Pro AVL Asia November–December 2022

Welcome

What a difference a year makes. Looking back to our last issue of 2021, we were lamenting the disappointing cancellations and postponements the year had brought. Twelve months later, we have almost a whole year of tradeshows, events and international travel behind us, and while Covid-19 certainly hasn’t gone away, its restrictions are starting to seem a long way off. Our November–December issue closes the year with two of the last tradeshows we’ve reported on in person in 2022 – InfoComm India (p62) and IBC (p64) and, as you read this, Richard Lawn will be attending another InfoComm – the Southeast Asia edition – in Bangkok in early November.

I’ve even been able to report on some of the content in this issue in person, including visiting the fantastic Ambience immersive art exhibition created by artists’ collective SILO Lab. in close cooperation with Martin Audio’s South Korean distributor, Samasound (p52) as well as recording studios in Seoul (p58) to discover why South Korean consumers are embracing Dolby Atmos at home.

It’s become apparent that certain Covid-created trends are here to stay. Proof that livestreaming wasn’t just a pandemic fad is evidenced by our feature on Chinese internet giant Tencent, which is now livestreaming from a purpose-built 9,000m2 studio complex in Beijing (p54). Meanwhile, in Singapore, VStream Media – which found itself providing essential services during the country’s circuit breakers – describes how the challenges and opportunities given to its fledgling operation by the pandemic have endured – even as business is returning to normal (p70). Life certainly isn’t the same as it was before 2020, but it’s clear we’ve adapted in ways that have enhanced methods of communication, entertainment and conducting business.

HOLOPLOT enters global partnership with Electrosonic

Electrosonic has announced a new strategic partnership with Berlin-based pro audio company HOLOPLOT, in a bid to create revolutionary immersive audio environments in experiential spaces around the globe. Electrosonic claims that with the release of HOLOPLOT’s X1 product line, users are granted a previously impossible level of control over sound, which will only enhance the partnership and its capabilities further.

“Partnerships with companies as well regarded as Electrosonic are vital to the continued international growth of

Electro-Acoustics Systems (EAS) and Analog Way hosted two days of demonstrations and training at The Star Performing Arts Centre focused on the French manufacturer’s range of video display processors and media servers.

“After our continued working on installed video display systems throughout the pandemic, we are now seeing a sharp increase in demand for video at live events, performances and presentations across all sectors,” explained Lam Tze Tze, executive director of EAS, “so, the time was right to update and educate people on the outstanding technology and capabilities of Analog Way.”

The first day was dedicated to the Operator Certification Program, during which multiple smaller groups of participants went through in-depth training of configuration and operation of Analog Way hardware and software. “Different from other regions in the world, we are offering the certification courses free of charge,” stated Lam. Analog Way’s vice president Asia, Guy de Souza, added: “About half of the 30 attendees joined to refresh their existing knowledge, while the other half were mostly freelancers seeking training for the first time, underlining the growing needs in the rental and staging market.”

The majority of trainees finished the course with a certificate in hand. However, a few failed to pass the stringent test at the end –testimony to the value of Analog Way’s operator certification.

Day two saw interested parties from various sectors such as entertainment, corporate and houses of worship following presentations of the Analog Way product range with typical use case examples, specific features and benefits including performance, reliability, expandability and ease of use, covering the LivePremier Aquilon as well as Alta and Midra presentation systems, Picturall media servers and the webRCS user interface.

Offered refreshments, attendees were then able to network amongst each other and talk individually with EAS and Analog Way personnel.

www.analogway.com www.easpl.com.sg

HOLOPLOT and the fulfilment of our mission to push the boundaries of what is possible with professional audio. Their experience providing the right technology and services for complex audiovisual deployments makes them a perfect match for HOLOPLOT as we develop our hardware and software to solve otherwise unsolvable challenges for partners worldwide,” said Ryan Penny, head of sales at HOLOPLOT.

Previously, the two companies cooperated on the build-out of Illuminarium, a nextgeneration entertainment venue, along with other partners. Illuminarium has been recognised throughout the industry as a groundbreaking entertainment venue.

