as a comprehensive and easy-to-use software for Mac and PC for precise sound tuning, firmware updates and remote control of the DSP parameters of all network-enabled HK Audio speakers from the Elements D, Linear 5 MK II, Linear 7 and Linear 9 series. On the new DSP Control product page, users can find a detailed overview of the range of functions, the newly designed operating instructions and the current software version for all supported operating systems.
The software gives users sound optimisation and performance tools as well as practical and fast setup configurations. It also provides access to the most important parameters
such as EQ, limiter, delay and grouping so that users can control the network-enabled HK Audio speakers via Ethernet plug-andplay connection. Other benefits include easy installation of firmware updates on speakers to increase performance; futureproof integration to control the most important parameters of non-networked speakers via DSP out; and control of different groups such as main stage, stage monitors, outdoor or bar floor, as well as the preparation of groups, even without existing speakers through Virtual Units. Users can lock the loudspeakers with individual passwords to protect against unauthorised access.
www.hkaudio.com
CONTINUING ITS commitment to support sound engineers, system planners and consultants during each phase of their audio journey, d&b has introduced HeadroomCalc. Available in ArrayCalc V11, the patentpending HeadroomCalc technology predicts the reaction of a d&b system to a specific audio signal, providing a more precise SPL and headroom calculation.
processing any user-defined audio file through a simulation of the configured audio system in the following three separate steps. 1. The input signal – often a pre-recorded alarm message or a recording of the band – is fed into the simulated loudspeaker processing of the selected d&b system amplifiers in the time domain. The intermediate results are output voltage and gain reduction signals for every
Accurate prediction of a system’s performance is required for a number of reasons: to choose the right system and/or system amplifier, both of which influence the budget needed for a project; to comply with health and safety regulations at live events that specify the limits regarding onsite sound exposure levels; and to prove that prerecorded alarm messages can be reproduced with a certain SPL to satisfy tenders or legal requirements.
HeadroomCalc predicts the reaction of a d&b system to specific audio signals, providing a more precise SPL calculation by
amplifier channel within the system over time. 2. The output voltages are combined with the simulated impulse responses of the connected loudspeakers. This yields the sound pressure signals for every loudspeaker at up to five individual definable receiver points. 3. The total sound pressure signal is created for all receiver points, which is the sum of all sound pressure signals at each point. This is then used to derive the SPL metrics in the same manner a portable SPL meter would operate at each defined measurement point.
www.dbaudio.com
Engineering has announced two Fletcher Machine software products. The first is the Virtual Adamson Fletcher Machine (vAFM) which connects with the Adamson Fletcher Machine (AFM) Remote software, giving users the Fletcher Machine experience without the requirement of a dedicated hardware engine (Stage or Traveler). Instead, the user employs the audio I/O available on the computer the vAFM is installed on. While being able to use much of what the AFM Remote software offers in terms of features such as Object Trajectories and general mixing functions, the vAFM is limited to a maximum of 24 inputs and 12 outputs, has only two layers, no auxiliary sends and an extended latency, compared to the hardware models. The vAFM is intended to acquaint users with the performance and ease-of-use of the AFM technology and can be used in educational applications or as a demonstration tool that whets the appetite for further exploration
Suitable for any DAW that employs VST plugins, the Adamson Fletcher Machine VST Control connects the user’s DAW to an AFM via the Remote software. The connected AFM could be any one of a Stage Unit, a Traveler Model or the new vAFM. The AFM VST Control allows users to directly control certain object parameters such as positioning and layer selection from within their DAW. Multiple instances of the AFM VST Control can be activated within the DAW, giving the user additional objects to control, limited only by their number of objects and the AFM in use.
www.adamsonsystems.com
has been announced, bringing support for 32+2 faders via dual Waves FIT controllers, more plugin DSP power via multi-server support and tactile control of plugins via the Waves FIT Controller for the eMotion LV1.
