Pro AVL Asia May–June 2024

SEEING THE LIGHT

Editor’s Letter

Welcome to our May–June issue; I can’t quite believe we’re at the midpoint of the year already. This also heralds that challenging time when the collision of tradeshows will see our team, and probably yours too, spread thin in an attempt to cover them all. Between us, we’ll be clocking up the air miles to attend shows in Guangzhou, Riyadh, Seoul, Dubai, Singapore and Mumbai, and that’s before May is out… Closer to home, Jack and Bea will be popping up to PLASA Leeds to touch base with the UK industry; look out for them if you’re going to be there.

There’s a definite theme to some of our features in this issue, with two of Richard Lawn’s recent writeups located firmly in the international art world. Lightroom Seoul (cover and p64) follows

the successful launch last year of the original in London, while the Sydney Modern gallery (p52) has undergone a transformation that incorporates an AoIP infrastructure. Both are a clear sign that sound is becoming more than just an afterthought at the tail end of a project. Holoplot’s X1 Matrix Arrays are central to the immersive experience at Lightroom Seoul without impacting the projection surface, while Sydney Modern’s Q-SYS backbone with unobtrusive QSC speakers carefully preserves the clean aesthetics of the new building. I can’t think of a better way to spend an afternoon than experiencing the new AV technology of the modern art world, if time off during the aforementioned tradeshows ever presents itself!

Richard Lawn General manager rlawn@proavl-asia.com

Bea Meikle News

Carolyn

sgould@proavl-asia.com

cvalliere@proavl-asia.com

bmeikle@proavl-asia.com Michelle Mooney Deputy

mmooney@proavl-asia.com

Robe acquires LSC Control Systems in Australia

Robe Lighting has announced it has acquired LSC Control Systems in Australia. The acquisition, which follows Robe’s purchase of Avolites last year, will see the lighting manufacturer attain LSC’s power distribution (PD) systems as a core element of the Robe business team, as well as give the company a manufacturing base in Australia. Founded over 40 years ago in Melbourne, LSC produces data distribution, power and lighting control systems for use in applications such as theme parks, opera houses, theatres and television studios.

“We’re delighted that this opportunity arose – it is hugely exciting and we look forward to a long and positive collaboration,” commented Robe’s CEO, Josef Valchar. “It will allow us to offer

Harman’s

the best complete lighting and control turnkey solutions to our customers and their clients.”

LSC’s founder and managing director, Gary Pritchard, noted: “LSC will gain access to greater investment and resources and working through Robe’s renowned worldwide distribution network we can reach more global and diverse markets in turn stimulating greater opportunities for creativity, expertise, business and action for all of our team.

An organisation of Robe’s stature wanting LSC onboard is a sign of confidence that also tells the world that LSC will continue doing what we do best, both now and well into the future.” www.lsccontrol.com

L–R: Josef Valchar and Gary Pritchard

The first HARMAN APAC Tour Summit since the manufacturer’s acquisition of FLUX:: last year, took place recently at the Gateway Theater in Singapore. The two-day summit –focusing on the touring and performance

energy for the system was catered for by the JBL VTX B28. The entire system was powered by matched Crown ITech 4x3500HD amplifiers. Larin discussed how immersive technology could impact public sound by improving the

markets in Asia Pacific – attracted more than 150 participants, including audio engineers, rental companies, event management companies, consultants and performance facilities managers. Participants were able to attend an immersive audio session featuring demonstrations of Wave Field Synthesis (WFS) within SPAT Revolution conducted by Hugo Larin, FLUX:: senior manager, business development. This reproduction technique crafts a stable sound image that reportedly ensures an egalitarian auditory experience for the entire audience. Furthermore, the FLUX:: immersive software engine’s perceptual models are said to introduce a new echelon of mixing, complete with distance attenuation and acoustic simulation.

The hardware configuration consisted of five flown arrays of JBL VTX A6 loudspeakers, each consisting of four boxes for the front channels. The side and rear channels were played through nine discretely powered JBL VTX F15 bi-amped point source speakers, while the subwoofer

homogeneity and quality of sound, while simultaneously reducing sound pressure levels. He talked about the significant paradigm shifts in immersive or spatial audio as the nextgeneration audio mixing approach. Additionally, Larin also explained how an audio system’s improved resolution and the ability to engulf the audience can elevate experiences across various applications. The concept of synesthetic alignment was also shown, where visual and auditory experiences are so closely integrated that “what you see is what you hear”, delivering a sense of realism and spaciousness. The session illuminated the capabilities of the FLUX:: SPAT Revolution software, which can be used for a diverse range of experiential entertainment installations. Due to its reproduction techniques, the software is also suitable for live events, classical music concerts, theatrical productions and educational laboratories.

pro.harman.com

Taking place in Melbourne, Group Technologies (GT) recently held its audio technology tradeshow and networking and industry event, GTX 2024. Hosted at the company’s training and demonstration facility, the event featured new product releases, demos and brand debuts and encouraged industry faces, both familiar and new, to get up close and personal with the latest products and brand representatives. PA demonstrations from NEXO and RCF took place in both the large live space area and appointed commercial room, led by special international guests, Gareth Collyer and Joe White of NEXO, as well as Lucio Boiardi Serri of RCF. GT’s studio space featured a demonstration from Switzerland’s PSI Audio CEO, Roger Roschnik, who showcased the brand’s AVAA C214 Active Bass Trap technology along with its all-analogue monitors. Microphones and headphones from Austrian Audio were also on display in the studio, with technical consultant Kurt Richter present to answer questions. This was followed by demonstrations of the ISOVOX Vocal Booth.

In “The Mix Zone”, DiGiCo’s latest flagship console, the Quantum 852, made its Australian debut with DiGiCo’s managing

director, Austin Freshwater, on hand to answer questions and highlight its features. NST Audio also provided demos, with managing director Dan Cartman present to guide attendees through the brand’s product offerings. The space also showcased solutions from Sound Devices, KLANG, Powerwise and Quest Engineering and Cordial.

Elektron’s complete catalogue of synths and drum machines were on show at the interactive “Just Play” space, with attendees jamming on both separate listening stations and a dedicated NEXO ID84 PA setup, on which GT’s David Haberfeld provided live electronic music demos exclusively on Elektron gear. Gary Trenda of Sound Devices flew over from the US to present RF training throughout the day, featuring the brand’s latest Astral family of wireless products. GTX 2024 then finished off with an after party at nearby venue Joey Smalls.

GT hailed GTX 2024 a success and it continues to receive positive feedback from participants. The company also said that it was thankful for those who attended, with special mention to international and interstate guests.

www.grouptechnologies.com

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SOMMER CABLE based in Straubenhardt/Germany was founded in 1999 and is now one of the leading suppliers of professional high-quality cable and connection technology with a focus on the audio, video, broadcast, studio and media technology sectors. The product range including the in-house brands HICON, CARDINAL DVM and SYSBOXX covers cable bulkware, connectors, connection cables, individually adaptable distribution systems and electronics. A B2B shop with over 25,000 products is available 24/7.

Almost 12 months on since new ownership was announced, Bose Professional in Singapore has moved forwards by opening its doors at Solaris@Kallang 164. Located at the site near the junction between Central Expressway and Pan Island Expressway, the two-block, nine-storey development was completed in 2019 just before the world as we know it changed. Making up for lost time, SoilLease Group Holdings has welcomed several new tenants from the AV world to its exclusive property, including ARRI, Blackmagic Design and Sennheiser.

Compared to the previous location in Millenia Square, the new setup in Kallang is a very strategic location for Bose Professional. “In addition to hosting local partners, consultants and users, we have started to welcome regional partners and consultants to this space. We are not just catering to Singapore as this address serves as a hub of the Southeast Asian network,” confirmed Hui Ming Tan who was recently promoted to the role of manager for SEA distribution.

Now under new ownership, Bose Professional continues to transition. “We are now independent away from the mothership that was the corporation, and we recently opened our own new space here in the Kallang

industrial district. This office serves as a showroom and a training facility for our partners in Southeast Asia.”

The functional experience centre promotes demonstrations of various loudspeaker configurations from the installed and portable portfolio. The Bose Professional showcase includes various pendant-mount and surfacemount speakers, outdoor weatherised models,

Sennheiser invests in sensiBel

Sennheiser has announced that together with other parties, it is investing €7m (nearly US$7.5m) in the Norwegian scale-up business sensiBel. The company has developed optical MEMS microphones for application areas such as consumer electronics, automotive, conferencing solutions and medical devices.

“We want to grow sustainably as a company,” said Sennheiser co-CEO, Daniel Sennheiser. “In addition to investments in our existing business, this also includes investments in promising future fields outside of our company, providing these align well to our company and our vision.”

sensiBel CEO Sverre Dale Moen remarked on the investment: “sensiBel shares the same vision as Sennheiser and we are proud to welcome Sennheiser as an investor. We believe an investment from such a highly recognised audio company speaks of the merits of the technology and the potential for optical MEMS technology to shape the future of miniature microphones.”

sensiBel’s technology uses light waves to measure the movement of the diaphragm. In the optical system, a laser generates light beams that are projected onto the microphone membrane and reflected on a photo detector. The reflected beams are then captured and processed in an Application Specific Integrated

AMP, Arena Match Multi-Purpose, Arena Match Utility ranges and MSI12 X active beam-steering column speakers.

The concept includes a Bose Professional workspace and Microsoft Teams room including a collaborative Sennheiser TeamConnect microphone solution. “We have outfitted two rooms to showcase our partnership with Sennheiser, including a conferencing space

that’s fully fitted out with a Microsoft Teams solution. We enjoy working with partners such as Sennheiser, LG and Lenovo to promote an integrated system, so our clients can appreciate how all these technologies blend within a Microsoft Teams room space. By partnering with such brands, our customers not only experience Bose products, but they appreciate the functionality of the space.”

Bose Professional is now sending a message that there is more to the brand than just loudspeakers. “We are promoting the entire experience,” confirmed Tan. “Advancing our DSP technologies, Bose entered the conferencing products space. The VB video bar was launched two years ago and we are also showcasing the latest VBS here. This space allows us to properly demonstrate plug-andplay products to our customers. In addition to experiencing the quality aurally, they can appreciate how easy is it to configure and set up these systems.”

Having settled into its new postcode, Bose Professional is now embarking on a roll-out of quarterly training sessions as part of the engagement programme with regional partners for various levels of users.

pro.bose.com

Circuit with a digital output data interface. Additionally, the optical MEMS microphone can withstand high sound pressure levels. As a result, the compact microphones generate sound with a specification of 80dBA SNR

AVI-SPL announces Hyderabad office

Continuing its growth in the region, AVI-SPL has announced the opening of a new office in Hyderabad, marking the company’s fifth location in India. AVI-SPL said that its vision for the office, which will serve as a solid home base for the company, is greenfield opportunities fuelled by fresh demand for digital workplace and experience technology.

The company noted that the addition of the Hyderabad office is due to the fast-growing demand for localised AV and UC support in the region and that it believes the new location will aid its relationships with local companies, alongside elevating customer and employee experiences.

“We’re bringing a team of highly qualified project engineers, installation technicians,

www.sennheiser.com www.sensibel.com

project managers and service delivery managers to Hyderabad,” commented Mala Prasad, regional director of AVI-SPL India. “The potential here is tremendous and we’re ready to help our customers think beyond to discover new communications and collaboration technology solutions that help them work smarter.”

Tim Riek, executive vice president of technology solutions, commented: “AVI-SPL India has generated remarkable success for the customers they support across their region. The opening of Hyderabad is evidence of AVI-SPL India’s ongoing advancement and the strong foundation on which it’s built.”

www.avispl.com

(14dBA noise floor), 132dB dynamic range and 24-bit digital output.

L–R: Bose Professional’s Tan Yew Seng, Jeremy Wong, Hui Ming Tan and Justine Songcuya are at home in the Solaris in Singapore

Atlas interface provides sound investment for acoustician Handy Widjaya

Jakarta-based acoustician Handy

Widjaya has invested in a Prism Sound Atlas interface to check acoustic measurements in installation projects. Widjaya is the founder of PT Esa Sinergi Selaras Indonesia which manages integrated and comprehensive projects throughout the region. The system was supplied by Indonesian distributor ChandraCom.

PT Esa Sinergi Selaras’ projects range from designing acoustic interiors and audio systems in recording studios and auditoriums to installing and checking stage lighting, automation and control systems. Clients include schools, universities, houses of worship, large concert halls, ballrooms and customers who are installing private cinemas.

Widjaya’s company has worked on over 60 auditoria and, for each project, it handles all aspects of the installation – from designing the acoustic interior – to the audio, video, stage

lighting, general lighting and electrical installation.

“We always carry out acoustic and sound system measurement to assess if the results meet our original design criteria and we also fine-tune

the audio system using acoustic measurement equipment and software,” explained Widjaya.

“For this we need very reliable and precise tools, including an AD/DA converter.”

Prism Sound’s Atlas multitrack interface offers eight low noise microphone preamps, with Overkiller limiter switches on each channel that go alongside its transparent AD/DA conversion. For testing purposes, the Atlas is connected to a digital sound source where it converts the audio to analogue so that it can be played out through the loudspeaker system in the room.

“I decided to invest in an Atlas interface because the audio quality is so good that I never doubt my measurement results,” said Widjaya. “It also offers eight channels so I can carry out more measurements, which speeds up my workflow. We also use Atlas for blind test shootouts – because it has eight outputs, we are able to send out four stereo signals with identical qualities to four different audio systems and check the results.”

www.prismsound.com

www.ptessi.com

Powersoft drives partnership with Ferrari

Powersoft has announced a technology partnership with Italian automotive company Ferrari. The partnership aims to develop solutions enhancing the audio experience from the Ferrari brand while minimising energy consumption and offering benefits in efficiency, reliability and sound quality.

Powersoft promotes technologies that feature reduction in heat dissipation, the recycling of reactive energy from speakers and installation flexibility thanks to their weight/power ratio. These distinctive features have played a pivotal role in paving the way for this all-Italian cooperation. According to the audio manufacturer, Powersoft’s development philosophy also prioritises reducing environmental

impact through technology advancements and environmentally conscious manufacturing processes, aligning with Ferrari’s aim to achieve carbon neutrality by 2030.

“The partnership with Ferrari marks a significant milestone in Powersoft’s history, showcasing Italian expertise and creativity in the field of acoustics within the automotive market,” commented Luca Lastrucci, CEO of Powersoft. “Both companies share the core values of excellence, innovation and a passion for engineering and technology development. We’re excited to lend our knowhow to enhance Ferrari’s audio experience.”

www.ferrari.com

www.powersoft.com

Holoplot earns spot on “World’s Most Innovative Companies” list

Holoplot has been named by Fast Company as one of the “World’s Most Innovative Companies of 2024”. This year, Fast Company’s editors and writers identified the businesses driving progress around the world and across industries to create the list that reflects their innovations and achievements.

“Being named as an innovator by Fast Company and joining such a prestigious list of companies is a true testament to the impact of our work and the wider recognition of what that means for society,” remarked Holoplot CEO, Roman Sick. “Having a tech company like ours included in the ‘music’ category is also a statement as to how technology can elevate art beyond just sound reproduction

for users in varying acoustic environments. Its applications range from the Sphere in Las Vegas to intimate venues including OffBroadway’s Atlantic Theatre and immersive exhibitions at Lightroom in London and Seoul, as well as corporate events and product launches.

“We saw extraordinary innovation across the board in 2023, but we also saw a handful of clear patterns: the growing footprint and impact of AI, the triumphant return of live events and great leaps forward in climate tech,” commented Fast Company editor-inchief, Brendan Vaughan. “We face daunting challenges on many fronts, but the solutions we celebrate in MIC give me plenty of hope about the future.” as a technology provider rather assembled gathering of 50+

The Holoplot team at ISE 2024

Generation AV MD David McKinney introduces the LEA Professional “Loud in the Cloud” event in Jakarta

The demo makes the sale for Bosch Communications

SINGAPORE

With the creation of an Experience Centre, the Robert Bosch SEA Pte Ltd headquarters in Singapore is now welcoming visitors to better understand products and technologies within the Bosch, Dynacord, Electro-Voice and RTS portfolios.

In late 2023, pro audio application support manager Ronnie Lai was tasked to convert an annex area of the café previously used as an IT centre for laptops, into the new Experience Centre. “Despite the restrictive ceiling height, we felt that we could provide something more stimulating than a traditional demo with a

couple of loudspeakers and a traditional playback source,” Lai declared. “Compared to a showroom where products are more on display, the experience centre concept seems to be quite popular as the conditions are more controlled.”

Most recently, four senior engineers from Sama Sound attended a specialised training session led by Lai. Renowned for his understanding of audio technology and ability to impart knowledge effectively, Lai’s training session was an invaluable opportunity for Electro-Voice’s South Korean distributor to enhance their skills, gain new insights and deepen their understanding of Dynacord and Electro-Voice products and services. During the training, the engineers took the opportunity to engage in hands-on exercises and interactive discussions, for applying into their work at Sama Sound.

“With the current trend in immersive, we decided to place more multitrack channels within our streaming services and maximise the use of this space. The selected demo tracks that have been recorded include many re-released remastered classics. They sound

completely differently if released in this kind of format. With our current portfolio of ceiling speakers, portable and installed point sources with subwoofers, we are showcasing a complete solution of our capabilities for varied users.”

The centre is just 20 minutes outside central Singapore, making it a convenient location for any curious user to visit. “For a musician or a systems integrator not aware of the models, we encourage them to simply drop in here through the turnstile without an invitation. We know they will gain a better understanding of what our products do and how they perform. Some of the loudspeakers are plug and play, whereas others are fixed, but they can all be demonstrated,” continued Lai.

The new centre will come into its own when the brands launch new products into the market. “We recently launched the Electro-Voice ZLX G2 8-inch portable speaker, and we are showcasing the new enclosures in this room.”

www.boschsecurity.com/sg www.dynacord.com www.electrovoice.com

TT+ Audio launches online training platform

TT+ Audio has launched an online training and certification platform, TT+ Audio Academy, designed to help sound system engineers get the most out of their audio systems. The platform is aimed at enhancing pro audio expertise in mastering live audio technology and large-scale acoustics. There are two comprehensive courses accessible online 24/7, allowing participants to choose where they start. After viewing the video tutorials for each chapter, participants will undergo an evaluation via a questionnaire. Successful completion of these tests

grants access to the practical section of the course, where the participants can apply their knowledge hands-on with a full-scale GTX system. The practical section can be held either at the TT+ Audio headquarters in Italy or at a training centre designated by the company’s international offices and partners. The “System Technician Level 1” course covers the GTX system’s components, including setup, safe handling and dismantlement procedures. It introduces participants to RDNet configuration, system planning and workspace organisation for

AtlasIED invests in IntelliSee

AtlasIED has announced a significant equity investment in AI-powered risk management developer, IntelliSee. As part of the investment, AtlasIED will integrate the IntelliSee platform with its IPX series and Singlewire InformaCast to create a comprehensive mass communications solution. IntelliSee’s AI-powered risk mitigation platform was developed in 2020 to protect facilities and organisations such as schools, businesses and hospitals, against day-to-day risks including slipping hazards, fallen persons and trespassing. IntelliSee is also used for threat detection and notification for critical incidents like weapon detection and violent actions.

The AI platform overlays with existing video surveillance systems to continually monitor live camera feeds to detect threats in real time. Once a threat is detected, instant alerts provide pre-determined stakeholders with the necessary situational awareness and context. In situations where it’s warranted, certain more urgent threats can automatically trigger lockdowns and emergency communication distribution and inform first responders through integrations.

effective system control. Building on this foundation, the “System Engineer Level 2” course further explores acoustics and audio engineering principles. A prerequisite to this advanced course is the completion of Level 1. Participants will also be able to enhance their skills in optimising subwoofer configurations and designing extensive systems, utilising RDNet’s full capabilities for detailed planning, control and optimisation of the GTX sound system and RDNet-equipped products.

public address and intercom capabilities integrated into a single device. InformaCast is a mass notification software that unifies onpremise and off-premise communications with the ability to send text messages and desktop notifications to faculty, students and parents’ devices and alert law enforcement as well as triggering IPX for a full building, campus or district-wide solution. Once enabled, IntelliSee will detect potential threats through realtime AI analysis and initiate pre-programmed notification processes through InformaCast.

responses onsite via the IPX endpoints and alerts to staff, stakeholders and law enforcement via text or desktop notifications.

“IntelliSee’s innovative technology is a shining example of how AI can solve real-world challenges,” said John Ivey, CEO of AtlasIED. “We’re excited to offer this technology as part of AtlasIED’s mass communications ecosystem.”

www.atlasied.com www.intellisee.com

The Bosch Communications Experience Centre

IntelliSee CEO, Scott Keplinger

Powersoft launches plans for Human Audio Experience Center HQ

Powersoft has announced plans for a new HQ, the Powersoft Human Audio Experience Center, located in Scandicci, Florence. The recent signing of a preliminary lease agreement with Bluesky Immobiliare, which will own the property, sets the stage for the plan aimed at bolstering Powersoft’s growth and innovation.

Designed by internationally acclaimed architectural firm, Atelier(s) Alfonso Femia, the Powersoft Human Audio Experience Center covers more than 9,200m² across four floors and is purpose built to accommodate a projected increase in the size of the company’s workforce. The headquarters will centralise all corporate functions with the aim to enhance departmental potential, improve cross-team collaboration and

deliver significant operational cost savings while boosting energy efficiency.

“This plan marks a significant milestone in the company’s history and growth trajectory.

As Powersoft expands, there is a growing imperative to enlarge our space and fortify our resources, enhancing our business’s efficiency and competitiveness in the market,” noted Luca Lastrucci, Powersoft CEO. “The centre will serve as a hub of excellence in audio technologies worldwide, so it is crucial that innovation is reflected in the architectural design of the building.”

Powersoft noted that its new HQ will be based on three core values: human, audio and experience and will serve as a versatile, multifaceted hub,

featuring spaces for events, demonstrations and educational purposes, alongside exhibition areas. It will also include research laboratories, spaces for quality testing, measurement and product demonstration, as well as green areas,

HQ will serve as a respectful addition to the local environment, contributing significantly to the city of Scandicci. The design integrates production and storage functions, office spaces and research laboratories, prioritising

latter part of 2026, after which production lines and all company departments will relocate from

Meyer Sound boosts theatre commitment with Audio Rhapsody acquisition

Meyer Sound has acquired the Audio Rhapsody startup founded by sound designer Jonathan Deans, whose relationship with the US manufacturer goes back to 1978 while working on Evita. With the acquisition, Meyer Sound seeks to strengthen its theatre sound credentials by utilising Deans’ expertise to develop software solutions that will expand its portfolio of integrated digital systems.

Deans, who has become renowned for his work in immersive sound, has contributed to hundreds of productions on Broadway, the West End and beyond and designed soundscapes for 15 Cirque du Soleil shows. Meyer Sound acquired Deans’ company Level Control Systems in 2005, leading to an expansion of the company’s digital solutions.

“Jonathan is a recognised leader in the world of theatre sound,” commented John McMahon, senior vice president of Meyer Sound. “We’re excited to join forces with him and his team as we continue to build upon our successes and expand our investments in the sector. My relationship with Jonathan goes back decades, and I’m delighted to welcome a longtime friend into the fold.” Deans will assume the role of Meyer

production systems. “Meyer Sound has been there throughout my career, always providing

the audience experience, first and foremost,” he said. “I founded Audio Rhapsody to build

to creativity that are inherent in theatrical sound design systems and processes, and I’m so thrilled to complete that journey with a team of people who share the same passion.”

Alongside Dean, GRAMMY- and Thea Award-winner Jason Rauhoff, a former Meyer Sound employee, joins the company as product manager, theatrical production systems, while Rob Mele, also previously with Meyer Sound, assumes the role of application architect, theatrical production systems. Michael Kroll joins as visual designer, theatrical production systems while Audio Rhapsody’s Mike Tracey will remain an independent advisor. The team will focus on developing the next generation of audio show control software for the NADIA platform.

“Helping people stay connected with platforms that are usable – not by the few, but by the many – is really important to me,” continued Deans. “This isn’t just about the generation of ‘now’, it’s the generation that’s coming; the sound people who will be doing things that we haven’t even thought about.”

Jonathan Deans

Jason Rauhoff

Rajan Audio Visual invests in DAS Audio

Stagemix Technologies has sold a DAS Audio System of 24 Lara line array speakers and 18 Lara subwoofers to North Indian rental company, Rajan Audio Visual. The company has already deployed the system at the JECRC University in Vidhani for the artist, King, and at the Mehrangarh Fort in Jodhpur for Indian singer, Shalmali Kholga, as well as for a Sufi concert at the Taj Umaid Bhavan Palace.

Rajan Audio Visual decided to invest in the Lara system after attending a demo hosted by LED Solutions in Delhi, which bought the first system in India. They were particularly impressed by Lara’s cardioid technology, which claims to reduce noise generated onstage. The rental company noted that it primarily uses passive boxes from other brands but wanted to shift its focus towards active boxes as more of a plug-and-play solution for the team. “That would save us a lot of setup time considering the volume of shows that we undertake for Indian

weddings,” said company proprietor, Anil Panwar. “This made Lara the ideal choice, and after listening to the system in Delhi we immediately confirmed our purchase.”

Karan Nagpal of Stagemix Technologies commented: “The audio production industry in India is currently booming owing to the downtime we had during Covid. A company that was deploying 16 boxes for a venue is now using 24–32 boxes at the same venue because of the awareness about high-quality production. This has led to a demand explosion for professional audio products in India. DAS has one of the best R&D teams that we have ever seen, with extreme attention given to quality production as well as prevention of failures. This has made it a successful and reliable brand for users in India.”

www.dasaudio.com

www.stagemix.com

Grass Valley completes strategic refinancing

Grass Valley has completed a US$220m strategic refinancing led by certain investment funds managed by Morgan Stanley Private Credit, aimed at

its global footprint. Additionally, Grass Valley focused its product portfolio and extended significant investments in software and integrated hardware solutions.

strengthening the company’s balance sheet and refinancing existing debt. The company noted that 2023 marked its strongest year since 2020 for live production and networking infrastructure hardware with AMPP revenues nearly doubling over the year. In addition, it said that earnings increased over 100% and its patent portfolio expanded significantly.

Last year the company completed its planned business transformation, which included simplifying the organisational structure, making key leadership appointments and optimising

“The media industry is still in the early stages of defining the future of live production workflows and this investment further allows Grass Valley to accelerate our market leadership in support of this industry-wide transition,” said Grass Valley chairman and CEO, Louis Hernandez Jr. “With our surging performance from 2023 and now a stronger balance sheet, we intend to accelerate innovation across our entire portfolio, most notably in the AMPP ecosystem, as we begin to scale deployments across our global customer base.”

www.grassvalley.com

Harman unveils Bangalore Experience Center

Harman Professional Solutions has announced the grand opening of the Harman Experience Center in Bangalore. Located at the company’s headquarters in India, the new facility will showcase Harman’s latest audio, lighting and video control offerings, joining the company’s growing global network of experience centres in Los Angeles, London, Singapore and

The opening ceremony was attended by Harman leaders including vice president and general manager for India and APAC, Amar Subash, president and chief executive officer, Michael Mauser and Harman’s president of lifestyle, Dave Rogers. Designed to showcase Harman solutions across a variety of entertainment and enterprise market applications, the 175m² facility demonstrates the integration of brands

Sommer Cable celebrates 25th anniversary

Sommer Cable celebrates its 25th anniversary this year.

Established in 1999, company founders Rainer Blanck and Friedhelm Sommer worked alongside cable specialist Pascal Miguet, together with musicians, audiophiles, engineers and event specialists, to develop its cables and connectors. Now, 25 years on, Sommer Cable has nearly 90 team members and offices worldwide.

“The foundation of our solution competence lies in our attitude: the passion for what we do. It’s ingrained in every member of our team and evident in every aspect of Sommer Cable,” explained

Blanck. “How do we do that? By forming a team with our employees and our customers. We turn the talents of our people into those of our company and the requirements of our customers into our own. This approach sets us apart in today’s industry landscape. That’s what makes us different.”

To celebrate its 25th anniversary, Sommer Cable is extending its gratitude to all customers and partners with an exclusive anniversary promotion where customers will receive monthly product highlights at a special price.

www.sommercable.com

Subash. “This facility will offer our customers and partners pro.harman.com

The new Experience Center

L–R: Friedhelm Sommer and Rainer Blanck

Takabumi Asahi named Christie CEO

Takabumi Asahi has been named as the new chief executive officer at Christie Digital, succeeding existing CEO Koji Naito. Asahi was previously the managing executive officer and chief financial officer at Ushio, Christie’s parent company, and brings more than three decades of experience to the role.

“As we work towards our mission of becoming a light solutions company, I am committed to Ushio’s focus on creating businesses with greater social value,” commented Asahi. “I’m excited to continue Christie’s important work in developing exceptional experiences for its customers and lighting the way to a sustainable, brighter future for everyone.”

www.christiedigital.com

www.ushio.co.jp

TOA Electronics appoints Ninomiya Yosuke as MD

SINGAPORE

TOA Electronics has announced the appointment of Ninomiya Yosuke as managing director. With over 25 years of experience working for the TOA Corporation, Yosuke has extensive sales and management expertise which the company aims to leverage to elevate its business in the Asia Pacific region.

Yosuke first joined TOA Corporation in Japan in 2000 as a sales representative in the security market at the Nagoya office and throughout the years he has utilised his strong leadership and strategic skills to advance in the company. Notably, in 2009 he assumed the role of manager of security sales at TOA Electronics’ Tokyo sales office where he showcased his ability to drive growth and deliver results.

Following this, in 2016, Yosuke was appointed managing director of TOA Electronics Thailand. During this time, he expanded the company’s presence in the Thailand market,

www.toa.com.sg

Takabumi Asahi

Ninomiya Yosuke

Georg Neumann welcomes Riechers as CEO

Jimmy Liang joins Genelec’s Chinese sales team

WORLD CHINA

Georg Neumann, a subsidiary of the Sennheiser Group, has announced that Yasmine Riechers will take over from Ralf Oehl as CEO of the company. Riechers was previously head of the corporate development office of the Sennheiser Group and, in her new position, she will be responsible for further expanding Georg Neumann’s global business and driving forward the company’s strategic direction.

Most recently, as part of the extended executive management board of the Sennheiser Group, Riechers headed the company’s corporate development office. Prior to that, she worked at Sennheiser Greater China as director of operations and subsequently as country manager. Throughout her career, she has also assumed roles at Vier S Beteiligungsgesellschaft, BR Science and Technology and Siemens Transformer’s Traction Transformer Division in China.

Riechers commented on her appointment: “Neumann has an excellent reputation in the

Jimmy Liang has been appointed as sales manager for Genelec China, with responsibility for developing the company’s presence in both

professional audio, with previous roles including technical sales director at Sound Works & Supplies and technical sales manager at Digital Media Technology. Over his career, he has been responsible for the systems integration of projects for broadcast and institutional clients across the region.

“Before joining Genelec, I was already a loyal user of their technology, having used both the 8000 series and G series loudspeakers – and I’ve now added ‘The Ones’ three-way coaxial models to my home setup,” commented Liang on his appointment. “The professionalism and service attitude of the Genelec China team have left a deep impression on me and I’m very pleased to join this first-class company.”

The manufacturer has also recently appointed Steen Tychsen to the position of international sales manager.

www.genelec.com

Small size means big possibilities.

The RGBL four-color array provides bold, bright color and high-quality white light in a surprisingly small form factor! But don’t let its small size fool you. This fixture shines bright with nearly 2300 lumens! Its light weight, and fanless design make it ideal for onstage and onset applications that require complete silence.

Yasmine Riechers

Jimmy Liang

• JASON MOSS

• VICE PRESIDENT OF MARKETING AND ECOSYSTEM

Jetbuilt welcomes Andy Tan James Bamlett joins EAW

Andy Tan has been appointed director of APAC for Jetbuilt, as part of the company’s expansion in the region. Tan will focus on cultivating partnerships with AV integrators, distributors and manufacturers to spearhead Jetbuilt’s growth initiatives and strategic partnerships across the Asia Pacific region.

“I’m thrilled to join Jetbuilt during this crucial phase of the company’s expansion,” commented Tan.

“Embracing the ethos of ‘Thinking Global, Acting Local’, I’m enthusiastic about our mission to establish Jetbuilt as the leading platform for AV professionals across the Asia Pacific region. I look forward to working closely with our partners to further accelerate our growth and deliver unparalleled value to our customers across the Asia Pacific region.”

Jetbuilt’s founder and CEO, Paul Dexter, remarked: “Andy’s deep understanding of the APAC

of success make him the ideal candidate to lead our expansion efforts in this region. APAC is very diverse, but there’s a strong need for greater cross-profession communication in the region. We are excited to welcome him to Jetbuilt as he builds and develops an Asia Pacific team in the near future, which will play a crucial role in driving and facilitating Jetbuilt’s goals and objectives.”

www.jetbuilt.com

James Bamlett has been promoted to the role of senior director of APAC and EMEA sales, extending his remit to Europe and the Middle East, while Raymond Tee has joined the EAW team as APAC technical sales manager.

In Bamlett’s role, he will be responsible for adding new distributors while managing the existing sales channel in the two territories. Meanwhile, Tee will be the primary pre- and postsales technical support contact for EAW’s partners in the region, assisting Bamlett with identifying, training and managing new partners to strengthen EAW’s APAC network.

Tee commented: “With a journey spanning over two decades in the dynamic field of audiovisual technology, I’ve had the privilege

“I first worked with Raymond over 20 years ago when he was handling EAW for our Malaysian distributor,” said Bamlett. “With his vast experience in the field, I’m very glad that we are finally able to close the circle and get him back to EAW.”

of evolving alongside the industry. I first worked with the EAW brand at the start of my career as a service technician and am proud to now join the team to use my extensive experience to support APAC sales.”

www.eaw.com

Adam Hall Group adds to integrated systems team

The Adam Hall Group is further expanding its Integrated Systems division as Christian Latzelsberger has been appointed as head of sales, Gabriel Alonso Calvillo has been appointed as senior product manager and the AV business segment will be led by Christine Gerhardt as its marketing manager.

Latzelsberger brings over 30 years of experience in the AV, broadcast and pro audio industry, most recently serving as global intercom senior product manager for Bosch Security and Safety Systems. Calvillo’s new role as senior product manager, integrated systems, will see him lead the product management team of the Integrated Systems division. The line-up is completed by Christine Gerhardt as marketing

manager, Integrated Systems. Previously serving as senior event marketing manager, Gerhardt spearheaded the strategic planning and execution of the Adam Hall Group’s global trade

• ROBERT JACOBS

SEBASTIAN KANABAR

new event formats for various customer groups.

Andy Tan

Raymond Tee

L–R: Christian Latzelsberger, Gabriel Alonso Calvillo and Christine Gerhardt

Full steam ahead for 1 Sound with Seapower Technology

Taiwanese audiovisual distributor

Seapower Technology Co has been appointed as the distributor for loudspeaker developer, 1 Sound.

Based in New Taipei City, the long-established vendor boasts many global brands, including Powersoft, Sennheiser and Allen & Heath, covering the professional audio, hi-fi audio and smart residential sectors. 1 Sound’s sales executive for APAC, Leonardo Dani, confirmed the partnership following a visit to the headquarters, where he also conducted product training including the brand’s Mono+Stereo technology and cardioid columns.

Seapower Technology collaborates closely with its brands to deliver innovative solutions and technical training projects in Taiwan. The company’s team of trained engineers provide technical engineering support, including audio

Blaze Audio teams up with Shanghai You Shi

Wei Xin

Blaze Audio has announced its debut partnership in China with AV distributor, Shanghai You Shi Wei Xin Electronics Technology. The partnership will see Blaze Audio’s entire portfolio of audio solutions being brought to the Chinese market, as part of the company’s expansion into APAC.

“I am confident that Shanghai You Shi Wei Xin with its nationwide coverage will be instrumental in our success,” commented Niels Tholander Lorentzen, executive director of sales in EMEA/ APAC at Blaze Audio. “We are both dedicated to long-term growth and collaboration and see the partnership as a key element in our strategic approach to provide exceptional value and intelligent solutions and services to customers in mainland China.”

Stevie Ng, VP of Shanghai You Shi Wei Xin, noted that both companies share a deep commitment to innovation and service excellence. “We are impressed by Blaze Audio’s dedication to growth and expansion into broader professional audio solutions,” he remarked. “Together, we are confident that this partnership will set a new benchmark for tailored solutions for the installed sound market in China, exceeding the expectations of our valued clients.”

Shanghai You Shi Wei Xin offers system solutions tailored to sectors such as government, enterprise, hospitality and education and has over 100 employees nationwide.

www.blaze-audio.com

“Seapower is thrilled to announce this exciting new partnership with 1 Sound,” commented Seapower Technology CEO, Douglas Chang. “At Seapower, we pride ourselves on our ability to provide comprehensive services, from consultation and design to customisation and sales. Our dedication to customer satisfaction mirrors that of 1 Sound, ensuring a seamless and enjoyable experience for our valued customers. With a commitment to excellence and innovation, 1 Sound speakers are set to elevate the standard of PA systems in Taiwan, offering a premium audio experience that will redefine the audio landscape.”

www.1-sound.com

www.seapowertech.com

Link Audio to distribute LD systems in Australia

The Adam Hall Group is further expanding its international sales network with the appointment of event technology manufacturer, Link Audio, as its exclusive distribution partner for the LD Systems pro audio brand in Australia. Link Audio has been responsible for the exclusive distribution of the Gravity brand since 2021 and, with this expanded partnership, the company aims to establish the diverse sound reinforcement solutions of its pro audio brand on the continent and distribute them even more extensively.

“We are delighted to have found an exclusive distribution partner for LD Systems in Australia in Link Audio,” remarked Markus Jahnel, COO of the Adam Hall Group. “The retail, rental and installation market is a particular challenge simply because of Australia’s geographical size and it plays an important role in our international endeavours. Link Audio is a dynamic and flexible company that has many years of sales experience with renowned audio brands and has also been the exclusive distributor of Gravity’s stand solutions in Australia for several years. We’re looking forward to an extended cooperation where we make LD Systems even more popular in Australia.”

Link Audio’s managing director, Michael Jago, commented: “We are delighted to be distributing LD Systems in Australia. For us, LD Systems fulfils all the criteria of a modern pro audio brand: high audio quality and development standards, user-centric

including the Bolero wireless intercom system, the Artist digital matrix intercom platform, the SmartPanel user interface and the MediorNet real-time media network, encompassing both TDM and IP configurations.

“We have always admired Riedel’s commitment

expand our business scope. Integrating Riedel’s renowned products with our robust audio and video systems empowers us to deliver more sophisticated and complete solutions.”

Added Guillaume Mauffrey, director of sales in Asia at Riedel Communications: “The partnership

with Hibino Intersound Corporation opens up exciting new business opportunities for both companies in the Japanese pro AV market. Their extensive distribution network and industry expertise, combined with our innovative product line-up, will undoubtedly lead to a new era of connectivity and workflow efficiency for our customers.”

www.hibino.co.jp www.riedel.net

design and test equipment such as TEF, Smaart and EASE software.