“HOLOPLOT’s revolutionary technology combined with our experience delivering immersive environments creates a unique advantage in the industry,” said Ryan Poe, director of technology solutions at Electrosonic. “When we work together, our combined expertise will provide unique and memorable experiences for any guest.”

www.electrosonic.com www.holoplot.com

Proel signs with APAC agency M-Global

Chandan Mahtani, a seasoned expert in distribution and building brand presence, has recently announced his plans for his growing business, M-Global. Based in Singapore, Mahtani previously owned an APAC distribution business and was employed to grow several businesses and their brand presence over a number of years.

Now, with three locations in Singapore, Bangalore and Jakarta with two employees representing each country, M-Global aims to bridge the gap between principals, manufacturers and service providers that wish to grow their database of distributors and

Asia. In a short space of time, the company has built a strong network of distributors, dealers, systems integrators and venue owners and future plans include the opening of an office in the Philippines next year.

This included the signing of an agreement with Italian manufacturer Proel, entrusting M-Global to manage all its 15 brands in Asia which are covered under its Pro Audio, Commercial Audio, Evacuation Systems, Lightings, Musical Instruments, Cables, Connectors and Stands segments.

“Having experienced both running a distribution company himself and representing principals, Chandan has invaluable knowledge and understanding of both ends of the spectrum and we couldn’t be more excited to be working with him and growing our business in the territory,” said Luca Pasquinelli, Proel international sales manager.

“M-Global’s aims are clear,” explained Mahtani, “supporting our clients by assisting with roadshows, conducting training, improving marketing, as well as providing system diagrams and schematics to support large projects.” M-Global also keeps an inventory, including spare parts in its Singapore warehouse, to support distributors if needed for urgent projects.

L–R: Fabrizio Sorbi and Chandan Mahtani seal the deal

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Shure and Netgear team up to aid complex meeting room installs

Microphone manufacturer Shure is partnering with Netgear with the aim of removing the increasingly steep learning curve required to facilitate seamless meetings, by providing “faster and more reliable integration” when installing Shure Microflex Ecosystem products with Netgear AV Line M4250 switches.

“We understand integrators’ and customers’ time is valuable,” said Chad Wiggins, associate vice president of global product management and innovation at Shure. “By working with Netgear, users who install Microflex Ecosystem products in conference rooms on an enterprise network can deploy our solutions faster than ever. Shure is committed to continuing optimal compatibility for the M4250 line and improving the overall experience for every user.”

Built from the ground up for 1G AV-over-IP, the Netgear AV Line M4250 switches offer a

new AV-centric browser-based user interface enabling key AV network settings, selectable profiles for popular AV devices and a front panel with various mounting options. Now, M4250 switches come pre-installed with two Shure profiles to optimise switch settings

and customise VLANs for control and audio when deploying Microflex Ecosystem devices. The switch splits network traffic for Dante audio and Shure control traffic, to provide a more seamless installation experience for integrators.

Adam Hall woos APAC with MAILA

Titled “APAC Convention 2022”, Adam Hall held a two-day meeting with its distribution partners from the region. A 50-strong crowd of managerial, technical and sales personnel from India, Mongolia, Korea, New Zealand and almost everywhere in between came to Singapore, joining Adam Hall’s business development manager Asia Pacific, Glenn Lin, and a team of product specialists from the

German manufacturer’s headquarters led by COO, Markus Jahnel and global business development manager, Alessio Foti.

New Cameo lighting fixtures and Gravity staging solutions as well as all recent additions to audio brands Palmer and LD Systems were on display and introduced in presentations by the respective product specialists.

Lin, who had started in his role during the pandemic and met several of his customers in-person for the first time since, couldn’t conceal his excitement: “It’s a great opportunity for us all to get together, and for our long-time distributors and those who have joined the family recently to receive information and updates directly from our German colleagues.”

“After three years, we’re very much enjoying being back in Asia,” said Jahnel, “and it’s the chance to introduce our new LD Systems MAILA line array launched earlier this year in Germany. Reaction and feedback from our APAC partners is always positively curious and helpful, so we greatly appreciate it.”