Users can connect to up to four Waves SoundGrid servers, plus four more for redundancy, so that they can mix with high plugin counts and high sample rates without worrying about processing power limitations. Two Waves FIT Controllers can be combined with the same LV1 mixer. The two FITs can work in tandem, for 32+2 faders and encoders per mix layer, or independently, where each FIT controls a mix layer of the user’s choice. Plugin parameters are now auto-mapped to the FIT control surface, allowing users to mix with plugins hands-on, with zero manual setup.
KLANG’S LATEST software version 5.3 introduces a flexible offline editor and simulator. This enables users to prepare a show remotely without requiring access to KLANG processor hardware. Built into the KLANG:app, the offline editor emulates any existing KLANG processor from the smallest :vier to the flagship :konductor, including network communication for DiGiCo SD and Quantum console integration, as well as to connect other KLANG:apps or the personal mixer :kontroller on a local network. The offline editor also offers full compatibility with DiGiCo consoles’ offline editor, making it possible to set up the console remotely without having a console and KLANG processor on hand.
KOS 5.3 also offers improved Remote Management, adding an extra layer of security to the KLANG system. Administrators are now able to fully restrict access to the system with password protection, and help
musicians to connect and configure their :apps remotely. In addition, musicians can be locked to their mix to prevent them from changing another mix. Users can also hide and protect certain channels – such as a talkback channel – that should be audible in the musician’s mix, but only be controlled by an engineer. Hiding channels also helps to maintain a clean channel list for all musicians, for example when working with the :kontroller interface.
Another feature of the update includes the ability to sort and search through all KLANG devices found on the network and indicate which devices need attention. Also, the workflow to collect Logs has also been improved. The KLANG:app now collects all Logs from all devices, and even other :apps on the network, to get a detailed overview of the system with just one push of a button.
www.klang.com
(with updated layout), a newly designed highvisibility patchbay, eight additional user keys and bug fixes for MyFOH, the MyMon personal monitor mixing app and the mRecall audio scene and snapshot app. Updates in MyFOH include band type control for eMo Q4, added control over Aux-Q when flipped and added channel colours as set in the eMotion LV1.
Modelled on the circuit behaviour of carefully selected vintage valve tube hardware, Waves Audio’s Magma series has been expanded with the addition of the Magma Tube Channel Strip, which uses the same True Valve Modeling technology that was utilised to create Waves’ BB Tubes plugin. The plugin is focused on speed, with control knobs for drive/saturation; EQ lows, mids and highs; compression; and expansion/gating. It can be used on any vocal, instrument or bus.
www.waves.com
CUSTOM CONTROL V1.3 has been released by Allen & Heath and described as a major update to its customisable, crossplatform app for control over AHM, dLive and Avantis installed audio systems. Features include the ability to control multiple AHM, Avantis and dLive units from a single
Custom Control user interface; a range of new widgets including date and time, and horizontal faders and meters; control of LED bars on the CC-7 and CC-10 touch panels; TCP/UDP messages for control of third-party equipment; and new resource packs with custom images for GUI design.
Several styling and graphic handling improvements have also been added, including custom colour palettes; object grouping; and options to lock the aspect ratio, position and dimensions of control widgets.
www.allen-heath.com
ADAM HALL Integrated Systems has unveiled QUESTRA, the newest design and management software for networked LD Systems installation solutions. QUESTRA enables access to the full DSP capabilities of all LD Systems’ audio installation devices, allowing users to configure audio networks of any size and manage and control every device from a single application. The software also includes an editor to create custom user panels for remote control that can be operated from Windows computers or any Android or iOS portable device. Administrators can create users, assign specific roles and limit access to certain functions, ensuring that critical network settings cannot be modified.
Device presets to match different user applications can be created and managed in QUESTRA, and triggered via the individual user panels. Also, with remote access to the audio network, monitoring and support can be provided from anywhere, at any time.