AUSTRALIA

CHINA

The Seapower Technology team

L–R: Takashi Kozuma, Hibino Corporation, with Vincent Lambert of Riedel

Shanghai You Shi Wei Xin and Blaze Audio cement their new partnership

Link Audio joins forces with LD Systems

RCF’s ART 7 MK5 is the new standard in portable sound. Building on the ART7 foundation, the MK5 brings improved sound quality with seven models offering 8-inch to 15-inch woofers. Utilizing FiRPHASE and XBOOST algorithms, the new ART 7 MK5 models ensure optimal sound at any volume. The series includes new compression drivers with 1.75” Kapton diaphragms for better definition and thermal resistance, with flagship models featuring RCF Precision Transducers with neodymium magnets and titanium compression drivers.

HK Audio and Trimac partner in India

Announced at Prolight + Sound in Frankfurt, HK Audio has selected Trimac Products as its distributor for India. As part of the deal, the Delhibased company will have access to the full HK Audio portfolio which includes its live, concert, install, audio and portable product ranges.

“There is a lot of potential for growth in the Indian market for the live sound and fixed installation segments,” explained HK Audio’s international sales manager, David Leonhard.

“With the latest product additions in each HK Audio product category, we are well-equipped for these applications but also to enter into new areas of business. Trimac has a mutual understanding of the importance to constantly educate and train clients

Gracia Auvindo connects

German MI and professional cable manufacturer Cordial has appointed PT Gracia Auvindo as its dedicated Indonesian distributor with immediate effect. Since the 1990s, Cordial has established itself as a reputable brand for bulk and ready-made cables. The Bavarian manufacturer’s product portfolio ranges from instrument, microphone and loudspeaker cables to multicore systems and adapters to DMX, MIDI and digital audio cables. Founded in 2008, PT Gracia Auvindo is a leading distributor across the archipelago, with a current portfolio that includes Audix, dBTechnologies, DPA, Ecler, L-Acoustics and Music Tribe, among others. “With the addition of Cordial, we have now completed our install

all over India which HK Audio hopes to leverage through the exclusive agreement. The distributor also has dedicated sales and support teams for project business to support integrators, production companies and specialised pro audio resellers. Pankaj Kumar, Trimac’s chief operating officer, commented: “We are excited to be in partnership with HK Audio and hope to work together in various ways to nurture HK Audio’s brand potential. With the extensive range of HK Audio products and with an impeccable track record of decades in the business, investment in the workforce and technology along with a strong network for easy market access at Trimac, we look forward to a great association and remarkable

JAA Systems has been named as the official distributor for Tascam’s professional sound market in Malaysia. This strategic partnership is set to enhance the availability and support of Tascam’s professional audio products throughout the region, focusing on the pro sound sector. It’s hoped that JAA Systems’ expertise and network within the Malaysian audio industry will provide users with better access to Tascam’s audio solutions.

The partnership will see JAA Systems promoting a diverse range of Tascam products, including

Sonicview digital audio mixers, playback and recording systems, and AoIP converter interfaces. Ts David Chan, managing director of JAA Systems, expressed his enthusiasm for the deal: “We are honoured to be Tascam’s main distributor for Malaysia. With our proven track record in marketing various audio systems and mixers, we are confident that our strategy will elevate Tascam’s brand presence and ensure a successful partnership.”

Echoing this sentiment, Yu Nozawa, regional sales manager at Tascam, stated: “We are

DirectOut has announced that Sonic Evolution will be its new official distributor for the Indian market. The partnership will enable DirectOut to strengthen its commitment to innovation and drive the development of digital audio networks in India.

“We are very excited about the partnership with Sonic Evolution,” said Luca Giaroli, chief solution officer at DirectOut. “This collaboration will allow us to expand our reach in India and bring professional audio solutions to an even wider audience. We are confident that Sonic Evolution, with their passion for audio and commitment, will be a valuable partner.”

www.hkaudio.com www.trimacppl.com

and consistent product supply are impressive attributes. We are looking forward to promoting the brand to existing and new clients alike.”

“We are very excited about the start of our partnership with Gracia Auvindo,” commented Christian Langer, head of sales and marketing at Cordial. “They have established themselves as a leading distributor in the Indonesian market. Their work is very reliable and professional, which is why all their customers and brands they carry trust them so much. We look forward to making Cordial THE cable brand for musicians and AV professionals in

www.cordial-cables.com

market assure us of their success with our product range. We look forward to a fruitful partnership.”

www.jaasys.com www.tascam.jp

“We at Sonic Evolution are excited about the opportunity to serve as the official distributor of DirectOut Technologies in India,” said Dr Rajesh Khade, CEO of Sonic Evolution. “Our team shares DirectOut’s passion for world-class audio technology and we look forward to bringing these solutions to a wider market in India. This partnership will allow us to further strengthen our position in the professional audio technology space and provide our customers with a world-class service.”

www.directout.eu www.sonicevolution.in

Comcon Technologies (Comcon) has announced it will take on distribution in India for German fibre network sister brands, Optocore and BroaMan. Based in New Delhi, Comcon specialises in the design, supply, commissioning and support of solutions for audio and video applications across a range of markets and distributes test and measurement products and connectivity brands. Comcon director Gaurav Aggarwal commented: “Their specialised fibreoptic product range will complement the Optocore and BroaMan products extremely well and at the same time our existing OEMs will benefit from the unique product offering that these brands bring.”

www.broadcastmanufactur.com

INDIA

The HK Audio and Trimac team at PL+S

Gracia Auvindo’s Thomsen Phan (centre) and Cordial’s Christian Langer (far left) with the team at ISE 2024

Upgrade your filmmaking audio to the pro level.

Using the preferred UHF connection, the EW-DP digital wireless microphone system lets you capture professional quality audio without the complexity. It’s the perfect choice for those looking to upgrade to a portable wireless system that offers superior range and more reliable connectivity than 2.4 GHz systems.

Choose from multiple EW-DP sets based on your filmmaking needs. Each EW-DP set include an industry-leading wireless receiver unit paired with various mic and transmitter options, including the ME 2 omnidirectional lavalier, ME 4 cardioid lavalier, SKM-S handheld transmitter, and SKP plug-on transmitter with onboard recording to microSD card.

www.sennheiser.com/ew-dp

The story behind the SLX-D

With the introduction of the MoveMic this year, Shure now has a complete portfolio of wireless solutions, at all price points. Mu Yang and Matthew Mrozinski explain all

Why did Shure decide to launch the SLX-D portables?

Broadcast, TV and film markets continue to grow at a phenomenal rate. The streaming race has created an extremely competitive landscape where tech companies like Netflix and Amazon are pushing into TV and film production, and traditional media companies like Disney are undergoing a similar transformation, all in competition to offer compelling entertainment that attracts and retains loyal subscribers.

With that at the forefront, it became imperative that Shure offers a compelling portfolio of solutions for audio capture, livestreaming and production sound mixing to serve customers engaged in broadcast, location sound and electronic newsgathering (ENG) activities. That offering and focus is evidenced by investments in not just wireless segments such as the Axient Digital portables (AD3 and ADX5D and the new ADX3) but also with the design of the Plex series of lavaliers (TwinPlex, DuraPlex and UniPlex) for on-talent use, providing great sound with durable cables and capsules.

On the opposite end of the spectrum and on a much smaller scale, the pandemic has created a wave of podcasters and content

content. Independent creators are growing huge audiences on platforms like TikTok and Instagram with the realisation that content with high production values is more engaging and ultimately attracts more followers and subscribers.

For the everyday videographer, working location sound professional and even content creator, there is still a need for professional wireless systems that are easier to use, faster to set up and deploy, and don’t break

equipment that will last for years and the SLX-D portables are the ideal solution for those markets and requirements.

What sets these products apart from the rest of the market?

The bottom line is the premise that Shure is one of the trusted leaders in digital wireless innovation. The company has been investing in and developing digital wireless systems for

more than a decade, making this technology available to users at every level. The Axient Digital technology platform was awarded an Engineering, Science & Technology Emmy in 2022. This award recognises products that are so innovative in nature that they materially affect the production, recording, transmission or reception of television, and thereby elevating the storytelling process. This flagship product has been enthusiastically adopted by award-winning location engineers, including Tod Maitland, sound mixer for West Side Story Every product is designed for reliable long-term performance and there is a recognition that along with unparalleled customer care and support, the customer is choosing Shure and making an investment in its gear that they will make a living using.

In recent years, the focus has also expanded towards making products as user-centric as possible, while not compromising on reliability and configurability, and nowhere is this more evident than in the design of the SLX-D family. SLX-D portable systems were developed to offer tried-and-true form factors that audio professionals in the film, TV and videographer markets need for their work. With the SLXD5, users are presented with a sleek receiver and controls and screens that are visible along with a lower profile when installed on the

Mu Yang, senior manager, global marketing and product management

SLXD5s attached to an audio bag

camera compared to other brands on the market. Designed for use on-camera and clipped on an audio bag, the controls are outward-facing, with the antenna pointing up and out, while the battery eliminator is designed for an audio bag. With the Multi-Mic mode, it’s easy to navigate between a list of channels and listen to what is coming out of your transmitters.

The SLX-D portable systems are so easy to get up and running without the need for an app; there’s no need to depend on a mobile phone while on-set, users just “scan, sync and go”. Furthermore, there is continuous power available for the SLXD3 plug-on transmitter over USB-C and there’s a screen on the SLXD3 for readout of key system performance indicators. Finally, the patented XLR locking ring on the SLXD3 ensures secure, wobble-free microphone installation.

What are the key differences between the SLX-D vs the Axient Digital portables?

The Axient Digital portables are used in some of the world’s biggest events, from major award shows, half-time performances and music festivals to broadcast and Broadway, where users rely on the series for its RF protection, pristine audio quality, and

transparent 24-bit digital audio with easy setup and reachability options in a costeffective format, making them a more attractive option for users that do not have an RF background. The series is also expandable, easing large deployments permitted through Multi-Mic mode, which plans channels to reduce intermodulation distortion. The SLDX5 features a “rain coat” form factor WA301 silicone protective sleeve and the very low-profile WA311 cold shoe mount adapter. It also comes with the cost-effective SB903 battery which includes the SBC80-903 eight-bay charging station, SBC203 dual-bay docking charger and SBC10-903 single-battery charging sled, and includes USB-C power options for the receiver. All these features make the SLX-D portables capable of being used in skeleton or small crews and on-the-go productions that don’t always have dedicated audio/RF professionals on-set, while also being robust enough for expansion in larger uses.

Conclusion

Both the SLX-D and Axient Digital portables are great audio codecs developed in-house by Shure. The ADX units are designed for big budget productions, while the SLX-D offers users very high-quality audio fidelity on par

remote control with Spectrum Manager which is enabled via the WA610 access point. The dual-channel ADX5D slot-in receiver form factor targets major broadcast camera styles. Furthermore, the Axient Digital portables use SB900 series batteries which are compatible with the SBRC rack-mount charger, as well as the whole range of SBC recharging accessories, including the SBC200, SBC220 and SBC800. With outstanding signal quality in even the most complex, congested environments, it is ideal for greater working distances and coverage, due to the more sophisticated antenna deployment and networked RF. Additionally, the series features a super wide-band receiver allowing for a greater tuning range for travelling productions.

On the other hand, the SLX-D portables offer users rock-solid RF performance and

stand up to rigorous use and demanding productions, providing a great return on investment for users. They also feature AA power options for all components and are applicable for on-camera cold shoe and audio bag use. In terms of battery, both series have great rechargeability and offer similar battery monitoring technology to remain life metering, saving alkaline batteries from landfill. Additionally, USB-C power options are available for the ADX3/AD3/SLXD3 plug-on transmitters.

The lower cost opens the doors to more alternative uses for the product, by other types of consumers: point-to-point wireless, IFB/comms on film sets, monitoring by the production sound mixers and, with the introduction of the MoveMic this year, Shure now has a complete portfolio of wireless solutions, at all price points.

DRIVING EXTRAORDINARY PERFORMANCE

A perfect combination of elegant design and superior audio output, the PD.24603BR , 24” Sub Bass driver represents best-in-class performance for professional audio system designers.

Ѧ 1800 W (AES) Nominal Power Handling.

Ѧ 98 dB Sensitivity. 20Hz - 200 Hz Usable Frequency Range.

Ѧ 6.08” High-Power Copper Voice Coil.

Ѧ Incredible B/L Force Factor of Over 39 T/m.

Ѧ Airflow Vented Aluminium Chassis & Motor System for Effective Thermal Management.

Ѧ Optimised Compliance Suspension System Offers Perfect Linearity and Ultra-Mechanical Control.

Matthew Mrozinski, specialist, global marketing

8-inch point source models – the Keiron 4C, 5C and 8C – perfectly match with an 8-inch subwoofer, the Keiron 8S, to deliver a high sonic performance in the widest applications.

Built in wooden cabinets (HDF) with a scratch-resistant paint finish, FBT’s Keiron is equipped with the finest professional high-end components housed in clean and discreetly designed enclosures. Each model has its dedicated hardware to meet userfriendly handling as well aesthetic elegance.

System connection is through a four-pole “in & thru” Euroblock connector ensuring a hassle-free installation process.

The Keiron series offers an excellent solution for uniform sound distribution where intimate low volume or high sound pressure are expected. From small lounges to large halls requiring dynamics and intelligibility, the Keiron units deliver unprecedented sound quality without compromising on expectations, making them easy to be integrated into any space.

Each Keiron point source model has its optional multi-angle hardware for fast and

with a scratch-resistant paint finish. Fourpole “in & thru” Euroblock connector.

8-inch LF coaxial woofer with 2-inch VC and 1-inch HF compression driver with 1.4-inch VC. 250W RMS recommended amplifier. 80° dispersion and internal crossover network. Wooden cabinet (HDF) with a scratch-resistant paint finish. Four-pole “in & thru” Euroblock connector.

can be wall mounted through the optional dedicated bracket.

Reflecting the latest trends and advancements in the audio technology

KEIRON 4C: 4-inch LF coaxial woofer with 1.5-inch VC and 1-inch HF dome tweeter with 1-inch VC. 100W RMS recommended amplifier. 90° dispersion and internal crossover network. Wooden cabinet (HDF) with a scratch-resistant paint finish. Fourpole “in & thru” Euroblock connector.

KEIRON 8S: 8-inch high-excursion subwoofer with 1.5-inch VC. 300W RMS recommended amplifier. No internal crossover network, requires external processing. Wooden cabinet (HDF) with a scratch-resistant paint finish. Four-pole “in & thru” Euroblock connector. Four removable r ubber feet for ground use. Wall mount facility through the optional brackets.

InfoComm 2024 attendees are encouraged to visit FBT’s booth (C935) in the Central Hall to explore the capabilities of the Keiron series. This will be an opportune moment for professionals to engage with FBT representatives, gain insights into the series’ technical specifications and potential applications, and discuss how these innovations can be integrated into their current systems to enhance audio performance.

architectural The series

KEIRON

Passive Point Source & Subwoofer

Born to be installed. Wooden cabinets (High Density Fiberboard) and components of the highest engineering.

A new series of professional speakers characterized by an elegant design also suitable for environments with important architectural features. Clean and discreet lines make Keiron the optimal and compact solution that guarantees high volumes of acoustic purity with any musical genre, both live and reproduced sound.

Available now in black or white. Other colors on demand.

Singapore’s Live Show shows its class with L-Acoustics

permanently installed into the upmarket interior.

“There is an increasing demand for independent live entertainment outlets as current operators are playing it safe,” explained Goodwill Entertainment Holding director, Flint Lu. A karaoke pioneer with 10 family entertainment outlets, the entertainment group realised no large venues existed for live music in Singapore. “Strangely, this city has few venues with a VJ, high-end staging, lighting and audio systems. We decided to take the leap.”

Goodwill had attempted live entertainment in some of its existing outlets, but were restricted to a maximum of 150 people. “Traditionally, Singapore venues host one live band playing three sets per night,” he continued. “The live house concept is Chinese, but it is wellestablished in the customer’s mindset. I decided to introduce a similar concept and rebrand it as Live Show with singers, a DJ, MCs and dancers.

doors opened 111 days later to a 480-strong sell-out audience, and the numbers have continued seven nights a week.

“We had to bring in all the resources including the sound system, staging, lighting and the LEDs,” said Lu. “We required a strong tech support team who fully understood the mechanics. These are professional skills in comparison to what we have done before. The emphasis moved to recruitment and locating reliable partners, because it is a different market segment from our other businesses.”

Following extensive evaluation, the technical support team specified an L-Acoustics loudspeaker system. The French brand’s Singaporean distributor Concept Systems Technologies (CST) – which invested heavily in a purpose-built auditorium in 2021 to showcase its solutions – provided the system design before laying the cabling infrastructure in Live Show.

“The L-Acoustics brand is synonymous with high-end touring and fixed installations including immersive applications,” explained Lu. “I have visited hundreds of entertainment venues in China and Southeast Asia, and my partners recommended L-Acoustics. The high-performance output that these loudspeakers are capable of have taken our business to the next level. Our customers are not fatigued by poor quality, reverberation or excessive SPLs and, as a result, they return.”

With the low-end reinforcement installed, this A15 system is more than capable of delivering the variety demanded by Live Show,” commented Lu.

Audio quality was not the sole factor, however. “Firstly, we selected the system because it is the best brand in the market and, secondly, the servicing is excellent,” explained Lu. “Local support is vital for our operation as we require servicing should a problem arise. With CST, we have that

seated venue, with L-R hangs of L-Acoustics A15 array modules augmented by eight floorstanding AS28 subwoofers. This main system is complemented by A15 side fills, A10 rear delays and Xi8 front fills, with power and processing from LA4X and LA12X amplified controllers. “Given the versatility of the music and the acts that we host, it was important that L-Acoustics is also versatile in its nature.

go smoothly and on schedule, but we have received full support including programming and commissioning. No matter what time of day it is, our operators can count on the CST service technical team coming immediately.”

www.concept-systems.com.sg havefunkaraoke.com/havefun-liveshow www.l-acoustics.com

Nestled on the northwest coast of Borneo in Malaysia’s Sarawak region, Mercure Hotel Miri recently upgraded to a KGEAR audio solution, provided by Nextrend. Part of the Mercure hotel chain, Mercure Hotel Miri boasts a full co-working space, rooftop restaurant and 172 contemporary rooms.

Nextrend, an integrator and distributor of K-array solutions in Malaysia, led the project with the brief to provide a new system that would fit the sleek and modern interiors of the hotel, as well as provide sufficient background audio. “The goal was to produce clear background audio that would not be irritating or too loud for guests when they are sitting near the loudspeakers,” explained Nextrend’s company director, Shawn Teoh. “A KGEAR solution ensures good quality and a versatile form factor, allowing us to provide the best possible audio within budget and with products of the hotel.” including

bar, as well as the ballroom and the rooftop restaurant and bar. In the lobby, four KGEAR GF82 compact 8x2-inch column line array loudspeakers deliver audio in a discreet format. These are powered by a compact KGEAR GA201 amplifier. Upon arrival, hotel guests are welcomed by ambient music from these hidden GF82 loudspeakers.

“The choice of KGEAR loudspeakers delivers clear sound and easy operation, whilst minimising technical system handling,” concluded Teoh. “It was of the utmost importance that the loudspeaker mounting would blend into the overall interior design. The slim speaker and choice of white or black enclosures in the GF82s enabled us to provide a discreet yet highly flexible audio solution that pleased both the interior designer and the hotel guests.”

www.k-array.com

L–R: Goodwill Entertainment Holding owner Flint Lu with CST’s Jimmy Lim and Gerald Fong

The venue was fully converted and opened in less than four months

1 Sound deployed for Bali’s Potato Head Beach Club

The Potato Head Beach Club recently upgraded to a 1 Sound audio system, provided by the audio manufacturer’s distributor, Melodia, and installed by Indonesian audiovisual consultant, Sontastic. Located in Bali, the beach club plays host to renowned DJs all day and night, as well as providing curated entertainment, attracting partygoers from all over the globe.

The goal for the project was to have a highquality, durable and power-efficient sound system able to handle daily DJ performances from 10am until 2am, while minimising noise pollution for the neighbouring hotels or beaches. Independent audio consultant, Michael Boyle and the team implemented around 60 1 Sound loudspeakers for the entire distributed system, which included the upperlevel dining indoor and outdoor space, the main dancefloor and bar, the lawn with daybeds and the beachfront pool.

Cannon C5 coaxials were deployed to power music for the seated dining areas on the upper level and under the overhang. The team noted that they chose the Cannons for their extended low-frequency response, which resulted in the design not requiring subwoofers in those areas. For the main bar and dancefloor area, two Contour CT212 and SUB2112 systems were deployed utilising the Contour Rigging System, capable of 145dB max SPL. The smaller CT28 Contour loudspeaker is distributed in the rest of the space, mounted and aimed from the ceiling in a horizontal deployment, as well as from columns in a vertical deployment using the CT28 horizontal brackets and the CT28 wall brackets. These are supported by additional SUB2112s.

throw. Alongside this, Sontastic mounted Cardioid Tower LCC44s, SUB310s and Cannon C6 loudspeakers with custom mounts to palm trees in the seating areas by the beach and pool. Additionally, the pool bar features Cannon C4 marine loudspeakers.

Transitioning from the open concept building out to the lawn with daybeds are clusters of

1 Sound’s founder and designer, Lou Mannarino, worked with Sontastic on the system optimisation when the installation was complete. Sontastic’s CEO, Ian Johansson, also worked

PowerZone

TM Connect

loudspeaker was made with stainless steel 316 A4 hardware and accessories, to combat any challenges posed by the humid and wet weather conditions in Bali. Boyle and Sontastic noted that the project was a success and managed to provide the sufficient audio, while not polluting the beach or neighbouring hotels.

www.1-sound.com www.sontastic.com

Introducing our brand-new PowerZone™️ Connect 8-channel 1U Class-D power amplifiers. Now globally available in 500 W and 1000 W configurations, they feature 10 input channels, flexible power distribution across their 8 output channels, a built-in full matrix DSP controller, hybrid power distribution in both Lo-Z and Hi-Z, and countless other benefits for your next project.

INDONESIA

d&b revives Sydney’s City Recital Hall

AUSTRALIA

Sydney’s City Recital Hall has undergone a redesign to transform its audio quality and musicality, with d&b’s Australian partner NAS designing and installing a

d&b’s XSL compact line array system. The main L-C-R configuration consists of three hangs of six XSL8 cabinets, with four flown XSLi-SUB subwoofers and six 21S-SUBs under the stage. Twenty-seven 44S compact flushmountable and 27 E8 point source speakers –in white to blend with the architecture – enable 360° sound on all three levels, while Vi7P point source speakers at stage level focus

audience attention on the sound rather than the equipment. The system is powered by 14 40D and 14 5D amplifiers.

A DS100 signal engine is the processing platform for Soundscape’s En-Scene and En-Space software as well as handling signal distribution and matrixing. On an operational level, Soundscape removes the need for a complex setup process, offering speed and flexibility when adapting to diverse performances.

“The Soundscape system is a gamechanger because it supports creative intelligence, enabling artists to ‘play the room’,” explained Stuart Rogers, director of programming, City Recital Hall. “The venue

becomes a musical instrument itself, with the audience being placed inside the artist’s musical vision. Soundscape enables us to present extremes of artistic breadth, from cutting-edge electronica to folk, rock and outernational music, while enabling cathedrallike ethereal immersion. I’m excited that musical experiences at City Recital Hall are being changed from a system to relay music to one where artists can create unique content in a communal integration of art form and audience.”

The venue recently hosted singer-songwriter Courtney Barnett as a part of the Sydney Festival programme, with engineer Matt Landers at FOH. “I have used and toured with

Yamaha and Nexo combine on immersive concerts at KSPO Dome

Yamaha AFC Image technology was used for two February concerts by Korean singersongwriter Younha. Titled Twenty, the concerts marked 20 years since Younha’s stage debut and are among the first large-format popular music events to be staged with immersive audio. A total of 210 Nexo STM line array elements were deployed to create a 3D soundscape at the 15,000-capacity KSPO Dome in Seoul, formerly the Gymnastics Arena for the 1988 Summer Olympics. Despite the venue being renowned for its challenging acoustics, each audience member was able to enjoy an immersive audio experience.

The system was designed and deployed by event sound specialist and STM rental partner, Way Audio, using AFC-compatible Nexo NS-1 design and simulation software to configure the system. The setup, consisting of nine separate arrays, was tested and tuned at the warehouse for a month before the concerts. Five arrays suspended across the centre of the stage each comprised 18 STM M48 main speakers, with two M28 compact line array elements per array providing down fill. Four additional arrays were deployed at either side of the stage, each comprising 12 M28 units. Three rows of 12 STM S118 subwoofers were suspended above

the stage in an end-fire configuration to prevent acoustic concentration in the large circular space. Power and processing was supplied by multiple Dante-equipped Nexo NUAR universal amp racks. Immersive technical support was provided by AFC-certified designer Soo Yong Lee and Dai Hashimoto from Yamaha Japan, working with general sound director, Andrew Kim. A Yamaha Rivage PM5 console operated by Lee was used for output routing, and was

d&b systems for years, working a lot with Eighth Day Sound,” commented Landers. “I have been aware of Soundscape for a while, and I first heard it in action at Sydney Opera House. It was a subtle application, but the ability to place the vocal to the point where I perceived the voice coming from the singer’s mouth, even with the system flown high, really impressed me. The big reason I wanted to work at City Recital Hall was the PA upgrade to a Soundscape system. With the surrounds we have here, I can use it on special moments or in a specific cue and you see the audience really responding to those moments. With a show like tonight, which is cinematic and atmospheric, you can really spread things around much more and work with it to create something that really envelopes you, without losing focus on the artists.”

Landers split out the musicians’ onstage effects and outputs to increase the inputs, allowing him to move the sounds around.

“They were totally up for that,” he said. “For something like tonight or for something with a lot more space in the music, it worked really well. I can align the stage sound with the system and make a much more harmonious image so that intelligibility and the overall sound quality is so much better. The XSL is really impressive and, together with the SL Subs and Soundscape, forms an incredible system. The venue now seems to be able to attract a whole new level of artists and audiences.”

www.dbaudio.com

also connected to the AFC backup system. Handling the 72-channel FOH mix on a DiGiCo Quantum 338 digital console was FOH engineer Young Cheol Kim.

Drawing on songs written throughout her career to date, Younha recalled her debut performance at a small café in Shibuya, Tokyo. “When the performance began and the band began to play, a sound that no one expected burst out,” comments senior Way Audio engineer, A Ram

Nam. “The sense of positioning the instruments arranged around the stage improved the separation of each instrument within the mix. After the performance, hundreds of reviews from general audience members commented on how they were impressed by the high level of sound quality.”

www.nexo-sa.com

www.yamaha.com

KOREA

FOH engineer Matt Landers

Courtney Barnett recently played a concert at City Recital Hall

The STM main array in Suyong

The KSPO Dome

Stagetec Asia ushers in a new era for Wisma TV Theatrette

Nestled within the core of Radio Televisyen Malaysia (RTM) in Kuala Lumpur, the Wisma TV Theatrette recently celebrated its 60th anniversary. Distinguished by its exquisite rosewood and mahogany interior, the 27-seat venue is exclusively reserved for VVIPs, including the Yang Di-Pertuan Agong (Malaysia’s head of state), ministers and other dignitaries.

Used for private, exclusive events and activities within the broadcasting and media domain, the

multipurpose Theatrette screens films and hosts presentations and insightful seminars amongst other experiences. Balancing 60 years of history requires sensitive, technical modernisation. In collaboration with systems integrator Integrasi Naluri Sdn Bhd, Stagetec Asia was requested to upgrade the Theatrette’s audio, video and workflow systems. Upon being commissioned for the works, Stagetec Asia’s technical director, Leong Tong Sing, recalled the Theatrette’s original audio system.

“The Theatrette’s audio setup was dismantled and replaced with both a Dolby Atmos and a

traditional cinema loudspeaker system for hosting varied events,” said Sing. “These two systems can be effortlessly switched at the press of a button. Having routed a new cabling infrastructure, both configurations operate over a AES67 format and Dante network, which paves the way for future AoIP solutions.”

With the addition of Dolby Atmos technology, the audiovisual upgrade at the venue represents a significant advance in the auditory experience. In this mode, a Dolby Atmos Cinema Processor CP950A outputs to a QSC SR 800 loudspeaker system powered by four QSC CXD 4K8 amplifiers. For non-immersive events, the main L-C-R QSC cinema speakers located behind the screen augmented by dual subwoofers can be activated. The audio inputs are mixed on the control surface of a Yamaha QL series digital console for outputting to either speaker system.

A combination of Sennheiser ew G4 wireless and gooseneck microphones have been supplied as part of the package. A QSC Q-SYS Core 110f processor connected to a Netgear managed switch is routed to a wall-mounted Q-SYS touchscreen. From this interface, the operator can access the controls to the Christie 4K7-HS projector. Rounding off the audiovisual inventory, an Atlona AT-OMEPS62 6x2 AV matrix switcher enables 4K/UHD 4:4:4 chroma video output to the Christie projector in sync with the Dolby Atmos audio.

Sing noted the change in operations of the iconic RTM Theatrette: “The technical integration Stagetec Asia installed heralds a new era for the Wisma TV Theatrette, which can be considered an emblem of modern presentation and immersive storytelling.”

www.stagetecasia.com

Stagetec Asia upgraded RTM Wisma Theatrette’s audio, video and workflows

The Theatrette operator configures the processing from the control room

Micro Smile Broadcasting Network recently upgraded its broadcast facility, turning to Stagetec Asia and its local systems integration partner, Tiyu, to support the transition. Based in the southern Taiwanese city of Kaohsiung and led by founder, broadcaster and chairman, Ishikawa, the network is reportedly the island’s largest private radio station.

Stagetec Asia was commissioned to supply, install and commission a customised audio solution for the project. The hybrid upgrade includes a MADI fibre-optic cabling infrastructure together with analogue and digital Dante-over-IP connections and DHD Audio’s 20-fader MX20 control surface, which was selected for its versatility of use in the main control room. “The convenient location of the TFT touchscreen provides detailed information to set up and regulate signal levels,” explained Stagetec Asia’s managing director, Advon Tan. “To provide an overall operational perspective, a flexible and controllable GUI is essential.”

DHD Audio’s 16-channel SX2 mixer was implemented in the multiple on-air and recording studios due to its motorised faders, triple 10.1-inch multi-touch displays, monitoring display

Smiles all round for Stagetec Asia’s broadcast installation PT

and talkback features. The GUI touchscreen has also been customised to meet the requirements of the operations team, to enhance operational

Summarecon

response speeds. “The operators requested more varied and higher-quality content,” noted Tan. “I believe that the design of the GUI

interface has contributed to the unrivalled listening experience in addition to more seamless transitioning between on-air programmes.”

Stagetec Asia designed the main recording studio, which features a Stagetec 24-fader Auratus Platinum console, together with a Nexus router to enhance the network’s operational capabilities and allow for ease of pairing with the studio’s Neumann microphones. The radio network’s audio supervisor, Mr Steven, noted that he and his team were particularly satisfied with the console’s integrated features, including the XCMC audio processor, user-friendly interface and the connection to the Nexus audio network.

“As an independent radio station, we invested a great amount of time researching best-in-class technology and service within a specified budget,” commented Steven. “Stagetec Asia’s dedicated marketing and technical professionals assured us that our requirements would be properly addressed. They exceeded our expectations in terms of system and equipment contributions, as well as providing solutions compatible with our current working environment.”

www.stagetecasia.com

Agung extends its outdoor SPLs with

dBTechnologies

Indonesian shopping mall owner PT Summarecon Agung has converted and remodelled several outdoor areas for the purpose of staging live entertainment. The long-term investment aims to draw an increasing number of shoppers to its sites for longer durations. Invited to demonstrate a versatile audio system for the new outdoor stages of Bandung and Serpong, PT Gracia Auvindo was successful in both tender bids. Located in a suburb to the west of Jakarta, the Serpong shopping complex has been complemented with the addition of two outdoor stages. The fenced-off outdoor venue can be rented out for DJ events and concerts of up to 12,000 people and is now adorned with a dBTechnologies VIO L212 line array system. The self-powered, dual 12-inch setup has been configured as a fixed eight-per-side L-R system. Extending the low-frequency range of the threeway modules, VIO’s 150dB SPL capabilities are extended down to 35Hz with the addition of 16 VIO S218 subwoofers.

IP55 certification provides assurance from the numerous thunderstorms and rain. Both VIO cabinets are equipped with RDNet cards for realtime remote control via the Italian manufacturer’s Aurora Net software. “It is an extremely powerful system,” explains PT Gracia Auvindo owner, Thomsen Phan. “In addition to high output capability and optimised coverage behaviour, the VIO L212 is the first dBTechnologies full-scale line array module designed for large touring sound reinforcement applications. However, it is compact and lightweight for a double 12-inch module.”

Remaining in the self-powered domain, PT Gracia Auvindo also supplied the stage monitoring system for the artists, including 10 Opera 12 and four Opera 15 wedges.

Four LVX15 speakers pole-mounted onto four SUB618 active subwoofers are used as side-fill coverage across the vast audience area. A further four LVX15 cabinets provide front-fill coverage.

Midas HD96 and M32 Live digital consoles provide respective front of house and monitoring mixing for the house and artist technicians. The HD96 receives its digital input signals via a Cat6 cable from a DL251 48-in/16-out stagebox. A second console receives the same feed over a Cat6 converter from the primary console to the side of the stage.

The Bandung Mall features two stages. A “Downtown Walk” stage can accommodate

monitoring and a further six Opera 12s as delays. A Midas M32 Live console performs combined FOH and monitor mixing.

The larger Sawarga Courtyard stage comprises six VIO L212 modules complemented by an equal number of VIO S218 subwoofers, together

with 14 LVX15 cabinets as delays and 12 Opera models as monitors. An extensive Audix microphone inventory supplies the artists and talent adorning both stages. The inventory includes AP41 wireless, OM5 wired, i5 instrument and a selection of percussion mics and goosenecks. Having acclaimed critical success to date, PT Gracia Auvindo is confident that the continued rollout of outdoor stages by the Summarecon group will lead to further dBTechnologies installations. “The VIO speaker systems have won over artists and crowds alike in the short time they have been used in both locations,” adds Phan.

www.graciaauvindo.com

www.malserpong.com

www.summareconmallbandung.com

INDONESIA

The main recording studio is now equipped with a Stagetec Auratus Platinum console

PT Gracia Auvindo’s Lucman at the FOH technical area of Summarecon Mall Serpong

Summarecon Mall Bandung

Meyer’s Panther does the Mathematics in Asia

Meyer Sound’s Panther large-format linear line array loudspeaker systems have been deployed for concerts in India and Japan as Ed Sheeran continues on his + – = ÷ x (Mathematics) tour. Sheeran played Japanese dates at Osaka’s Kyocera Dome and the Tokyo Dome in late January before appearing at Mumbai’s Mahalaxmi Racecourse in midMarch. This was his second appearance in India after first performing there in 2017. Launched in early 2022, the Panther system was designed by a team at Meyer Sound led by engineering director, acoustical and mechanical, Katie Murphy, with input from Sheeran’s production director, Chris Marsh. Following discussions between Marsh and Lars Brogaard from Sheeran’s PA provider, Major Tom, the design focused on the need for weight reduction and a compact profile to suit high production sets that require unobtrusive yet powerful sound reinforcement and demands for carbon footprint reductions. Consisting of 128 Panther cabinets, the system for the in-the-round show at Mahalaxmi Racecourse was supplied by a conglomeration of rental companies that currently own Panther in India: Total Multimedia (New Delhi), Phoenix Networks (Bhopal), Friends of Shiva (Kolkata) and PP Sound and Rane Brothers (Mumbai). The

collaboration was managed by Meyer Sound’s Indian distributor, Sun Infonet.

“As most of our Panther partners were outside of Mumbai, they had to send equipment well in advance to reach the venue in time for unloading,” explained Kallol Nath from Sun Infonet’s application team. “We needed to assure Chris Marsh, who designed this tour, that our partners could provide the system in time and in

the required quantity. Chris was extremely happy to find our partners cooperative and enthusiastic to experience the workflow and ethics of this international tour.”

The PA system was deployed to provide 360° stereo imaging at four points around the circular, revolving stage. “Mumbai was our only Indian stop on our Middle East and Asia tour, and we brought our scaled in-the-round show with us,”

explained Marsh. “We were unable to carry everything with us due to restrictions in how much equipment we could freight between territories, and the PA system was one thing that we needed to source locally.”

The main sound system for the Asian leg centred around a box truss with two 16-cabinet Panther arrays flown from each of the four corners, flanking 10 1100-LFC low-frequency control elements to give a total of 128 Panther cabinets and 40 1100-LFCs. A stage system of 22 Leopard cabinets supplemented with 18 ground-stacked 1100-LFCs provided front fill. Nine Galileo Galaxy 816 processors were also supplied by the event partners to provide system control. All rigging was carried out by Major Tom’s technical team.

“One of the main criteria for the tours since we started 11 years ago was that Ed has to be heard clearly at every seat in the venue,” commented Marsh. “I’ve always been impressed by how well Meyer Sound’s Leo arrays could bring that sense of intimacy to the back rows of stadiums. And in that regard, I was surprised at how Panther, a lighter and smaller box, could do the same.”

The Mathematics tour continues across Europe throughout the summer before ending in Rio de Janeiro in September.

www.meyersound.com

The audio system called on 128 Panther cabinets

NEWS: PROJECTS

L-Acoustics fits the vision for Bangkok’s UOB LIVE

THAILAND

Located in Bangkok’s Sukhumvit district, the newly opened UOB LIVE venue features an L-Acoustics K2 concert sound system, installed by Vision One. The 6,000-capacity multipurpose entertainment complex was developed in partnership with Thai retail operator, The Mall Group, and global entertainment company, AEG. Designed to host various events, UOB LIVE features movable staging and retractable audience seating that can also accommodate standing-only live sound music concerts, intimate theatre productions, banquets and exhibitions within the 4,464m2 hall. “Our goal is to become the leading live entertainment destination in Southeast Asia,” said Craig Grossarth, general manager, UOB LIVE. “Strong attention was placed on the audio system’s specifications and the venue’s acoustic performance. It was a very high priority from AEG and The Mall Group.”

After careful consideration, Grossarth and his team, alongside local acoustics consultant Atkrist Co, contacted Vision One to install an L-Acoustics professional sound system to power entertainment experiences and live sound at the sprawling venue. “One of the key things we heard about the L-Acoustics system was the full range

K2 with three Kara II down per side and eight KS28 subwoofers flown behind each array. Three A10 Focus per side deliver front fill, while a delay system consists of three A15i Focus per side. Driving the system are 15 LA12X amplified controllers, running through an L-Acoustics P1 processor via Milan-AVB.