Indeed, prominently flanking the stage and with the second day dedicated to it, the highlight of the event was MAILA. Short for “Modular All-round Intelligent Line-Array”, MAILA claims to be suited equally well for portable and installed applications. With compact dimensions thanks to a single 6.5-inch woofer and five dome tweeters per satellite, a similarly sized DSP/amplifier module for up to eight satellites and a column containing four 6.5-inch transducers for lowmid extension and DSP/amplification for itself and up to eight satellites, MAILA is aimed at small- and medium-sized venues, and wants to impress users with musical sound widely adjustable to taste as well as simple handling from system design and setup on board

or via app to no-tools installation, flown, ground-stacked or with stands/poles, with or without its dedicated powered two 15-inch subwoofers.

“Modular and widely scalable, MAILA eliminates the need for users to purchase multiple different systems depending on venue size and source material,” explained Jens Kleinhuis, field application engineer of Adam Hall. “From very small nearfield use to medium-sized live music applications, a matching MAILA system can be put together and deployed easily and quickly.”

“There are many compact line arrays out there,” continued Kleinhuis, “but, at this point, there is nothing we are aware of that is as versatile as MAILA and boasting as many features, including scalability, sonic performance and convenience.”

Jusung Kang, sales/marketing manager of Korean distributor Sonic Value, agreed: “We heard MAILA when it was launched in Germany earlier this year, and we instantly fell in love with it. As flexible as it is, it’s perfect for rental

As an added benefit, Netgear provides customers with a lifetime warranty, technical support and next business day replacements, along with dedicated support for networking issues. The Netgear engineering services team also offers free Network Design services and installation support.

“Netgear has continued to recognise the evolution taking place in the pro AV world and specifically the advancements in AV-over-IP installations that are changing what is possible in our industry,” said Laurent Masia, director of product line management for managed switches at Netgear. “We are pleased to be working with a market leader like Shure to make installations as simple and seamless as possible.”

www.shure.com

companies in our market. The same is true for many worship communities congregating in multifunctional spaces, where they need portable systems that are easy to set up and operate.”

Attending the event meant the first overseas trip in years for Greer Compston, national sales manager of Direct Imports in New Zealand. “It was absolutely worth coming,” he said. “MAILA should do well when installed for example in churches, and we’ll show it to rental companies, too. We are a small market and far away from everything, so we need to be diverse. Adam Hall’s product range is a good fit, even throughout the pandemic, and they are good and supportive people.”

“We have very good partners in APAC,” stated Foti. “We want to maintain a close relationship with them and continue growing together in this important region.”

www.adamhall.com www.ld-systems.com

Jens Kleinhuis and MAILA

Providers reunite for in-person training bootcamp

L-Acoustics has welcomed its Certified Provider partners to a “technical bootcamp” in Bangkok, Thailand, for the first time in two years. Following two years of online-only sessions, engineers from across 10 countries in the APAC region gathered in-person to learn about L-Acoustics’ latest offerings and update their skills alongside their peers.

Hosted by CEO of L-Acoustics APAC, Tim Zhou, up to a dozen boot camp participants shared and presented project case studies on the first day, highlighting their work with L-Acoustics products for various deployments. Rounding off the day, François Montignies, head of education programmes at L-Acoustics, shared updates to the L-Acoustics Education Outreach Program. Then, Damien Juhasz, application project engineer APAC, introduced the technical referents to L-Acoustics’ latest range of products. Montignies explained: “At L-Acoustics, our global education programme is essential. It allows us to keep our Certified Provider partners and their dedicated engineers up to date with our products and technologies to offer the best quality of service to their end users.”

Day two consisted of a session led by Juhasz, where he delved into best practices upon delivery and support between partners and an L-Acoustics application engineer, as well as running through methods when implementing an L-Acoustics ecosystem. For the remainder of the day, Montignies, along with Alvin Koh, director of application APAC, and regional

party control. Koh also presented L-Acoustics software platforms such as Soundvision, hardware engines like the P1 processor and L-Acoustics’ range of amplified controllers.