According to Adam Hall, QUESTRA has been designed to give full control of projects before, during and after commissioning. Customers can plan their projects and prepare system configurations before they even get to site and start installing any hardware. They can create the user panels and demonstrate them to clients in advance. The intuitive, user-
friendly interface with clearly structured menus reportedly makes it easy to build and configure the network. Once onsite, all users need to do is upload the offline
configurations to the online devices present on the network and fine-tune the settings.
www.ld-systems.com
TO ADDRESS the need for a larger number of Full HD sources and their possible backups, Analog Way has designed a new input card equipped with eight full-size HDMI 1.4 connectors. Each port can receive audio/video signals up to 2560x1600@60Hz or up to 4K@30Hz and is compatible with HDCP and advanced EDID management. The 8-HDMI input card can be freely combined with any other input cards,
WITH THE addition of the SVSI N2600 4:4:4 encoders and decoders, AMX has strengthened its 4K60 Series portfolio. Designed for higher education, corporate, casinos, hospitality, government and streaming applications, the N2600 models feature a low-latency 4K60 4:4:4 MWC codec for transmitting both live video and detailed content. They also feature transport of full-bandwidth USB 2.0 signals between encoders and decoders, video preview images viewable from the built-in web interface or touch panel and enhanced support for high-security networks.
Available in wall plate form factors in both US and UK/EU styles, the N2600 wall plate encoders include both an HDMI input and a
allowing up to 32 inputs on a 4U chassis and up to 48 inputs on a 5U chassis. With such a high density of concurrent inputs, the manufacturer states that all switching and routing needs will be covered without requiring external matrix routers.
Analog Way has also launched a hybrid input card for LivePremier, equipped with one 2.5G Ethernet port and four 12G-SDI inputs. The card, which can be freely combined with any other input cards, has four input streams that can be individually configured as either NDI Full Bandwidth or 12G-SDI as needed. Operators can easily use the Web RCS control interface to search through a list of available NDI sources on the network and select the ones they want to route and decode to the IP-SDI input card.
To meet the needs for large events and fixed installations, the manufacturer has added a LINK feature for the LivePremier platform. The LINK feature allows users to interconnect up to four units, no matter their type and size. The resulting system reportedly acts as a unique larger device controlled by one single Web RCS. Whatever the size of the displays and the origin of the outputs, they can all be entirely displayed on the multiviewer. The LINK function allows up to 16 inputs to be shared between linked units. If needed, a second LINK card can optionally be added to each Aquilon. The LINK card accepts various types of cabling covering all distances up to 2km.
www.analogway.com
the “S” designation further support a lowbandwidth 1080p H.264 stream. Compatible with third-party devices and networks, these encoder models can simultaneously encode both MWC and H.264 streams and decode
BY BRINGING a version of the e-ink technology that made the Kindle famous into the world of digital signage, PPDS has unveiled the industry’s first “zero
Tableaux is an advanced colour ePaper (ACeP) device capable of 24/7 operation while running entirely unplugged. Power
With sustainability highlighted as a major focus for the company moving forward, the Tableaux is intended for use as digital signage for sectors looking to digitise their paper-based signage. Ideal applications include delivering messaging such as store opening hours, timetables and menus, or promotions and offers.
Available in 25-inch 16:9 and 28-inch 32:9 stretched variants, the Tableaux is capable of displaying 60,000 colours. Furthermore, the screens are reportedly light enough to be moved around easily when required. Content updates can be managed manually, or remotely using PPDS’s in-house or third-party professional display control and management platforms. The Tableaux Series will be compatible with PPDS’s Wave cloud-based fleet management platform.
www.ppds.com
BROMPTON TECHNOLOGY has announced the release of what it believes to be a revolutionary receiver card in the form of the Tessera G1. The G1 is the first receiver card to support 10GB fibre connections direct to the panel and is also capable of supporting a 1 million pixel capacity for a new generation of ultra-fine pixel pitch panels, or up to 1,000fps. The G1 also has a 20x increase in computing power compared to the Tessera R2+ receiver card.