Artists onstage hear themselves through 12 X15 HiQ stage monitors, with in-fill from four A15 Focus, driven by four LA12X and two LA4X amplified controllers. Elsewhere, the private VIP Lounge has 12 L-Acoustics X8 coaxial speakers.

Following installation, the team at Vision One tested and commissioned

across different types of music,” explained Grossarth. “From opera to heavy rock and dance music, the sound quality across diverse music genres is fantastic.”

Vision One designed a system for the venue based on the L-Acoustics K2. “Within the K Series range of long-throw speakers, the K2 was the perfect fit for UOB LIVE,” noted Tanapat “Tony” Mongkolkosol, chief operating officer at Vision One. Mongkolkosol and his team worked with Alvin Koh and Chung Wah Khiew from the L-Acoustics APAC application team to design a main L-R system of 12 L-Acoustics

the system and they have a technical team on hand to reconfigure audio for the mobile stage, which adapts to various events. “Tony and the team at Vision One have been excellent to work with,” concluded Grossarth. “The professionalism and knowledge they delivered installing and operating the L-Acoustics system were valuable assets for a large-scale concert venue project. Throughout the commissioning process, everybody at UOB LIVE has been impressed by the system’s pristine sound quality.”

www.l-acoustics.com

Craig Grossarth, general manager of UOB LIVE

Six L-Acoustics A10 Focus deliver front fill

Twelve L-Acoustics K2 with three Kara II down per side, with eight KS28 subwoofers flown behind each array at UOB LIVE arena

APG adds to China’s booming club scene

CHINA

Two of China’s latest nightspots now feature APG’s modular Matrix Array series, supplied by the company’s distributor for the region, TR Audio System Solutions (TR Audio). The APG4000 system has been installed in Super Gaga in Maoming and Win Party in Yunfu, adding to the country’s fast-moving nightlife scene.

Huang Zhao, general manager of Guangzhoubased TR Audio, said that she believes APG products are well-suited to nightclub installations due to their SPL output and evenness of

Win Party, which both occupy an area of around 500m², Zhao typically relies on the APG4000, which TR Audio has also installed previously in similar nightlife venues in Guigang. Zhao added that the modular nature of the Matrix Array series is particularly beneficial when venues are undergoing renovation or still under construction, when the space available for speakers and audio equipment might change from one day to the next.

Zhao commented on the setup: “In this segment, most of our projects are based on

TB218S subwoofer. At Super Gaga, for example, four 4000HI speakers are installed either side of the main DJ station, providing a coverage angle of vertical 30° x 120° horizontal.”

The new nightclubs are the product of a significant monetary investment of more than ¥15m between them and Zhao noted that with projects such as this, it is important for TR Audio that the owners are able to hear for themselves what the Matrix Array system can do. “We understand what our customers need

Party, the clients were impressed by the APG400’s clarity, bass impact and even soundfield which was described as “delicate but not dry”. Zhao concluded: “Chinese clubbers, like their counterparts in Europe, deserve the high-quality, ultra-clear, floor-shaking audio only APG’s Matrix Array technology can provide. No other loudspeaker system delivers as much bang for its buck and we are thrilled to be able to share this experience with the customers of Super Gaga and Win Party.”

Super Gaga

Win Party

La Piazza Summarecon Mall outdoor area changes its spots with Leopard

Online shopping may continue to dominate globally, but Indonesians continue to gravitate towards their numerous high-end shopping malls. In addition to indoor playgrounds, arcades and cinemas, there is a diverse selection of enticements other than retail outlets to draw the crowds. Ensuring that shoppers remain onsite more regularly and for longer durations, Summarecon Mall Kelapa Gading owners, PT Summarecon Agung, continually invests to stay ahead of the competition.

Located in North Jakarta, the mix of local and international branded stores within the Kepala Gading family-oriented shopping and residence complex has been complemented with the addition of a newly renovated outdoor stage and entertainment area. With the construction wraps firmly removed, the in-the-round setup of La Piazza now reveals a Meyer Sound Leopard line array system for hosting live entertainment.

The self-powered, modular Leopard setup is normally configured as a six-per-side L-R system on Fenix stands. With the addition of six floor-

standing Meyer Sound 950-LFC low-frequency control elements, the Leopard’s capabilities are extended down to 55Hz (142dB SPL). To better control the low-frequency dispersion in the audience area, the 950-LFCs can be arranged in cardioid mode. IP55 certification provides assurance from the numerous thunderstorms and rain.

“To add venue flexibility, we added four UPQ-D3 speakers for pole mounting onto another two 950-LFC subwoofers,” explained Kairos Multi Jaya’s system and sales engineer, Damaran Kristanto. “These can be patched in anywhere around the venue so the artists can stage their performances facing the mall, away from the mall or elsewhere away from the stage. The UPQ-D3 can be used as front fill or side fill depending on the situation or audience area.”

Remaining in the self-powered domain, Kairos Multi Jaya also supplied the RCF stage monitoring system for the artists, including eight ST12-SMA II and four ST15-SMA II wedges. Two Allen & Heath SQ-6 consoles provide monitoring and front of

house mixing for the house and artist technicians. One of the control surfaces receives its digital input signals via a Cat6 cable from a GX4816 stagebox. A second console receives the same feed over a Cat6 converter from the primary console to the side of the stage. Completing the digital signal chain, the addition of two XTA DP448 processors provide all the loudspeakers’ digital signal management requirements. With this major investment, the added entertainment is, so far, achieving its goals for the Summarecon Mall Kelapa Gading management. “The Meyer Sound speaker system has demonstrated great versatility to date,” furthers Kristanto. “From light entertainment to jazz nights, rock concerts and other numerous events, Leopard is winning great praise. In addition, the technicians here are impressed at how simple it is to reconfigure between setups.”

www.kairosmultijaya.com

www.malkelapagading.com www.meyersound.com

Sydney hotel blazes ahead with audio upgrade

The Pyrmont Point Hotel recently embarked on an audio system overhaul, featuring the first installation of Blaze Audio in Australia. The hotel sought out Blaze Audio’s Australian partner and distributor, Jands, to find a solution that would enrich the venue’s charm and provide both sound quality and depth.

Ilias Sintrikos, business development manager, hospitality at Jands, played a vital role in the project. “Blaze Audio was the perfect fit for Pyrmont Point Hotel,” he commented. “Its amplifiers brought the clarity and richness needed to elevate the venue’s audio experience.”

The hotel, which is a heritage gem of Sydney’s Pyrmont district, features multiple

solution needed to cater to a diverse range of audio requirements. As a result, Jands elected to use Blaze Audio’s PowerZone Connect series, including two Powerzone Connect 3004s, two Powerzone Connect 2004s as well as one PowerZone 252. The whole system is controlled via an iPad. Nathan David, owner of Pyrmont Point Hotel, commented: “The transformation of our sound system has been astounding. The integration of Blaze Audio amplifiers has been central to this improvement, offering our guests a more sophisticated and immersive audio experience.”

www.blaze-audio.com www.jands.com.au

La Piazza’s outdoor stage engineer with Kairos Multi Jaya’s Damaran Kristanto

JBL provides heroic solution for Singapore saloon

Live music establishment, Hero’s, recently upgraded to an audio solution featuring JBL and Crown to power sound for its regular live music performances. Located on Circular Road behind Boat Quay, the 240m2 venue distinguishes itself as an Old West-style saloon bar, featuring brick and stone wall fixtures which adorn longhorn skulls, saddles and other Wild West paraphernalia.

Managing director Rick Bower was the force behind the audio upgrade for Hero’s. “We are renowned for our live music and, as the loudspeaker system had been put through its paces for over 10 years, it was time for an upgrade,” he explained.

“Having analysed the market, the JBL VTX and AE Series appeared to be the perfect fit for Hero’s. Following a demonstration by Harman’s Singaporean distributor, Electronics &

Suspended from the 4.5m-high ceiling, the front of house components consist of four JBL A6 dual 6-inch arrays per side, supplemented in the lower frequencies down to 25Hz (–10dB) by two floor-standing VTX B28 dual 18-inch subwoofers at the front of the stage. Additional JBL AC16 cabinets serve as side fill.

Incorporating DSP settings for JBL speaker tunings and network control in either high- and low-impedance applications, Crown iTech DN3500DE and DriveCore 4|600DA four-channel amplifiers supply the power to the speaker outputs.

To minimise disruption and ensure Hero’s continued to function as normal, E&E conducted a rapid installation, before calibration and system tuning. “The changeover was a breeze,” said Bower. “To ensure a seamless transition, our in-house sound engineer was involved during each step of the upgrade. Without a doubt, the JBL audio system has

raised the quality level for our patrons and we look forward to cementing our position as one of the best live music venues out there.”

With double-glazed glass maintaining a neighbourly audio level, Hero’s is entering a new era in the competitive Boat Quay entertainment district. “Most of our regulars have commented on the powerful sound quality and the musicians are really enjoying the clarity of the system,” concluded Bower. “For now, we have raised the bar in terms of audio quality with this investment.”

www.enepl.com.sg www.jbl.com

• Impressive sound level, enormous throw by HK Audio MCT

• Perfectly matched Lab.Gruppen and Powersoft filter sets for arrays of 1 to 4 speakers

• Passive 24 db/oct. crossover - fewer power amp channels, more flexibility

• Linear phase FIR and IRR filters for latency-critical applications

• ICF - integrated single-point flying mechanics for single speakers and arrays

• Robust design for the daily use on the road „Made in Germany“ The perfect addition to the CONCERT SOUND CONTOUR X and COSMO series

SKH Sound & Light calls Yamaha to the Courtyard

Jakarta’s Mantra Club selects KV2 system

Developed by Yong Tai Berhad in Malacca, Courtyard by Marriott has opened its doors to guests. With references including the Swiss Garden Hotel & Residences, Holiday Inn and The Eastern & Oriental Hotel, AV systems integrator SKH Sound & Light was contracted to install an audio solution into Marriott Bonvoy’s 40th property in Malaysia. A design, supply and install package was required for all the communal areas including the lobby, courtyard café, 1939 lounge and a 24-hour fitness centre. Challenged to create a seamless, evenly dispersed transition between zones, SKH Sound & Light technical director Soon Siong Wee specified Yamaha VXS5 5.25-inch surface-mount and VXC6 6.5-inch ceiling loudspeakers powered by PX Series amplifiers.

Business travellers and event organisers can select from 1,650m2 of flexible function spaces including five meeting rooms with natural daylight. Weddings, corporate events and larger social gatherings for up to 1,000 standing or 700 seated guests can be staged within the pillarless Grand Ballroom. Equipped with 24 Yamaha VXC8W 8-inch ceiling speakers, the 7m-high venue can be divided into three separate function rooms. Finished in white to blend in with the ornate room’s décor, venue flexibility is enhanced as three of the walls can be quickly opened and closed.

Located in the vibrant and ever-evolving nightlife scene of Pantai Indah Kapuk (PIK) in Jakarta, the newly opened Mantra Club offers DJ-driven performances and captivating live music experiences. The dynamic entertainment hub enlisted the expertise of audio installation specialists, Kairos and Music Art, to provide a KV2 Audio solution. The installation was supported by KV2 Audio’s Indonesian distributor, Goshen Swara Indonesia. The club’s audio system needed to seamlessly transition from DJ sets to live performances, maintaining clarity and power throughout. Additionally, the club’s acoustics had to be optimised for a diverse range of musical genres, ensuring an unforgettable auditory journey for clubgoers.

With all these challenges, Kairos and Music Art designed an audio setup for Mantra

Club’s main stage. The system features KV2 Audio’s VHD2.0, VHD1.0 and VHD4.18 speakers, supported by VHD2000 and VHD3200 amplifiers. These components come together to create a sonic landscape that can adapt to the diverse musical offerings at Mantra Club.

KV2 Audio’s VHD2.0 and VHD1.0 speakers deliver clear audio, while the VHD4.18 subwoofers provide deep baselines to elevate the energy in the club. To facilitate smooth transitions between DJ sets and live performances, Kairos and Music Art incorporated the EX12 as side fill, delay speakers and DJ monitor for consistent sound in various performance formats.

www.goshen.co.id www.kv2audio.com

Singapore theatre adds to its Robe inventory

Located in the rear control room, the inclusion of rack-mounted Yamaha MTX3 and MTX5D digital signal processors promotes one-touch transformation from standalone to combined room use. Interfacing with the MTX processors, the AV parameters are simply managed by the hotel operators on wireless iPad touchscreens, which incorporates Yamaha Provisionaire Control software.

Extending the Yamaha ecosystem, the audio parameters within the three divisible zones are managed from individual TF1 digital mixers, with the mixes monitored on HS5W speakers. In addition to the audio fulfilment, SKH Sound & Light also installed LED P3 displays into the ballrooms.

Having overcome the numerous challenges associated with the pandemic era, SKH Sound & Light delivered the project on time, partly assisted by the ease-of-installation features associated with Yamaha’s components, including the intuitive software programming of the digital processors and the dedicated VXS speaker brackets. Siong Wee expressed gratitude for Yamaha’s unwavering support during this challenging period. “Following a lengthy consultation process, we specified Yamaha’s audio systems to meet the hotel’s requirements. The main criteria were audio quality, reliability, aesthetics and versatility. Despite disruptions in the supply chain, Yamaha delivered their products without any difficulties.”

www.facebook.com/skhsoundandlight my.yamaha.com

beams, to supplement its growing hire stock of the brand. The main Ngee Ann Kongsi Theatre features an intimate 358-capacity space with the country’s only thrust stage, inspired by the Royal Shakespeare Company’s Swan Theatre in Stratford-uponAvon in the UK.

were added to the theatre’s general lighting rig which included 10 T1 Profiles and 16 ParFect 150s, to offer flexibility for its wide array of performances that embrace dance, drama, music, musicals and comedy.

www.robe.cz

L–R: Peter Chi, Wild Rice’s new technical manager, stage technician Roy Tee Lacno, technical intern Jedrick and previous technical manager, Sagaya David Kanagasingam

The SKH Sound & Light and Yamaha Malaysia teams reunite at the newly opened Courtyard by Marriott Malacca

The 1939 lounge receives its BGM from a Yamaha loudspeaker system

Sydney’s Hot Potato Band relies on Sennheiser and Neumann

AUSTRALIA

Sydney-based nine-piece brass band Hot Potato Band has incorporated Sennheiser’s EW-DX microphone system and Neumann’s Miniature Clip Microphones (MCMs) as an integral part of its live performances. Beginning as a New Orleans inspired roaming band on the street, Hot Potato Band now writes and tours original music alongside its educational initiative of performing in schools and providing workshops.

Founder and band leader Simon Ghali, alongside Pete Orenstein, director of the Hot Potato Band in Schools Program and the group’s saxophone player, decided to upgrade to a wireless microphone system that would allow them to move freely in their performances.

“We had our first show with a lot of wired microphones and sound setups which restricted our movement,” noted Orenstein. “We couldn’t bring the same energy we were known for. That’s

when I suggested, ‘Why don’t we get some wireless mics?’ We wanted to create the same spirit and atmosphere we had on the street in our acoustic format.”

The EW-DX system features Sennheiser’s plug-and-play functionality, which the band noted has allowed them to set up their gig in just 20 minutes. “I can’t believe how quick it is for us to get on a stage and play these days and, when the tech can all work seamlessly together, it’s just added Orenstein.

Additionally, the band has adopted six units of Neumann’s MCMs into its setup, with Orenstein describing them as “fantastic for live performance” and also citing their quality in the

instruments, which the band has utilised for its saxophones, percussion instruments, trombones and trumpets. Furthermore, Orenstein noted the MCM 114’s durability and ability to stay in place throughout energetic performances: “Where you set it at the beginning of the show is where it stays till the end.”

Hot Potato Band also recently collaborated with Sennheiser to film a School Programme episode at Killara High School, to deliver an engaging music experience and a memorable performance for the entire school. The band will also be using its Sennheiser and Neumann equipment this summer on its European Tour.

Unveiling the brilliance of RGB pure laser projection

Technology that’s well-suited for applications that demand colour accuracy and reliability

VISUAL TECHNOLOGIES HAVE EVOLVED significantly over the years, driven by the relentless pursuit of unparalleled colour accuracy and reliability. While traditional projection systems have made considerable strides, none have quite achieved the precision and longevity offered by RGB pure laser projection. This cutting-edge technology not only dazzles with its vivid colour reproduction but also proves to be a game-changer in applications where colour accuracy is imperative.

At the heart of RGB pure laser projection lies its ability to produce colours with exceptional accuracy and brightness. Unlike conventional laser projection systems, RGB lasers emit pure red, green and blue light, resulting in a much wider colour gamut, image uniformity and significantly more true-to-life images. This translates into stunning visual experiences characterised by vibrant hues and remarkable clarity, captivating audiences like never before. Moreover, RGB pure laser projection boasts superior reliability and increases longevity over typical laser projection by 25%. By utilising solid-state laser light sources, these systems also eliminate the need for frequent lamp replacements in lamp-based systems, reducing downtime and maintenance costs. The longevity of laser light sources also ensures consistent performance over time, making them ideal for high-usage applications requiring sustained brightness and image quality.

Theme parks

Projector colour performance plays a crucial role in elevating the audience experience, and theme parks excel in delivering immersive and unforgettable experiences for their visitors. Colour not only sets the mood and atmosphere but has also been shown to enhance the perceived brightness of the content. RGB pure laser projection offers more than double the colour range of a standard laser projector, empowering content

designers with a broader palette to enrich the overall enjoyment of attractions or dark rides.

At Lotte World, a major entertainment and recreation complex located in Seoul, three Christie RGB pure laser projectors illuminate the park’s iconic Magic Castle with spectacular visuals for a 3D multimedia mapping show. The show is so popular that it has since become a nightly attraction highly anticipated by guests, and establishes Lotte World as a world-class theme park where visitors can experience realistic media content.

Giant screens

From amphitheatres to massive arenas, giant screens demand visual solutions that command attention. RGB pure laser projection delivers superior colour performance that often correlates with better image clarity and detail. This allows viewers to discern subtle nuances in colours and textures, leading to a more immersive and satisfying visual experience that impresses even the largest audiences, making it the go-to choice for events, concerts and sporting spectacles where every detail matters. One example is the expansive Mogao Grottoes Digital Exhibition Center in China’s northwestern Gansu province, home

to four digital theatres, including two giant screen theatres lit by Christie RGB pure laser projectors. Visitors can enjoy magnificent visuals in astounding 8K resolution that accentuate the splendor of the world-famous Mogao Grottoes.

Planetariums

Exploring the cosmos requires visual fidelity that mirrors the awe-inspiring beauty of the universe. RGB pure laser projection excels in planetariums, accurately rendering celestial phenomena with stunning realism. Whether showcasing the night sky or transporting viewers to distant galaxies, this technology ensures an immersive journey through space and time.

The Infinity Dome, situated within the TELUS Spark Science Centre in Calgary, Canada, is a three-storey dome theatre offering guests an immersive journey into outer space while showcasing the latest large-screen films. Its expansive dome is illuminated by eight Christie Griffyn Series pure laser projectors, ensuring the delivery of breathtaking 8K-resolution images in real time. These projectors boast the highest levels of brightness, exceeding 270,000 lumens, establishing the Infinity Dome as

home to the brightest onscreen image of any planetarium in North America.

Cinema

In the realm of cinema, RGB pure laser projection sets a new standard for picture quality. Filmmakers can showcase their creations with unmatched colour accuracy and brightness, preserving the integrity of their vision from the studio to the silver screen. Audiences are transported into an immersive cinematic odyssey, where every frame springs to life with astonishing clarity. This sensation is heightened in premium large-format (PLF) auditoriums, which boast larger screens illuminated by high-brightness RGB laser projectors, presenting spectacular imagery in razor-sharp 4K resolution.

Ambassador Theatres, a leading cinema chain in Taiwan, has outfitted its flagship Grand Ambassador auditorium with dual Christie RGB pure laser cinema projectors to deliver a combined brightness of up to 90,000 lumens for an extraordinary cinematic visual experience. This strategic investment in Christie’s state-ofthe-art technologies underscores the significant impact of RGB pure laser projection in revolutionising the cinema experience.

The future of visual excellence

As technology continues to evolve, RGB pure laser stands firmly at the pinnacle of laser-illuminated projection, reshaping the landscape of visual storytelling. Its merits extend beyond mere spectacle, enriching the way we perceive and engage with the world around us. From theme parks to planetariums, giant screens to cinema, the applications of RGB pure laser projection are as diverse as they are transformative, heralding a future where brilliance knows no bounds.

Discover more about the benefits of RGB pure laser projection: christiedigital.com/ RGBreport

Lotte World Magic Castle 3D projection mapping show Image courtesy of CUZ

The Grand Ambassador auditorium in Taipei, Taiwan Image courtesy of Ambassador Theatres

The Infinity Dome at TELUS Spark Science Centre Image courtesy of Eymeric Widling

Elevating audio performance

Renkus-Heinz leads a beam-steering Renaissance with OmniBeam

IN THE REALM OF LIVE PERFORMANCE audio, where every note and every word matters, the pursuit of elevated sound experiences has never been more critical. With the demand for immersive audio experiences higher than ever, innovation is imperative and sound quality is a cornerstone of venue success.

For years, steerable loudspeakers have been synonymous with exceptional intelligibility and precise coverage, but they’ve also had a reputation for complexity – until now. Recent advancements in both coverage generation and ease-of-use have revolutionised the narrative around beam steering, and steerable loudspeakers have emerged as one of the most powerful tools in the system designer’s arsenal.

What makes beam steering different?

Think of a focused, targeted beam of a flashlight. Now imagine that beam of light as a beam of sound. Essentially, beam-steerable loudspeakers tightly control sound and put it right where it’s needed: on the audience. By keeping sound away from other surfaces that may cause echoes and reverberation, beam steering ensures pristine, crystal-clear speech and music reproduction for an unforgettable audio experience.

While traditional line arrays typically use horns with controlled dispersion patterns, they still often distribute acoustic energy to places where there’s no audience. Or worse, they don’t distribute sound to where people are sitting. And whether you’re enjoying a concert, watching a play or sitting in the stands on game day, there’s nothing more off-putting than not being able to hear clearly. By focusing tailored beams of sound directly on the audience area, digitally steerable

and precise coverage, making them a premium solution to overcome the acoustic challenges of any space.

While beam-steering arrays are known for their exceptional sound quality, they’re still often viewed as a niche solution due to perceived complexity – in other words, beam steering has a reputation for requiring some time and know-how to get good results.

However, recent advancements like OmniBeam from Renkus-Heinz are poised to upend that narrative. With new developments in both easeof-use and coverage generation, steerable arrays are now as quick and easy to use as point-andshoot loudspeakers – pushing the boundaries of what’s possible in sound reinforcement.

OmniBeam from Renkus-Heinz: making coverage generation a snap

Renkus-Heinz, a leader in audio innovation

been at the forefront of this revolution. While other companies have recently started to pursue steerable technology, Renkus-Heinz has specialised in digital beam steering for the last two decades, cultivating expertise across hundreds of successful installs worldwide.

The loudspeaker manufacturer has long demonstrated its commitment to pushing steerable technology forward, with recent innovations ranging from the ICLive X Series of modular, high-output arrays engineered for live sound reinforcement to the passively steered, multi-award-winning UBX Series, bringing the benefits of steering into the passive realm.

The latest development from Renkus-Heinz, OmniBeam, continues this legacy of innovation.

Renkus-Heinz’s all-new OmniBeam algorithm is the culmination of decades of expertise in steerable technology. Based on beam shaping rather than beam steering, OmniBeam instantly crafts custom-tailored coverage precisely dialed into the exact geometry of any space, delivering the most consistent front-to-back audio experience possible.

A true game-changer for sonic possibility, OmniBeam brings together ultimate audio performance and ultimate ease-of-use. With just a press of the “Snap to Audience” button, OmniBeam generates ideal FIR coefficients for every unique venue. All the beam-steering calculations, frequency adjustments and FIR filter calculations are completed in seconds by the

The driving philosophy behind OmniBeam, according to Renkus-Heinz CTO Ralph Heinz, was to “give consultants and integrators back their time” – pairing innovation with simplicity. OmniBeam empowers integrators of all levels of expertise to achieve great results from project to project with minimal effort, every time. By taking the rocket science out of simulating and commissioning steerable arrays, RenkusHeinz has demonstrated how beam steering is suitable for more venues than just reverberant spaces – they’re as simple to deploy as pointand-shoot speakers.

Raising the bar for sound experiences

Audiences today demand more than just adequate sound – they crave transformative experiences that captivate their senses and elevate performances. With new advancements in the technology, beam steering has emerged as a top-choice solution, setting a new standard for immersive audio experiences.

According to export sales and marketing director Michal Poplawski, Renkus-Heinz is driven by a core belief that beam steering provides the best experiences possible: “While our loudspeakers sound good for many engineering reasons, it goes beyond the tech specs – they make people smile from ear to ear and give them goosebumps. For some, loudspeakers are the ‘endpoint’; for us, they’re a cornerstone of delivering unforgettable memories.”

With innovations like OmniBeam leading the way, Renkus-Heinz has sparked new interest in the possibilities of beam steering, empowering venues and integrators to deliver unforgettable experiences that resonate long after the final note fades.

As the industry evolves, this commitment to innovation is key to pushing the boundaries of what’s possible, ensuring that live performance audio reaches new heights of excellence. In this new era of possibility, one thing is clear: the beam-steering renaissance is just getting started.

Karan Kathuria, director of sales and business development, APAC, MEA speaking to guests at the new immersive experience centre

A discreet ICONYX system at St Peter & Paul’s Old Cathedral

An ICLive X system installed at the Cyprian Norwid Theatre

OmniBeam – floor and balcony coverage calculation

Beyond Bosch

under the communications banner for 17 years

LAST OCTOBER, IN WHAT IT TERMED A “realignment”, Bosch Building Technologies announced the sale of most of its product divisions, instead focusing on the regional integrator business with solutions and services for building security, energy efficiency and building automation. Pledging consideration for the people, customer base and brands involved, the company is now undertaking due diligence to identify a suitable buyer for the video, access and intrusion, and communication business units. With German labour laws decreeing any prospective buyer must take ownership of all three business units as a single package, together with their associates and locations, the communications business unit initially appeared to be heading into longterm limbo. But cometh the hour, cometh the men. Newly appointed head of the communications business unit Jens Mack, together with his succeeding VP of sales and marketing Kerem Arabacioglu, are steadying the ship with a clear message to the market: attractive growth and partnership opportunities resulting from innovative product solutions and supported by a global network.

In addition to calming doubts of longterm customers and resellers, the duo was determined to reassure the unit’s 4,300 associates across more than 90 worldwide locations. Between them, Mack

and Arabacioglu have clocked up more than 40 years’ experience in various roles and international locations for Robert Bosch GmbH, sending a strong signal to their associates and the market alike.

Joining as a Bosch product manager in 1998, Mack’s impressive career includes a five-year stint as general manager in Hangzhou City, China. Arabacioglu’s rise from sales engineer in Istanbul for the fire alarm, intrusion and access product group has been similarly meteoric. The duo’s leadership skills and confident, visionary manner signify the start of an exciting new chapter for this business unit.

Mack and Arabacioglu have relinquished their distinguished careers with Bosch, pledging allegiance to the brands they now lead. “Working for Bosch was a relatively safe career path, but it is no different to any other company with steep targets to reach,” asserts Mack. “It demands integrity, but our business unit now needs to adopt a more entrepreneurial approach and be more customer-focused.”

Passionate and energised, the duo have taken a leap of faith beyond Bosch. “Our 2023 sales were our best to date and these figures are a confidence boost,” notes Mack.

“By adopting more internal entrepreneurial freedom and greater flexibility in decisionmaking, there will be a quicker turnaround on investments. Conversely, for the Bosch

looks to the

group, our business unit is currently highly profitable, so this is a good time to sell.”

Despite achieving the best sales figures in 17 years, Mack dismisses the notion that Bosch has been hasty in its decision.

“For our industry, Bosch Communications is not a small company but, within the Bosch family, our unit constitutes about 1% of the Bosch family of nearly 430,000 employees. Automobile parts and services make up, by

far, the largest share of the business for the conglomerate. With Bosch staying ahead of the electric vehicle wave, supplying both Chinese and Western car manufacturers, the need to continue investment is greater than ever with the industry experiencing huge software and electronic transformations. As a result, Bosch needed to evaluate its portfolio of automobile parts, household appliances, power tools and others.”

Jens Mack

L–R: Jens Mack and Kerem Arabacioglu

Since the announcement, Arabacioglu and Mack have been clocking up the air miles to engage in constant dialogue with the global team, including regular town hall meetings. “In addition to delivering a message, we are keen to receive feedback and concerns from our associates,” comments Mack. “For some, it’s like leaving home for the first time, but there’s something better and more exciting beyond. There are uncertainties and questions of course, but I am personally motivated by the fact that our strength as a team makes us unbeatable.”

The clear business-as-usual message has been broadcast by all four brands. Arabacioglu is keen to highlight the successful sales figures of Electro-Voice’s portable speaker portfolio, particularly in North America and Europe where it consistently charts in the top two. This has been strengthened by the next-generation of the million-selling ZLX portable loudspeaker series. Dynacord recently extended its multichannel amplification credentials with the V-Series for commercial installations, in addition to the continued evolution of its Sonicue Sound System Software and the MXE5 Mix Matrix Engine.

While Electro-Voice and Dynacord have established themselves as respected brands since 1927 and 1947 respectively, the Bosch Security and Safety portfolio of public address and conferencing products came into existence in 2002. Mack is not overly concerned that a change in ownership will reduce the credibility of this product segment. “The Bosch brand provides a highly credible image beyond this industry. However, a systems integrator or a consultant is probably more aware of the product family within Bosch such as Dicentis [conferencing] or Praesensa [public address and voice evacuation]. These names are almost perceived as brands in themselves whose proven technologies lead their market verticals.”

Arabacioglu agrees that investment is needed for this to happen. “The R&D budget for product development has to be shared among intercoms, conferencing, powered speakers and electronics; therefore, it needs to be balanced. However, we have a clear strategy ahead and it should be possible to deliver new products to the market quicker than before, because we don’t need to follow the same procedures as we have under Bosch. By reacting quicker to market demands and requirements, I am positive that we will build greater momentum with the products being developed.”

Mack is looking ahead to InfoComm Las Vegas, where key additions to the business unit’s fixed installation portfolio will be revealed. “By showcasing complete system solutions that can be applied to specific verticals, the exhibition will represent a new start for us. It’s the reason why we have developed a clear segmentation focus within our organisation specifically and holistically. These changes do not happen overnight, but we’ve entered a marathon rather than a short

Many professional audio brands have expanded their portfolios to establish themselves as solutions providers. To date, the business communications unit has preferred to promote product families across various market sectors.

Mack is leading the charge towards a more segment-focused strategy. “Under Bosch, we have designed and built marketleading products, but we didn’t always connect the dots properly between the brands to offer multi-brand system solutions tailored to the specific needs of key verticals. We’re in a unique position as not only can we offer the Electro-Voice speakers powered and processed by Dynacord electronics, but also the RTS intercom element, all operating on the same network. We’re segment-focused, and we’re filling out our portfolios to meet the changing needs of the market. This has been possible due to the commitment and investment from Bosch but, moving ahead under new ownership, we can anticipate a more agile and faster-to-market approach, being a bigger fish in a smaller pond.”

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The ambitions of the four brands have been mirrored at the 2024 tradeshows, according to Arabacioglu. “At NAMM and ISE, we opted to go bold and strong at all the relevant exhibitions because we are proud of our position in these markets. InfoComm is strategically important for the ElectroVoice and Dynacord brands, owing to our expertise and heritage across a broad range of verticals, including house of worship, hospitality and sport venues. We’re developing our offering for additional verticals and will be steadily launching new products to enhance our amplification, DSP, loudspeaker, public address and critical communications portfolios. The key word is momentum. We’re growing, bringing onboard new people to support these new products, from engineering to marketing to sales. It’s an exciting time, and the energy and dedication we’re feeling from our teams around the world is incredibly strong.”

www.boschbuildingtechnologies.com

Kerem Arabacioglu

AI will greatly reduce the number of control room operators required to monitor displays

Charting a pioneering course

Richard Lawn catches up with Ideal Systems Singapore CEO and board member

Fintan Mc Kiernan, who joined the APAC systems integrator’s fraternity in 2011 and has established the company in the wider SEA region

BASED IN SINGAPORE, MC KIERNAN HAS BEEN AN instrumental figure in expanding and diversifying Ideal Systems from its broadcast technology base into live sports production, government, enterprise and corporate video production, in addition to providing pro AV solutions. A bundle of energy on one of his quieter days, his insights and market knowledge serve as a vital catalyst to those operating in the traditionally conservative sectors.

Pro AVL Asia bumped into Mc Kiernan between his meetings, seminars and thought leadership speeches at the recent ABU in Kuala Lumpur. With 10 minutes spare in his packed schedule, I turned on the microphone and stood back to understand why the keen sailor was delving deep into SMPTE ST 2110 and NDI (Network Device Interface) networking along with cloud and AI solutions.

Despite the interruption of the pandemic, Mc Kiernan has been drawn to the ABU event for approximately 20 years. Networking is clearly a driver for a talented orator of his ilk. “In addition to being a great, friendly broadcast industry

It is wonderfully refreshing to hear some broadcasters highlighting the AI deployments that have been successfully installed

event, ABU sets the tone nicely for the rest of the year as the annual cycle of new technology starts a month later in Las Vegas at NAB,” he begins. “Once launched at NAB, products normally become available around IBC in September, so ABU is like a pitstop before NAB and provides us with a preview and talking points about what’s coming for the year ahead.”

Whether its ABU, Broadcast Asia or InfoComm Asia, Mc Kiernan is not keen to promote status quo technologies, boldly showcasing disruptive technologies that his team anticipate will

set the trends over the course of the year ahead. “For 2024, it’s building on what we’ve done in the past, so we are leaning heavily on NDI and cloud-based technologies while ramping up on AI and SMPTE ST 2110 developments in Southeast Asia.” Not one for conforming to speed limits, Mc Kiernan admits he has been a little reluctant to pursue these new technologies at full speed – until now. “We’ve been standing back and acting more reserved because it’s relatively expensive technology to deploy for broadcasters and they are all looking around to see when the first one will make the move,” he continues. “This has a lot to do with the high perceived investments and costs associated with ST 2110 deployment. We have been resoundingly successful using very cost-effective Netgear switches in our NDI solutions, which has really helped keep our NDI production solution costs down. Now, we are building on that success with a new switch from Netgear that is ST 2110-compliant, allowing us design and deliver ST 2110 systems significantly cheaper than what was previously possible.”

To Mc Kiernan, ABU 2020 – held in early March that year –signified the end of an era in many ways. “This year, we are showcasing hyperconvergence with a Ross Ultrix 12G processor that is SDI, NDI and ST 2110-compliant and there is an AI component courtesy of BirdDog. Undoubtedly, these technologies are the future of broadcast. Despite AI becoming readily available within the broadcast and pro AV business sectors, I feel that the migration to the cloud has to date been slow. However, I sense that it is starting to happen.”

Prior to the pandemic, Ideal Systems was typically installing onsite videoconferencing equipment using WebEx. “Today, with products like MAXHUB, we install the panels, which are endpoint devices, plug in the power, connect to the internet and let the cloud-based management take over. It is so much quicker and simpler. It’s not an entire convergence, but it is certainly a closer mapping of our broadcast and pro AV technologies, migrating to the cloud with AI in the background.”

However, it is the reality of AI entering the broadcast and pro AV domains that brings a twinkle to Mc Kiernan’s eyes. “It is wonderfully refreshing to hear some broadcasters highlighting the AI deployments that have been successfully installed. AI is no longer a word du jour – it’s a reality because we have the processing power, and the cost of the chips are no longer a deterrent.”

Cost savings and benefits will further drive AI until the market universally succumbs, he believes: “Enabled by new chips from NVIDIA, the processing power required for meaningful AI is now affordable for broadcasters. The NVIDIA stock price has gone through the roof, so it is inevitable that others will now follow. This will lead to the democratisation of silicon-based technology and enable AI to become available at a cost point that works for broadcasters. Meaningful AI has existed for a while, but you needed a supercomputer. These only existed in universities, required huge power input and were operated by propeller heads. That won’t be the case any longer, with SaaS [software as a service] AI applications allowing cost-effective access to NVIDIA silicon in the cloud.”

Mc Kiernan also identifies that with the rapid increase of application developers jumping on board, an ever-increasing amount of useful AI applications are being promoted to broadcasters including news and content production: “There is text-based AI for creating subtitles and scripts, in addition to translating those subtitles and scripts. There is AI for video and graphics creation and editing. AI will dramatically change broadcasters’ quality control too, when you think of those quality control operators sitting in their control rooms

broadcasters who are currently facing increasing pressures. “As viewers migrate to other platforms including Netflix and social media, the advertising revenue and pay TV subscriptions have been falling for many broadcasters. To maintain or improve existing services, AI is ticking

many boxes courtesy of reduced costs. Ideal hosts a platform called Alice that was initially developed for cloud integration but also fits the multi-AI world very well as an AI orchestrator. It can provide broadcasters with a cohesive AI management layer, allowing them to manage multiple AIs in multiple departments serving multiple functions, so we now have skin in the AI game.”

Mc Kiernan is also aware of the problems associated with the ubiquitous nature of AI. “For broadcasters, using AI is like drinking water from a firehose; it’s somewhat overwhelming to know where and how to start. My current message to them is to re-examine existing workflows and carefully assess each area separately to see where AI can fit, and which AI is suitable. As for dealing and managing the sheer number of different AIs that will ultimately be used, this is where Alice for AI orchestration comes in.”

Having educated the market over the past year, Mc Kiernan is beginning to see the results in this investment. “As a systems integrator, I gravitate towards trying to test and discover what works before implementing it. I must continually reassure our clients that we are not manufacturers, and we don’t create AI, but that we have adopted AI because it can create more cost-effective solutions. Inevitably, some AIs don’t work as planned, but that’s the nature of the business. As we gain more experience, our customers will be more encouraged for us to provide them with advice.”

Summarising Ideal’s technology navigation plans for 2024, Mc Kiernan concludes: “We hear the term ‘convergence’, even ‘hyper convergence’, a lot these days but, this year, those terms really resonate with us. It’s not just joining the dots between AI, cloud, NDI and ST 2110 for our solutions, we also see the convergence of our core broadcast and pro AV business on top of these technologies. With cheaper silicon from NVIDIA accelerating the use of AI in the cloud, along with cheaper NDI and ST 2110 switches from Netgear helping to drive down the cost of our edge solutions, we are definitely on a good course for our technology journey

And with that, he is gone to host a packed workshop where he will encourage and stimulate a room of cautious and somewhat nervous broadcasters. Neither sales pitch nor Emerald Isle Blarney, Mc Kiernan’s knowledgeable and insightful conversations are a welcome breath of fresh air in Southeast Asia. Just be prepared to listen and learn when he sets his sail in favourable tailwinds.

www.idealsys.com

Fintan Mc Kiernan, CEO of Ideal Systems SEA

Cooking up a storm

Certified product manager and expert in the field of entertainment technology, Moswain Antão sits down with Bea Meikle to discuss his love of cooking and culinary expertise

What inspired you to get into cooking?