On the final day, Montignies tutored participants on the workflow of tuning a system using the M1 suite of measurement tools. He then spoke about immersive audio with L-ISA in a live sound setting. Next, Koh illustrated specific L-ISA features, such as preparing spatial fills for object-based mixing. Juhasz then capped the day with a demonstration of L-ISA’s Ambiance virtual acoustics system. Participating engineers brainstormed ideas for potential forthcoming projects and asked questions of L-Acoustics application engineers who shared their insights and suggestions.

“Our R&D team regularly releases robust updates to all our premium offerings, so we must consistently train our partners. Keeping them up to date and offering our technical support ensures they can be confident with L-Acoustics products and technological advancements. It is invaluable when they propose an L-Acoustics system to clients worldwide,” concluded Zhou. “I think our partners are as pleased as we are to do this training again in a face-to-face setting.”

Adamson CS-Series loudspeakers gain Milan certification

Ensuring interoperability with all other certified devices on the same network regardless of manufacturer, Adamson’s CS-Series of intelligent loudspeakers is now Milan Certified. The Canadian manufacturer explains that due to the complexity of the CS-Series network topology, which was designed to allow end users to set up their system in a manner similar to current industryleading passive systems, certification

cable weight, easier setup and an overall cleaner look.

Adamson has been a major benefactor behind the development, verification and validation of the Milan compliance test tool known as Avnu Express Test Suite (AETS) for Milan Advanced Certification. The work behind this has included participating in weekly review meetings in a work group, running interim releases of AETS on in-house test benches, validating tests

required the advancement of the Avnu Test Tool, of which Adamson has been a key partner in developing over the last 18 months.

“We’re thrilled to be a part of the group that defined the parameters of the Avnu test tool,” stated Brian Fraser, head of product and technology with Adamson. “With the approval of the CS-Series line of products using this tool, we can now offer the industry’s first Milan Certified line array products that allow the user to daisy-chain networked audio between enclosures, while adhering to defined presentation time limits.”

The CS-Series intelligent loudspeakers include switch fabric, allowing control data and the Milan Audio Network to be daisy-chained cabinet-to-cabinet while still meeting specified presentation times. This creates lower cable counts required to connect to arrays of loudspeakers giving fewer potential failure points, less

that passed, analysing packet capture logs for tests that failed, bug reporting and updating working Avnu documents. Adamson has received two certificates of recognition for its contributions toward the development of the AETS.

“It has been a great experience working with everyone in the Avnu test tool and Beta testing workgroups over the last one-and-a-half years,” said Adamson’s Brajendra K Singh, who has been integral to the development of the AETS. “I am happy to have taken part in the evolution of new standards and tests. I, and everyone at Adamson, are appreciative to be a part of such an important initiative. Everyone was quite supportive in solving the issues that were identified during verification and validation of test cases for Milan Advanced Certification.”

www.adamsonsystems.com

Tim Zhou, CEO at L-Acoustics APAC

L–R: L-Acoustics regional application engineer Frieda Lee and Alvin Koh, director of application APAC

Minrray joins SDVoE Alliance

The SDVoE Alliance has announced that Minrray Industry has joined as an adopting member. Minrray Industry is a company in the cloud communication industry offering videoconferencing products and solutions on a global scale. Founded in 2002, Minrray integrated manufacturing, research and sales to provide solutions for its customers. With a focus on product development

and technology research, Minrray is continuously working on “higher resolution, better integration and more intelligence”.

“The SDVoE Alliance is pleased to welcome new member Minrray who supports SDVoE’s sustainability goals with their commitment to quality first and a green manufacturing process,” noted Justin Kennington, president of the SDVoE Alliance.