With the G1 receiver card, Brompton hopes users can experience a new level of realistic visual performance, especially suited to content creators in the future. “One of the most useful colours we anticipate panel manufacturers wanting to incorporate is white,” said Cesar Caceres, Brompton’s product lead.
“When the colours red, green and blue are used to represent ‘white’, the light spectrum they produce may not always look natural and align with the viewer’s expectations. Adding a white channel provides an improved spectral output for the panels. And the G1 has the power to cope with the complex algorithms
necessary to maintain colour-accurate calibration and control with extra emitters.”
The G1 receiver card can also support a 10GB connection, providing tenfold the bandwidth of the current R2+ card. When it comes to in-camera visual effects, LED panels often contribute to lighting the scene, so Brompton hopes that having additional light emitters in
the LED panel will represent a significant leap in colour-rendering accuracy on skin tones and foreground elements blending with virtual environments. The ultra-fine pixel pitch panels the card can support make it suitable for use in 360° simulators, or even research centres.
www.bromptontech.com
FLES – ALSO known as FENIX LED Support – has been introduced by lifting towers, trusses and stage platforms specialist FENIX Stage. It is a universal modular support for LED displays which has been designed to take into account all the needs and functionalities of an event. It’s described as easy to assemble and stabilise and is compatible with all types of LED screens. Users can create curved profiles of LED screens by adding a joint hinge accessory. The design of the FLES has been focused on safety, ease of assembly and professional-looking durability thanks to its textured black finish.
The PACQ-1000 is a speaker tower for lifting heavy weights of up to 1,000kg up to a height of 8m. It has been designed to fly sound like a PA tower but in a safer way. The same engine can lift the structure and the load; the manufacturer believes this provides a safe, compact and unitary system that will avoid the loss of parts and save assembly time.
www.fenixstage.com
NEWTEK HAS strengthened its line of control panels with Flex, designed so that operators can take direct control of PTZ devices, audio connections, audio and video mixing and talkback, all connected with NDI. No other NewTek control panel offers audio and video mixing, PTZ control and talkback in one unit. With these controls built directly into the panel, it is said to significantly reduce the margin for error. With the addition of audio I/O, Flex expands the onboard I/O of any TriCaster with the option to add external sources directly to the NDI ecosystem.
For years, operators have been physically tethered to video switchers with fixed cable runs and complex setups without the ability to change location. Flex is the only NewTek control panel to connect to a network with NDI and have control of any video switcher on that network, giving operators more freedom in their productions. Not only can the panel connect to any switcher on a network by using NDI, Flex also offers operators all they need for distributed productions by working with all current TriCaster models.
www.newtek.com
ABSEN HAS unveiled several new solutions to its display catalogue, leading with the PR2.5, its new flagship virtual production (VP) LED solution. The series comes in response to VP becoming increasingly popular across filmmaking, broadcast, video production and gaming. The solution is designed as an all-in-one platform for both a VP backdrop and ceiling.
Offering a high contrast ratio, the PR Series is described as delivering a wide colour gamut, fast heat dissipation and reportedly provides a 16% reduction in power consumption compared with comparative solutions. The panels are fitted with a customised lock system that allows users to quickly complete installations, including hanging, stacking and other layouts.
The PR2.5 is built of carbon composite and has an achievable weight as low as 22kg/m². The 2.5 version is the first in the series, with 3.9 and 5.2 pixel pitch versions also being developed.
In addition to the launch of the PR Series, the company has also released an addition to
its DOOH portfolio, the AW1.9. Furthermore, Absen is partnering with the DOOH Click complete management platform to support
both the AW1.9 and AW2.5 versions of this range of outdoor LED solutions.