I got my inspiration for cooking from my father. The creative side came from his hobby of tailoring which he learnt at a young age and the taste side came from his love of cooking, both for the family and social gatherings. During high school, I started cooking breakfasts for the family and slowly moved over to lunches and dinners. It was my way of giving them a break. After moving to Dubai, eating out every day was not a viable option, so I started exploring new dishes and ingredients. Gradually my taste profile started to grow, and I began trying new restaurants and researching new dishes. I was also inspired by my favourite chefs including Raymond Blanc, Heston Blumenthal and Nobu Matsuhisa.

Do you have a standout dish that you’ve cooked?

My all-time favourite is my version of cured salmon, which is simple to prep but takes 72 hours to cure. I love it because it’s a mix of clean ingredients that, when put together, explodes of earthy, sour, sweet and salty flavours with crispy and raw textures. It’s almost always the first course for all my hosted dinners – it sets the tone for the meal.

What is it about cooking that you find so beneficial?

Cooking is an art and I’m the artist. When I was younger, I used to paint and I also enjoyed photography and cinematography, so it’s now become a hobby where I can always be adventurous

while at home or travelling. Ingredients, cooking methods, pairing, plating, etc. is a massive playground that feeds my passion. Now, when I dine at starred restaurants, I understand the process and taste profiles. I also like to merge my knowledge of photography and cooking to take pictures of my dishes – after all we eat with our eyes first.

How do you see this hobby developing?

Currently, I just cook for family and friends and the occasional supper club or catered event and I’m considering maybe doing regular supper clubs. But it’s my zen place, and for now I don’t intend for it to be anything more. When the time is right, I’ll open a restaurant and café that will feature what I’ve learned over the years.

How do you fit your cooking around your work life?

Another reason I look forward to cooking is it provides me with a work–life balance. Everyone needs to eat! I’m able to cut myself off from daily work duties and break into a whole other world. Whether it’s cooking at home, tasting a new dish or sipping a new cocktail, it keeps me going.

How do you source and select ingredients for your home-cooked meals, and what importance do you place on using fresh, seasonal produce?

I love to visit the local farmers’ market every weekend. You get to learn how the ingredients are grown, who grows them and when they are in season. Plus, fresh products last longer than what you would get from a supermarket. You don’t need to purchase the perfect-looking produce, they all taste the same and have the same nutrients. I also don’t like to bulk buy as I think that can cause over-buying and wastage.

What advice would you give to someone who wants to start or get more creative with their cooking?

Motivate yourself to just start. It’s not meant for everyone, but it could be as simple as cooking an egg. Eggs alone can be prepared in multiple styles, temperatures and cooking methods –one of my favourites is the dehydrated egg yolk grated over pasta, risotto, meat and veg. Once you get comfortable with the basics, start exploring what happens when you change something in the cooking process – you might just impress yourself! Don’t expect to become a master overnight. If you go back and look at my Instagram posts, you can see how my dishes, plating and even photography have developed over time.

What’s the reaction been from friends and family?

Everyone who has seen my dishes are eagerly waiting to try and those who have tasted them leave intrigued and impressed. I push myself to create a dining experience and not just plate up a few dishes. I try my best to showcase the uncommon ingredient that someone would not usually opt for but, when put together with a known ingredient and a pairing of wine, leaves a memory of when you dined at mine.

www.instagram.com/moswain

Scallop tartare with balsamic caviar

Moswain Antão

Seared foie gras and caramelised peaches

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Choosing the blue pill

Balancing a full-time career with a part-time business is a high wire act for any emerging entrepreneur. Richard Lawn meets Kasper Skårhøj, who rose to the challenge

HAVING INVENTED THE CONTENT MANAGEMENT

system TYPO3 in the early millennium, web designer Kasper Skårhøj found himself overwhelmed by the rapid advancements of internet technology. “It was a problem for me to detach myself from the technology, and I needed to reboot,” he recalls. As an e-learning consultant at the Technical University of Denmark, he developed a fascination with video production and streaming lectures online. The year was 2012, when there were few solutions to capture, record and transmit lectures. “At university, there was only a mixture of PowerPoint slides, together with writing on whiteboards or traditional blackboards. I started to develop solutions for technological integration during time off in between university

Skårhøj promoted his developments on a website, the reactions vastly exceeding his expectations and, realising he would have to cease this pastime or take the plunge and develop the business, he launched the self-funded SKAARHOJ limited company from a garage. Products were customised, combining interfaces such as a button and a T-bar in a box. Its solutions for remote learning meant SKAARHOJ could react quickly in 2020: “We were well-positioned owing to the spike in demand for remote production solutions. Personally, I would have preferred not to have experienced a pandemic, but our sales grew, despite the obstacles we faced in delivering product. The supply chain was a problem as were rising prices, but smaller companies such as us could manoeuvre

Today, the company develops universal broadcast control panels for content creators in live broadcast productions, including RCPs for camera control, PTZ robotic camera controllers, vision mixing surfaces, router control panels and auxiliary products. The flexible hardware platform is designed

for the increasingly dynamic tactile control requirements of broadcast through the integrated control of hardware or software.

More than 20 different form factors with encoders, joysticks, faders and unique buttons offer simple four-way functionality. Each product varies in size, dimension and control points like buttons, knobs, fader handles and joysticks. Cameras, video switches, routers and software can be integrated from small livestreams up to major broadcast networks.

Designed to operate on the UniSketch OS or Blue Pill/ Reactor signature platforms, applications known as device cores facilitate communication with other live production devices including cameras, video routers and vision mixers. The open integration of third-party devices for bespoke application control has contributed to a rapid rise in partnerships with the likes of ARRI, Panasonic and JVC and informal collaborations with AJA, Bird Dog, Canon, Lumens, Marshall, NewTek, PTZ Optics, Ross and Vaddio.

Initially named after SKAARHOJ’s colours, Blue Pill conjures up other connotations: “In The Matrix, Neo is offered the choice of a red or a blue pill. Like Neo, most people would choose the red pill, but I would challenge that because the blue pill would send him back to a stress-free life without the intricacies of how the world works. Blue Pill is the right choice for those wishing to remove the complexities of technical integration by pressing a button or manoeuvring a joystick for control.”

There are also comparisons with Lego: “Each panel can be combined to build a different solution, through integration into the same panel for added modularity. The combination of hardware and software and increases in computer processing power will continue to futureproof the capabilities of the Blue Pill platform. With the Blue Pill hardware incorporated into the

Blue Pill hardware incorporated into the controller

SKAARHOJ CEO, founder and chief designer Kasper Skårhøj

controller as an all-in-one unit, the user no longer requires a stand-alone Blue Pill together with a UniSketch panel.” Skårhøj remains firmly involved with the technology. “I still regard myself as part of the engineering team, but SKAARHOJ consists of an amazing set of engineers with an enormous amount of knowledge in AV and video technology. This includes five broadcast engineers who work in Austria, Poland, Ukraine and the US. By inspiring one another on Zoom, we collectively develop new product ideas.”

Blue Pill products are often specified for scalability and ease-of-use, but Skårhøj admits it’s surprisingly difficult to engineer simplified solutions. “In the past, we tended to push our capabilities and provide too many features. It is important to remind the team to keep the designs simple and achieve a balance. This demands user feedback, and consistent contact with users which ultimately leads to upgrades and adjustments of our designs.”

The company has slowly built a team of 23 like-minded people. “I met our Poland-based technical sales manager, Maciek Janiszewski, when collaborating with another manufacturer. When we advertised a sales engineer vacancy, Maciek applied for the role; we had both formed a good impression of one another during that project. Others came to us on internships and have become some of the most productive contributors in the company.”

The brand’s global reach currently stretches to 40 countries with potential to extend further, though Skårhøj insists the business will continue to grow organically.

“SKAARHOJ will remain based in Denmark and it’s vital that we keep our soul intact. We trade on quality and will continue to manufacture here in Europe. It may make more fiscal sense to manufacture outside the EU but there are more language barriers to orchestrate, and there is a higher chance of error. Therefore, we adopted an added value model by partnering with electronics manufacturers here in Denmark and assembling in our own facility. Our wide portfolio ensures that each manufacturing run is relatively

Pro AVL Asia(MWC)W22.8H15.4cm.pdf 1 2024/4/8 上午 10:24:50

Owing to integration projects, collaboration with audio manufacturers is growing. “We are increasingly integrating our solutions within the broadcast audio domain, bridging our control and integration technologies that traditionally pertained to broadcast into the AV sectors, because of the IP networks.

Meanwhile, Skårhøj’s instructive videos have gained prominence on YouTube. “It’s an inspirational social activity for me talking to the camera,” he admits. Clearly, the blue pill was the right choice for this Danish entrepreneur.

www.skaarhoj.com

low volume; this makes little sense in terms of outsourcing to a contract manufacturer.”

Different form factors feature encoders, joysticks, faders and unique buttons

The art of sound

A new building at the Art Gallery of New South Wales (AGNSW) is putting the art into party. Richard Lawn descends for a guided tour

LIKE LIBRARIES, ART GALLERIES HAVE COMMONLY been associated with silence. But today’s galleries are using sound to enhance the sensory experience. Referred to as Sydney Modern, the Art Gallery of New South Wales (AGNSW) has embraced AV technology as a vital component of its offerings below a striking glass atrium exterior.

Internationally respected and Pritzker Prize-winning Japanese architectural firm SANAA was commissioned by the New South Wales government to design the new 16,000m2 landmark. The company has created an overwhelming impression of light and space, with wide glass windows on the ground level overlooking the Royal Botanic Gardens. During the design phase, a former prime minister described the plans as “a large entertainment and special events complex masquerading as an art gallery”. Since opening, the AGNSW has done little to dispel the fact that the gallery – or perhaps venue – is earning a reputation as a great

Both the principal AV consultant Bosco Tan, and systems integrator Fredon Technology, played significant roles in integrating highly flexible and powerful AV technologies without compromising the architecture of the gallery. “SAANA demanded the audio technology have a minimal impact aesthetically, so no loudspeakers could be visible below the ceiling,” says Tan. “We adhered closely to the architectural design principals while maintaining the multifunctional capabilities of spaces on all four levels.”

Due to this multifunctional requirement, plus the need for high-quality audio, a single converged speaker system was designed as both the EWIS (electrical wiring interconnection systems) and paging loudspeakers. “The architect did not want to see any loudspeaker outputs,” explains Tan. “However, it is not possible to reduce the amount of fire safety and public address speakers simply for aesthetic reasons. There must be a compromise, so we made a

SAANA insisted that the AV technology could not detract from the interior aesthetics

L–R: Bosco Tan and Dan Doronzo

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concerted effort to consolidate all the outputs to minimise the visual impact in the building.”

Following EASE simulations and drawings, calculations were made by inputting the acoustic surfaces and room dimensions. The resulting design focuses predominantly on ceiling speakers. “Upon entry, the glazed reverberant venue resembles an airport terminal,” continues Tan. “When we first looked at that glass box design, our immediate goal to make the gallery sound like an events venue was downscaled to maximising coverage from a minimal number of speakers. To obtain the required STIs, Technical Audio Group [TAG] deduced how far we could go in terms of coverage with the widest loudspeaker spacing.” Adds technology specialist Dan Doronzo: “We invited several vendors to propose a speaker system that could operate across the Dante network. Having written a detailed design document, we finally specified QSC loudspeaker and Q-SYS DSP systems. We knew from experience that TAG would provide excellent support through integration and that the brand is synonymous with excellent background and foreground music. The Australian fire service standards are very restrictive as to what loudspeakers you can use, but both TAG and Q-SYS demonstrated their commitment by acquiring the EN54 compliance documentation for fire certification. Despite the different ceiling depths, a standard AD-C6T together with a low-profile version of the same 6-inch speaker were applied across all the zones.”

technicians,

QSC AD Series ceiling speakers are effective in areas with high ambient noise levels, such as the café

An AV rack comprising control processors and power amplifiers is installed in the comms room on Lower Level 3 (LL3) for site-wide audio distribution. Dual Q-SYS Core 510i 256x256 integrated processors are connected to QSC I/O-8 Flex routers for paging including chimes and pre-recorded messages, audio show relay signal distribution and audio to the Listen Technologies assistive listening systems. The centralised AoIP network links the fire detection and alarm system and the distributed speaker systems. EWIS paging announcements are received and output to the entire speaker network via fibre-optic patching and tie lines. Ensuring that PA announcements remain intelligible, ambient noise sensors installed into high traffic public areas, including the education space, manage the volume without impacting set BGM levels. Each zone has a 10-inch wall-mounted Crestron touchpanel for volume and mute controls.

Pooled production equipment including cameras, radio comms and a portable Allen & Heath C1500 console can be patched into panels around the venue for broadcasting. “The venue is an art gallery and a live venue, making it a highly flexible commercial space that can be hired out to maximise revenues,” continues Tan. “Artists can host talks and discussions for streaming throughout and beyond the venue. An advanced network infrastructure was installed as the management did not want cables running during events. With the Dante network, a room is connected to an intelligent touchpanel which can then reconfigure itself to control that space.”

The AGNSW may close to the public every day at 5pm but this is often when setup begins for private evening functions. “This only leaves a two-hour turnaround for private events starting around 7pm,” says Doronzo. “The IP-based audio and video network infrastructure ensures that stages, rigs, electrics and patching can be easily transported and patched in. For the gallery technicians, the touchpanels and portable systems save valuable time. We have created two modes of operation – simple and advanced – that allow the gallery technicians to set up their own equipment.”

The galleries, café and education spaces are connected via fibreoptic cabling from floor boxes and ceiling outlets to the localised comms racks. In addition, the black box and multipurpose space have dedicated fibre-optic installed by the AV contractor. “The black box has been designed as a highly flexible presentation space for multimedia installation works and workshops in addition to videoconferencing,” explains Doronzo. “Together with the multipurpose space, the black box is classified as a high functionality area, where the demand for greater audio flexibility and functionality led to increased audio specifications.” Set against a 5.5m x 3m (WxH) backdrop, a chroma key green screen serves as a portable background support. For the black box visuals, three motorised 5,500 ANSI lumens laser projectors connect HDMI and SDI video sources via SDI to HDMI converters for output to a temporary projection surface or 160-inch motorised screen with rigging points. Capable of supporting HD-SDI I/Os, a Blackmagic Smart Videohub 20x20 and ATEM 1 M/E Production Studio 4K support matrix switching and distribution via the patching infrastructure. Control can either be maintained wirelessly over the network or from a Crestron touchpanel.

In addition to networked BGM, EWIS and PA announcements from the distributed ceiling speaker system, the black box studio can output locally sourced audio. Portable enclosures can be patched in to provide imaging for presenters operating from a mobile lectern that incorporates a BenQ monitor, Crestron DM-NVX-352 IP encoder/decoder, a Shure ULXD8L51 transmitter and MX418C gooseneck mic.

Lighting can be controlled and recalled from presets stored on a portable ETC ColorSource 20 AV console. The lighting kit was also designed for rapid setup. With the potential for advanced lighting setups, the basic three-point lighting system comprises ShowPro LED PixPar3 RGBW Zooms, colour tuneable LED panel soft lights, 5-inch Fresnels and Theatrelight TL-F500 LEDs. Theatrelight TL-F1000 LED medium Fresnels and a battery production kit comprising Fresnel LEDs with barndoors and LED wash uplights, with WDMX transceivers on pole mounts, complete the portable inventory.

Providing 24 3G/HD/SD-SDI video and two MADI ports for up to 128 audio channels, a Riedel MediorNet MicroN signal interface

The AGNSW is located in the Royal Botanic Gardens

A combined PA and EWIS system complied with the architect’s request for minimal impact

For gallery

the portable systems save valuable time

Basic ceiling and advanced cabinet speaker systems in the

aggregates the venue’s audio, video and data I/Os. Providing basic video and film production, the mobile hardware resource pool facilitates chroma key screen and multi-point camera filming, live video manipulation and video editing together with broadcast. Inventory includes Blackmagic URSA 4K video cameras, mobile tripods, Blackmagic UltraStudio 3G monitors and a large 4K video monitor together with three PC monitors and a teleprompter.

An Allen & Heath dLive C1500 control surface fitted with Dante I/O 128x128 networking, gigaACE I/O and MADI I/O cards handles audio mixing from multiple locations within the venue. Patching can be made via facility panels combining analogue audio lines, Cat6a and networked audio connections. Audio hardware includes DPA 4060 wireless lapels and Shure SM57 condensers for speech, Sennheiser 416 shotguns for mounting on video cameras and four channels of Shure PSM1000 IEMs comprising four receivers and two transmitters.

The multipurpose space on LL2 provides multiple configurations for theatrical performances and events, with AV hardware specified for ease-of-use by AV technicians and event managers. “Exhibition technology can be applied according to the event being staged in addition to the permanently installed infrastructure,” comments Tan. “Therefore, we created two modes of operations including a basic mode for temporary and simple setups of portable equipment.”

The basic mode consists of a stage, presenter and mobile lectern setup, with a 20-piece distributed QSC AD-C6T ceiling speaker system for BGM, wireless microphone reinforcement and presentation audio, together with a video projector and motorised screen. Providing control from the lectern, stage management position and FOH position, two wall-mounted Crestron TSW-1060-W-S 10-inch touchpanels in the AV storeroom and near the primary environmental control panels require PIN code access to access advanced settings.

This space can also host staged events, performances and dining functions utilising a stage and a dancefloor plus custom events using the patching infrastructure and temporary equipment. A mobile rack equipped with an Apple iPad combines a Focusrite RedNet A8R Dante 8x8 analogue I/O, Shure ULXD4QL51 bodypack head worn and handheld transmitters for pairing with wireless

receivers and DPA 4060 lapel mics. Providing consistent coverage across the space, dual four-channel RF microphone receivers are boosted by four ceiling-fixed Shure UA221 and UA844+SWB antennas. The RF microphone systems support automatic frequency management and monitoring through a connected PC. Higher SPL events are supported by a flown system of d&b audiotechnik V10P passive point source cabinets in an L-C-R configuration. Four Y10P and four Y7P d&b enclosures serve as out fill delays and front fills respectively. Beneath the stage, four d&b V subwoofers in cardioid mode reinforce the lower frequencies. Finally, in-the-round performances can be created by centrally suspending another d&b V10P. System presets for predefined speaker setups are programmed and stored for automatic recall in the racked 30D network amplifiers. Primarily used for foldback within the LL2 space, six d&b M6 stage monitors can be redeployed as FOH speakers elsewhere in the venue.

To maintain compatibility, an Allen & Heath dLive C2500 console surface can be connected to a choice of DM32 and DM48 MixRacks. The unit is fitted with Dante I/O 128x128 networking, gigaACE I/O and MADI I/O cards. The C1500 console can be patched into any of the facility panels fitted with analogue audio lines, Cat6a and networked audio connections. “To maintain consistency between the multipurpose space and the existing galleries, two digital stageboxes are available for both consoles,” explains Tan. “Allen & Heath DX168 and DT168 stageboxes support 16 XLR mic inputs and eight XLR outputs. Support for future use of Dante-enabled stageboxes will be available through the AV data patching provided and the production network.”

Designed to be operated in multiple locations throughout the venue, the rackmounted production video switcher and portable control surface allow AV personnel to manually switch between sources for presentation to the projector screen. Connection via facilities panel patching combines analogue video lines and video over Catx networking. Specified to support a nominal throw distance within 3–5m from the screen, two Panasonic 10,000 ANSI lumens laser projectors receive both HDMI and HD-SDI (BNC) inputs. In addition, a basic mode projector fixed on the ceiling and a 200-inch motorised dropdown screen can be operated from the Crestron control system. “The limited ceiling height in the space dictated the final setup including the screen being positioned before an audience seated on the flat floor up to 12m away,” continues Tan.

Located at the rear of the multipurpose space, a Panasonic AW-UE70KEJ PTZ camera captures and distributes performances over the Catx network. Production communications include a rackmounted analogue interface and four wireless transceiver antennas together with eight wireless beltpacks with headsets. Two transceivers are fixed and two can be set up within the green room, dressing room or other gallery spaces.

Capable of transporting 4K 4:4:4 HDR video across a standard gigabit network, Crestron’s proprietary NVX system was specified as the VoIP standard across the galleries’ AV networks. Limited to 80 endpoints in the form of NVX encoders or decoders, a Crestron control processor handles switching and routing management.

Fixed to the external wall above the escalators on LL1 leading to LL2, a large-format NEC LED videowall provides specialised content and artworks of static and moving images. Measuring 16.8m x 5m (WxH) with a nominal pixel pitch of 2.32mm, the display is connected to a NovaStar controller and video playback from Apple Mac Pro computers is stored on disguise VX media players. Combining three separate display units, each NEC LED is synced via a single broadcast standard clock source. As an extension of the centralised networked DSP, the gallery can monitor and manage audio parameters over the Dante network. “The Dante, AES67 and QLAN IP AoIP protocols are supported throughout the network,” explains Doronzo. This allows any audio signal to be remotely monitored and managed from a laptop or central control PC installed with Dante Domain Manager. Providing a latency of no greater than 0.5ms, 128 channels of bidirectional audio can be transmitted throughout.

“Designed to be expandable, flexible and adaptable for future expansion or configurable as required for events, the Modern has the option to install additional endpoint devices should it need to expand I/O capabilities,” he adds.

The digital signage system is based around a cloud-hosted content management server with localised players and receivers installed at the displays. Curated content, including both static and moving images and video, promote exhibitions on display and information for events at the galleries. Installed directly behind each display or within the enclosure itself, the digital signage media players have onboard storage for continuous HDMI output.

Full HD 1920x1080p portrait displays include 55-inch Philips and 75-inch LG models in addition to three 55-inch OLED/LCD curved panel displays at the ticket desk information hub.

“By routing any audio source to any speaker in the network, and by monitoring and managing the signals in the app, Q-SYS has maximised venue flexibility for years to come,” concludes Doronzo. Having successfully navigated the non-negotiable design guidelines delivered by SAANA, the team has interwoven a fully functioning AV system that can switch from basic to advanced mode at the push of a touchscreen, maximising both venue use and profitability.

www.artgallery.nsw.gov.au www.bespokely.com.au www.fredon.com.au www.tag.com.au

A high impact NEC LED video wall installed above the escalator

Neilson Family Gallery

Music business

The live room, where artists can come and start playing, is connected to a recording studio

A flexible boardroom was required for in-person conferences and videoconferencing

Sony Music India has relocated to brand-new premises in Mumbai in a move to improve collaboration and accommodate the company’s growth. Caroline Moss reports from Mumbai’s Bandra Kurla Complex (BKC)

AS ONE OF THE COUNTRY’S LARGEST GLOBAL MUSIC companies, Sony Music India dominates 25% of the Indian music market. As such, the company needed new premises in Mumbai, and it made sense to move to the upscale commercial hub of BKC. M Moser Associates architects set to work designing a facility in a newly built office block that would streamline the company’s workflows and provide for future growth.

Cyril Thomas and Utkarsh Naidu from Munro Acoustics India worked closely with M Moser Associates to design a facility that would not only give Sony Music India the space and flexibility for its different business activities but would also provide high levels of privacy for meetings with artists.

“The client had a specific vision of how each room should function,” says Thomas, indicating a large boardroom where AVL Asia begins the tour, just a week after staff had relocated to the new premises. “They wanted a wooden veneer finish, so we incorporated a lot of perforated elements – the ceiling as well as the walls – to counteract these reflective surfaces, fitting absorptive acoustic material behind the wall. We’ve also hung curtains over a large window dividing the room from the open plan office space outside.”

A high degree of isolation was a prime consideration for the boardroom. “Acoustic privacy is of paramount importance, so that highly sensitive meetings can’t be overheard,” continues Thomas, explaining that reverberation time also needed to be carefully managed to provide optimum speech intelligibility. “It’s not a dead space, like you’d get in a recording studio, but it doesn’t give you that slap-back effect as if it was all flat, shiny surfaces.”

AV integration was handled by Innovative Systems & Solutions, which came onboard just two months before the premises became fully functional, sourcing, installing and commissioning all the AV systems. Sony’s own AV equipment, including video monitors and projectors, has been integrated throughout the building, alongside Genelec, QSC and Poly. The IP backbone of the facility is provided by Netgear M4250 AVLine AoIP network switches.

“The client required a flexible boardroom setup to handle in-person conferences and presentations, as well as videoconferencing,” explains Bhavin Sureliya, chief technology officer at Innovative Systems & Solutions. “Everything is wireless with the option of wired connectivity too. Connecting to laptops and other devices is done through a single switch, and wired connectivity gives the option of USB-C.”

A Poly G7500 4K videoconferencing system provides connections for cameras and microphones and support for native third-party applications such as Zoom, Microsoft Teams and Google Meet. “We have integrated the Poly system with a QSC Q-SYS NC-12x80 PTZ videoconferencing camera,” continues Sureliya. The Q-SYS backend incorporates a Core Nano audio, video and control processor, input and output expander boxes for DSP and a TSC-101-G3 touchscreen controller. The boardroom is equipped with a Sony FW-75BZ40H 75-inch professional display, a Barco ClickShare CX-30 interactive wireless presentation system and Lightware Taurus series switcher. Audio is relayed via six Genelec 4435A IP installation ceiling speakers in white, while a Sennheiser TCC2 Team Connect ceiling tile microphone – also in white – tracks speakers’ voices during meetings. Despite the project being completed in a reasonably short timeframe, it wasn’t entirely free of lingering supply chain issues. All areas, from the meeting rooms and cabins through to the boardroom, are fitted with Poly videoconferencing equipment supplied from Thailand with an 8–10 week lead time. “This was very close to the deadline of the project, with everything flying in just three days before,” says Sureliya. “With all cabling in place, it was a matter of connecting everything up in time to meet the deadline.” The entire installation was done in less than three weeks. “It was a straightforward project, with no complexity to any of the rooms,” he continues. “It’s designed in such a way that all the equipment is easy to use; anyone can come in and start it up.”

There are six six-seater and two four-seater meeting rooms. All eight have near-identical equipment packages based around Poly Studio X50 videoconferencing bars, Sony FW-55BZ40H 55-inch

Each meeting room has pair of Genelec 4040A monitors for consistency

L–R: Bhavin Sureliya from Innovative Systems & Solutions with Munro’s Cyril Thomas and Utkarsh Naidu

professional displays, Lightware UCX-2x1-HC30 universal switchers and Klark Teknik DI 20P direct input boxes. Each of the rooms has a pair of Genelec 4040A active reference monitors to provide audio consistency during playback meetings with artists, and Audio Pro Link 2 audio streaming devices. An Extron room booking system provides wall panels for meeting room scheduling, displaying occupancy and availability and facilitating reservations. The rooms also have Extron motion detection occupancy sensors.

Eleven smaller cabins are similarly equipped with Poly Studio X50 videoconferencing bars and Sony FW-55BZ40H 55-inch professional displays. Executive versions also offer a Barco CX-20 presentation system and an Audio Pro Link 2 streaming device. Devialet Mania portable stereo speakers are provided in six of the executive cabins.

A multipurpose space where town hall meetings, larger presentations and artist performances can be staged is equipped with an L-R DAS Audio system of three Event-26A compact line array speakers and an Event-115A subwoofer per side. “We suggested this for its compact size and it delivers a great sound right to the back of the room,” says Sureliya.

This area is also equipped with a complement of AV equipment including a Sony VPL-XW5000ES 4K laser projector, a Crystal Screen motorised projection screen, a Barco ClickShare C-10 interactive wireless presentation system and Shure SLXD24/B58 handheld wireless microphones and receivers. A Q-SYS audio network is provided by a Core 8 Flex processor with output expander boxes and a touchscreen controller.

A Q-SYS network extends through the common areas such as the cafeteria, corridors and washrooms, with Q-SYS NL-P4 and NL-C4 PoE ceiling speakers providing zoned background music or combining with other systems on the network to relay the same audio throughout the building for company-wide events.

Of course, no music company would be without a recording studio. Munro has designed an 8.8m x 7.8m live room with an isolation booth and a control room equipped with an Avid Pro Tools Ultimate package running on an Apple Mac computer, an Avid MTRX audio interface, an RND 5025 Shelford dual mic preamp, a Lewitt LCT 640 TS large-diaphragm condenser microphone and a pair of Genelec 8351 SAM studio monitors. Again, a Q-SYS backend controls the audio in this area. “They wanted this to be an open space where artists can come, pick up an instrument and start playing,” says Thomas, “and if they want to record somebody playing, it’s a really simple process. They also needed it to be consistent with their other facilities, so we had a few calls with their international team once we’d done the layouts.”

The live area is installed with a pair of LD Systems MAUI 44 G2 portable column array speakers and four Genelec 4435A IP ceiling speakers, with two modes set on the Q-SYS Core that provides the backend: a quiet mode for playback sessions and a party mode. “Musicians can use this space to jam, to connect their equipment and record,” says Sureliya. “They might, in future, use this space as an immersive audio listening space. We’ll just need to add a centre and some surround channels; the wiring is already in place.”

The move to this spacious new premises in the up-and-coming BKC district has provided Sony Music India with a highly efficient launchpad to continue its musical journey on the subcontinent.

www.genelec.com www.isspl.in www.munro.co.uk www.poly.com www.qsc.com www.sonymusic.com

A multipurpose performance space is equipped with an L-R DAS Audio system

Raising standards across the board

Known for providing high-quality sound and light equipment across multiple venues, Zepp Hall Network has upgraded its Japanese outlets with DiGiCo Quantum 338 consoles at FOH

ZEPP HALL NETWORK – A SUBSIDIARY OF SONY

Music Entertainment Japan – has been part of the concertgoing experience in Japan since 1998, providing the country with consistent, high-quality live music venues. The concept, which sees all Zepp venues permanently installed with standardised sound, lighting and projection systems and stage machinery, offers advantages to tour promoters and artists alike. Pre-equipped in this way, Zepp venues allow bands to turn up and play without having the hassle and expense of sourcing the equipment to stage a full production.

Since opening its first venue in Sapporo, Zepp has expanded to nine locations across Japan as well as in Singapore, Taipei and Kuala Lumpur. Capacity varies depending on location, but most Zepp live music halls can accommodate audiences of around 2,000. All nine Japanese venues now feature a DiGiCo Quantum 338 128-channel digital mixing console at FOH, the latest having been installed at a new venue in Shinjuku, Tokyo.

“When it comes to audio in particular, we have installed equipment with the same specs all over the country,” says Kota Ueno, a sound engineer for To Mix, the company in charge of equipment selection and maintenance. “A big advantage of Zepp is that we can provide almost the same equipment setup to the people using the venues, and I’m glad that we were able to maintain this with the FOH desk update.”

Previously, the FOH consoles were DiGiCo SD8s and it was initially planned to upgrade to the SD10 until Ueno intervened. “I strongly recommended the Quantum 338, which was announced in 2020, because I thought that the inclusion of a new model would be a selling point,” he continues, adding

from any position and enable two operators to work together simultaneously. According to Ueno, the Quantum 338 offers flexibility for engineers familiar with using onboard digital effects while also providing enough familiarity for those wanting to mix shows in ways they are used to.

New processing features, including Chilli 6 and Naga 6, are available via Spice Rack, whereby plugin-style native processing options can be inserted into all channel types in any position and controlled from the master screen and its worksurface controls. “Spice Rack can be used as if you were inserting a plugin, and I feel I can create more sounds than ever before,” says Ueno, who often uses the processing on the master bus or the vocal channels. “When you want to cut out unnecessary vocal parts using dynamics, you can of course do it with conventional dynamic EQ or multi-band dynamics but with Spice Rack you can see it graphically in real time. Also, since live performances can be very loud, I sometimes insert it into the master channels to deal with sections that are painful to the ears.” Another processing feature new to Zepp is Mustard Processing, which can be added to the SD Series’ channel strips and includes EQ, compressor and tube preamp simulation.

Another new feature that Ueno admits to being surprised by since upgrading to the Quantum 338s, is the greater uniformity of sound they have produced in combination with Series V25-II line array cabinets and S28 subwoofers – across

that no live venues in Japan at that time had installed the console. “Also, when considering the years of maintenance, newer models are more advantageous. We also decided that this was the best time to switch at the other eight locations. It really feels like we’ve entered a new era in terms of updating Zepp’s audio equipment.”

Ueno and his team have been finding their way around the new consoles, which feature three touchscreens with adjacent knobs that allow engineers to operate the desk

As a final point, Ueno has noticed that the Quantum 338 is impressing clients with more than just its audio quality. “Due to its location, Zepp Shinjuku has a lot of customers from overseas, and I often see people taking pictures of the desk, which has very colourful LEDs that stand out against the black control surface,” he reveals.

www.digico.biz www.jblpro.com www.zepp.co.jp

To Mix sound engineer Kota Ueno at the Quantum 338

Upholding a tradition

Pivotal to Chinese film production since the 1960s, Shaw Studios Hong Kong facility with a Meyer Sound-equipped Dolby Atmos mixi

ALMOST A CENTURY AGO, IN 1925, THE SHAW BROTHERS established Unique (Tianyi) Film Productions in Shanghai, opening a production branch office in Hong Kong almost a decade later.

In 1958, younger brother Run Run Shaw moved to Hong Kong and founded Shaw Brothers (Hong Kong), also establishing what was once the largest privately owned studio in the world, with a staff of 1,500 including in-house film directors, scriptwriters, actors and actresses, cinematographers, production designers and props masters. The Shaw Brothers facility, Shaw Studios, included 10 indoor sets, several outdoor sets, stables with 15 horses for Kung Fu movies, a film lab, recording studios and screening rooms, enabling it to provide the entire range of filmmaking requirements, from preproduction through production and postproduction. Over the next 60 years, the company became a global leader in the production of Chinese-language theatrical and television content. Over 1,000 feature films were produced at the Hong Kong facility, many of which are today considered classics of Chinese cinema.

In 2000, work began to move Shaw Studios from its historical location in Clearwater Bay to Tseung Kwan O, with operations beginning in 2005. Today, 93,000m2 of built space is spread over 10 acres connected via a 10-gigabit fibre-optic backbone. The lot offers soundstages, 18 sound and picture editing suites, production offices and workshop facilities, servicing feature film productions and co-productions as well as television projects from Greater China and overseas. In line with global trends, the studio is also handling an increasing amount of streaming production in all its forms from all over the world.

Two years ago, work began on a major upgrade to keep pace with global digital production and meet the changing market requirements. This has included a Dolby Vision colour grading room and a Dolby Atmos mixing suite. The newest addition to the upgrade project is the Dolby Atmos-certified Shaw Theatre, which was completed in the summer of 2023 and is referred to in-house as the jewel of the facility.

With 363 seats, including 18 reclinable VIP seats at the rear, the 750m2, state-of-the-art Dolby Atmos theatre is one of the largest of its kind. Designed by renowned acoustician Tom Hidley – the man behind all of Shaw’s postproduction facilities – the theatre is

built on a foundation comprising giant rubber bearings sandwiched between concrete slabs. To further minimise extraneous noise and vibration, the theatre has been constructed with a box-in-abox design, ensuring that it doesn’t share any party walls with neighbouring rooms.

The new theatre is a prime example of Shaw Studios’ philosophy of using its postproduction facilities as multipurpose spaces. The size of the room allows film directors and postproduction crew to listen back to their mixes in a real world-sized cinema and experience what their audiences will hear when the film is released. In addition, the theatre offers an audio postproduction service for film and TV, functioning as a mixing theatre for sound design, sound editing, audio mixing and the creation of sound effects in 5.1, 7.1 and Dolby Atmos formats, and it can also be used as a colour grading suite, Additionally, the theatre – situated at the end

of a grand promenade with adjoining banquet hall, exhibition area and VIP lounge – was designed with red carpet movie premieres, film award ceremonies, gala dinners and cocktail parties in mind. A total of 79 Meyer Sound speakers supplied and installed by Ptarmigan Integration form the Dolby Atmos system. This encompasses five Acheron 80 two-way screen channel loudspeakers, 12 X-800C high-power cinema subwoofers, six VLFC very low-frequency control elements, 10 HMS-15 and 36 HMS-12 cinema surround loudspeakers and 10 750-LFC very compact low-frequency control elements.

“Meyer Sound systems are becoming the industry standard in cinema postproduction facilities in Hollywood,” comments Meyer Sound’s director of international sales, Scott Gledhill. “Now, prestigious studios throughout the world are benefitting from using the same systems and tools. Shaw Studios have built a world-class

Run Run Shaw leans on a Rolls Royce surrounded by acting talent

mix room and spared no expense to bring it in line with some of the top facilities globally.”

At the theatre’s FOH position is a 96-channel Avid S6 mixing console with three master modules and 96 faders, supplied and installed by local solutions provider Digital Media Technology and equipped with four Mac Pro computers running Pro Tools HDX. Other equipment in the theatre’s setup includes a Dolby CP850 cinema processor, a Dolby rendering and mastering unit and a Dolby IMS3000 integrated media server. Video content is output from a Barco SP4K-55B RGB 52,000-lumen laser projector onto a 17.6m-wide image size Stewart Filmscreen projection screen with 1.3 gain.

“The project was only made possible with the support of Dolby,” says Helena Young, director of production services and marketing at Shaw Studios, emphasising in particular the roles of Dolby’s content and industry relations director, Alex Or, and engineer, Harrison Wang. “They gave us technical guidelines right from the planning stage and helped us map out the room and the speaker requirements to fulfil the standards for Dolby Atmos certification.”

The first client to mix in the theatre was award-winning director, Dante Lam, for his action movie, Bursting Point. The theatre has also hosted the First International Film Festival, which focuses on discovering and promoting young filmmakers.

Shaw Studios has also embarked upon another industry initiative by partnering with the Hong Kong Design Institute to open a virtual production facility at the campus, intended to support professional education in the sector and enhance filming facilities in the city. The new studio boasts state-of-the-art virtual production tools including Hong Kong’s largest Samsung micro LED display and virtual production technology from disguise.

www.dolby.com www.meyersound.com www.shawstudios.hk

DMT supplied a 96-channel Avid S6 mixing console with three master modules and 96 faders The Dolby Atmos system comprises 79 Meyer Sound speakers

Richard Lawn visits a heritage venue in Melbourne that has been given an acoustic makeover and a d&b installation with Q-SYS control

UPON COMPLETING THE ACQUISITION OF

Melbourne’s Regal Ballroom in March 2020, new co-owner Andrew Mansfield was aware of the challenges he faced in transforming the Baroque-style wedding chapel into a multipurpose venue. Covid restrictions in one of the most locked-down cities in the world was not one of those. Three years on, and with a little help from commissioned experts, the venue is hosting live music performances for up to 1,500 patrons under the new name of Northcote Theatre. The original façade and interior of the 1912 heritage-listed building, including a high vaulted ceiling decorated with ornate plasterwork, remain largely intact. In addition to a groundfloor Italian trattoria and wine bar, a previously boardedup mezzanine area overlooking the auditorium has been transformed into a cocktail bar. Works conducted during the pandemic included extensive room acoustic improvements and the installation of a d&b audiotechnik XSLi loudspeaker system.