“Minrray is pleased to become an SDVoE Alliance member so that we can utilise the advanced technology and promote SDVoE technology and our SDVoE-enabled

products,” shared Robert Zeng, product director for Minrray.

www.sdvoe.org

Kinoton Korea made launch partner for Analog Way’s Alta 4K in Northeast Asia

NORTHEAST

Analog Way has announced that Kinoton Korea is its launch partner for Alta 4K in NE Asia. Alta 4K is a new line of multi-screen and multi-layer 4K60 presentation switchers and videowall processors. Based on the Alta 4K platform, the Zenith 100 and Zenith 200 are designed for medium- and large-scale live events and permanent LED videowall installations.

Seoul-based Kinoton Korea is a commercial AV systems integrator with numerous credits covering multiple verticals, including LED displays and digital signage as well as indoor and outdoor installations in commercial

Following Alta 4K’s introduction to the Asian which are expected to be delivered by the end from our partners at KOBA, I am confident that premium image processing market,” said Guy de Souza, Analog Way’s vice president for Asia. powerful and reliable image processors play for all video-based commercial projects,” said

Edward W S Bae, vice president of Kinoton Korea. “We are delighted to be a launch partner for Analog Way in the Northeast Asia region, a further opportunity to work together and help customers maximise video outcome and drive engagement.”

Bae has big expectations for the Alta 4K product line among Kinoton’s domestic SI partners, who have been seeking middle-range solutions between Analog Way’s Midra 4K and Aquilon RS series.

www.analogway.com www.kinoton.co.kr

Built

last

L–R: Chris Bae, MD, Kinoton Korea and Eric Delmas, CEO, Analog Way

AVI-SPL India opens in Bangalore

AVI-SPL has announced the opening of a new office in Bangalore, its third location in India. Having served the territory for over a decade, the solutions provider formally established operations in the country with the incorporation of AVI-SPL

India Private Limited in January 2022. This latest office opening is said to reaffirm the company’s commitment to growth in India by providing customers with consistently highquality delivery of digital workplace solutions backed by expert, local support.

The Bangalore office will serve as a hub for customer development, audiovisual and unified communications engineering, project management and managed services, supporting increasing local market demand from organisations of all sizes for collaboration technology. With teams in Gurgaon and Mumbai already driving AVI-SPL’s India expansion, the company is well-positioned to be a reliable partner to local organisations. “AVI-SPL’s expanded presence in India is accompanied by significant growth in our team and local customer base,” said Mala Prasad, regional director of AVI-SPL India. “The Bangalorebased team will focus on working with the local technology and services sectors to help businesses unlock the full potential of communications and collaboration technology at work for them.”

The office sees great opportunity in Bangalore, as many of the world’s major financial services and IT companies operate from the city and 40% of India’s IT industry is located there. Bangalore is the third most populous city in India after Mumbai and National Capital Region, including Delhi and Gurgaon, where AVISPL India also has established offices.

“The AVI-SPL India team are exceeding expectations in their efforts to introduce the AVI-SPL brand,” said Tim Riek, executive vice president of technology solutions. “We’re excited to see the opening of Bangalore as another step forward in mobilising local expertise and resources quickly in support of our customers.”

www.avispl.com

Professional Audio & Television announces partnership with New Zealand Symphony Orchestra

Lawo partner Professional Audio & Television (PAT) has announced a technical partnership with the New Zealand Symphony Orchestra (NZSO), in the rebuild and fit out of the historic Wellington Town Hall. The NZSO has charmed audiences with memorable concerts and recordings since 1946, having been nominated for Best Orchestral Performance at the prestigious Grammy Awards in 2016, and has recorded music for a number of film and game projects, including Wish Dragon, The Hobbit, The Lovely Bones, Krampus, Emperor, Escape Plan, Mortal Engines and Titanfall 2.

PAT is said to be delighted to be selected as technology partners for this project. A 72-fader Lawo mc²96 audio production console sits at the heart of the install, complemented by a 16-fader Lawo mc²56 console. Both consoles pool their DSP resources from two fully redundant, 1U super compact Lawo A__UHD Cores. Lawo A__stage boxes are feeding audio in and out of a redundant SMPTE 2110-30 AoIP network. The media network is clocked by a Meinberg microSyncRX. Lawo’s new HOME cloud-native management platform for IPbased media infrastructure is responsible for connecting, managing and securing all aspects of the live production environment. PAT has also supplied and fully integrated Merging Technologies HAPI interfaces into the Lawo environment via HOME, as well as into the 2110 network via Microsens Fibre bridges.