The CL1.2 Micro LED solution has also joined the Data Visualisation Clear Cobalt Series. With black coating technology and Absen’s black calibration technology, the device not only has a non-reflective surface, but is also stated to produce vivid colours for true-to-nature images, with high reliability, wide colour gamut and full flip-chip technology. For rental, staging and XR stages, the PL2.5 Pro V2 is described as a thin and lightweight panel for easy operation. Offered in multiple pixel pitches ranging from 1.9–4.8mm, it also supports High Dynamic Range and has a grayscale up to 16-bit. The PL Series is a high-performance, broadcast-grade, highdefinition display recommended for all live
Lastly, the NX Series is a slim display available in four pixel pitches – 1.5mm, 1.8mm, 2.5mm and 3.7mm. The NX series can create various shapes such as curves, right angles and cubes, and can be widely
used in commercial display scenarios such as corporate and retail stores.
www.absen.com
DISGUISE HAS released the latest version of Designer, its software for testing, editing and controlling real-time graphics. Whether it’s for an LED virtual production stage or a projection-mapped building, Designer’s new APIs will let developers build custom solutions for everything from camera calibration to colour control, enabling simplified workflows for complex visuals on the disguise platform. Users can leverage the APIs to build on the disguise platform, discover new integrations tailored to their specific workflow requirements and create tailor-made, value-added solutions for their projects.
With show control, users can tailor show control for non-disguise experts with an API that simplifies the development of targeted workflows. Camera calibration on the go allows customers to set up camera calibration from any device, anywhere. This API enables remote calibration control, allowing operators to calibrate while standing with a camera on xR or VP stages. The API aims to save time with less back-and-forth between applications and a simplified workflow so that users can control disguise projects and RenderStream workloads through simplified administration operations such as start, stop and restart. Status support permits customers to view disguise system health and status in off-theshelf monitoring tools or build bespoke status UIs. This API enables the monitoring of machines with methods to provide an overall health status as well as specifics such as genlock and notifications. Greater colour capabilities have been added to provide colour control in disguise from specialist colour applications including Pomfort’s colour-grading tool Livegrade Studio.
www.disguise.one
OUTPUTTING 22,500 lumens, the Christie 4K22-HS sets a brightness standard in 4K UHD 1DLP projection. Narrowing the gap between 1DLP and 3DLP projection, the 4K22-HS incorporates Christie BoldColor+ technology that reportedly delivers natural and realistic colours, deeper blacks and enhanced colour uniformity. For applications that require multiple projectors, the latest model features onboard Christie Twist for warping and blending, and a simplified setup and alignment of multiple displays. Compatible with Christie Mystique, the automated camera-based alignment and
DESIGNED AS a next-generation IT/IPcentric platform in broadcast and media applications, Panasonic has advanced its Kairos live production platform. With the addition of the KC200 and KC2000 mainframes in addition to software enhancements, the Kairos platform’s scalability has been increased to support larger and more complex productions.
To maximise video processing capacity and utilisation with just one frame processing delay, the live production platform is developed with CPU/GPU architecture. Deployed across a variety of productions, ranging from broadcast studios to remote production and streaming of live sports and concert events, Kairos
recalibration software tool saves time when installing, aligning, calibrating and maintaining multi-projector systems. In addition to several time-saving features, the Christie Intelligent Camera can be used to trigger projector autofocus, automatically calibrate projector colour to optimise colour uniformity and automate colour and brightness matching across multi-projector arrays. Compatible with all WUXGA HS Series lenses, the 4K22-HS features active and passive polarised 3D functionality output frame rates at 60Hz in 4K UHD and 240Hz at 1080p.
www.christiedigital.com
virtualises traditional switcher functions and adopts the multi-format Agile I/O.
Compared to existing Cores, the KC2000 doubles the input and output capacity and adds more video processing power courtesy of a larger 900GB internal clip player. When connected to two 100Gb ST 2110 networks, the latest 4U Cores support 2022-7 network redundancy and create significantly reduced noise levels. By natively supporting ST 2110 IP, connections to Panasonic’s ST 2110-compatible AW-UE160 PTZ and AK-PLV100 Cinelive studio cameras has been streamlined and simplified.
www.panasonic.com/global/business
SHINING A light on a wider range of locations, the full-colour-spectrum soft light of Elation’s KL Panel XL is now available in an IP65 version. The weatherproof design allows it to function in harsh environments and adverse conditions, eliminating the need for frequent cleaning and maintenance and saving both time and cost.