“Essentially, it’s a venue that’s capable of hosting a highlevel, rock-and-roll show without annoying the neighbours some 15m behind that wall,” explains Dave Jacques, audio designer at NAS Solutions. “The client initially contacted us to demonstrate an all-in-one loudspeaker system that all acts would want to use. Initial conversations regarding the size and scale of what Northcote wanted to achieve led to the infrastructure requirements for installing a touring-size loudspeaker system into what is a heritage-listed building.”

Having initially opted for a d&b audiotechnik KSL loudspeaker system, the imminent launch of the XSLi installation-specific line array module designed for small- to medium-scale sound reinforcement served as a punctuation mark in the proceedings. NAS convinced Mansfield that the XSLi would be the right solution for their needs but had to prove that this new loudspeaker would contain noise pollution

successful demonstration led to Front of House Productions being commissioned to integrate an L-R line array system into the venue.

“The building was built during an era when acoustic reinforcement was king, allowing a performer onstage to project their voice to the entire venue without a microphone,” explains Front of House Productions’ head of audio, Jesse

company which focuses on large-scale audio and lighting productions. Mahoney previously worked for 12 years on concert tours for JPJ and knows what it takes to ensure the show must go on. “You’re thinking on your feet all the time when you are touring, and you must make things work within a limited timeframe. The Northcote project was my first permanent install and, in hindsight, I didn’t have to

d&b’s new XSLi installation line array speakers form the main L-R system

L–R: Front of House Productions’ Jesse Mahoney with NAS Solutions’ Dave Jacques

do anything different from what I would do during a concert production.”

The actual installation was conducted towards the end of the Covid lockdowns. “Only a handful of people were allowed in the venue at the time because of the restrictions in place,” says Jacques. “When Front of House Productions were appointed, NAS knew they would improve the system performances as they came from a production background. The wedding hall reception architecture appeared very dated when I first arrived onsite.”

Jacques conducted data room measurements and modelling including the planned building works to the balconies. “d&b’s ArrayProcessing technology allowed me to minimise the level loss over distance and improve the focus of the coverage by avoiding the balcony edges and ceilings. With a bar at the rear of the balcony, I could taper the SPL level accordingly from the front to the back to enhance intelligibility in that area, allowing guests to order drinks while enjoying the show. ArrayProcessing steers the audio coverage and vastly reduces the reverberation returning from that zone. By accurately focusing the audio, we have enhanced the space to the benefit of the bar staff and customers.”

The roof weight capacity would ultimately limit the size of the desired speaker system. “We initially considered installing larger loudspeaker systems,” comments Mahoney. “However, it became clearer that the XSLi system would better suit Northcote because we could hang it from the roof, and it would offer improved coverage across the listening area.”

The main speaker system incorporates L-R ceilingsuspended arrays consisting of six d&b audiotechnik XSLi8 cabinets with two larger XSLi12 downfills powered by 40D amplifiers. “For a compact box, the XSLi provides sufficient low-end punch, and you can hang enough elements to provide coverage from the back of the balcony to the front of the stage without having to rely on any additional fill systems,” he continues. “A larger system would have required more infills and intrusive speakers onstage. With this configuration, we simply needed to add four d&b audiotechnik E8 and two Yi10P enclosures. It is exactly what I would have done for a large-scale concert venue on tour.” Delay systems for the balcony combine four flown d&b audiotechnik Yi7P enclosures with two 27S-SUB subwoofers together with two floor-mounted 18S-SUB subwoofers.

Prior to acoustic treatment, the natural reverb time measured approximately 7s. “Having a conversation was almost impossible because the reverberance in the space ruined intelligibility,” explains Mahoney. “If you wanted to play a track like Led Zeppelin’s When the Levee Breaks, the untreated venue was great but, for anything else, it was hard work. We hosted seven or eight gigs without any treatment in here at all and it was rough.”

Front of House Productions discovered an acoustic treatment called Megasorber FM that uses a membrane on either side of a specially engineered open cellophane. The venue applied the Megasorber FM between gigs to the bulk of the reflective surfaces behind black wall panels. “In terms of bang for the buck acoustic treatment, it’s excellent as the reverberation time was reduced from around 7s to 2s,” adds Mahoney.

With its controlled directivity, the XSLi system proved to be a great solution. “With the ArrayCalc software, d&b offers a natural workflow in venue design from setting up the array angles, auditioning the coverage for the proposed configurations and creating a control system from the data for deployment into the venue. It ensured that the surfaces were not excited,” he continues.

Having attained desired sound quality, the venue was mindful of noise pollution emitting into the surrounding neighbourhood. Enhancing the lower frequencies, six d&b audiotechnik KSLi-GSUB subwoofers located under the stage had to be tamed. The understage subwoofers are configured in a typical cardioid configuration and, to reduce the low-frequency emissions to the residents at the rear of the venue, an enclosure with a cavity packed with 150mm of hard-packed building sand has been created. As a result, the low frequencies are contained within the double brick wall. In addition, the exterior doors are fully sealed with no air gaps and the interior doors are also equipped with an outer airlock, so if anybody needs to go outside during performances, the venue remains permanently locktight.

Operating revenue streams in Australian venues ensure the door takings and the merchandise goes to the artist and manager, while the venue relies on bar sales. Because of this, Mansfield prefers the thirsty country and western crowds to younger K-pop fans. Creating a desirable upstairs bar for operating outside performances would greatly increase the venue’s incoming revenue streams. As such, Mansfield requested Front of House Productions to add new modes of operation that would effectively extend Northcote Theatre’s hours of operation beyond concert performances. Distinguished by its large stained-glass window, the upstairs balcony area was cited to play zoned music when there are no live performances. Ease-of-use operation was required that would allow the venue staff to operate it outside show hours. “Most venues that have been set up for bands have a good sound system but cannot stream the main console mix to back of house or other zones in a manageable way,” explains Mahoney. “From a touch panel, the ability to switch the live sound system to a separately zoned upstairs bar venue would achieve this by programming multiple sources of background music without touring operators having to configure the amplifier settings.”

Having enquired with several systems integrators, his suspicions were confirmed and QSC’s Q-SYS control platform entered the picture. “I enrolled for Q-SYS online training and, having passed, was licensed to purchase a Q-SYS system,” he continues. “Once I sketched out what I wanted the interface to be for the house technician, it was easy to integrate Q-SYS into the venue. The programming of the Core 110f was simple and, by setting up a user interface, I created a flexible audio system. When switching from band to bar or DJ mode, the system is optimised for the format of venue operations in use at the time.”

Having traded in tour buses and hotels for his own bed and more regular hours, Mahoney is enjoying the new challenges at Front of House Productions. “We approached the project with a service-based mindset, providing what the customer wants,” he reflects. “From the outset, the residents had objected to the change of venue from wedding chapel to multipurpose concert venue. However, when they were asking when the theatre was opening, we were delighted to inform them that it had already opened several weeks earlier. When so little audio is emitting from the venue, even at full SPL, it serves as a successful hallmark for us.”

www.dbaudio.com

www.fohp.com.au

www.nas.solutions

www.northcotetheatre.com

www.qsc.com

d&b audiotechnik E8 speakers provide front fill

Four Yi7P speakers and two 27S-SUB subwoofers cover the balcony

Front of House Productions added Q-SYS integration for zoned music playback in the theatre

Northcote Theatre is located in a north Melbourne suburb

Moving between worlds

Richard Lawn of an immersive show featuring one of the most acclaimed artists of the last seven decades

away) experience drew a mixed reaction from traditional art critics. Ticket sales for the first 12 months, however, vindicate the investments made and the risks taken in breathing life into the blueprints of the bold design.

Designed by 59 Productions, the venue was built in collaboration with Haworth Tompkins architectural studio. Having led the technical and production teams at 59 Productions for 11 years, James Roxburgh is now technical director at Lightroom London. “We were looking for a home where an audience could see a show within a fixed installation context and discovered our current central London venue in 2022,” he explains. “It was originally built as a theatre, but the appetite for theatregoing was low at that point in the pandemic. It was not fitted out, so we opted to retain the original architectural features of Haworth Tompkins of what is a temporary site.”

Roxburgh describes the minimalist grey shell as a big black box. With visuals displayed onto the floor and all four walls, discreetly installed AV technology complements the artist’s vision. The challenge for the Hockney show’s system design was the ability to work with large video resolutions and play back 10-bit video. “Within this indoor setting, visitors can touch the walls with their foreheads, so visual refinement takes precedence over resolution.”

The David Hockney exhibition is accompanied by an original soundtrack from American composer Nico Muhly. The music is interspersed with the voice of Hockney, who narrates his approach and observations stretching over a 70-year career.

The combination of large-scale projection with immersive audio takes visitors within each work of art as the story of Hockney’s creative processes unfolds. The content of the 50-minute loop ranges from profound simplicity to bright imagery flashing at pace in every direction.

To bring Hockney’s colour-driven art to life, Roxburgh specified disguise’s video playback and projection mapping. Capable of playing lossless 10-bit colour video at 60fps, the four NVMe RAID drives of disguise’s VX4 media servers have been optimised to play up to four times uncompressed 4K60 video files. With disguise’s Designer software, end-to-end workflow from previsualisation to show control and delivery is enabled. Controlled through Designer, 29 Panasonic PT-RQ22K 4K 22,000-lumen projectors output content onto the seamless 108-million-pixel canvas, and multiuser programming allows the team to work simultaneously across the site.

James Roxburgh, technical director at Lightroom London

The newly constructed, purpose-built Korean venue

Unmatched

Unbridled

59 Productions was tasked to develop an audio system capable of matching the visual impact of the 360°, 11m-high projection mapping inside the four-level concrete space. For art’s sake, the installed sound system would need to be invisible so that all four walls would function as an unhindered projection surface from floor to ceiling. The highly reflective 26m x 18m x 11m cuboid shell proved a challenging environment when installing the visual components but, for audio, it was virtually inhospitable. Acoustic analysis confirmed a reverberation time of 6s. In addition to poor speech intelligibility and a lack of musical clarity, a conventional point source audio system was ultimately dismissed for not meeting the aesthetic criteria. Roxburgh turned to acclaimed sound designer, Gareth Fry. “I’ve known Gareth since 2009 and he brings a wealth of audio knowledge to any collaborative project,” he says. Having sought an out-ofthe-box alternative, Fry was sufficiently intrigued by Berlinbased developer Holoplot and attended a demonstration of the company’s X1 Matrix Array.

“Gareth knew upon hearing that first demo that Holoplot could be the solution to our problems,” Roxburgh continues. Having put the previous system design on hold, Fry requested that Holoplot arrange a demo for 59 Productions. “The demonstration confirmed the unique qualities of Holoplot,” adds Roxburgh. “To perform live sound reinforcement in a very acoustically hostile environment, the X1 is an incredible system when you consider the narrative and multiple sound effects being output in different zones. To describe it simply, it works like a three-dimensional line array in which delays can be set and the audio beams can be steered. Crucially, the 360° projection surface remains intact.”

Installed by Holoplot partner Creative Technology, X1 Matrix Arrays are embedded within two predefined wall cavities at the east and west ends of the room. To provide ventilation, cable routing and power data to the fixed X1 Matrix Array modules, the contractor was challenged to excavate large channels into the concrete walls. The acoustic centre of the east array is at 4.61m and at 6.66m for the west array. In such an arrangement, a traditional audio solution would create phase issues and spill between sources when facing each other. With each array consisting of four Modul 96 and four Modul 80-S audio modules, the sound moves seamlessly around the room.

According to Roxburgh, Holoplot’s combination of reflections and even sound coverage is leading to endless creative possibilities. Hidden behind colour-matched acoustically transparent material, the X1 Matrix Arrays employ 3D Audio-Beamforming and Wave Field Synthesis (WFS) capabilities and unique optimisation algorithms to create immersive virtual sources and precisely control the

sound in the room, preventing it from hitting the concrete walls. Designed to make the visitor feel encompassed within the space, 24 original stems were placed around the room in the form of different reflectors along the north and south walls. With the soundwaves converging at a set point in space, bundled waves are then reflected from the wall to mimic a point source setup where there is no array. As such, visitors localise sound from reflections regardless of location within the 380-capacity venue.

Now, the globally renowned arts and culture scene of the South Korean capital has been enriched with the opening of Lightroom Seoul in Godeok-dong, Gangdong-gu, the first sister venue for the London creation. As the second venue to host the David Hockney exhibition, the immersive exhibition space was developed by Lightroom London in partnership with Korean NFT art platform, Etnah Company, in the autumn of 2023. Sharing similar dimensions, the 59 Productions technical team delivered the AV technology into the newly constructed 12m-high space, sharing similar 18.5m x 26m dimensions with the London venue. “When the opportunity arose to collaborate with Lightroom Seoul, we were very eager to support them,” adds Roxburgh. “It is a natural partnership.”

Etnah Company’s portfolio includes digital art production, 3D content planning and production and art curation. Headed by Gallery Hyundai owner Hyung-Teh Do and Altava Group founder Andrew Ku, Etnah Company aims to elevate art to another level through digital technology. “The partnership with Lightroom London began serendipitously,” enthuses Etnah spokesperson Seol C Yoon. “Following Hyung-Teh Do’s discovery of David Hockney’s latest exhibition in the UK, Etnah contacted Lightroom London. Upon unveiling the exhibition to the media and the public, the response to date has been overwhelmingly positive.”

As the driving force behind Lightroom Seoul, Etnah commissioned 59 Productions to provide all the technical information for the show’s motion and IP. Having spent two years designing and installing the technology at Lightroom London, Roxburgh and a small team of programmers and installers were tasked to complete everything within just two months. “Working with artists such as David Hockney’s team means you only have a small window in which they can all make themselves available at the same time,” explains Roxburgh. “That fixed window of availability for Seoul was marked for late October. The stakes were high. If it was going to be delayed by a week, the opening would have to be postponed until March as that was the next date when the entire artist’s team could get together again onsite.”

Roxburgh explains that at the outset of the project, the Lightroom technical team aimed to create an exact

Bigger & Closer featured some of Hockney’s iconic images

dimensional replica with the latest technical advancements: “Naturally, we learned many lessons creating London that would ultimately benefit any subsequent venue. The dimensions of both venues are similar, but not everything matches technically as the Seoul location is a permanent visitor attraction. With the exhibitions hosting the same content both in London and Seoul, and regardless of room similarities, it is impossible to cut and paste a technological design that serves one venue into a different space.”

The newly constructed and purpose-built Korean venue incorporates more flexibility than its predecessor. With the video technology suspended on trusses attached to chain hoists that fly independently, the room can be reconfigured. “It is possible to install an exhibit in the middle of the room and focus the projection mapping onto it,” explains Roxburgh. “With the ability to change the rig there is added flexibility, whereas in London it is all fixed.”

The audio and visual components match in terms of the visitor experience, but Roxburgh reveals that Seoul possibly exceeds London in terms of what lies under the hood.

“The Seoul programmers wanted to operate a different set of tools, so we created a point-to-point fibre distribution infrastructure that adopts new elements. The disguise VX4 solution has been substituted by six Apple Mac Pros, each equipped with four outputs. Offering a higher brightness in a slightly smaller form factor, the specifications for the Panasonic projectors in Seoul are higher.”

Receiving signals from three Mac Pros, 14 Panasonic PT-RQ25 4K projectors produce the wall canvas. For the floor, a further three Apple Mac Pros output 4K content to the 12 Panasonic PT-RZ17K projectors fixed to ceiling

“Both venues are matched in terms of resolution, with HD on the floor and 4K on the walls,” explains Roxburgh. “By quartering the resolution, we effectively diluted the 4K image from the computer to produce four 1080p HD outputs on the floor. By sending a 4K signal to the receiver, the system automatically selects an HD resolution for the projector.”

The audio and video outputs are routed from separate media servers via a timecoder for precise synchronicity. To maintain time alignment for the projection mapping, the Mac Pros operate QLab 5 cue-based multimedia playback software on a timecode. Between the media server and the

timecoder, the signal is split within Sonifex Redbox six-way stereo distribution amplifiers.

A Daktronics NPN-4200 LED video display for digital signage at the main entrance is connected to a Novastar MCTRL4K controller. Extending the 4K60 resolution signal path, a Lightware MX2-48x48-HDMI20-A-R standalone matrix switcher and four Datapath Fx4 HDR units have been added for connecting a conventional matrix to a 4K HDMI matrix. Eight 4K cameras are routed to Blackmagic MultiView 4 monitors via a Videohub 20x20 12G router.

The Holoplot audio system in Seoul has been configured differently, as the space was less restrictive. “The concrete walls in London ensured that we could not install the X1 Matrix Arrays into the north and south lengths,” says Roxburgh. “In Seoul, we have implemented a distributed configuration with two Modul 80-S and two Modul 96 arrays

show basis. By providing continual support with software updates, added flexibility and features will be incorporated. The next stage will be to dynamically shift configurations during a show, and for the operator to configure the system on the fly.”

Kinoton Korea was contracted as the project’s systems integrator. “All the technical elements needed translating, both literally and philosophically, from the London version,” explains Roxburgh. “Managing director Chris Y S Bae, general manager Brooke Lee and their entire team ensured the project was a success. Without their abundant knowledge and experience, we could never have successfully opened the venue on time. Kinoton Korea fully understood our objectives and accurately communicated our instructions to the local construction teams. If the projection doesn’t work, then the experience isn’t going to work. They

in the equivalent north and south sections, together with four arrays fixed as single pairs within the east and west walls. The audio is output 3m above the floor, ensuring energy is not lost in the crowd when the room is busy. To achieve an even dispersion, the beams are aimed above head height.”

With preliminary designs approved by Gareth Fry, Roxburgh’s 59 Productions colleagues performed the technical integration: “Once we had ensured that the projection system was operational, Holoplot assisted us with software analysis for an assessment of the coverage pattern. As a fixed installation venue, Holoplot’s engineers can better assess the speaker’s capabilities on a show-by-

really were the go-to company for everything, otherwise the instructions would have been lost in translation.”

The audio installation including the works, infrastructure and technical commissioning was conducted over a fastpaced six-week period. “We never underestimated Kinoton Korea as they clearly were ambitious in the run-up to the project,” continues Roxburgh. “The Korean team had a fantastic work ethic which the 59 Productions team of technicians, programmers and creators tried to match. In the UK, we often have to accept that projects will be delayed and timetables will slip. In Korea, however, when they want to hit a deadline, they all work together to make it a reality.

The Korean work ethic reenergised our team over those six weeks as they pulled out all the stops to complete on time.”

Except for the Holoplot audio technology, the AV components were proven, tried and tested, according to Roxburgh: “We come from the live events industry, where the show must go on, so we demand reliability.

The X1 Matrix Array, therefore, was akin to a leap of faith. Today, experiences such as Lightroom ensure that audio commands an equal billing with video. Watching the latest exhibition, The Moonwalkers: A Journey with Tom Hanks, without the Holoplot speaker system would be unimaginable. In addition to the Cape Canaveral rocket launch, those big orchestral scores stir people’s emotions.”

Successfully translated from English into Korean, the Lightroom transplantation in Seoul is breathing new life into the world of digital art.

www.etnah.com

www.holoplot.com

www.kinoton.co.kr

www.lightroom.uk

lightroomseoul.com

The Moonwalkers is the latest exhibition at Lightroom London

Content within the 50-minute loop ranges from simplicity to bright imagery

A letter from America

Dan Daley examines America’s loosening grip on the world’s cultural hegemony

MUCH OF THE WORLD WHERE ENGLISH ISN’T THE native language can nonetheless communicate remarkably well with it. Much of that linguistic facility comes not from classrooms or tutors but rather from movies, music and other entertainment media, the vast majority of which over the last century has been American-made. Ever since movies started talking and Hollywood became Hollywood, America’s version of the English language has influenced and ultimately dominated the world’s cultural conversations.

It had a nice head start: for instance, India recognises 22 official languages and is home to over 200 others, but government business is still conducted in the language of the British Raj. But millions of others there and elsewhere learned their English from ubiquitous American films, songs and television shows. There is even a formal tutorial in English, Fluent With Friends, named for the TV show Friends, which will also teach aspiring English speakers plenty of cheeky double entendres. In fact, music even taught the English to speak English, at least the Americanised version of it, with words and phrases originating in the Black American experience and ultimately resold back to mostly young white Yanks by the 1960s’ British blues explosion.

However, like other aspects of the American global hegemony, its entertainment/industrial complex’s grip on the world’s aesthetic is loosening. Look no further than China. For decades, starting with Deng Xiaoping’s opening up of the country in the late seventies, US film studios and record labels saw a massive potential audience for their wares. Even as late as 2012, seven of the top 10 releases in China, like Transformers , were American films. More recently though, Hollywood has had to adapt itself to external expectations. China’s censors increasingly prevail over scripts, with dialogue replaced by explosive sound effects. And if the US continuously “won” the Vietnam War in Sylvester Stallone movies, China’s Hollywood reminds moviegoers there that they kicked our asses at The Battle at Lake Changjin , the 2021 release about a Chinese triumph over the US during the Korean War that’s now the country’s top-grossing movie of all time. On the other hand, neither of the two films that made up the dual blockbuster of Barbenheimer last year even dented China’s top 30 films. In fact, no American movie broke the country’s list of top 10 highest-grossing movies. Small wonder that Mandarin is now one of the leading languages taught in US high schools.

A letter from Europe

American music is also feeling the global cultural pushback, although the effects can be elided somewhat semantically. Though born in the US territory of Puerto Rico, Bad Bunny tops the US charts with barely a word of English in the lyrics. Before it became owned primarily by shareholders after its 2021 IPO, Universal Music Group – which traces its roots back to the American branch of Decca Records in 1934 –was a majority French firm and is now joint venturing with the United Arab Emirates. Music City in Dubai will serve as a regional hub, supporting both local and international recording artists with its own recording studios (branded as Capitol Studios, with a licence from the Hollywood original), educational academies and a full-service label supporting local and regional artists’ recording, touring, branding and merchandising needs. All that may remain of American influences there are the words “branding” and “merchandising”.

And that’s all that may be needed to acknowledge the American Century’s most durable influence on global culture. What America has become best at now is the financialisation of the arts. English remains the lingua franca of business and aviation but look closely to see our new watermark: it’s in every number that follows a dollar sign.

Phil Ward discovers that immersive isn’t always impressive

OCCASIONALLY IN THIS JOB, YOU GET A REALITY check. Most of the time we concern ourselves with best practices, notable achievements and new inventions. That is the currency of the trade press, in contrast to the wild subjectivity of consumer media and its army of opinionated commentators. In the words of London theatre critic and writer Kenneth Tynan: “A critic is a man who knows the way, but can’t drive the car.” We must forgive Tynan for overlooking the obvious fact that it may be woman who knows the way, and it was 1966. But his point is succinct. So we, in the business-to-business world of communications, talk to the people who can, and do, drive the car. To what extent they “know the way” is a whole new matter: how far creative ideas and choices are forged by the technology and the materials, and vice versa. Who has the map? That sort of rabbit hole. What we do know is that we’re going nowhere unless someone is driving. When, as happens more frequently than you might imagine, we witness less-than-best practices, under-achievements and misplaced inventions, we tend to look the other way. When I worked in MI publishing many moons ago, the sort that reviews new products for the budding musician, there

was a standard procedure for any model submitted that was on a collision course for a panning. There would be nothing in print; the offending item would be returned to the manufacturer or distributor with a diplomatic note explaining why there would be no coverage. This was, it was hoped, useful for the supplier, if not for the reader. The reader, unfortunately, was kept in the dark.

I thought about this when I dispatched myself to a large European cathedral a few weeks ago. Inside, there was to be a typical son et lumière display with a narrative concerning the British monarchy and its ceremonial trappings, just the sort of thing to stir the heart of the modern patriot. Interestingly, the event was promoted using the buzzword of the moment, which is “immersive”. I won’t bore you with any of my thoughts about this word, suffice to say that if you stand in a cathedral, you are already immersed in centuries of iconography.

This time, when the production failed to deliver almost any of the effects promised by the description, I decided not to look the other way. The reason it didn’t work was, mostly, audio-related. The projections were fine, impressive even, if you make allowances for the irregular surfaces of a medieval

interior and the way that they endow King Charles III with six eyes, rather than two. The sound, on the other hand, was an afterthought.

I might have suspected that a few averagely priced loudspeakers on poles would not provide the right coverage or definition for the prerecorded classical soundtrack, but I was not prepared for the arrangement of three or four different zones, operating simultaneously, with differing content. There must have been some sort of zone amplification, but there was no acoustic separation. In certain positions, the cacophony was, how can I put it… multi-zonal. I left.

But I suspect I know what lies behind this debacle. Before the event, I did manage to speak with the artist – the man who knew the way – and the engineer, who was driving the car. The divisions of labour were clear. In this instance, the engineer – who was even referred to as the person who “makes whatever I say happen” – was every inch the capwearing chauffeur, while the artist reclined in the back seat pointing vaguely. The rabbit hole was clear. Without a true balance of power between art and technology, there is no map.

Dual diversity, single goal

Richard Lawn visits Lectrosonics at its New Mexico headquarters

WHEN GORDON MOORE RETIRED HIS PRESIDENCY AT Lectrosonics after 35 years, the board of directors had no hesitation in announcing Wes Herron as his successor. Together with Karl Winkler, who stepped up as executive vice president of product design and distribution, the dynamic duo have amassed over half a century at the renowned wireless manufacturer.

The company has maintained a stable approach to business, so a change of president was never going to involve any element of risk. Supported by Winkler, Herron was always the obvious choice. Having been involved with nearly all aspects of the business and manufacturing operations from 1989, Herron’s experience and long-term knowledge of operations will provide the brand with a smooth transition into the next generations of products. Likewise, Winkler’s extensive knowledge will continue to spearhead the design and development of professional audio systems for various market sectors.

For 53 years, the privately owned US company has quietly engineered patented technology, crafting raw materials into finished goods between two adjacent facilities. The adoption of highly automated and skilled manufacturing processes has been key to its growth. “We are control freaks,” admits Herron. “Sometimes that bites us because we are our own worst critics.”

Daily deliveries to the Rio Rancho address including raw aluminium are balanced by finished wireless transmitters and

receivers being shipped out. Few external contractors are required in the assembly of catalogued products. “Over time we have invested in high-powered Mazak CNC mills, among many other machines,” explains Herron. “The depths of cut and the travel speeds they are capable of never cease to amaze me. The increased accuracy of the latest generation of machine tools has led to more reliable, better-fitting products with fewer assembly problems.”

The Rio Rancho facility is comprised of two large buildings, one of which is for primary manufacturing with mostly Japanese tooling. The adjacent property combines sales and administration with surface-mount technology (SMT) and R&D. “We previously practised through-hole assembly with hand sorting leads and switches, but upgraded to SMT many years ago,” recalls Herron. “Some of our circuit boards today have more than 3,000 components, so the need to repeat processes quickly, efficiently and reliably is vital. It also means that our machinists and technicians do what they’re best at, which is solving problems and maintenance as opposed to repetitive assembly work.”

During his tenure, Herron has familiarised himself with virtually every facet of Lectrosonics. “Since high school, I wanted to be a machinist and signed up for trade school. A friend alerted me to a vacancy at Lectrosonics and I’ve been here ever since, leaving trade school for full-time work and transitioning my learning to on-the-job. The Lectrosonics tuition reimbursement programme, which continues to this

day, allowed me to study for an engineering degree starting in 1991. Shortly after gaining my undergraduate degree, I was transferred from the engineering department to manufacturing.”

Herron’s studies continued with an MBA foundation in operations analysis and management. Since the turn of the millennium, Herron had filled a senior position in operations and manufacturing, which required an in-depth understanding of materials, before being asked to fill Moore’s shoes. “Fortunately, I have such a fantastic team around me, including Karl and our VP of IT and QA, Bob Cunnings. There are some things that I’m better at than others, but I prefer to let the experts do their jobs.”

Herron is rapidly settling into the presidential position. “It’s a challenge, but it is also strangely familiar,” he says. “We may have a hierarchy at Lectrosonics, but it has always been an open-door environment where we encourage everyone to discuss ideas or problems. I am now expanding my horizons by interacting with departments I was not as familiar with, including finance and sales. I am assisting them with challenges they face, picking up tips from some departments and translating them to others. I have always been a forward thinker, but this was limited to considering the machinery we would require in three years’ time. Now, I am looking down from 10,000m.”

Heralding from a musical background, Winkler entered Lectrosonics as what he terms a “front-facing person”. The

Lectrosonics’ headquarters and manufacturing facility in New Mexico

A stereo microscope for inspecting receiver RF circuit boards

Wes Herron has settled into the presidential role

string player served in the Air Force and studied audio engineering before working as a product manager for another microphone brand. Relocating back to New Mexico to work at Lectrosonics, Winkler’s initial task was market development and the adoption of wireless technology in new applications.

“When I joined, we brought the TM400 digital hybrid wireless platform into use for sound system testing and measurement,” recalls Winkler. “We repackaged a couple of existing products for this purpose and marketed it accordingly. It has now been an industry standard for almost 20 years. My goal was to put the same digital hybrid technology in the hands of guitar technicians and musicians, which takes time. So, it thrills me to have seen our transmitters adopted by guitarists such as Neal Schon from Journey, Slash, Doug Aldrich and Howie Simon. As a relatively small company, Lectrosonics does not have the luxury of giving away products or endorsing artists so, when these artists use our equipment, it is on merit.”

Like Herron, Winkler craved to be further educated in wireless technology, which led him to participating on AES panels. He now sees himself as the vital interface between Lectrosonics’ main market sectors and R&D. “It’s vital to understand our customers’ experiences, the challenges

they face and the solutions they require. Acquiring high-end user feedback from those who are pushing the envelope of performance, moviemaking and TV production is a catalyst towards the next field of development. Whether it’s for dialogue capture or stage performance, I want to continue learning how to make their jobs better or easier.”

Introducing what was Lectrosonics’ smallest and lightest transmitter to Broadway in 2017 stands out as one of

other times, it comes from intuition such as guessing what spectrum will remain after the FCC auctions. Having learnt most of the lessons from the first round, we followed up in late 2022 with the launch of the M2Ra digital wireless monitor receiver. It is now one of our top-selling products, and the Foo Fighters currently tour with it.”

a wholly rewarding experience to receive requests from users

Like their tiny receivers and transmitters, small is beautiful for Lectrosonics. “Our departments interact well and we can fix problems quickly without having to liaise with an overseas engineering department,” explains Herron. “When customers report a problem, our machine shop can immediately calculate the tolerances or the final assembly department can report a part that may be missing, and our engineers will either fix or remake it. This cycle normally happens within a few days. By being in control of our own destiny, we have the flexibility to experiment and fail, if need be, as we ultimately learn from our mistakes.”

Winkler explains it would not be in their best interests to go head-to-head with larger competitors by making “me too” products. “As a small, innovative company without a large base of MI business, we consistently aim for the professional top shelf. Lectrosonics started out making voice projectors in the early 1970s, and we’re still here because we innovate. It is vital that we engineer unique products that have a desirable combination of features. For example, robust strength fits our customer brand expectation, so we manufacture transmitters and receivers out of solid metal.”

market feedback: lighter, smaller, longer battery life, improved audio, extended range. It’s our task to ultimately design all these features in, across the product line. Luckily, our professional engineers are highly dedicated and creative at everything from designing radio circuits to code writing.”

Behind the scenes, Winkler and the team must undertake an arduous route to conception by leaving no stone unturned. “We generally write 22-page requirement documents for new products, including a checklist such as the choice of battery, connector types, RF power and recording features,” he continues. “Sometimes we assess the most important features from user feedback but, at

Lectrosonics remains committed to ensuring backwards compatibility with its product lines. “Abandoning an entire platform to make way for a new one is not something customers generally want,” continues Winkler. “The digital hybrid series received the Academy Award for Technical Achievement in 2017 as it’s used in most Hollywood pictures. When we made the transition to full digital wireless, we added backwards compatibility to this series; our customers appreciate the fact that our digital hybrid and digital products can operate together.”

Herron admits to challenges in recruiting skilled workers who can champion innovation. “A certificate or a degree does not tell us what somebody can do,” he says. “Many intelligent and talented workers have been recruited at Lectrosonics without a degree because they are quick learners, ambitious and with creative ideas. Trades are extremely gratifying but, if I had not taken my chosen career path, I’d be a code writer today as I enjoyed writing software during my time in engineering.”

Carrying out repairs on a damaged circuit board

Inserting PCBs into a drying oven

Karl Winkler is now executive vice president of product design and distribution

Laser cutting with a Mazatrol Preview 3 machine

Naturally, software development forms a large part of Lectrosonics’ R&D. “It is fundamentally different compared to when I started and our radios were completely hardwarebased,” recalls Herron. “Today, most of our functionality is software-controlled and, in essence, we are manufacturing little computers that happen to transmit and receive RF. These need to be updated through the software and firmware, because nobody purchases disposable transmitters or receivers. Finding good firmware and software engineers is a continual challenge.”

Looking ahead, Herron and Winkler want Lectrosonics to diversify into new market subsegments, but realistically would prefer to cement its status in current markets and those recently penetrated by new products. “My vision is for the company to be regarded as the premier wireless brand in our core markets: Hollywood, television and electronic news gathering,” says Herron. “I’d also like to see us get more deeply entrenched within the live sound and touring sector.

We have a lot to offer that market in terms of audio quality for both the performers and the front of house engineers.” As a result of the pandemic, streaming platforms have become the norm in the house of worship sector. “Churches now fully appreciate the importance of quality audio, and this recognition has allowed us to better penetrate what was once a more price-sensitive market,” explains Winkler. “Audio is also underrated in some aspects of multimedia production, and this is where I see potential. By applying our core competencies, such as RF generation and reception, we can promote reliable, high-quality transmissions of data or audio. By improving operations and workflows for users, in addition to reducing their expenditures, new market sectors will emerge.”

Having been with Lectrosonics for nearly 35 years, Herron reflects on the factors contributing to the company’s longevity: “We have created a culture here that is as welcoming as any company can be and we foster and encourage teamwork. The relationships that have been built are at the forefront of why I’m in my current position. Although I am president, I regard myself more as a ‘first among equals’ because this team works so well together. Our focus is on the company’s long-term health, strength and reliability of our products. Our aim continues to become the best wireless manufacturer and produce top-quality products that are the envy of the industry.”

As a technological leader, Winkler prefers to look to the future: “When you make something interesting, such as our Duet wireless system, it serves as a good reminder of why we do this. Nothing really surpasses seeing artists express that ‘wow’ moment when they put on their headphones and listen to your product at a tradeshow. I’ve only been here for just over a third of the company’s history but to witness the technological changes that have happened over that time span has been nothing short of amazing.”

www.lectrosonics.com

Projet1_Mise

Firing on all output channels, Blaze Audio sparked into life at ISE 2022 to make its sleekly designed mark on the pro audio landscape. Richard Lawn pays a visit

CONCEIVED AND LAUNCHED IN COPENHAGEN EITHER side of the pandemic, Blaze Audio benefits from an in-house relationship with Danish OEM amplifier electronics manufacturer, Pascal. The combination of an ambitious idea, proven technologies, private investment and a driven team has ignited and combusted. Founded as a separate brand within Pascal, Blaze Audio

2006 when Pascal first flickered into life. Coming from a nation associated with high-quality brands, Hansen’s design philosophy is refreshing. “It’s no fun simply selecting the most expensive goods,” he explains. “However, it’s an engineering challenge to build something great with unique features and within a certain price range. I liken Blaze to Volkswagen as we prefer to design

To date, a blend of hardware and software expertise has created a series of networked wall-mounted controllers and GUIs that can be remotely operated from a smartphone.

There have been subsequent additions of Dante networking to the PowerZone Connect models, software developments and integrated DSP.

“Many software drivers were developed to make our products compatible with control systems,” says Hansen. “We are heading towards a more software-based domain. A trend has emerged to own fewer pieces of hardware that can be updated by software features. With processing power becoming less expensive, leading to an increase in memory capacity, more interesting features will be added in years to come. By incorporating advanced functionality at a reasonable cost, users can access features previously not available in smaller installations. For example, a version 1.4 update applied the mixing of inputs, which is in effect a small mixing board. When

Cofounder Jesper Lind Hansen continues to pioneer Class-D designs

CEO Gustaf Høskuldsson assumed control of operations in 2021

Vice president of sales and marketing, George Tennet

loudspeaker brands, amplifier module producers often shy away from building their own finished hardware. Having worked for larger corporations prior to Pascal, CEO Gustaf Høskuldsson assumed control of most organisational operations in 2021 by transitioning to the role of CEO. Høskuldsson explains the Blaze difference: “Pascal remains our core business and, naturally, we do not want to compete with our own customers.”

When Hansen first revealed his innovations that would lead to the birth of Blaze Audio, Pascal’s owners were presented with an opportunity to get up close and personal with their customers. Feeding off one another, a symbiotic relationship enables Pascal’s customers to utilise Blaze technologies. “Pascal was lacking a connectivity with end users,” continues Høskuldsson. “We used our time during the pandemic to better understand how our products were being applied. Some solutions conceived for Blaze now spin over into our OEM business. Subsequently, our Pascal customers can go now to market with added confidence knowing they possess the right innovations.”

Høskuldsson admits to pressing a pause button to remain in business over the pandemic, which changed the trajectory path of the operating model. Initially worried that the significant investments made in inventory in late 2019 would hurt the company financially, Høskuldsson would ultimately be vindicated following the Blaze launch. “Having sufficient stock allowed us to take control and enter planning mode which, in turn, accelerated

our journey out of the pandemic. We transitioned the company almost a year faster than forecast.”

Høskuldsson acknowledges that the owners’ initial three-year plans to hit the forecast budget and scale up was achieved. “Three elements contributed to those targets being exceeded. Firstly, we attracted very talented people. Secondly, we made some good analyses for both businesses that led to the right go-to-market business models. This led to the third element, which is understanding the value that we are delivering. It is simply not enough to have great people; you must have a good understanding of what makes your partners successful. We have added value to our Pascal business.”

Drafted to Blaze in September 2021 from consumer-driven sales backgrounds, George Tennet (vice president of sales and marketing) and Niels Tholander Lorentzen (executive sales director EMEA and APAC) have significantly contributed to this success story. Handed a blank piece of paper, the pair were challenged to devise a marketing strategy and sell an unknown brand to the professional audio market, effectively being granted a licence to create the branding and name products.

“During my final interview, I was handed product documentation and asked to create a business plan,” recalls Tennet. This would lead to the establishment of a distribution network to channel the

CV Series of amplifiers, including PowerZone. “Looking back, it was an exciting time, but it was also highly challenging. Compared to previous employment at Ericsson and Bang & Olufsen, we were given much more responsibility. This in turn made us sharper and prompted us to be more forthcoming in our discussions with potential distributors.”

Tennet had to dig deep in his extensive toolbox – global distribution, channel management, pricing, third-party logistics, branding, websites, social media campaigns and tradeshows – to accelerate the fortunes of Blaze. “There were so many things to action. Eighty percent of this was achievable, but the remaining 20% required further research. Coming from the consumer business, Niels and I were not as appreciative of long-term business relationships and partnerships.”

At that point, a professional with over two decades of experience at Bose Professional entered the fray. Anders Wisbøl was drafted in as a temporary consultant, performing the role of technical lead when negotiating with potential distributors. His proven skills have been sufficiently demonstrated over a two-year period, and he now fulfils the role of EMEA technical sales manager. Crucially, Wisbøl understands the art of cultivating stronger relationships with new distribution partners and manages the expanding sales network by striking partnerships that demonstrate proficient distribution and system installation.

Almost mirroring Tennet’s employment background, Lorentzen scaled the career ladder in telecommunications and consumer electronics including spells at Samsung and Bose. He attributes his learning curve to developing a good ear and listening to his

PowerZone Connect compact amplifiers were launched in 2022

Blaze’s intuitive wall controls are virtually plug-and-play

L–R: Blaze Audio’s George Tennet, Patrick Hau and Niels Lorentzen

colleagues in the professional industry. “Consumer audio is more about moving boxes and branding correctly in retail, and telecommunications commands a defined market presence. Projects assume greater importance in professional audio, and this requires a more educational approach to highlight the technology, the brand’s advantages and value propositions.”

In less than three years, Lorentzen and Tennet would be surrounded by over 20 other colleagues in their own dedicated unit separate from the Pascal business. “It may appear that we hit the ground running, but it was tough at the outset,” muses Lorentzen. “We started with three amplifiers and were calling European contacts, attempting to get a completely unknown brand into the market.”

Before the website went live, Tennet recalls the first six months – armed with a price list, a pitch and data sheets –with a certain nostalgia: “We were cold calling prospective distributors and dealers. Following our conversations, we’d dispatch free samples but, in some cases, we would not receive a call back. We had the right products and business plan, but it is somewhat character-building when you’re not scoring any successes. It’s totally different in the consumer world where you are promoting a new phone or headphones for an established brand. Blaze may have had Pascal behind it, but it was a completely new brand. Indeed, Pascal was not widely known among distribution channels as their amplifier modules are only known by other manufacturers.”

industry figurehead, Patrick Hau, established a Singapore office, while a team of eight represent Blaze’s US interests. Since creating a nucleus of largely Nordic distributors two years ago, Blaze is now distributed in 51 countries worldwide, the most recent additions being China and the UAE.

“From the beginning, we established a culture to partner with people we enjoy working with,” explains Tennet. “That includes collaborating on a long-term strategy rather than simply appointing a reseller striving for success. We have distinguished ourselves and created a unique identity, so it’s vital that we listen and react quickly to customer feedback. With local representation available in most territories, our sales managers are liaising directly, which is leading to an acceleration in product development. When we first started working with our partners, they reminded us that the three design elements our amplifiers required were reliability, reliability and reliability. Price usually charts fifth or sixth on the list. By designing solid products Blaze offers reliability, but another aspect we like to focus on is ease-of-use. Our engineers spend a long time innovating software, but the outcome is worth the wait. Most of our customers remotely manage their installs from the GUIs within their smartphone apps, so our evolving ecosystem needs to be simple to control and update.”

With perseverance, a solid distribution base was founded in Denmark, Sweden and Switzerland. From that point a momentum took sway, leading to an upsurge in demand for PowerZone and PowerZone Connect. Quality inevitably led to quantity and the European distribution network grew. Tennet attributes Blaze’s growth to the Made in Denmark badge: “Danish design detail is not just how the product is made or how it looks. It is more about what that product does for someone and how it fits into their lifestyle. A Danish designer prefers to focus on care and attention rather than profit. Danes are prepared to pay more for a well-designed piece of furniture or lifestyle product, and this ethos extends across Danish society. Our intuitive wall controls are virtually plug-and-play, the interface makes it easy to install our products and the end user finds them simple to operate. Our renowned high-quality production and Danish design are significant USPs for Blaze.”

Blaze may not be a universal fit, but its open API design appeals to a wide audience of systems integrators. “In addition to focusing on audio clarity, our amplifiers are designed to operate with other brands as we want to fit into any commercial installation, in addition to some residential applications,” continues Tennet. “The user-friendly interface in the setup phase makes it easy for an installer or distributor when scoping a project. A key phrase we use in our marketing is ‘It’s done in five minutes’.”

reached. “The list of achievements was amazing to see. Hardware and software engineers, operations and sales had all made a huge impact over those three years.”

Tennet played a part in convincing the Pascal owners to attend ISE to experience a professional AV exhibition for the first time.

“They had seen the stand designs and marketing images but, even though they had a perception, nothing could prepare them for the actual experience. During the second day of the show, when the booth was packed, we knew we had passed the point of no return. We had only been trading for eight months, with 10 distributors who had met for the first time. Everything came together, the show was successful and the investors felt vindicated.”

With further innovation and the attraction of talent, Blaze will continue to grow, according to Høskuldsson: “By introducing business-oriented solutions to the market in addition to the way we design and manufacture products, Blaze aims to be recognised as a leader.” The growing team of skilled hardware and software engineers bears testimony to his claim. “Recruiting talent remains difficult but, as we continue to innovate unique solutions, we are creating a buzz that new recruits find appealing. By drawing respected employees, you build your own culture with a respected brand identity.”

With Anders Olsen overseeing Blaze’s Middle East business, industry veteran Thomas Marcher has represented APAC from Malaysia since 2022. The following year, another experienced

With a growing and maturing sales network, Blaze has integrated a solid logistics supply chain. By accurately forecasting quantities with sales partners, Blaze now pre-orders between 6–12 months of stock for warehousing in Copenhagen, the US and APAC. To minimise shipment times and costs, the logistics network will be extended with growth. “Our customers can order smaller quantities and receive their orders within days,” explains Lorentzen. “We are building our distribution network in a very controlled, scalable manner, one market sector at a time. We previously declined a lot of potential interest because we were not set up to support it at that point in time.”

Backed by Pascal, which has earned a reputation for designing reliable, established amplifier technology, and having rapidly built a distribution network, Blaze is now part of the pro audio establishment. However, it’s not all work and no play. “When you spend so many hours in the office, the management is mindful that employees need to be treated well,” says Lorentzen. “Benefits include an in-house canteen, yoga, physiotherapy and TT38 talent testing. There is a duty of care for all staff to maintain a work–life balance, and the employees recognise this and are willing to go the extra mile in return.”

Devoid of shareholders, banks and venture capitalists tugging their strings, Hansen and the R&D team have the freedom to design audio technology in their own unique style. “When we sit down to design something, we want to make it great,” he says. “But it’s the ease-of-use products that are often the hardest ones to build.”

Pulling off the rapid launch and growth of a brand, however, appears to have proved quite simplistic.

www.blaze-audio.com

Blaze PowerZone Connect 122D amplifier

L–R: AV Distribution Asia’s Thomas Marcher, Jands’ Will Repanellis and Blaze Audio’s Patrick Lau

CHRIS ROSTALSKI

LIGHTING DESIGNER

www.cr-lichtdesign.de

Managing teams at a major music festival is like conducting a symphony of chaos.

With its unparalleled connectivity and clarity, Riedel’s intercom solution is our lifeline in an environment pulsating with noise.“

ARTIST INTERCOM

Professional and reliable live communications.

Seamless integration of Riedel‘s SmartPanel and Bolero wireless intercom. Easily scaling from 16 to 1024 ports with flexible licensing.

Q& Seeing the light

Brompton Technology’s stand at ISE 2024 drew crowds intrigued t TrueLight. CEO Richard Mead (RM) and product lead has led to the company’s latest innovation

What did Brompton Technology develop TrueLight in response to?

RM: TrueLight has been the culmination of various technological advancements, building on Brompton Technology’s dynamic calibration system that delivers colour accuracy and HDR while maximising panel performance. For virtual production, our focus has been on recreating reality, and reproducing colour accurately is a big part of that. When LED volumes are also providing the illumination for the actors and foreground objects then it becomes about more than just displaying the right colours – you need the LED to be emitting a broad spectrum of light to ensure good colour rendition. Adding an additional white emitter helps a lot – but now maintaining colour accuracy and per-pixel calibration becomes much more complex. Brompton developed the TrueLight algorithms to solve this difficult problem and give the user full control over the RGB to RGBW conversion.

What exactly were clients asking for?

CC: As a pioneer in the industry, Brompton is committed to working with its users to get the best experience for the most complex video workflows. While in direct view we had very successful results and we had been working on some features that gave a great performance for in-camera LED setups, our users were looking for a way to improve the workflows, especially in large LED volumes where the

panels might be acting as a source of lighting and getting the best quality when merging virtual and real worlds.

RM: The world of lighting has known for a long time that RGB LEDs are great for direct view, but a poor-quality source of illumination. LED light fixtures tend to either use white LEDs, which have a phosphor that emits a broad spectrum of light, or additional colours to fill out the spectrum. Within a virtual production LED volume, many of the benefits of the technique come from lighting the foreground with the LED screens to give realistic shadows and reflections. But if the light is of poor spectral quality, it has to be supplemented with traditional lighting fixtures, which means some of the promise of an LED volume is not being realised. We set out to ensure you could have it all –the benefits of an LED volume and good spectral-quality light output at the same time.

When did you start to develop the technology and at what stage did you begin working with ROE Visual on the CB5 panel?

RM: We started working on TrueLight in 2021, in response to the rapid adoption of LED for virtual production. However, TrueLight builds upon Brompton’s unique dynamic calibration system, and we’d anticipated the need to support additional emitters when developing that several years earlier. One of the blocks was the

sheer complexity of the algorithms required to maintain colour accuracy and per-pixel calibration with extra emitters – about 60 times more computationally intensive than traditional per-pixel calibration for RGB. Fortunately, our close partnership with Intel allowed us access to a suitably powerful FPGA, which became the basis for the Tessera G1 – the most powerful receiver card to ever go into an LED panel, and a key enabler for TrueLight.

CC: Once Tessera G1 was developed, ROE Visual, one of our main partners, was the first to recognise TrueLight technology’s immense potential and created the unprecedented Carbon 5 MKII (CB5 MKII) RGBW LED panel, incorporating four emitters in a traditionally three-emitter model.

Can you explain the technology, in particular the relevance of the fourth emitter and how it works?

RM: The red, green and blue emitters in an LED panel are intentionally selected to have a narrow spectral output as this is essential to achieving a wide colour gamut and accurately reproducing saturated colours. Paler colours, including white, are achieved by blending these emitters, so the spectral output of an LED panel displaying white is spiky with gaps where there is no light energy at all. This is very different from a normal light source where there is light energy present at all wavelengths.

The spiky spectrum is not an issue for direct view, but you notice the difference as soon as you start using an RGB LED panel as a light source, which is what is happening in a virtual production LED volume. The lack of energy in parts of the spectrum means that objects can be colour shifted – either looking more red or more green than they should do. Crucially, most skin tones fall in this range, and so faces tend to look flushed and unnatural when illuminated by light from an RGB panel. This is critical for in-camera visual effects, which rely on consistency between colours in foreground “real” elements and the virtual background.

Adding an additional white emitter with a broad spectrum is one way to solve this – with RGBW pixels the LED has much better colour rendition. But when displaying RGB video with RGB emitters, there is only one right answer that will perfectly reproduce the specified colour, and a processing pipeline aims to achieve that one perfect result. However, once there are RGBW emitters there will actually be many possible ways to reproduce a certain

Brompton CEO Richard Mead Cesar Caceres, Brompton’s product lead

colour (known as metamers). Giving the user control of which metamer they want to select while maintaining colour accuracy is the tricky problem that TrueLight solves.

On a sustainability front, how does TrueLight help to improve power efficiency?

RM: We see interesting potential for significant energysavings in some applications through being able to use a single, efficient white LED instead of achieving the same

result using a combination of three LEDs – red, green and blue.

In which verticals do you see the technology doing particularly well?

RM: Clearly, virtual production is the most obvious fit because there is such a focus on colour accuracy and ensuring the foreground blends seamlessly with the virtual background. The enormous improvement in colour rendering TrueLight brings is the next big evolution in this space, and will change the way filmmakers can utilise

virtual production, making it much easier and quicker to get a realistic baseline look, thereby allowing more time to be creative. But any application that is aiming for a level of realism and relying on light from panels to illuminate people or objects is going to benefit. It could be particularly relevant for simulators, virtual reality, immersive experiences and retail applications.

CC: Another vertical is live events. With the extra emitters, the panels can achieve higher brightness than traditional panels, but with a smaller pixel pitch and the video source benefits you wouldn’t get from other lighting sources, providing a better viewing experience for the audience. In addition, creators could benefit from getting the most accurate colours for the assets onstage. I imagine that the clothing designer for top artists like Beyoncé or Adele would appreciate these colours being represented accurately on an LED screen.

Are you collaborating with any other manufacturers apart from ROE?

CC: Besides ROE, INFiLED has also released an RGBW panel with TrueLight, and other LED panel manufacturers will have new models in the market soon.

What has market feedback been like so far?

CC: People are very excited about using TrueLight technology and the general feedback is that this will be part of the future of any LED setup in which the panels are acting as a source of light. In markets like virtual production, this is now seen as a gamechanger, and a must-have to futureproof your setup.

www.bromptontech.com

NEWPRODUCTS

LD Systems adds integrated mixer to MAUI

LD Systems has expanded its MAUI G3 series with onboard effects and wireless remote control via a smartphone or tablet

WITH THE release of the MAUI G3 series, LD Systems claimed to have set the sound benchmark for compact column PA systems in delivering a portable PA package for DJs and small bands. Now, the manufacturer is expanding the series with the MAUI 11 G3 MIX and MAUI 28 G3 MIX models, which further extend the solution’s application possibilities with the integrated digital six-channel mixer, onboard effects and wireless remote control via a smartphone or tablet. These are said to make the MAUI G3 MIX an all-in-one solution for artists who don’t want to bring a separate mixing console to their live gigs.

The MAUI G3 MIX series combines all components for live use: mixing console, effects, dynamics processing, DSP controller, power amplifiers and speakers. The integrated digital six-channel mixer offers four XLR/ line combo inputs for connecting microphones, line devices or highimpedance instruments (Hi-Z available on channels 1 and 2), supplemented by a stereo Bluetooth connection on channels 5 and 6.

In addition to the System Out for connecting an additional subwoofer or other equipment, two Monitor outputs are available for connecting up to two monitors and supplying each with its own mix. Two MAUI G3 MIX can also be connected via the SysLink connection to double the number of channels. The variety of connections is rounded off by a footswitch input for hands-free effects control.

The mixer settings can be adjusted manually via the control element on the rear of the subwoofer, as well as fully remote-controlled. For this purpose, the manufacturer offers a free iOS/ Android app for smartphones and tablets, which provides full access to the mixer channels, monitor channels and the effects section with reverb, delay and dynamics tools. A parametric five-band EQ is available. Depending on requirements, the complete app control of the mixer can be operated in Easy or Expert mode.

The MAUI 28 G3 MIX is based on a 12-inch subwoofer with 2,060W peak output and two aluminium column elements with 12 3.5-inch midrange drivers designed as cardioid loudspeakers to enable controlled sound dispersion.

The MAUI 11 G3 MIX uses two 8-inch subwoofers with 1,460W peak power and six 3.5-inch midrange drivers. Both models feature phase plugs in front of the midrange drivers which, in combination with the two 1-inch tweeters, ensure even sound distribution with constant horizontal dispersion (120° x 30°). Equipped with DynX DSP generation, the subwoofers reportedly offer extended reproduction even at maximum volume down to 37Hz (MAUI 28 G3 MIX) or 39Hz (MAUI 11 G3 MIX). When using a second subwoofer, the bass range can be operated in cardioid configuration at the touch of a button. Thanks to Bluetooth 5.0, the solution becomes a versatile sound system for wireless playback of background music and other content.

www.ld-systems.com

MAUI 28 G3 MIX

Blaze Audio keeps the beam constant Bluesound supports Xyte

WITH A compact form factor designed to minimise installation efforts and line-ofsight considerations, Blaze Audio has unveiled the CBL Series comprising two models: the CBL528 and CBL523. With a wide 180° symmetrical horizontal pattern control, the CBL528 loudspeaker offers mid/high-frequency gain shading across its eight vertically arrayed 2-inch drivers, which provides a smooth and controlled 45° vertical pattern from 420Hz–18kHz. The loudspeaker incorporates four 5-inch proprietary low-frequency drivers with tightly

Blaze Audio amplifiers, the CBL528 is suitable for permanent installations such as sports arenas, conference centres, performing arts venues and houses of worship.

The CBL523 incorporates three vertically mounted 2-inch mid/high-frequency drivers and two 5-inch low-frequency drivers, with tightly designed acoustic centres that minimise combfiltering with a frequency response down to 71Hz.

The CBL523 provides a smooth and controlled 55° vertical pattern from 520Hz–18kHz and includes wide 160° symmetrical horizontal

A

SPEAKER SPECIALIST DAS Audio has boosted its ARA Series with a trio of products. The ARA-P12.74 is a selfpowered point source system featuring a 12-inch LF driver and a 3-inch VCD HF compression driver, 96kHz FIR filters and 1,200W of Class-D amplification. The ARA-P28.74 features dual 8-inch drivers, a 3-inch VCD compression driver, with 96kHz FIR processing and 1,200W of power. Both come with accessories to mount them in virtually any scenario and feature a rotatable horn for optimal coverage. In addition, the ARA-M210

is a dual 10-inch stage monitor which also boasts 1,200W and 96kHz FIR processing, has a 50° horizontal spread and an asymmetrical vertical dispersion of 40° downward and 30° upward. DAS Audio says this optimises the monitor for a wide variety of stage setups. All three are compatible with ALMA, DAS Audio’s control and monitoring software. The company has also announced the next generation of its EVENT Series line arrays. The EVENT-28A is an ultracompact line array sporting two 8-inch neodymium LF transducers and a single

BLUESOUND PROFESSIONAL announced support for the Xyte Device Cloud for remote monitoring platform. Integrators of Bluesound Professional products can register with Xyte to enable remote monitoring and control of basic functions from Xyte’s Device Cloud platform. Remote monitoring and configuration of BluOS-enabled products are now possible through the Domotz cloud platform. BluOS integrators are alerted to service problems that can be addressed prior to disruption. With support for highresolution audio streams up to 24/192, the BluOS multi-room audio ecosystem manages stored and cloud music sources and playback. In addition to music streaming services and integrated features, BluOS has added support for the NAD M66 streaming DAC preamplifier and the ClassicStream and Stream-XR streamers from Cyrus Audio. Mini-driver support has also been added for BUGS music on Control4 systems. By adopting next-generation features available

FOLLOWING ON in the footsteps of the Res 2, Funktion-One hopes that the Evo 2 will bring “a new level of performance” in a smaller enclosure. The Evo 2 is a medium dispersion, fully horn-loaded, three-way loudspeaker which features the latest Funktion-One driver technology and refined tuning.

The Evo 2 been designed for a range of live event and install applications, including as a four-point club system or two-wide flown system for medium-sized venues. Its manageable size and Butterfly Plate rigging system reportedly enable quick and easy deployment. The Evo 2 is also suitable for ground-stacking at small events, flying singly or in pairs for wider coverage and larger audience areas, or used as fill supporting Vero, Evo or Vero VX systems.

The cabinet can easily be adapted between three-way active (NL8 tri-amp) or three-way passive mid/high (NL4 bi-amp). It is available in standard Funktion-One violet finish or durable black PU coating. A foam-backed grille can be added for a more discreet appearance and a custom flight case is also available. In addition to the Evo 2 launch, Funktion-One has unveiled Tour Rack and showcased Projection system design software. Tour Rack is a compact, shock-mounted amplifier rack that’s built for the road. It reportedly delivers a comprehensive solution for rental users in need of efficient and effective system control and amplification for Funktion-One systems. Tour Rack houses three high-power, four-channel, DSP-

zones. With the latest certified drivers, BluOS now supports seamless control for streaming services including Pandora and Presto Music. Additionally, Control4 integrators can deliver enhanced playback options with the introduction of shuffle and repeat functionalities for the Now Playing queue.

www.bluesoundprofessional.com

M-60 compression driver, powered by Class-D amplification with SMPS. The symmetric V-shaped configuration of the cone transducers delivers consistent 100° of horizontal coverage, while the M-60 driver remains coupled to an advanced waveguide design which controls the vertical dispersion and ensures precise coupling between units in vertical arrays. The EVENT-118A is a companion subwoofer with a single 18-inch front-loaded woofer and Class-D amplification.

www.dasaudio.com

enabled amplifiers and comes complete with three-phase mains distribution, comprehensive signal distribution and speaker output patch panels.

The manufacturer’s Projection system design software assists Funktion-One users in designing and optimising arrays for smooth audience coverage and generates detailed venue-specific system information. It produces accurate 3D direct sound prediction for Vero, Vero VX, Evo 7 and Evo 6 arrays, with many more Funktion-One products available as single loudspeakers. Projection also provides rigging calculations, kit lists and PDF exports of system designs.

www.funktion-one.com

HH launches Tensor-MINI

UK-BASED HH Electronics has launched the Tensor-MINI, a portable, all-in-one, batterypowered PA. With an easy-to-carry design, the Tensor-MINI has a 6.5-inch coaxial full-range driver and reportedly can be set up in seconds, making it suitable for a host of applications such as busking, small gigs, parties, gyms, cafés, classrooms and corporate AV presentations. Its pre-amp includes a three-channel mixer (two universal inputs with tone presets and adjustable EQ, and an auxiliary input), DSP and reverb, along with a Bluetooth/USB media player which doubles as a charger for the input device. Bluetooth also supports stereo linking of two units.

Its multi-angle cabinet allows the unit to be used on the ground, as a monitor or on a pole stand, and audio protection prevents overloading and damage. Fully chargeable in five hours, the unit delivers up to 12 hours continuous playback.

www.hhelectronics.com

Audio on the rails

DESIGNED FOR fast installation in a variety of environments, the Otarkio Series from France’s Hortus Audio is a range of wireless audio products that are powered via light rails. Equipped with DECT technology and an FIR DSP programmed by Hortus Audio engineers, the company claims that the low-energy Otarkio Series offers rapid, scalable and cost-effective installations that are immune to disruptions from mobile phones, Wi-Fi or Bluetooth.

By mounting speakers on existing power rails and wirelessly connecting to the player, installation is non-disruptive to business operations. Each player is capable of pairing with up to 100 speakers in a single zone, while zone extensions are flexible and can accommodate up to 10 players per installation. Audio sources can be fed into the player via input

virtually no latency over a range of 50 120m.

Get on board with the Marine line

THE CANNON range of coaxial loudspeakers from 1 Sound is now available in a Marine version. Designed for outdoor applications in harsh saltwater environments, the range boasts fully stainless steel A4 316 hardware – including the grilles, input plates and screws – and replaces the connector with a marinegrade cable gland that comes with 0.6m of 16/2 gauge speaker wire. Despite already

the A 470, available in Straight, Focus and Wide versions.

Each A 470 module is 80cm x 28cm (HxW) and houses 14 transducers. Therefore, each

speaker incorporates four internal sections, including four 6.5-inch long-excursion loudspeakers – co-developed with the Danish brand PURIFI – as well as four planar ribbons placed in front of the low/midrange section and six 8-inch diameter long-excursion passive radiators. The proprietary waveguide for the bass/midrange transducers also works as a closed-back load for the planar ribbons. Each section features a linear-phase FIR crossover filter with a steep Brickwall-type slope at 1,000Hz offering a combination of both “power and finesse” for the planar ribbon drivers across their entire frequency range, while also protecting them from low frequencies. The nominal directivity of a loudspeaker in the horizontal plane is 100° on average.

The Straight column module features a straight enclosure design; the Focus column module features a 1° enclosure angle and a 1° dispersion in the vertical plane; and the Wide column module features a 4° enclosure angle and a 4° dispersion in the vertical plane.

The off-axis response of the Avignon Columns above 600Hz, measured onsite at the Avignon Courtyard of the Palace of the Popes, is within ±1.5dB. The length of each line array – around 4m corresponding to a wavelength of 85Hz –favours a directivity effect and the natural range of the bass.

Any smartphone, tablet or computer is able to function as a dashboard for configuring, managing and operating the Otarkio system, and can be controlled and managed anywhere via the Otarkio web application. Speakers can also be adjusted directly via remote control.

www.hortusaudio.eu

being IP55 rated, the company says the Marine version speakers are resistant to rust and able to withstand harsh weather environments, including being by or on the ocean. The Cannon Coaxial Series speakers provide extended low end and high SPL, with the Marine Versions customisable with cabinet colours and grille fabrics.

www.1-sound.com

Slimmed down sound

FOHHN HAS released its Focus Slim speakers, designed to bring the manufacturer’s beamsteering technology to smaller and more pricesensitive projects. The four slim enclosures blend in discreetly but are equipped with all the features they need for software-controlled sound dispersion in difficult acoustics. The beam can be easily adjusted via mouse wheel – the systems stay straight on the wall or screen without mechanical tilt. This allows users to achieve clear sound and speech intelligibility without disturbing reflections.

Measuring 8.4cm wide, the speakers are equipped with Dante and analogue inputs and feature an integrated bass-reflex system. The range include the FS-70 (700mm high/111dB maxi m um SPL), FS-110 (1.1m high/117dB maximum SPL),

FS-150 (1.5m high/121dB maximum SPL) and FS-200 (2m high/123dB maximum SPL). Meanwhile, the manufacturer has developed its Linea LX range and launched the Linea LXP passive line source speakers which can be installed straight thanks to a 5° dispersion tilt. The speakers have been acoustically redesigned with improved low-frequency reproduction and dynamics. The included T-slot reportedly allows for easy and flexible mounting. The length of the four speakers influences the behaviour of the system – the longer the line, the more the low frequencies are directed.

The LXP-10 (100° x 100°), LXP-60 (120° x

LXP-100 (120° x

and LXP-150 (120° x +10°/–20°) have been designed for churches, community halls or for mobile applications.

Electro-Voice launches next-gen ZLX speakers

ELECTRO-VOICE HAS announced the launch of the ZLX G2, the second generation of the ZLX portable loudspeaker series. The line-up offers a range of updated features and functionality and comes in 8-, 12- and 15-inch two-way models in both powered and passive versions.

The woofer and compression driver in each model are coupled to a patented Signal Synchronised Transducers ported waveguide, enhancing low-frequency extension and delivering even vertical and horizontal coverage across all frequencies. The ZLX G2 also features a higher maximum SPL than the previous generation of models.

The ZLX G2 powered versions are “Powered by Dynacord”, while 1,000W Class-D power amplifier modules feature an integrated four-channel, three-input digital mixer with effects. The mixer includes two XLR/TRS combo jacks and provides 24V phantom power and Hi-Z compatibility. The mixer also includes features such as automatic feedback suppression, ducking, compression and loudspeaker delay settings.

Five system mode settings are available: music, live, speech, club and FRFR (full range, flat response). New for the ZLX G2, the FRFR setting offers a flat/ neutral frequency response to produce

accurate results when used with modelling processors and guitar cab simulators.

Powered ZLX G2 loudspeakers also contain Electro-Voice-specific subwoofer

The Multichannel Flagship Interface

presets that adjust for both gain and time alignment, for full acoustic optimisation. Additional high-pass filters are available in the DSP for increased compatibility.

All the loudspeaker and mixer functions can be remote-controlled and monitored using the Electro-Voice QuickSmart Mobile app. The app allows pairing and grouping of up to six Bluetooth-equipped Electro-Voice portable loudspeakers. Users can wirelessly pair and link to two ZLX G2 loudspeakers in a stereo setup using Bluetooth true wireless stereo streaming. Local configuration can be completed using the single-knob encoder with the updated full-colour LCD. In terms of design, all models are available in black and the symmetrical sides allow for a steeper projection angle when the loudspeaker is placed in monitor position. A built-in “kick-back” angle allows the 12- and 15-inch versions to project upwards at a 23° angle in a vertical orientation.

Mounting accessories are available to install permanently on the ZLX G2 models including a “U”-style wall bracket and long arm pole mount-style wall bracket for the 12- and 15-inch versions for vertical mounting with tilt adjustment, as well as a short arm pole mount-style wall bracket for the 8-inch version.

www.electrovoice.com

The center of any multitrack studio, handling up to 94 channels I/O with ease. Its unprecedented flexibility, compatibility, the inclusion of DURec (Direct USB Recording), MADI, SteadyClock FS and RME’s famous low latency hardware and driver designs guarantee flawless operation in any mode and application.

MOKA adds scalability for all sizes

PORTUGUESE MANUFACTURER NEXT Audiogroup has designed its MOKA System to be an ultra-compact, plug-and-play line array system for use in flexible, high-power and modular array configurations in a diverse range of sound reinforcement applications. MOKA reportedly integrates cutting-edge concepts in sound reinforcement technology into a singular system, comprising three fundamental elements: the MOKA Array, the MOKA Sub and the MOKA Sub A. Its capabilities span from a small to large event, extending all the way to flown line array systems for professional live sound reinforcement at concerts and festivals, complete with adaptable subwoofer arrangements on the ground, or flown if needed. The MOKA Sub A is a 15-inch active, bassreflex subwoofer powered by a 4 x 2,300W Class-D amplifier module with DSP. It has been created for high-level and extended low-frequency output. Each Sub A can power up to another Sub (passive) and four Arrays. Four different configurations are available: MOKA Small (four MOKA Arrays + one MOKA Sub + one MOKA Sub A), MOKA Medium (eight MOKA Arrays + two Moka Subs + two Moka Sub As), MOKA Large (16 Moka Arrays + four Moka Subs + four Moka Sub As) and MOKA Giant (24 Moka Arrays + six Moka Subs + six Moka Sub As).

Boasting a new DSP and amplifier module, the LAm114xA PLUS is an upgraded version of NEXT Audiogroup’s LAm114xA stage monitor. The PLUS is boosted with an onboard 96kHz/40-bit

SHARC DSP engine and monitored by a built-in LCD screen with a preset loading encoder. It can be remotely monitored and controlled over Ethernet by a PC using X-NET Software which automatically identifies each device and allows simultaneous control of multiple devices through its grouping facility. Retaining the same design and measurements as the LAm114xA, it is driven by a two-channel UMAC Class-D full bandwidth PWM modulator which releases 1,150W for the LF section and 500W for HF section.

Complementing its LA210x line array system is the LAs518A subwoofer. Boasting dual longexcursion, high-power neodymium 18-inch drivers, the LAs518A delivers resonant bass down to 24Hz at –10dB and a maximum peak SPL of 143dB. Encased in an 89kg front-loaded bassreflex enclosure, it is suitable for both installation and rental applications and is driven by a two-

Moka System

Xi marks the spot

EXTENDING ITS X Series range of coaxial speakers, French speaker specialist

L-Acoustics has launched the Xi Series, a range of installation-focused coaxial enclosures with distinct formats, bandwidth and SPL specifically tailored for short-throw applications. The X8i and X6i models utilise coaxial technology to provide constant tonal balance over distance in a compact package.

L-Acoustics says its coaxial technology ensures smooth coverage for off-axis audiences, eliminates the need for a minimum listening distance and provides high feedback rejection. The Xi Series features L-Vents to deliver clear low-frequency power and boasts an IP55 rating for indoor and outdoor installations.

The Xi Series’ slender, streamlined designs encourage integration into high-end architectural

frequency response down to 67Hz. For standalone applications and close proximity listening experiences, the X6i_50 preset delivers full-range sound reproduction down to 54Hz and produces a maximum SPL of 117dB. The X8i_40 preset reaches 43Hz, producing a maximum SPL of 123dB.

The manufacturer has also launched Mixhalo Translate, allowing new capabilities for the L-ISA platform. Mixhalo’s real-time audio streaming software aims to unlock a creative dimension with high-fidelity, low-latency audio for audiences at conferences, sporting events and museums.

Mixhalo Translate combines real-time streaming capabilities with new advancements in artificial intelligence, transforming the way interpretation services are delivered at live events. Attendees can access AI-generated foreign language interpretation and transcription through their

Biamp tunes the room

THE VOLTERA D series of networked amplified loudspeaker controllers (ALCs) from Biamp offer onboard digital signal processors and tools for tuning rooms. Available in 1,200W or 2,400W configurations across four or eight channels, the Voltera D line is described as easy to use and configurable by either Tesira or the new Biamp VenueTune software, depending on user preference

released its Weave pattern front grille that will debut on the upcoming P-Series of coaxial, point source loudspeaker systems for portable applications.

Designed to improve the void-on-full ratio without spoiling mechanical protection factor, Weave introduces a distinctive, quasi-textile-look, reminiscent of the linen curtains that hung in living rooms during the 1970s. The self-dampening device on its lower side, combined with the aluminium construction, are said to make the Weave front grille less resonant than traditional round-holed, steel-sheet designs.

All Voltera D models provide high power and channel density in a compact 1U enclosure for space savings while maintaining high efficiency and low idle power. They are capable of high peak voltage output and, using power sharing, they can deliver up to 75% of the total amplifier power on any single channel. They also offer the option of either Lo-Z or Hi-Z per channel to support hybrid systems,

only a few lines of ALCs on the market to feature redundant network audio, support of failover between mains power and backup generators without a reboot and groupcontrolled raised cosine EQ, making them suitable for large systems. They also provide support of both AVB and Dante and accurate raised cosine EQ below 160Hz, which reportedly results in more precise elimination of room modes and optimisation of the lowfrequency performance of a system.

The VenueTune software offers in-depth control through an intuitive graphical interface, which uses simple 2D floorplans and a staged workflow to guide systems designers and installers. The software also provides extensive performance and usage logging over time, enabling IT personnel, AV pros and venue managers the ability to optimise performance after installation.

AES67. The Voltera D series is suitable for a wide variety of applications, from houses of worship, to transportation and government buildings, to entertainment and sports venues. In brief, the manufacturer has also announced that its line of Parlé all-in-one video and audio conferencing bars are now certified for Zoom Rooms and specifically the Parlé VBC 2500a conferencing bar and Vidi 250 conferencing camera are now certified for Intelligent Director for Zoom Rooms. Finally, EasyConnect MPX 100 firmware 1.1.1 and Parlé N 100 firmware 1.1.1 are now available for download, with updated bundled firmware for Parlé ABC 2500 and Parlé VBC 2500 to v1.3.0 and for Vidi 250 to v1.3.0.

www.biamp.com

The first member of the P-Series will be the P8, a compact point source loudspeaker

system for portable applications, integrating carrying handles, asymmetrical cabinet sides and the Weave front grille. The series will be complemented by specific mechanical accessories, designed to simplify rigging practice at typical tradeshow, theatre and live club venues, as well as short-throw open air events. The protective polyurea coating of the cabinet is graded to a proprietary off-black tone, finely matching the lo-viz, powder-coated, off-grey Weave-patterned grille, combined to ensure invisibility when the lights go off.

In brief, Isaac is Newton’s new multiplatform control software for Windows, macOS and Linux users.

www.outline.it

X6i and X8i

The EX files

THE EX28 is a two-way, full-range, active loudspeaker system from KV2 that extends the company’s EX Series range and builds on the success of the EX26. Adding further low-frequency extension, its compact profile is designed for a multitude of front of house and in-fill applications such as theatres, leisure venues, houses of worship and concert halls. Two individually designed 8-inch neodymium mid-bass woofers offer Transcoil for improved vocal performance and extended bass for the low-frequency section, along with a neodymium compression driver mounted on a 100° x 80° horn.

www.kv2audio.com

Void Acoustics adds KROME finish

IN RESPONSE to customer demand, Void Acoustic engineers have developed a KROME finish, providing a visually impactful line of products capable of “gracing the most prestigious venues”. According to the manufacturer, enterprises across the world are looking to revitalise their establishments and customer experience.

The KROME finish was originally designed for KOR and its lounges in Taipei and Shanghai. However, the finish was unveiled to the public for the first time at ISE where it was added to the company’s Air Array three-way sculpted loudspeaker. All Void fibre-glass products can be customised in a variety of KROME colours, including black,

Wharfedale adds to Versadrive series

BRINGING AUDIO to the great outdoors, WORK PRO’s Aulum Series loudspeakers are designed for applications such as gardens and terraces. Available in two acoustic enclosures for ground and wall-mounted locations, both are cylindrical in shape and offer 360° horizontal and 120° vertical sound dispersion, with a frequency response of 90Hz–18kHz.

Made from aluminium and featuring an IP65 protection rating to withstand rain and spray, both utilise a 2.5-inch woofer and can work in low-impedance installations with a power handling of 10W @ 8W as well as high-impedance setups where they offer 10W to 70V/100V line installations. Both models also feature 12V DCpowered 6W LED lights with a colour temperature of 3,000K to help illuminate specific areas of an installation. Designed for omnidirectional coverage, the AL 1003 F is intended for ground installation, while for landscaped areas where a wall-mounted enclosure is more suitable, the AL 503 M provides the same capabilities in a smaller form factor.

www.workpro.es

WHARFEDALE PRO has released its SC-26X loudspeaker management sy s tem.

The latest addition to the Versadrive series of DSP processors, the SC-26X replaces the SC-26 and is described as versatile and scalable, c a tering to systems with multiple subwoofers, monitors, line arrays or even zones. In the output stage, the limiters section includes RMS compressors and peak limiters to prevent any system damage that might occur through a lack of DSP. Along with time-saving Automatic Gain Control, the SC-26X also has dual-band dynamic EQs available at its input stages.

These advanced EQ systems can address issues in the source signal, such as tonal imbalances or resonances. The two-in/ six-out device comes with full PC-based control ove r USB, RS-485 or Ethernet, and all software parameters can be remotely set, locked, saved or loaded.

The T-SUB-AX12B has also been introduced for situations when compact solutions and

even more bass are needed. Following in the footsteps of the 15-inch T-SUBAX15B and 18-inch T-SUB-AX18B, the 12-inch T-SUB-AX12B subwoofer features an adjustable low-pass filter around the back which allows for easy tuning to suit almost any active top. It has a frequency response of 50–200Hz (±3dB) or 45–250Hz (±10dB). The unit is covered in the latest polyurea ToughTone paint for durability, but the unit can also be protected with optional soft cover accessories.

www.wharfedalepro.com

DiGiCo introduces Fourier Interface Card

FOLLOWING DIGICO’S acquisition of Fourier Audio and the launch of its inaugural product, the transform.engine, DiGiCo has unveiled the Fourier Interface Card that will be retrofittable on all Quantum consoles as well as on the majority of the manufacturer’s SD-Range desks. The module delivers 64 channels of bidirectional audio at both 48k and 96k connections to the Fourier Audio transform.engine, which is a 2U outboard Dante-connected server designed to run VST3 software plugins in the live environment. The card is based on Dante, allowing most of DiGiCo’s consoles – even those without DMI card slots – to join the Dante ecosystem, without requiring MADI on the transform.engine.