Elation says the 840mm x 366mm KL Panel XL IP offers precise control over
LAUNCHED IN 2019 as the world’s first integrated audio and light technology, RAIL by KSCAPE has successfully been solving noise pollution issues in larger offices by providing sound and illumination in videoconferencing rooms, museums, training facilities and residential projects.
The latest plug-and-play RAIL addition operates via Casambi Smart Lighting control. Based on wireless Bluetooth Low Energy technology, the optimal solution provides a mesh network where all system intelligence is replicated in every node with minimal additional hardware. With RAIL, lighting control can be made through Casambi’s app with a smart user interface or with Dali. Casambi can be connected into the internal smart building automation system such as Crestron, Lutron or Control 4 via a remote gateway. The plug-and-play operation is
made possible when combined with the K-array KA-04 150W four-channel amplifier at 4Ω, or the KA14 or the KA28 via cloud technology.
Enabling designers to improve interior environments, RAIL offers tuneable white. Light can be automated to follow the natural circadian patterns of daylight with dynamic LEDs that can illuminate from 2,700–5,000K by rising in the morning, gradually brightening to a midday peak and dipping down to a warm glow in the evening. Programming light levels can bolster employee attentiveness, productivity and physical wellbeing. Tuneable white enables companies to demonstrate their commitment to creating a better workplace while avoiding time-consuming retrofits.
www.kscapemergingsenses.com
EQUIPSON BRAND LightShark has unveiled its LS CORE iO lighting console which offers a web-based interface accessible from smart devices such as phones, tablets and computers that supports most protocols (DMX512, ArtNet, sACN, MIDI, UDP, OSC and HTTP). The console is compatible with integration systems such as Crestron, AMX or Control 4, incorporates GPIO ports and implements RS-232 and RS-485 protocols. It also features a dedicated alarm port which offers the possibility of prioritising a specific state over the scenes playing at that time and incorporates a real-time clock that maintains time accuracy for up to five years.
The LS W1 remote control completes the system – a wall-mount touch device with eight programmable buttons to control scenes and trigger any other action from the console. With the LS W1, users doesn’t have to access the
interface with other pieces of equipment. The upgrade also includes improvements to Autosave, Go To Cue/Preload Cue and Channel/Fixture Parking features, as well as being able to assign custom icons to palettes.
colour temperature and full-spectrum colour rendering for an even wash coverage. Optimised for the white light requirements of broadcasting, it is designed to provide highly variable lighting for key, fill and backlight.
It uses a 570W RGBW, lime and cyan LED array and can produce soft white or full-colour washes up to 40,000 field lumens at a 100° half-peak angle. Colour reproduction is accurate with a CRI of 95, while colour temperature is adjustable
from 2,000–10,000K for a wide range of variable colour or white shade projections. Additional colour tuning is possible through a green-shift adjustment and virtual gel library to precisely match the white balance for the camera.
The array is equipped with multi-zone control to enable dynamic colour access
LS-1 hardware console, the LS-Core, the LS-Wing Open Sound Control (OSC) hardware controller and three multiprotocol DMX streaming devices collectively referred to as LS-NODE. Upgrades mean that LightShark can now send out OSC and UDP messages at the
adjustment for flicker-free operation. The KL Panel XL IP can be powered remotely through its integrated four-pin XLR 24–36 VDC battery input and consumes 681W at maximum power. Control options include DMX/RDM, Art-Net and sACN. www.elationlighting.com
same time as playing different cues, giving users the opportunity to control other equipment directly from LightShark. It includes the devices’ personalities already developed for the LS-Wing controller, which the company says makes LightShark the first lighting controller that has OSC and UDP control personalities for other devices such as audio controllers and media servers.