Meanwhile, the console manufacturer has also announced that it is now offering second-generation software updates for its Quantum338, Quantum338T and Quantum225 mixing consoles. Available for a nominal fee, the Mk 2 software packages, known as Pulse, will increase the input channel and bus counts of each desk model, plus add other notable features.

On the Quantum338 and Quantum338T, the upgrade will increase the number of input channels to 156 (from 128), busses to 72 (from 64), Mustard Processors to 48 (from 36) and Nodal Processors to 72 (from 64). Other perks include the addition of Mix Minus functionality, plus a larger 36x36

Matrix on the “T” theatre-software model of the console (up from 24x24). Similarly, Pulse will bump up the Quantum225’s power and

96 (from 72), bus count to 48 (from 36), and Mustard and Nodal Processor tallies to 36 and 48, respectively (from 24 and 32). Mix Minus is also included in the new feature set. To qualify for the discount, the Pulse software upgrade must be purchased before the end of 2024. The company will simultaneously offer Mk 2 software updates for its Quantum7 and Quantum5 consoles free of charge, adding Mix Minus to the desks and increasing the number of Mustard Processors on the Quantum7 to 80 (from 64) and to 64 (from 48) on the Quantum5.

gold and silver, including systems such as the Incubus, Air and Nexus series.

Fourier Interface Card

CODA AUDIO

installation amplifier. The unit, the first produced by CODA’s recently created amplifier engineering R&D team, is part of the company’s roadmap towards an entirely

platform.

Flexibility with V600:2

DYNACORD HAS announced the introduction of the V600:2, the latest member of its V Series family of commercial amplifiers. With a total output capacity of 600W, this two-channel amplifier is intended for background music and announcements but also for whenever higher SPL levels in small or mid-sized fixed installations are required, including educational facilities, hospitality venues, retail areas and houses of worship. Integrators can now mix and match different V Series models to meet their specific project requirements. With the

amplifier channels to be driven at 4Ω, 8Ω, 70V or 100V, without affecting output power.

Overall power consumption is significantly reduced with ecoRAIL, conserving energy and lowering ownership costs. Auto Power Down (APD) aims to improve energy consumption by automatically powering down the amplifier when no audio signal is present. dualCOOL provides silent operation for applications in quiet environments, while a built-in multi-stage fan is activated under extreme thermal conditions.

The LINUS6.4-iD drives the vast majority of CODA’s family of loudspeakers with the exception of line arrays and sensor-controlled subwoofers, and can be controlled by LINUS Control which offers full network control and monitoring over Ethernet. Additionally, the LINUS6.4-iD can be controlled via LINUS App which allows full control from a mobile device using its built-in Wi-Fi hotspot.

The LINUS6.4-iD is a four-channel DSP networkable installation amplifier delivering 4 x 1,500W of clean power in a lightweight, 19-inch package. Advanced Class-D discrete power stages with DC-coupled DACs provide minimal thermal dissipation. The PCB layout

design integrates DSP, four amplifiers and SMPS on a single PCB for enhanced sound quality, pinpoint control and rugged protection. The LINUS6.4-iD’s inputs are selectable, enabling users to choose between analogue, LiNET or Dante digital audio network, and route to any of the four outputs via the input matrix. The DSP processor enables the integration of audio algorithms, including phase linear DS-FIR filters. The end result is said to be increased system headroom and sonic fidelity, even under heavy use conditions.

www.codaaudio.com

same features and Dynacord technologies on board as the four-channel V600:4, the V600:2 is said to offer optimal installation flexibility, superior power efficiency and advanced reliability.

powerTANK technology adds flexible power allocation, acting as a power reservoir. With direct access to 600W, the V600:2 can deliver asymmetric power across all channels as needed. Dynacord’s Variable Load Drive (VLD) technology allows the

At just a single rack unit high and half a rack width wide, the V600:2 offers a multitude of installation options wherever space is limited. The included brackets facilitate single or dual rack-mount options. Two amplifiers fit in a single rack unit when rack-mounted side-by-side, using space and doubling the channel count and output power.

BOASTING ONBOARD DSP, WebUI, cloud connectivity and third-party API control in a compact enclosure, the Connect Series Half-Rack amplifiers from LEA Professional provide the same feature set as the company’s Connect Series amplifiers, but in less space. Featuring fully routable analogue inputs and four amplifier channels with Lo-Z, 70V or 100V selectable by channel, the range consists of six half-rack models: the CS34, CS64, CS124, CS34D, CS64D and CS124D. Both D units also support Dante and AES67 connectivity. All of the units provide three different ways to connect to a network. Options include using the built-in Wi-Fi access point, connecting to an existing Wi-Fi network or using a Local Area Network Ethernet connection.

Cadac Consoles reveals its latest mix system

CADAC CONSOLES has designed its CM system to offer enhanced connectivity, control and flexibility, all packaged in a lighter but familiar form factor with a new design language. The system is centred around the CM-J50 mixer, which has been updated with the addition of a number of new user-led features, allowing faster creative control while maintaining a 0.4ms through-system latency. Though smaller and lighter than its forebears, the CM-J50 mixer boasts a higher I/O density with 96 inputs and 56 outputs, of which 48 are user assignable. Brighter 23.5- and 6.5-inch touchscreens are at the heart of the user interface. And while the form factor is familiar – including the wooden armrest – the CM-J50 has been internally reengineered,

Providing remote monitoring and control for LEA amplifiers, the LEA Cloud platform has also been updated with a range of cloudspecific features. LEA Cloud users are now able to perform over-the-air firmware updates to ensure installations are kept up to date, while status information is easier to monitor by enabling users to see the health of all their LEA installations on a single screen. Additionally, LEA Cloud now supports event and fault notifications via text or email alerts, allowing integrators to be notified of system alerts immediately. These notifications allow for proactive communication and system maintenance so that issues can be addressed promptly, delivering an additional service that integrators can add to their recurring revenue models.

www.leaprofessional.com

MegaCOMMS ports, mirrored on optical LC ports as well as BNCs, provide system extension through a new series of “intelligent” CM-SR remote stageracks.

These follow Cadac Consoles’ new design language with the series comprising the 4U CM-SR24 and CM-SR40, with 24 inputs/32 outputs and 40 inputs/16 outputs respectively, and extending up to the 7U 64-input/40-output CM-SR64. Designed to meet the ever-increasing demands of live audio production, they feature local control via a 2.4-inch colour screen, OSC implementation, headphone monitoring and dual internal PSUs, with the units encased in a robust, 100% recyclable aluminium chassis.

www.cadac-sound.com

new LINUS DSP amplifier

Connect Series Half-Rack

HIGH PERFORMANCE

3 WAY POINT SOURCES

1400 W RMS 3 WAY ACTIVE POINT SOURCES

COAXIAL MID-HIGH TRANSDUCER

OUTSTANDING SPL UP TO 138 DB

SYMMETRIC DESIGN FOR VIO X310

EXTENDED LOW-END RESPONSE FOR VIO X315

NEODYMIUM COMPONENTS

LINEAR PHASE FIR FILTERS

FULL-RANGE SMPS WITH PFC

VIO X310 3 WAY ACTIVE SPEAKER

MODULAR SLOT FOR NETWORK AND DIGITAL AUDIO EXPANSION CARDS (RDNET CARD INSTALLED)

FLYABLE WITH ACCESSORIES

SYSTEM TEST FOR QUICK TRANSDUCERS DIAGNOSTICS

VIO X315 3 WAY ACTIVE SPEAKER

Making the Link

ABLE TO search for, track and switch between meeting participants, AudioTechnica’s ATND1061 beamforming

multichannel digital audio and information control. A benefit of Audio-Technica Link (AT-Link) is that it uses general-purpose LAN cables, eliminating the need for multiple analogue audio cables to simplify cable management and installation, while the ATND1061LK has two connections for integration into an AT-Link daisychain setup, as well as network connectivity for configuring individual room settings.

The ATND1061LK detects unwanted sounds during meetings and automatically adjusts the beam so that it is not pointed in that direction. It can be flush- or surface-mounted in a drop or hard ceiling, or mounted in open space via a standard VESA mount.

The ATND1061 has also been updated with VISCA-over-IP and Voice Lift technology. VISCA (Video System Control Architecture) offers synchronised control of multiple video peripherals to help improve interoperability and meeting equality. Using VISCA-over-IP, users can position the camera to match with the audio captured by the ATND1061. This is said to create a more natural experience in hybrid calls. Following customer feedback, the ATND1061 also now includes Voice Lift. The purpose of Voice Lift is to improve the communication environment in a space where voices don’t carry, such as larger rooms. Whether it’s a classroom, meeting room or other type of space, Voice Lift reportedly makes a presenter’s words

more intelligible. The technology also alleviates speaker and listener fatigue. The person speaking doesn’t need to strain to be heard, and the people in the back of the room don’t need to

The manufacturer has also unveiled its ESWR4180LK eight-channel receiver for use within the brand’s DECT-based Engineered Sound Wireless ecosystem. Using a single standard Cat5E cable for both power delivery and audio, the ESW-R4180LK handles up to eight channels of audio. AT-Link also provides the ability to power AT-Link endpoint devices, eliminating the need for a power cable or standard PoE switch. The receiver can be daisychained to simplify installation and, for added flexibility, mix-out channels can be used when there are not enough input channels for the audio destination. Audio-Technica’s Wireless Manager software allows users to check reception status, audio level, battery level and

In brief, Audio-Technica’s Engineered Sound Wireless (ES Wireless) system has been integrated into the Q-SYS ecosystem with the development of a certified plugin with US enterprise AV infrastructure specialist The Farm. Delivering scalable wireless mic functionality to the Q-SYS ecosystem, the integration of the Q-SYS control plugin enables users to connect to and manage the DECT-based system, including individual and group channel muting, preset loading, real-time monitoring of RF and charging parameters, all via a Q-SYS network touchscreen controller.

www.audio-technica.com

HOPING TO take its production tools and console technology to a wider audience of artists, producers and engineers, Harrison Audio has released three 500 Series modules, including the 32Cpre+ microphone preamplifier, the MR3eq three-band parametric equaliser and the Comp compressor. Each module takes key elements from Harrison’s studio consoles from the 1970s, 1980s and 1990s and delivers them in 500 Series format.

The 32Cpre+ takes the transformercoupled microphone preamp from Harrison’s 32Classic studio console and combines it with Harrison LP/HP filters –all in a single 500 Series unit. Inspired by the Harrison 3232, the 32Classic mixing console and preamp is said to deliver the same tone that helped create iconic albums like Thriller, In Through the Out Door and The Nightfly

A full low end, open midrange and “super-smooth” natural highs are the aims from the Jensen JT-MB-CPCA transformer-coupled mic-pre. The 32Cpre+ delivers 20–70dB of smooth gain and is capable of driving a wide range of mic types, including ribbon. Additionally, the front panel features 180° phase, 48V,

–20 pad, Hi-Z impedance switches and a combo XLR input with a ¼-inch jack connector.

The MR3eq is an analogue EQ, originally developed for the Harrison MR3 studio console. A three-band parametric equaliser featuring low- and highfrequency 6dB/octave Shelf bands, it can be switched to a second-order Bell response with Harrison’s proportional Q. The MR3eq is designed to enhance a wide array of source materials and is suitable for both tracking and mixdown scenarios.

The Comp module uses a THAT 2180 VCA chip for analogue performance. The compressor’s attack is said to be programme-dependent and continuously adapts to the input signal. These parameters mean that the Comp module can function both as a transparent leveller as well as a saturated vibe compressor. Finally, the manufacturer has released its Mixbus V10 update. V10 enhances Mixbus’s signature analogue-style mixing with new processing tools, while also adding workflows for immersive audio/ Dolby Atmos production.

www.harrisonaudio.com

INTRODUCING A wireless monitor system with Dante and encryption in the 537–691MHz range, Lectrosonics has launched its Duet digital wireless monitor system in the B1C1 frequency band for markets including Europe, Asia Pacific and South America. Supporting both analogue and Dante signal sources, the all-metal Duet IEM system boasts a signal latency of 1.8ms and includes a M2Ra bodypack receiver, M2T/E01 dual-stereo half-rack transmitter and M2C-L wideband power combiner.

Other features include phantom power protection on the M2Ra headphone jack

so that the receiver can be safely used as a camera hop receiver and an IFB analogue compatibility mode. High receiver IP3 and 1dB RF compression points reportedly provide robust handling of high signal levels, while D2 and HDM mono digital compatibility modes in the M2Ra mean it can also be used as a portable receiver or portable monitor device, with mono digital transmitters from the DSquared product line. Both the M2Ra receiver and M2T/E01 transmitter also include a USB jack so users can update the firmware in their units in the field.

www.lectrosonics.com

Harrison Audio releases a thriller

500 Series

Compact encoding

EXTRON HAS released the NAV E 121 compact encoder, the latest addition to the NAV Pro AV-over-IP series. It streams ultra-low latency, high-quality HDMI video and audio over 1Gbps copper Ethernet and standard IP networks. Reportedly half the size of other encoders on the market, it features the Extron-patented PURE3 codec and delivers real-time streaming of visually lossless video at resolutions up to 4K/60 with 4:4:4 chroma sampling and ultra-low latency over 1Gbps. The NAV E 121 features an HDMI 2.0 loop-thru for local display or confidence monitoring and an RS-232 control port. Support for AES67 audio-over-IP facilitates integration with Extron’s broad range of audio DSPs or other IP-enabled audio components. Meanwhile, the company has also released the DTP3 T 101 D, a one-gang decorator-style transmitter for sending HDMI up to 100m over a shielded Cat6A cable. It extends video resolutions up to 4K/60 at 4:4:4 without compression

to provide optimal image quality. This HDCP 2.3-compliant transmitter includes EDID Minder, a comprehensive EDID management technology for dependable content display. It also supports multiple embedded audio formats. It can be powered remotely by a DTP3-enabled product or with the included Extron Everlast power supply. Offering long-haul transmission of HDCPcompliant HDMI video with embedded audio over fibre, the FOX3 T 101 and FOX3 R 101 transmitter and receiver deliver

mathematically lossless transmission of images up to 4K/60@4:4:4. Designed specifically for AV systems, the compact and low-profile devices include integratorfriendly features such as Key Minder, EDID Minder, internal test patterns, a USB-C configuration port and remote configuration. The FOX3 T 101 and FOX3 R 101 extend Extron’s FOX3 series, ranging from point-to-point extension to fully non-blocking matrix applications up to 2,000x2,000.

In brief, the manufacturer has also expanded its XPA Ultra FX line-up with the XPA U 4004 FX four-channel, multi-zone audio power amplifier. The Energy Star-qualified amplifier can deliver 400W simultaneously into 8Ω, 4Ω, 70V and 100V loads, independently configurable per channel. Each channel of an adjacent pair dynamically draws power from the pair’s total wattage, delivering optimal power where needed according to system requirements.

www.extron.com

VIDEO SWITCHING and control device specialist AMX has added two products to its growing catalogue. Its SVSI N3300 Series of encoders and decoders are designed to extend the reach of its SVSI 4K60 networked AV solutions to a wide area network (WAN). Delivering 4K60 H.26x and Dante AV-H video, the N3300 Series aims to provide greater streaming flexibility

The N3300 Series also features recording of video to a USB 3.0 external drive on encoders, video preview images viewable from the built-in web interface or from a touchpanel, and enhanced support for highsecurity networks. With Dante AV-H, N3300 products are compatible with Dante Studio to allow monitoring or bringing video directly into UC, recording, production or streaming

and interoperability for streaming, video to desktop, digital signage, set-top boxes or mobile device applications.

NEUMANN.BERLIN HAS released a feature upgrade for the MT 48 audio interface. The Monitor Mission transforms the MT 48 into a freely configurable monitoring controller. In addition to mono and stereo, the Monitor Mission can also handle surround formats such as 5.1 as well as immersive audio formats such as Dolby Atmos 7.1.4. This is said to open up a whole new field of applications, particularly in the mixing and mastering sector. The Monitor Mission includes flexible bass management and complex alignment functions to adjust the frequency and time domain characteristics of loudspeakers to the listening position. The downmix feature

applications without the need for additional hardware. H.264/AVC and H.265/HEVC video compression standards are both supported,

and its open API makes it possible for any control system or application, such as Zoom Rooms, to control the device.

Available in standalone box and card form factors, N3300 encoders simultaneously output both 4K60 H.26x and 1080p H.26x video streams. AMX has also introduced three HydraPort USB-C modules to provide conference spaces with a wider range of connectivity options. A USB-C-to-HDMI module with retractable cable provides a dedicated video connection for outputting content from laptops and mobile devices to in-room video networks. It also delivers digital video in resolutions

up to 4K@60Hz. With a retractable USB-C cable on top of the table and an HDMI output underneath it, it simplifies the connection of devices to a video network while keeping cables hidden. Additionally, two USB-C charging modules are available which provide both USB-C and USB-A connections with charging capability to the HydraPort chassis. The HPX-USBC-US65 includes a two-port power supply with US-style, Type A plug, capable of providing up to 65W over USB-C, and up to 30W over USB-A. The HPXUSBC-100 provides all the functionality of the HPXUSBC-US65 but does not include a power supply and is compatible with any global power plug standard. AMX says that with over 50 global-friendly modules to choose from, its AMX HydraPort Architectural Connectivity System supports most AV, power or networking connections required to support modern meeting space collaboration needs.

www.amx.com

allows multichannel audio to be monitored in either mono or stereo. The extensive range of connectivity options makes it possible to connect studio monitors in a variety of ways, whether analogue or digital via S/PDIF or ADAT. It is even possible to combine several connection types for one speaker group. Using the four analogue monitor outs and an external ADAT converter, systems of up to 7.1.4 can be realised. In addition, the built-in AES67 interface allows the connection of highly professional multichannel converters such as the Merging Hapi MKII and/or Neumann studio monitors in the AES67 version.

www.neumann.com

Hydraport

Caught in a Soundweb

CATERING TO a diverse range of environments, the Soundweb OMNI family from BSS is an open architecture DSP platform that combines enterprise-grade processors, flexible I/O expanders, Dante/

devices, the 32e and 16e. Each audio I/O port is “format configurable” as either analogue or stereo AES3, and certain audio I/O ports (and all GPIO ports) are configurable as either inputs or outputs. The platform is managed through

digital signal processing, combining purposebuilt hardware with software to provide the flexibility of centralised or distributed DSP to allow systems designers to choose the appropriate topology for any installation. BSS’s commitment to supporting control system programmers is reinforced through the introduction of HControl, a human-readable, standards-based and developer-friendly API. Featuring BSS’s 512p and 256p flagship processing devices, the Soundweb OMNI family provides up to 512x512 Dante/AES67 channel counts at 96kHz. It also offers two I/O expansion

via two applications – AVX Architect is a desktop software app for system diagramming, device configuration, network management and custom UI design. It allows users to add an unlimited number of processors and expanders to a single project file, while still using a single canvas for device configuration. Alternatively, AVX Control is a lightweight software app providing easy access to custom UIs for controlling and monitoring devices across Windows, iOS, Android and AMX

Keeping up with demand

SINCE CPR legislation came into force, Tasker is following the constant market demands and has once again increased its range of medium risk class cables (Cca) with 12 products that are compliant to the most advanced homologations needed worldwide. All of the releases are manufactured with innovative construction materials to make them suitable for indoor and outdoor installations.

In the speaker cable sector, the company has expanded its product range with five models –two with two conductors (TSK406 CPR Cca 2x6mm²; TSK408 CPR Cca 2x8mm²), two

Mobile connection

All the fives for API

MARKING 55 years in the audio industry, API has announced a commemorative limited run of its classic 5500 Dual Equalizer as well as an upgrade to its TCS-II channel

decoding circuit to allow for separate EQ control of the separated mid and side signals.

In addition, the company has updated its The Channel Strip (TCS) with the

strip. Featuring the same vintage cream colour worn by numerous API consoles, the 5500 Anniversary Edition Dual Equalizer is a limited production run of just 55 units and retains all the sonic and functional characteristics

TCS-II. The original TCS featured a 512c preamp, 527 compressor, 550A EQ and a 325 line driver, all fitting into a single rack unit.

With thousands of TCS units in service, the TCS-II retains its circuit structure and

of the standard production 5500. The 3U rackmount chassis features a frequency range of 20Hz on the LO and 50Hz on the LO-MID, with 15kHz on the HI-MID and 40kHz on the HI band. It has a variable high pass filter which

API sound but upgrades the compressor section from the 527 to the newer 527A, updates the 512c input selection controls and adds peak LED metering. Additionally, the output level control knob now has a pointer for reference.

KLOTZ AIS has released its VU07L1DS range of digital video cables for mobile applications which feature BNCpro and BNCslim series as well as BNCmicro and DIN 1.0/2.3 connectors from Damar & Hagen. The cables come with a concentric stranded copper inner conductor, a dense tinned copper braid shield and a PUR overall jacket. The flexible C7PLRP network cable provides transmission lengths of up to 100m. Boasting Cat7 S/FTP AWG23/7 600MHz construction with a consistent outer braided shield and foil-shielded pairs, the manufacturer claims the C7PLRP cable has been designed for demanding live entertainment applications in the pro AV and broadcast sectors, as well as for use in industrial environments. Its low

www.apiaudio.com

released four digital multipair cables: the TSK902 CPR Cca (2x2x0.22mm²) and the TSK904 CPR Cca, TSK908 CPR Cca and TSK912 CPR Cca with four, eight and 12 pairs

Finally, the manufacturer has strengthened its range of cables for video applications with the TSK1078 CPR Cca, TSK1079 CPR Cca and TSK1080 CPR Cca for 12G-SDI video signal at 4K resolution for distances of 60m, 80m and 100m respectively.

www.tasker.it

RJ45 or etherCON connectors in both indoor and outdoor areas. The robust black PUR jacket is flame-retardant, halogen-free, resistant to oil, microbes and chemicals, and offers stability even in extreme conditions down to –40°C. To mark the manufacturer’s 45th anniversary, KLOTZ has also given the KLOTZ LaGrange a redesign. With the aim of retaining 100% of the properties for stage and studio use, but offering the customer an even more individualised cable, the LaGrange is now available with laserengraved metal jack plugs. Abrasion-resistant “LaGrange” lettering with guitar logo and the company’s new cable tie have both been

Neutrik has the power

cord sets’ overmould guarantees up to 20,000 bending cycles.

Using powerCON TRUE1 TOP connectors and overmoulded with high-quality H07RN-F TITANEX rubber cable, the Power Cords sets reportedly provide enhanced levels of durability and protection for the most demanding indoor and outdoor application environments. The

DARKSTAR soft compound coating provides improved durability and haptics, and connector colour coding is provided with optional rings that fit flush between the connector housing and cable overmould. The manufacturer says that improved anti-kink protection provided by the

Optional ruggedised locking sealing connector covers for use with either series provide protection against moisture and particulate ingression when unmated. Cord sets and

data connectors are RJ45 carriers for 1Gbit/s/100W PoE Ethernet and network connections.

The D-shape panel mount connectors are RoHS/REACH compliant, flame retardant, UV and corrosion resistant, and provide IP65 protection against particulate and moisture ingression for applications in

Designed to optimise power cabling costs and complexity in outdoor broadcast and film locations, Contrik has developed Power Strip Multicore boxes and Power Multicore cable assemblies. The Power Strip Multicore “stringer boxes” consist of six models with Harting E16 connectors for six-channel, single-phase breakout, or breakout and daisy-chaining, on

Neutrik powerCON TRUE1 TOP or Schuko Type F connectors. Designated as offering either “X” (Xtreme protection) or “XO” (Xtreme Outdoor protection), “X” offers high mechanical (IK) protection and “XO” IK and high environmental protection. The proprietary Easylen housing offers high IK mechanical protection up to IK 10+ with high levels of flame retardancy, temperature resistance, UV protection, corrosion insensitivity and non-conductivity.

www.neutrik.co.uk

Power Cords

etherCON TOP

Listen Technologies and Ampetronic debut AURI Bosch stays connected

LISTEN TECHNOLOGIES and Ampetronic

AURI is the first product Listen

supported broadcast audio, which unlocks a variety of new use cases, including wide area assistive listening. Auracast can broadcast audio simultaneously to an unlimited number of Auracast-compatible devices, including receivers, hearing aids, earbuds and smartphones.

Listen Technologies and Ampetronic are active members of the Bluetooth Special Interest Group (SIG) working to make Auracast broadcast audio technology as reliable and widespread as possible.

and small spaces, dedicated receivers and charging bases, and a complete line of accessories, including headphones, neck loops and network management and configuration software.

AURI will reportedly provide high-quality multichannel broadcast, support open or secure audio transmission, offer multilanguage support and help venues meet global accessibility compliance requirements.

www.ampetronic.com www.listentech.com

DICENTIS HYBRID Meetings is a cloudhosted end-to-end hybrid conferencing solution from Bosch that combines in-person and remote conference attendance. Since general online videoconferencing applications often don’t meet the needs of structured hybrid meetings – due to insufficient onsite systems integration and lacking professional features like microphone management and compliant voting – Bosch has developed its own hybrid solution to create a flexible meeting environment.

Dicentis Hybrid Meetings combines the stationary, IP-based Dicentis conference system with remote participation into a fully native hybrid meeting solution. It has been designed to create an optimal meeting experience for onsite participants using Dicentis conference devices

comprising the voting results and hall visuals –even when connected remotely.

Meetings are centrally controlled over one straightforward user interface for the chairperson and meeting manager. They can control hybrid meetings the same way as in-person gatherings, including speaker timers, request list, response mode, voting with quorum, majority and voting weight with automated reporting in a tamperproof format. Dicentis Hybr id Meetings offers a high level of security. Data are processed with full privacy-compliance, in accordance with international information security and privacy management standards as well as the General Data Protection Regulation (EU GDPR). Stateof-the-art data encryption using standardised IP technology and security features ensure protection against tampering and hacking. The

Studio Technologies makes an announcement

STUDIO TECHNOLOGIES has released the Model 214A, 215A and 216A Announcer’s Consoles designed to serve as the audio control centre for announcers, commentators and production personnel. Serving as upgrades to the Model 214, 215 and 216, the units utilise STcontroller Software Application for all configuration selections.

is maintained for on-air audio, talkback audio and headphone cue feeds.

The Model 214A’s two, Model 215A’s three and Model 216A’s four pushbutton switches allow the user to control the main and talkback audio output channels. On all models, one pushbutton switch controls the status of the Dante main transmitter (output) channel.

The Model 214A, 215A and 216A Announcer’s Consoles are suitable for numerous applications including on-air television sports broadcasting, stadium announcements and corporate AV. All three consoles are compatible with broadcast and audio system environments that use Dante audio-over-Ethernet technology. Only an Ethernet connection with Power-over-Ethernet (PoE) is required to make the Model 214A, 215A or 216A part of a networked system. Audio quality

This is the audio channel intended for on-air, announcement or other primary uses. The Model 214A, 215A and 216A’s pushbutton switches use gold-plated contacts for reliable long-term operation and include backlighting using white LEDs. Three rotary controls allow the user to adjust the content and level of the two-channel headphone output. The Model 216A can also serve as a four-channel IFB (interrupted foldback or talent cueing) main station for

remote production (REMI) applications. This unit will integrate all on-air, talkback and cue audio signal routing in one compact package.

Designed to interconnect audio channels across two independent networks, the Model 5682 is a 1U unit that bridges SMPTE ST 2110 audio channels with Dante. Available in two versions, the Model 5682-01 allows up to 32 audio channels to pass in each direction, while the Model 5682-02 supports up to 64.

It is compatible with both the ST 2110-30 standard for PCM audio signals and the ST 2110-10 standard for signal timing, while the Dante interface is compatible with Dante Domain Manager and AES67.

The Model 5682 incorporates three GigE

are designated for use by associated ST 2110 or Dante networks, while the third is reserved for configuration. In line with the SMPTE 2022-7 standard, the unit supports redundant streams, while the Dante Controller application selects whether the Dante interface operates in a switched or redundant mode.

Front-panel LEDs, an LCD display and five pushbutton switches are provided to view and revise selected operating parameters. NMOS, ANEMAN and JSON configuration support is provided, while Dante Controller can be used to configure the unit’s Dante network and audio parameters.

Solid links

SOLID STATE Logic has unveiled its SSL 360° Link plugin software which enables the manufacturer’s UC1 surface to control any third-party plugin, bringing control of any plugin within its SSL 360° software environment and virtual console hybrid workflow. The software/hardware combination of the UC1 plugin controller and SSL 360° software provides a “knob-perfunction” plugin control and visual feedback for users who will reportedly have greater control over sonic flavours by accessing a broader palette of plugins, providing a range of creative options when producing and mixing music.

Delivered through a streamlined user interface, the 360° Link lets users drop third-party plugins into a session and control them with the advanced “console-style” workflow that the UC1 offers. Any third-party plugins mapped via 360° Link become visible in the SSL 360° Plugin Mixer alongside SSL’s 4K E, 4K B and CS2 channel strips. The 360° Link comes with a selection of customisable factory maps for SSL channel strip plugins from Slate Digital, Harrison Audio, Universal Audio, Waves Audio and Brainworx. While the UC1 is optimised for a typical channel strip layout, any plugin can be mapped.

www.solidstatelogic.com

Kramer unveils Panta Rhei

DESIGNED TO “reform the audiovisual ecosystem experience”, Panta Rhei from Kramer is a single, centralised cloudbased platform which encompasses the entire audiovisual lifecycle and offers a full suite of services for systems integrators, IT/AV managers and end users. Panta Rhei is specifically designed to provide customers with a unified platform that is adept at managing not only all Kramer installations but also seamlessly integrates with third-party devices. It has been designed to facilitate the transition from planning and deployment to management, support and end user services.

The manufacturer has also expanded its AVoIP portfolio with the KDS-17 which offers ultra-high performance and scalability and

Clear-Com launches Gen-IC Cloud Intercom

DESIGNED TO connect to a broader hardware ecosystem or operate as a standalone software solution, Clear-Com has unveiled the Gen-IC Cloud Intercom, promising the flexibility and power of cloud production combined with the manufacturer’s reliability and customer support.

The solution is described as a secure and flexible virtual intercom that allows users to easily integrate on-premise hardware with virtual intercom clients. Designed for scalability, the Gen-IC Cloud Intercom will allow end users to ramp up multiple virtual clients as needed, with the capability of integrating with Clear-Com’s extensive hardware infrastructure over LAN, WAN and the internet.

The issue of latency is especially important for audio comms. As a result, Clear-Com has developed a virtual intercom application that

Created for spaces requiring 4K60 4.4.4 video quality with minimal latency, it supports up to

Two in one

PURPOSE-BUILT FOR producing, mixing and mastering, the open-back HD 490 PRO reference studio headphones are Sennheiser’s top-of-the range professional model for mixing, mastering and producing. With a wide, dimensional sound stage for localising the components of a mix, its ultra-light voice coils reportedly ensure fast and authentic sound reproduction. The frequency response is uncoloured across the entire audio spectrum, with an accurate and defined low end courtesy of a special low-frequency cylinder. The open-mesh ear cup covers reveal Sennheiser’s Open-frame Architecture, which minimises resonances and distortion, while the transducers sit at a slight angle to emulate a typical monitor loudspeaker setup.

The lightweight design eliminates any pressure points to guarantee the headband does not press on the sensitive parts of the head, and the circumaural ear pads feature a patented soft comfort zone to cater for the temples of glasses while maintaining good sealing. A patent has also been applied for regarding the axes geometry of the headphones. The design ensures that the headphones adapt to the head and maintain an equal contact pressure whatever the user’s head shape. The HD 490 PRO also provides two different sets of ear pads designed to shape the sound differently to deliver two headphones in one; velour ear pads have a slightly warmer response, while fabric ear pads allow for a very flat, neutral sound that helps focus on detail when a sound reference is needed in finishing off a mix. In addition, the headphone cable can be plugged into the right or left ear piece to cater for different studio setups and preferences, and

can be deployed on selectable regional targets. This reportedly minimises the latency inherent when going virtual by giving administrators the ability to easily deploy the Gen-IC Cloud Intercom closest to where teams are doing work. Moreover, Gen-IC Cloud Intercom instances from around the world can be linked, producing a communication and collaboration tool for mission-critical productions.

Also new is the Clear-Com SkyPort, which provides workspace management, making it easier to manage many different customer sites and events in one online application. Through SkyPort, users can authorise local administrators to manage events, while still benefitting from Clear-Com’s support capabilities provided via its partner network.

www.clearcom.com

The left/right designation is visible on the inside dust covers of the transducers and the headband fork also carries braille information. The manufacturer has also introduced the Headmic 4, an ultra-lightweight (7g) condenser cardioid neckband microphone for vocal and speech applications. Featuring a KE 4 cardioid mic capsule, it comes with 3.5mm jack and three-pin connector options and is compatible with all Sennheiser bodypack transmitters. Meanwhile, Sennheiser’s upgraded Room Planner now includes a Room Plan Upload Feature for personalised audio and video designs, while height adjustments for ceiling microphones have been refined. Product guides and specifications have also been integrated.

www.sennheiser.com

Panta Rhei

Reliability In All Weathers

Audinate goes pro

AUDINATE HAS announced the release of the Dante Pro S1, a compact and cost-effective system-on-a-chip (SoC) for professional audio and AV equipment manufacturers to integrate Dante network functionality in low channel count devices. The Dante Pro S1 is designed to meet the evolving security requirements for enterprise Internetof-Things (IoT), Unified Communications (UC) and advanced audio system implementations. The chip solution provides a platform for new features such as media encryption. The Dante Pro S1 offers an alternative to the Ultimo chip for OEMs building low channel count devices. New designs are encouraged to use the Dante Pro S1 as it will provide future features and capabilities that may not be supported by Ultimo-based products.

The Dante Pro S1 is designed for compact and power-efficient audio equipment solutions requiring Dante network interoperability. The chip is a TFBGA100 package (8mm x 8mm) and requires minimal external components to complete system integration. The underlying microcontroller is more power efficient than previous Dante solutions, resulting in low-heat dissipation for space-constrained equipment designs. It comes in multiple package configurations to meet the exacting requirements of OEMs. The configurations are said to support up to 2x2 channels at 96kHz or up to 4x4 channels at 48kHz audio encoding. An evaluation kit is available for equipment manufacturers to prototype system designs using the Dante Pro S1. The kit is based on the Dante Pro S1 reference design and

NEXO goes nano

AVAILABLE IN standard and Dante-equipped versions, the four-channel nanoNXAMP4 and

can accommodate a dynamic microphone or professional mixer, while unbalanced inputs

includes XLR connectors for analogue I/O and swappable network interface modules for a range of PHY and switch ICs.

Audinate has also announced that Dante Director, an SaaS solution for remote Dante network administration and management, is available as a pre-release beta. Dante Director enables management of Dante networks from a simple, convenient web dashboard accessible from anywhere.

and includes Dante Domain Manager, which serves enterprise and on-premise network management needs.

Dante Director works closely with Dante Controller to enable remote AV management capabilities. After initial setup, users can remotely access and manage channel subscriptions for networks managed by Dante Director from any location. Remote management capabilities are critical for IT and

Designed to meet the needs of users with small and medium-sized Dante networks, Dante Director enables IT and AV administrators to remotely configure Dante channel subscriptions, control user access, ensure network security and monitor multiple Dante networks from a single account. Dante Director joins the Audinate suite of products that bring professional management to AV solutions

AV administrators and service providers who need flexibility to diagnose, repair and monitor AV networks. With Dante Director, admins can manage multiple AV networks from a single web dashboard, providing faster response times, increased flexibility and better peace of mind through increased monitoring.

www.audinate.com

Pan Acoustics now in 4D

with presets available for an edited range of speakers drawn from NEXO’s ID and ePS Series.

With a universal mains voltage range of 100–240V, the nanoNXAMP4 occupies half a rack width, increasing channel density. The integrated DSP offers a four-in/four-out architecture with optional Dante connectivity. Onboard mixer and matrix functions reduce the overall cost of smaller installations, with setup and remote control enabled by an embedded web page that can be accessed via Ethernet or integrated Wi-Fi. Four balanced/unbalanced analogue inputs provide “double connectivity”. Balanced inputs

microphone is in use. An SPDIF In/Out can be

a stereo signal across multiple nanoNXAMP4 units. A GPIO port adds analogue volume control and a 12V trigger In/Out. Wall remote controls are available and can be configured to allow users to select sources and control volume, and the nanoNXAMP4 is compatible with remote control protocols including Q-SYS, Symetrix, Crestron, Crestron Home, ELAN, AMX, RTI and Control 4. The nanoNXAMP4 is also compatible with NEXO’s NeMo remote control and monitoring software.

www.nexo-sa.com

PAN ACOUSTICS has launched Pan Immerse 4D Audio, a multifunctional, interactive production platform designed for rendering and controlling audio objects, but it can also interact with other systems via various control protocols. The centrepiece of the system is the Pan Immerse 4D Audio Server, a 19-inch hardware platform designed for a long operating time. Depending on the configuration level, it is available in different versions which can

audio applications with up to 128 or more speaker channels. Pan Immerse 4D Audio can be seamlessly integrated into an existing ACS system, allowing retrofitting of already installed systems.

Specifically designed for use in systems with virtual room acoustics and objectbased audio, the manufacturer has also released its CX series, consisting of three models: the P 8-CX, P 10-CX and P 12-CX. Developed as a solution for

precise sound reproduction and immersive

Dante Pro S1

FORMING PART of the company’s 100th anniversary celebrations, Celestion has introduced its Ten Squared (Ten2) Series of pro audio drivers. The Ten2 Series has been born out of a specialist development programme at Celestion’s UK-based R&D facility. These cast aluminium frame, neodymium magnet low-frequency pro audio drivers are designed to deliver consistently superior levels of performance in demanding professional sound reinforcement applications, even after hundreds of hours of use.

The series comprises five models, each engineered for applications in subwoofers or as bass units in two- or three-way loudspeakers and larger-format line arrays. The line includes the flagship 24-inch TSQ2460, 21-inch TSQ2145, 18-inch TSQ1845, 15-inch TSQ1535 and 12-inch TSQ1230.

Constant airflow through Precision Tuned Venting (PTV) provides efficient cooling around the magnet assembly and voice coils. The cooling potential is further optimised through custom coil winding that uses a hybrid multilayer, inside/outside methodology. In the

designs. The PTV and proprietary coil structure are said to combine for a significant reduction of power compression and thermal stress, maximising product lifespan and performance longevity.