The software also adds OSC messages including TAP button command of a Playback and adjustment of its tempo, commands to reset aspects of the speed master and the Chase speed master and messages to give users fine control of the Go To Cue button including the ability to preload it. It is also now possible to send OSC commands from a Cue and to deploy a keyboard to control LightShark using a variety of shortcuts.
www.lightshark.es
Video Bridging (AVB). It was a new and exciting technology and a number of major pro AV manufacturers then went on to back it. Over the next few years, any article or conversation about AV-over-IP would have to include AVB. When we were first given that demo, we immediately had some important questions. We weren’t being critical, just wanting some specific information. However, our enquiries weren’t taken well at all. The meeting went so badly that the person demonstrating it didn’t return after the coffee break.
By 2013, we were seeing a steady rise in use of Dante, Ravenna had been invented and AES67 was a thing. Yet all people were talking about was AVB. It was then that I wanted to apply some data to this. I did something obvious: I just counted how many manufacturers had announced that they were committing to use one or other of the available audio-over-IP (AoIP) protocols. Not long after I just counted the number of available products for each protocol.
There was an almighty fuss about my findings, all of which was publicly available information. The data showed that AVB wasn’t delivering on the hype.
One manufacturer devoted a web page to refuting what I said. In a follow-up piece for a magazine, one organisation asked for and got permission to make comments in between paragraphs within my article. To quote Queen Gertrude: “thou dost protest too much”.
This article isn’t intended to bash AVB; I’ve done plenty of that over the years. I’ve never criticised the technology, but just about every other element of its development and promotion has been confused and inept and this shows in
the benchmark for tracking the industry. We see our numbers being used by investors, product managers and marketeers. Our research isn’t perfect and it doesn’t tell us how many products
The result is Dante by a long way, followed by Ravenna. All the others are frankly inconsequential.
In 2022, we added video-over-IP products for the first time and we have improved this research for this year. Networked video is a mess. It is just like where audio was 15 years ago. There is no obvious market leader and no interoperability between protocols. There is also a lot of hype. For example, SDVoE claims over 700 compatible products but we count around half that. Even a cursory look at their website shows items like cables being listed. This sort of behaviour weakens the message, which is a shame.
The progression of networked video is going to be a bloodier battle than what has happened with audio. In the early years Dante had little competition, so while it deserves its market-leading position, it was also lucky that there was little investment by others.
In video-over-IP, there are currently six industry-wide initiatives with plenty of adopters, deep pockets for investment or both. There are also quite a number of proprietary single manufacturer solutions preventing some from adopting one of the “standards”.
The stakes are high. To be the leader in video-over-IP technology will probably define the direction of AV and broadcast for at least a decade. It will also possibly force the audio industry to follow the audio element of any video standard.
There are important differences between audio- and videoover-IP. Video still hasn’t reached “perfect quality”; we still don’t have the IT technology to deliver sufficient bandwidth and there is a mixed of compressed and uncompressed media. None of these are considerations for audio.
It’s too early to predict who will be the “winner”. When we released our first video figures last year, I was asked what advice I would give any of the promoters of protocols that would help them succeed: we would ask them to be honest, as open as possible and friendly.
One important pointer for video is the number of “true” video products there are. At present, there are a lot of networked AV encoders and decoders. These just get another form of video on and off the network. This is a sign of immaturity in the market. A truly mature protocol would be adopted directly into products. We did some specific research on this and can already see which protocols are more integrated into products.
IP adoption is all about ecosystems and, as more companies adopt it, it becomes a virtuous circle. For video, there is still a very long journey to go on before we see the same maturity in networking as we have with audio.
www.rhconsulting.uk
The Adamson Fletcher Machine Remote software offers an easy-to-use yet complete set of mixing functionalities, including EQ, compression, auxiliary sends, and much more. To learn more about the Adamson Fletcher Machine visit our website at www.adamsonsystems.com
Send on Fader for Speakers, Aux, Reverb and VCAs
Dedicated Page for Solo in Place
Custom Fader Page
Mixdown
Embedded 2D/3D Trajectory Generator
Single / Loop Modes
Trajectory recall