The TSQ2460 has a continuous power rating of 4,800W (estimated continuous) thanks to the enhanced cooling offered by the PTV system together with a proprietary voice coil featuring advanced heat resistant adhesives.

version for all its immersive platforms – including hardware processors and the Holophonix Native app for macOS – plus a touring-ready hardware processor, called Holophonix Ultra. The Ultra

Routing for

you

WITH THE V2.0 firmware update of Stagetec’s NEXUS audio router, the German audio specialist is giving existing NEXUS units a significant boost, including updated audio processing and a redesigned web UI. The release provides a 120x16 mix matrix, 16-input processing (Delay, Exp, EQ, Comp), 16-output processing (Delay, EQ, Comp, Lim) and Avatus EQs and Avatus compressors, including the addition of wet/dry, knee and soft clip parameters. Its browser-based UI provides controls for this functionality, and with the same look-and-feel of the Avatus GUI. The updated UI includes snapshot automation, copy/paste for processing blocks and an XY routing matrix for more intuitive signal routing. In addition to signal routing, mic parameter control can now be carried out directly from the Stagenet UI, and the Dante version of NEXUS compact can now be controlled from a Yamaha

real-time spatialisation, with up to 512 inputs and outputs, an embedded touchscreen and redundant power supplies. It also introduces a new scalable licensing model.

greater cone excursion and a high Xprotection level. The driver’s motor strength and mechanical compliance reach their defined Xprotection limit at practically the same point, achieving a low distortion performance, even during high excursion. This capability is complemented by Ten2’s Polysiloxane Laminated Dual Suspension

design that enables the driver’s suspension system to work much harder without losing stiffness, providing better coil control and reduced likelihood of DC shift, while simultaneously increasing speaker longevity. Designed for a wide variety of OEM environments, Celestion’s Truvox 0615 is a mid-bass loudspeaker that fuses lightweight construction, power efficiency and multiapplication flexibility in a 6-inch driver format. With industry-standard mounting dimensions, the Truvox 0615 is designed as a drop-in replacement in PA cabinets, cars, bass amplifiers, recessed wall mounts and other destinations. A centrally located vent assists cooling, and front and rear gaskets are included for ease of mounting. The Truvox 0615 is the first member of a product family that Celestion will expand throughout 2024 to include 8-, 10-, 12- and 15-inch sizes.

www.celestion.com

The Holophonix Ultra features a redesigned chassis machined from aluminium blocks, integrating a tour-ready hardware configuration tailored for demanding setups. It comes with ultralow audio latency and scalable I/O expandable up to 512 ins and outs, along with low noise and enhanced internal airflow, redundant power supplies and a built-in touchscreen on the front panel. This touchscreen provides instant access to crucial monitoring parameters, including IP addresses, network and performance status. The processor is also designed to be rackmounted. The rear panel features Neutrik-housed connectors integrated into the aluminium chassis, including two powerCON mains connectors, three etherCON connectors for remote control and Dante connectivity, as well as Display-Port

CL/QL console; the same licensing system applies as with Yamaha mic control for NEXUS. Meanwhile, Stagetec’s NEXUS 4split is a standalone unit that comes in a variety

of sizes and configurations. TrueMatch mic inputs are duplicated using four splits that the XMIC cards provide on each input, while each of the four split outputs has

and USB 3.0 connectors for easy access while servicing.

The Holophonix 2.2 software update features a new design for the Inspector window for a better workflow and a new dock offering quick access to the main features for Holophonix users. This refreshed design is described as more live sound oriented, with its new logic and workflow deriving from the live mixing console universe. The update also features the ability to import and export CSV files from the overview window, a new Add menu for Sources and Speakers including pre-configured Dolby Atmos layouts and an improved audio engine.

www.holophonix.xyz

its own set of parameters for use onstage or in a recording context. These signals are controlled by a web browser interface, enabling operation from an iPad or a service computer running standard web browser software. The split signals appear on all output formats (Dante, AES67, analogue and MADI) simultaneously.

The manufacturer has also released its Stagenet V1.0 control system for IP signal management, as well as the latest 1.20 release for its Avatus software. The company says the underlying OS has been rebuilt to improve fluidity and add features including CUE-Preview/edit, Remote Desktop Connections controlling external PCs, WebViewer for browsing and AES67-Stream configuration and DAW-control.

www.stagetec.com

NEXUS compact

Ready to receive (and transmit) Free D sound design

SHURE HAS expended two of its product lines with the launch of the Axient Digital ADX3 plug-on transmitter and the SLX-D portable systems. Designed for broadcast television and location sound, the ADX3 extends the company’s Axient Digital Wireless System and transforms any XLR microphone into a portable ADX Series wireless microphone.

Delivering the same performance of the AD3, the addition of Shure’s proprietary ShowLink technology allows comprehensive, real-time control of all transmitter parameters over a 2.4GHz diversity wireless connection directly from the receiver.

Meanwhile, the company has expanded its SLX-D Digital Wireless family with the introduction of SLX-D Portables, including the SLXD5 Portable Digital Wireless Receiver and SLXD3 Plug-On Digital Wireless Transmitter. The SLXD5 is an SLX-D receiver that can be installed on-camera through a cold shoe mount as well as in an audio bag. Enabling users to start recording immediately, the SLXD5 automatically scans for the best frequency and pairs it to the transmitter with IR Sync in seconds, while Multi-Mic Mode facilitates management and monitoring of multiple sound sources from a single receiver. Following the launch of the MXA902 last year, the manufacturer has announced the launch of the Microflex Advance MXA901 conferencing ceiling array microphone, featuring a low-profile 34cm diameter round form factor, available in white, black and aluminium finishes. Designed to deliver enhanced directional voice capture and reproduction with minimal setup required, the MXA901 comes with six available accessory mounts to ensure compatibility with most ceiling types. In addition, the microphone is scalable from small to large meeting spaces

with one or multiple arrays. The MXA901 is designed with Single Zone Automatic Coverage Technology, which covers a 6m x 6m space with minimal configuration needed, enabling users to automatically capture the speakers they wish to hear and avoid distracting noise.

Shure has also introduced its latest line of wireless clip-on microphones, the MoveMic Microphone System. The lightweight, dualchannel, direct-to-phone wireless lavalier solution delivers broadcast-quality audio and features a custom acoustic design as well as Shure’s proprietary wireless software. The MoveMic series connects directly to phones in both single and dual configurations for use with Shure’s MOTIV audio and MOTIV video apps on iOS and Android, allowing users to configure audio settings such as gain, limiter, compression, noise reduction and EQ. For those seeking universal compatibility, the standalone MoveMic Receiver and bundled MoveMic Two Receiver Kit integrate with devices such as cameras, computers and third-party smartphone apps.

In brief, Shure has announced a preview of Designer 6.0, the next generation of the Designer configuration software, while the manufacturer has also announced that its Microflex Wireless neXt 2 (MXW neXt 2) Microphone System has been Certified for Microsoft Teams.

www.shure.com

AV-Ops Center completes beta testing

SYMETRIX HAS announced that AV-Ops Center, its remote monitoring and management tool, has successfully completed beta testing and is now available in general release for professional AV installations. AV-Ops Center receives telemetry from system components and provides real-time

ENABLING SYSTEMS engineers to create 3D venue models for any environment, JBL’s Venue Synthesis acoustic simulation software is a free acoustic simulation application for desktop. Replacing JBL’s Line Array Calculator, the application enables users to design and simulate acoustic coverage for any environment and prepare complete sound reinforcement systems for rigging or installation in both 2D and 3D. Designed for tour sound rental companies, venue owners, acoustic consultants and live sound system engineers, it enables users to create or import 3D venue models, interact with 3D models of JBL Professional equipment and predict coverage for a full system of JBL products. The company says it has modelled every component of the signal chain, from the input signal to the amplifier output voltage, in order to model accurate sound pressure levels that relate to reality.

Venue Synthesis features three modes of operation. Venue Mode can generate venue models in 2D or 3D using industry-standard geometry formats, or build venues from scratch. Users can import and trace 2D schematics using common file formats to model venues and create common architectural and audience areas such as balconies using its Special Object Creator. Acoustics Mode builds and refines JBL loudspeaker systems, including suspended and ground-stacked line arrays, distributed subwoofers and point source systems, and can configure

and parameters including system size, position, angles, DSP and amplifier settings. A System Groups feature organises and links loudspeakers and arrays according to acoustic properties, while 2D System View visualises coverage, impact points and loudspeaker angles. Meanwhile, Delay Optimiser optimises loudspeaker delays for the entire venue. Finally, Mechanics Mode validates and refines mechanical settings to confirm system feasibility, safety and reliability. Its Array Statistics tool confirms adherence to regulatory requirements and a real-time warning notification system alerts users to safety and reliability issues across the system.

www.jblpro.com

Kommander control

CREATING MORE integration possibilities for K-array’s flagship Kommander range of amplifiers, the company has announced the extension of its control plugin portfolio to include integration with Kramer Control. Kramer Control is an enterprise-class, cloudbased control and management product which provides a way to control, monitor and support AV systems, infrastructures and third-party devices. It means the company’s Kommander amplifiers can

metrics via a browser-based dashboard. The system can also send commands to devices to optimise performance or troubleshoot. Authorised technicians can review system performance and assign resources based on real-time data to solve problems. Push notifications and integrations with popular messaging platforms – such as Microsoft Teams, Slack and Google Chat – help technicians open and close tickets faster, and at a lower cost.

www.symetrix.co

now be implemented into a Kramer-based control system and follows the release of plugins for other control platforms including Crestron, Q-SYS, AMX and Control4. Further software partnership announcements are expected throughout 2024.

www.k-array.com

Kommander

SLXD5

Don’t touch – control without the screen

included for serial control for legacy devices. The VKP-8E is set up using the Atlona Cloud platform, providing an interface for defining ePaper label/icons and LED colours, as well as macros for controlling room technology which can be added from a database of Atlona and third-party drivers. Configuration files can be deployed to the keypad directly from the cloud or offline over a local area network.

inputs. For larger system setups, the transmitter can also provide an auxiliary HDMI input to a main switching system, such as the Omega AT-OME-PS62 presentation switcher. Featuring a US one-gang wall plate enclosure, it offers a modern, end user-facing design and comes with interchangeable black and white wall plates and face plates. The AT-OME-TX11-WP can be installed inconspicuously on a wall, inside

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Wohler adds to its iVAM range

BUILDING ON the success of its iVAM1-12G, Wohler Technologies has released its iVAM2-12G 16-channel audio, video and data monitoring solution which can monitor and meter up to 16 channels of 12G-SDI audio and video, plus two channels of analogue audio in a compact 2U format. With 64 presets and using dual touchscreens, operators can toggle between video,

choice of upgrading with either an AoIP card which can accept either Dante or Ravenna card options (both offer SMPTE 2110-30 and hitless SMPTE 2022-7) or an additional eight channels of analogue inputs and outputs.

The dual 4.3-inch touchscreen front panel uses design philosophies from previous iAM Series products, while physical front panel controls provide

meters, loudness measurement and menus. An HDMI output allows additional external monitoring of the currently selected video source, while analogue XLR, headphone and selected 3G-SDI outputs are also included as

access to main volume, balance and auxiliary controls to supplement touch controls. Individual audio channels may be summed, soloed or muted by touch or mechanical control. A front-mounted USB port is provided for software updates to

Next-gen decoding

DESCRIBED AS a next-generation IPTV endpoint for the high-quality delivery of video and digital signage across the network, the EP6 is a multi-video advanced decoder with a fanless design which can output two 4K or quad-HD video streams, and the ability to render 4K graphics up to 2160p60. Additionally, the EP6 has PoE+ functionality, enabling the endpoint to be

and Dante audio, that puts control in the hands of educators at the podium, in the classroom or in the lab. With dedicated inputs for a laptop, microphone, Dante audio and document camera, different educators can manage and integrate diverse multimedia sources in any classroom, fostering interactive discussions and presentations. The matrix integrates tools at the main desk as well as with the students in the classroom. The multi-format video connections including USB-C and HDMI enable seamless 4K60Hz switching that transition between video inputs with a builtin 4K60 scaler on all outputs, ensuring a smooth and uninterrupted visual experience without black screen switching. Built-in DSP incudes Dante 4x4, mic inputs, balanced audio outputs and four-channel amplifiers for up to four speaker outputs.

Meanwhile, the MX-1007-HYB 10-in/sevenout matrix switcher brings all the same features as the MX-0804-EDC but comes

can be directly connected via HDMI to provide an Ethernet connection. Designed to run over 1GbE networks, the NHD-120-IW-TX is a two-gang in-wall unit that operates on PoE, supports up to 4K30 4:2:0 and comes with audio de-embedding, IR port for source control and scaling capabilities for mixed-resolution

Ethernet network with less than 1ms latency. Capable of communicating 4k30Hz video as well as multichannel audio and USB 2.0 between the transmitter and the receiver, the EX-100-KVM-IP is designed for environments where the source device and operators are separated. This includes high-end boardrooms,

encryption performances for IPTV distribution projects. Designed for ease of use, the release reportedly provides an intuitive format for accessing IP video destination channels for operators. ChannelLink can be paired with IPTV solutions to achieve low-latency distribution to remote sites, offices and homes via the internet. It is now available in various deployment options to cater to specific requirements, including on-premise servers, virtual instances or the convenience of direct integration within the AWS Cloud via the new AMI.

www.vitec.com

gaming cafés, classrooms, laboratories and command and control centres where the operator sees a screen and HID devices, and the main PC is in a centralised rack or secured in an AV room. It is also suitable for long-range connectivity and multi-site deployments. The EX-100-KVM-IP’s transmitter and receiver are configured to operate and communicate out of the box by patching the Cat cable to the Ethernet switch and hooking them up to the source, display and HID devices. Four-pin DIP switch settings are configurable to enable up to 16 extenders to work on the same network, and its low latency makes it suitable for applications that require real-time interaction. It supports HDCP 1.4, a range of extension distances, and audio, video and USB connectivity options. The EX-100-KVM-IP ships as a set of transmitter and receiver devices with power supplies and mounting brackets. The unit is also available in a wallmount option.

www.wyrestorm.com

A bright future for Digital Projection

DIGITAL PROJECTION has introduced what it believes to be two of the most advanced laser projectors to date. The E-Vision 16000i WU boasts an upgraded electronics platform that shares much of its functionality from the TITAN series. Central to the new design is the implementation of Texas Instruments’ 0.8-inch High Efficiency Pixel (HEP) DMD, which allows for a higher brightness than was previously achievable on the 0.67-inch DMD, as well as colour and contrast. The updated DMD is optimised for solid state illumination,

ISO lumens. An increased tilt angle on the DMD mirrors allows for a wider colour gamut, helping to achieve “blacker blacks” by diverting light away more efficiently from the lens when the mirror is in the “off” position, giving an improved native contrast. The laser-phosphor projector is charged with ColorBoost + Red Laser technology to provide more realistic and saturated colours.

In contrast, the E-Vision 10000i boasts 9,600 lumens of brightness and 20,000:1 dynamic contrast, but shares the same advanced

Digital Projection has also added to its Satellite MLS range with 20,000- and 30,000-lumen versions to complement the original 10,000-lumen light source, said to make installations easier than before by removing the need for “many-to-one” fibre configurations. The new fibres have a decreased diameter and higher light transmission efficiency so that when they’re coupled with the new light sources, they offer a large reduction in the system cost.

The manufacturer has also launched its Nexus “next-generation” electronics platform which has been designed to deliver advanced image processing to all projectors including

offers users the familiarity of its operation, OSD menu structure and functionality, all of which are integrated into the new Projector Control II software. Key features include enhanced multifunctional image processing technology, with de-interlacing, scaling, warping and edgeblending, all combined in a single IC, a built-in warp-table generator which implements real-time processing for horizontal and vertical keystone correction as well as pincushion and barrel, wall corner correction and linearity correction.

www.digitalprojection.com

Remote monitoring for meetings Peerless-AV thinks smart

JABRA HAS unveiled Jabra+ for Admins, a cloud-based API-first software platform for remote monitoring and management of meeting rooms and devices. The platform is said to offer a seamless experience from start to finish, allowing users to manage their communication devices with ease, saving time on administration and troubleshooting. IT administrators will have visibility and control

a comprehensive solution for IT administrators. The platform also allows users to manage all devices in a room collectively, optimising the in-room experience by remotely configuring devices and updating firmware. Furthermore, the real-time online/offline status tracking of rooms and devices helps to identify immediate issues, reducing IT tickets and ensuring a seamless meeting experience.

over settings, firmware and insights from one unified software platform and can check in for real-time status updates from anywhere.

According to the manufacturer, Jabra+ for Admins “will pave the way for future experiences for IT administrators, end users and partners” –starting with meeting room and video device management that customers can sign up for now via an Early Adopter Program.

With Jabra+ for Admins, users can monitor and manage all Jabra meeting room solutions with a clear visual overview of rooms, locations and devices. The modern user-interface, new design and enhanced intuitiveness are said to make device management more accessible, offering

As a unified software platform, Jabra+ for Admins can integrate with IT help desk systems and third-party tools to create an ecosystem for device management. Whether updating devices, customising headsets or integrating with Jabra devices, users engage with just a single system.

Jabra+ for Admins also leverages the security and scalability of Microsoft Azure, providing a futureproof platform with Single Sign-On (SSO) for easy access. SSO enhances security by reducing attack surfaces and streamlining user authentication, resulting in a better user experience.

www.jabra.com

PEERLESS-AV HAS redesigned its range of mobile trolley solutions with the launch of new models boasting a lower cost design, greener footprint and host of upgraded features. The SR860-EUK and SR898-EUK SmartMount Flat Panel Trolleys and PR565-EUK Paramount Flat Panel Trolley complement the existing range, offering customers a wider choice of options for large-format or interactive display deployment in any corporate, education, public sector, event or showroom application. Visually different from the existing SR560M and SR598 models, that will continue to be produced, the design of the SR860-EUK and SR898-EUK is described as a significant evolution from the existing range. The frame is tested to UL load requirements for peace of mind when hanging heavier displays and can glide through doorways as small as 762mm wide. The frame is also optimised for transporting and storing multiple trolleys in a reduced footprint. The legs offer more space when interacting with the display, making it more accessible to people in wheelchairs, and the trolleys will fit under a table for videoconferencing use.

The SR860-EUK supports 43- to 75-inch displays with a maximum load of 56.7kg, while the SR898-EUK supports 55- to 110-inch displays with a load of 136kg. The PR565-EUK supports 55- to 75-inch displays with a load of 68kg. Further accessories are available, including an ACC-SB2 soundbar/VC bar mount.

Barco scores a hat-trick

BARCO HAS launched the ClickShare Bar, two projector families – the I600 and QDX –and the Encore3 platform. The ClickShare Bar enables wireless conferencing in small to medium-sized meeting rooms, with audio and video capabilities integrated into the single device. Audio functionalities like noise suppression and acoustic echo cancellation aim to ensure only the essential audio input is captured, while video capabilities like speaker framing, group framing and composition view guarantee all participants are shown.

The ClickShare Bar is available in two models. The ClickShare Bar Core brings all essential collaboration functionalities, combined with audio and video. The ClickShare Bar Pro adds extra functionalities like advanced AI speaker framing, interactivity features (touchback, annotation and blackboarding), as well as a wired roomdock for 4K content sharing and

alternative connectivity. It also supports dual screen configurations. The ClickShare Bar is also said to be the first carbon-neutral video bar for wireless conferencing on the market.

The I600 4K UHD single-chip laser phosphor projector is designed to offer colour fidelity, high resolution and a long lifetime. With its compact and lightweight design, weighing under 23kg, Barco reports that the I600 is the most portable in its category. The QDX projector aims to elevate visual experiences with up to native 4K resolution, Rec. 2020 colours and brightness levels going up to 40,000 lumens – boxed into a lighter unit to optimise transport costs and installation

time. The QDX supports existing TLD+ lenses, offering the highest flexibility in installations. The incorporation of IoT allows for remote projector management, enhancing operational efficiency.

Finally, Barco has announced the Encore3, the third-generation Event Master platform. In addition is the IO Gateway, the company’s first IPMX transcoder. The Encore3 is designed to be an image processing platform for every event, offering integrated video signal distribution, switching, layered video screen composition and the ability to manage all screens. It grants access to a broader canvas space of ~80MP PVW/PGM, boasting 12-bit 4:4:4 processing with never less than 16 fully capable 4K layers per screen.

Also featured is native 4K image quality, Athena scaling and ultra-low processing latency down to 16ms. With a flexible slot-based architecture and modular cards, the Encore3’s built-to-order design enables users to configure the system to their requirements.

www.barco.com

Canon collaborates with SKAARHOJ

manufacturers, maximising the potential of the existing infrastructure.

In other news, Canon Europe’s latest firmware update adds cinema RAW Light recording formats to its EOS C500 Mark II camera. Adding 12-bit cinema RAW Light formats in LT (Light), ST (Standard) and HQ (High Quality), the feature allows users to select a scalable range of internal RAW recording data rates that either enhance the fidelity of the sensor output or reduce file sizes, while maintaining 12-bit colour information. The EOS C500 Mark II features a 5.9K full frame sensor, internal RAW recording, interchangeable lens mount and a configurable modular design. The update was previously made available for the EOS R5 C and EOS C70.

Camera tracking and Beyond

COMBINING OPTICAL zoom, visual AI tracking and multi-camera switching, Crestron Electronics is hoping its 1 Beyond range of PTZ cameras addresses a critical need for automated cameras in larger meeting spaces. Designed to enhance framing and tracking in medium or large rooms, the 1 Beyond i12 and i20 models are intelligent PTZ cameras boasting built-in Visual AI. An onboard processing unit and built-in reference camera allows them to frame and track groups, presenters or zones, while Crestron Visual AI detects and tracks a speaker even when the

subject is turned away or wearing a mask, and anticipates behaviours for smooth camera movement. The i12 offers 12x optical zoom and can be used for either group framing or basic presenter tracking up to 7.5m. In addition, two i12 cameras can be paired together to switch automatically. The i20 provides 20x optical zoom with enhanced presenter tracking up to 15m.

with SKAARHOJ. Exclusively designed for Canon, the controller “sets a new standard for versatility in multi-camera productions” –from entry-level broadcast, to live events such as musical performances and concerts, or recording lectures in higher education. By integrating Canon XC protocol with a professional-quality joystick, Zoom Rocker and dials, the controller reportedly allows content creators to give their productions “a powerful creative edge”.

The RC-SK5 has been designed to provide a “seamless” multi-camera workflow, while the ability to control various PTZ cameras and Canon camcorders via an IP network is said to unlock new opportunities for dynamic and synchronised content creation. The joystick delivers a tactile and responsive link to

be achieved with the Zoom Rocker, enabling users to monitor everything with precise control, with the additional benefit of 20 control sets. The ability to connect to other SKAARHOJ products extends the controller’s capabilities by providing access to a broad ecosystem, such as the side panel Frame Shot Pro which offers even more control with colour images of preset positions. An additional paid licence opens further features and enables the freedom to integrate the RC-SK5 with various products and devices from different

Meanwhile, the p12 and p20 models are standard PTZ cameras. The p12 is suitable for medium and large rooms with a 12x optical zoom, while the p20 is ideal for large and extra-large rooms, offering 20x optical zoom.

All four 1 Beyond cameras are designed for flexible deployment as standalone devices or as part of a multicamera setup, with up to 12 cameras able to be leveraged in a single space with automatic switching, framing and tracking based on who is speaking. All integrate seamlessly with Crestron Flex to enable one-touch integration with Microsoft Teams or Zoom Rooms software.

www.crestron.com

EOS C500 Mark II

RC-SK5

ClickShare Bar

I600 series

PPDS engages the classroom

PPDS HAS unveiled Google-certified 4K, interactive Philips Collaboration displays for education, including the “elementary” Philips Collaboration BDL3152E and “advanced” Philips Collaboration BDL4152E display series. Available in 65-, 75- and 86-inch sizes across both model variants, the Philips Collaboration Series for Education reportedly marks a significant step beyond the original Philips E-Line Series, which debuted in 2021, featuring a new tailored design, together with the latest advances in educational software.

Collaboration displays run on Android 13 to bring an “instantly familiar” mobile or tablet experience to the classroom, for near-universal usability and minimal training. The displays have been built with connected experiences and usability as their core and feature a 3840x2160 Ultra HD, 400–450cd/m2 brightness display, together with 40-touchpoint interaction, double that of their predecessors.

The manufacturer has also announced that its in-house wireless content-sharing option – Philips ScreenShare – will soon be available, allowing

Up to 64 personal devices (running on ChromeOS, MacOS, Windows, iOS or Android) can be securely connected at the same time, including those located in other rooms or locations, and even those studying remotely. AirPlay, Google Cast and MiraCast are also supported.

Available in a range of interchangeable 10mm pixel pitch panel variants – 120x120, 120x90 and 90x90 (WxH) – the Philips Urban LED 6000 displays provide a 5,000:1 contrast ratio and high refresh rates of 7,680Hz. Content is viewable in any lighting condition, including direct sunlight. The displays have been designed for a wide range of outdoor installations – such as a billboard on a motorway, a giant display outside a shopping centre or a digital scoreboard inside a sporting venue – and are suitable for use in temperatures ranging from –20°C to +50°C.

In brief, four Philips Unite LED All In One (AIO) Series offering 4K and 8K viewing for a range of environments have also been released. The 4000, 4200, 5000 and 7000 Series models provide “fast, seamless and connected solutions” for businesses looking to transition away from smaller LCD screens and existing videowalls to larger, more versatile, bezel-free LED displays. Finally, the manufacturer has launched the Philips Hospitality TV 4500 Series for entry-level hospitality settings. Curated using market feedback, the Android TV line is available in 24-, 32-, 43-, 50-, 55- and 65-inch size variants and features Chromecast built-in technology and Google Play store.

www.ppds.com

Unite 5000 Series

Cloud-based workflows Going Solo

TVU NETWORKS has unveiled its TVU MediaHub, a cloud-driven platform that manages video signals in both IP and SDI

Grid and YouTube, while the TVU MediaHub can scale and direct outputs to multiple destinations in formats like RTMP, HLS, TVU Grid and

environments. Marking a departure from traditional hardware-dependent routers, the TVU MediaHub supports limitless inputs and outputs, marking “a major shift towards cloudbased digital media workflows”.

Features include the ability to accept various input formats ranging from SDI, NDI, SRT, TVU

Facebook. The platform uses resources onpremise in data centres or in the cloud, with TVU providing additional resources as needed. Objectoriented visual UI reportedly allows effortless operation without specialised training.

www.tvunetworks.com

ETC HAS updated its Mosaic Show Controller X (MSC X) with new video I/O options and an audio input for two Linear Timecode channels, removing the need for a separate RIO-A unit. As a result, units will have a new part number and model numbers will add “Mk3” at the end. With the new model comes new connectors. The video input accessory (-VCC), if equipped, changes from DVI to HDMI. Video output is now a DisplayPort-style connector. The serial port on the unit (RS-232) has been updated from connectorised to terminal-style interfaces. Audio output is handled with either an S/PDIF (RCA) port or terminal connectors. Audio input for linear timecode is also via a terminal interface. The manufacturer has also expanded its Source Four Mini and Irideon fixture offerings with F-Drive compatible options, with these low-voltage

ANALOG WAY has debuted its Solo media player, a single-channel 4K video player with one programme, one preview and intuitive user interface software that offers high-quality monitoring of the Program and Preview channels. Focusing exclusively on playback of full-screen video files, it has native support of various codecs, including H.264, H.265/

Tailored for live-operated scenarios in both rental and staging and live-like systems integration, Analog Way says Solo is perfectly complementary to its presentation

The company has also added three products to its LivePremier series with the Aquilon RS5, Aquilon RS6 and Aquilon Cmax. Expanding the range with Aquilon multi-screen and multi-layer live presentation systems supporting pixel canvases up to 16K, these 6U units offer up to 32 4K60p inputs (or 64 2K/dual 60Hz inputs with eight-plug input cards) and up to 24 4K60p outputs (where 16 outputs can be used to drive programs and the remaining outputs can be used to drive auxiliaries). All three systems feature up to 64 layers and up to 48 still images and can be linked to up to four additional LivePremier chassis for even larger I/O needs: up to 256 inputs and 80 outputs in total, and up to 320 outputs with the DPH104s. They feature two dedicated multiviewer outputs and a Dante audio

www.analogway.com

colour temperature and CRI options and are also available in canopy or portable options.

Finally, ETC has launched its Response SnapBack device which expands any ETC control system by adding recorded sACN preset looks for simple recall. The device has been designed to maximise the capabilities of colour-changing LED fixtures, allowing users to create various looks that can be recalled from any of the ETC switches or stations.

Each SnapBack device can store and recall up to 10 multiparameter static looks across 10 universes of addresses and multiple devices can be stacked for each system, allowing users to design a variation of looks. Paradigm and Mosaic systems can store multiple presets across 500 universes. For Echo systems, systems can use two devices per each EchoTouch or Echo Integration Interface in a programmed space

versions joining the recently released OneTrack models. According to the manufacturer, F-Drive compatibility in Source Four Mini and Irideon fixtures decreases costs while increasing portability and ease of installation. The Source Four Mini LED can now be controlled via DMX for the first time to provide “a more beautiful, smooth dim” in any installation. F-Drive compatible Source Four Mini LED and Irideon luminaires are available in all of ETC’s existing

SnapBack is available in DIN rail and rackmount form factors. Devices can be configured using ETC’s Concert software or directly on the device and, once configured, preset record and playback can all be achieved remotely using UDP input to the device, allowing it to pair with ETC’s Paradigm, Echo, Mosaic, Echoflex and Eos control systems.

www.etcconnect.com

HIVE MEDIA Control has introduced two additions to its product range. The Beeblade Minima and Beeblade Osmia are joining the Beeblade Pluto as part of the wider ecosystem, offering users more media playback solutions that work with a wide range of project types. Additionally, Hive

user interface that can be accessed from any modern browser. The Beeblade family can also live in Hive’s Beebox and Beehive units. The Beebox is a custom-designed portable enclosure that can be placed next to display technology if there is no in-built SDM slot. Beehive is a 5U chassis that can hold up to

has also launched its Beehive 5U rackmountable chassis.

Beeblade is described by the manufacturer as a revolutionary approach to media playback that integrates into any Smart Display Module (SDM) compatible display or projector. Joining the Beeblade Pluto – which is suitable for large-scale mapping projects – the Beeblade Minima is Hive’s latest HD player with the lowest technical specification, while the Beeblade Osmia is a midrange solution that is said to achieve 4K media and 4K output capacity. The Beeblade range is said to be simple to integrate, easy to manage and features a

16 Beeblades. Whether users fill the Beehive or use it partially populated, each Beeblade SDM slot has its own network connection and customers can manage each player in the Beehive through Hive’s software.

www.hive.run

Beeblade Minima

Beehive

Response Snapback

Solo

MSC X

Aquilon Cmax

Greater support for AVoIP

extends the capabilities of AJA’s Dante AV 4K-T and 4K-R transmitter/receiver converters. The update delivers support for HDR, ensuring HDR signals pass through the devices

seamlessly and that users can easily change the HDR metadata on outputs received, and also introduces support for Ref In. This means that a device like the AJA GEN 10 HD/

Future-focused lighting

GLP HAS introduced an upgrade to its JDC1 Hybrid Strobe. Larger than its predecessor, the JDC2 IP reportedly provides a significantly brighter output and is also IP65certified. The integrated beam line is equipped with 84 high-performance LEDs which are described as highly efficient at 10W each. The optimised, extremely steep flash ramps are said to ensure an even more realistic and intense strobe impression. With 12 individually controllable segments, the beam line offers extended intensity flash effects and more than 100 static and dynamic strobe patterns. The saturated colours and brightness of the 1,728 LEDs are said to provide powerful diffuse lighting. This allows stages and spaces to be completely immersed in colour. A rich colour environment is created, especially when combined with haze. The specialised black LED masking ensures a black front appearance, while eliminating reflection from other light sources. The manufacturer has also extended its FUSION X-PAR range with the addition of the FUSION X-PAR 8Z, which rounds off its series of weatherproof LED PARs with motorised zoom up and down. Described by GLP as a real all-rounder and suitable for a wide range of applications, the FUSION X-PAR 8Z is the most compact and lightest

SD sync generator may be used to lock the output of the 4K-R when the signal must be combined with other baseband device outputs and sources. In addition, Dante AV 4K v1.1 activates a second locking Ethernet port (Eth2) on the device, allowing users to connect a second device to their Dante AV switch without needing to connect a second Ethernet cable directly to the switch.

Cropping and scale resizing capabilities for the 4K-R let users scale 4K to UHD and downscale UHD to HD, with the ability to select between

JDC2 IP

in the series. At 4.5kg, it has been designed for applications with limited space. The 8Z comes with an 80W RGBL LED and emits up to 1,800 lumens thanks to GLP’s patented iQ.Gamut colour calibration. The compact housing (175mm x 175mm x 249mm) allows it to be used in a variety of applications, and the 132mm Fresnel lens reportedly ensures an excellent light image. Thanks to the motorised zoom, powerful 8° beams are just as possible as homogeneous washes up to 55°.

www.glp.de

auto, native and crop 4K to UHD/Scale UHD to HD. The upgrade also validates select 4K and 8K 4x4 workflows where 4K-T signals can be sent to four 4K-Rs and all four outputs are confirmed to be in time and in sync. 3G Level B 4:2:2 10-bit high frame rate is now supported and compatibility with Audinate’s Dante Domain Manager can be purchased, enabling users to control Dante from touchpanels, as well as monitor status and automate workflows.

www.aja.com

Astera projects to Pluto

ASTERA HAS launched the ProjectionLens for its battery-powered PlutoFresnel LED luminaire, updating the Fresnel to a multifunctional lighting fixture. The ProjectionLens offers precision optics, zoom, accurate shutters for highlighting specific areas and gobos.

Powered by Astera’s full-spectrum, highrendition Titan LED engine, the PlutoFresnel has an output comparable to a traditional 300W tungsten Fresnel, with power consumption of less than 80W. Weighing 4.5kg, the fixture is suitable for fitting into small and less accessible spaces on sets or stages and also includes multiple rigging options, with a removable handle, foldable legs and YokeBases.

The ProjectionLens has been developed after gathering extensive feedback from event companies, lighting designers and other end users worldwide via Astera’s distribution network. The lens can be installed quickly and

efficiently by sliding in and out of the luminaire, and features an integrated manual zoom with a range of 16–36° for projection which can be simply adjusted by twisting the lens barrel. For clear gobo projection at various distances, two focus wheels are included in the ProjectionLens, with one for standard focus and the other enabling a focus for close-proximity surfaces. The E-Sized gobo holder enables seamless projection of shapes, breakups and other effects and custom logos/gobos, with the projected beam or gobo image aligned and focused by rotating and tilting the lens barrel. The ProjectionLens also features a four-leaf shutter design, offering maximum beam control by allowing the projected and lit areas to be trimmed as needed.

www.astera-led.com

Ministar is a mini star

Going global

Chris Miller, executive director of PSNI Global Alliance, explains how the organisation has evolved over almost four decades

How and when did PSNI come into being?

Professional Systems Network was started with four AV and broadcast systems dealers in 1986. As a network, it was a revolutionary business concept that was new to our industry. The premise was to bring like-minded AV dealership owners together to share business best-practices, elevate professionalism and provide support to customers in a way that had not been done before. Strong relationships were built among the small nucleus of business leaders and the reputation of PSNI grew. Over time, it attracted many of the best US-based dealers in the industry. The founders published a customer bill of rights and code of ethics shortly after forming the alliance that today remains at its foundation. These conduct codes form the basis for the selection of our licensees, vendor and strategic partners. While many things have changed over the past 38 years, the human element of trust and professionalism remain at the core of our beliefs, both in competition and coopetition.

How has the organisation grown and developed over the years?

The innovative business model offered in 1986 is still relevant today. It was a new alliance concept that was not widely understood at the time. Collectively, the value proposition of the network was promoted both to the member and the customer of the member. Even though the premise was to share among the membership, there was always a coopetition approach to business while serving as an extension of each other’s capabilities, reach, service and support to end users of technology. It introduced a new level of trust and engagement that has become a true market differentiator for Certified Solution Providers (CSPs) with global

This year, we announced our global coverage in 64 countries with more than 270 locations worldwide. PSNI has remained agile, allowing the alliance to grow to a collective annual turnover (revenue) of US$5.7b with more than 12,000 employees around the world.

In 2018, we launched two key certifications: global deployment and global service and support. All CSPs are required to maintain certified engagement specialists to provide network partner support. This standardised approach to engagement mitigates risk and improves profitability and client satisfaction. In 2023, PSNI launched a new Strategic Account Management certification and, in 2024, a new Quality Management Systems (QMS) certification for system design through system commissioning. These are provided at no charge to our CSPs worldwide and are required for continued affiliation. Today, PSNI Global Alliance is the largest alliance of AV/UCC systems integrators in the world.

client relationships is a driving factor of joining, in addition to the potential of receiving business from other PSNI CSP customers. We empower our stockholders and stakeholders worldwide to achieve more together to the benefit of end users – this is a huge incentive to all.

What are the requirements for joining?

What benefits does PSNI afford to its members and what are the incentives for joining?

By being a part of PSNI Global Alliance, our integrators, referred to as CSPs, collectively leverage each other’s strengths, expand their individual capabilities and overcome challenges more effectively than they could individually. The power of working together in alliance lies in the synergistic effects that arise from combined efforts, leading to enhanced productivity, increased influence, improved outcomes and with less risk to CSPs. We empower our stakeholders to achieve more together to the benefit of all customers – wherever and whenever. As a for-profit corporation owned by the CSPs, a global board of directors, elected by the global membership, sets the direction of the alliance. A team of industry experts and external advisors manage daily business

joining vary. They include alignment with the PSNI brand, global vendor programmes, access to a trusted network of peer-approved partners around indicators and industry research internal company growth, training strategic account standards and access to services including PSNI Global

opportunities are also an important

Systems integrators who need a qualified, vetted and trusted network to support key end users regionally and globally while mitigating risk and solidifying

We receive more than 100 enquiries annually from integrators throughout the world who have expressed an interest in joining the alliance. An initial interview is conducted to determine synergy between the SI and PSNI. Based on the outcome, an application may be extended to the SI, but only in those markets where PSNI needs additional coverage or specific vertical market expertise that complements its overall capabilities. The application process includes leadership/ ownership interviews, site visits (if possible), credit checks, submission of professional processes in place, years in business, ownership, project documentation, drawings, ratios of full-time employees by skill that fit the proven ratios required by all CSPs, references by vendor partners and, if possible, references from end users. By doing this diligence up front, end users and CSPs can rest assured that when they use a PSNI Global Alliance integrator or service provider, they are using a qualified and vetted partner in the market.

What was the response when you decided to take the organisation global in 2017, and where did the initial interest and early international members come from?

In 2016, after 30 years of business in North America, PSNI commissioned an exploratory committee and international consultant to interview system integrators, manufacturers and enterprise end users to determine if there was a need for global expansion. Discovering there was a true need and opportunity coupled with PSNI’s 30-plus years of experience in building and operating a network suggested a real opportunity for PSNI to make a difference in the AV experience for systems integrators and end users. The 10 founding global licensees were in Europe, India, the UAE and South America, and the global group met for the first time at InfoComm in 2017. Since then, PSNI has worked diligently to build out its network to a full coverage across six continents.

What are you doing to attract more global members?

We are very proud of our CSPs throughout APAC; however, there are still countries where we are accepting interviews and applications. We encourage any systems integrator in the AV/UCC space to reach out through the psni.org website to see if it’s a fit for their organisation. PSNI will attend InfoComm Asia and we would love to talk to interested APAC and MEA systems integrators during the show.

www.psni.org