A Lawo PowerCore fitted with a Dante I/O expansion card and StudioHub XLR breakout panels will feature as a central comms and talkback system, which is controlled by Densitron’s IDS Core software via Ember+. The Densitron core will also be

used to orchestrate and control lighting, digital signage and video elements between each of the performance and educational spaces. The Densitron solution will be used to display performance space booking and status information outside many of the town hall’s rooms and will keep conductors and music score readers on track with Beats and Bars information during performance recordings.

Craig Thorne, NZSO senior manager of projects, said: “When the New Zealand Symphony Orchestra started designing its new audio recording studios, we wanted to work with not just any supplier, but a partner who would be right with us from inception through to operation. In PAT we got just that – a family of genuine, supportive, specialist designers and engineers who understand our business and collaborated with us to supply the right solutions for our specific needs. Our Lawo mc²96 and mc²56 production consoles are

already become a career highlight for me. Everyone from the construction supervisor

to project managers and our own team at PAT has a common sense of care, genuine interest and passion towards an outstanding end result. I can’t wait for the doors to open and to sit back and listen to the magic on opening night. The world is watching this one, but we know that we have the skill and technology to pull it off and to deliver something that will turn heads.”

Keith Prestidge, sales director of the APAC region, stated: “The whole team at Lawo are honoured to be a part of this prestigious project for the New Zealand Symphony Orchestra. Planned, coordinated and installed by our trusted partner, Professional Audio & Television, in cooperation with the customer and the www.lawo.com

The PAT team

AE Live partners with Pixotope

AE Live and Pixotope are partnering to deliver a turnkey virtual production solution for broadcast, sports and live entertainment. The integrated system combines AE Live’s expertise in onscreen graphics, data and augmented reality with Pixotope Camera Tracking technology.

“This end-to-end solution removes many of the challenges of traditional production,” said David Dowling, chief revenue officer at Pixotope. “It provides a full-service platform for delivering unique and immersive viewing experiences that are a perfect fit for the way audiences consume data and entertainment today.”

The joint AE Live and Pixotope technology solution has been deployed successfully on several events across Europe, including football, horse racing and rugby, with plans to expand its use on sports and events in the United States.

The Pixotope real-time 3D tracking technology is an essential element of the company’s virtual

production platform that incorporates graphics with camera tracking and talent tracking. The system combines all types of tracking methods, including mechanical, marker-based and through the lens in a single software product.

AE Live graphics and data packages can integrate sponsorship opportunities to create additional revenue streams for rights-holders and broadcasters.

“Technologies like augmented reality are no longer a ‘nice-to-have’ anymore,” said Dave Gill, CTO at AE Live. “Audiences expect more from a viewing experience, from immersive data-rich graphics that are customised for an event to compelling and convincing AR content. We’re able to deliver that while providing broadcasters with this easy-to-deploy comprehensive extended reality capability.”

www.ae.live www.pixotope.com

TDC training supports NIDA students and beyond

Technical Direction Company (TDC) has a newly focused training and support initiative to support students and graduates of the VET (Diploma of Live Production and Technical Services) and BFA (Technical Theatre and Stage Management) courses at the National Institute of Dramatic Art (NIDA) in Sydney. Students and graduates are given practical experience with a variety of today’s video technologies and

As the events industry was once worth US$36b and is now returning to in-person and online events after the Covid pandemic, TDC highlights its strengthened training and development programme aimed at generating new talent and business opportunities.

NIDA’s BFA is a 15-month course placing emphasis on practical experience with a module lasting three months that

“TDC is one of NIDA’s major partners,” explained Graham Henstock, director, Centre for Technology, Production and Management at NIDA. “TDC regularly provide us with teaching assistance, technical expertise and access to video equipment for live performance. TDC supports an annual scholarship for a student and its valued support has allowed all our students to learn and experience technology and new ways of working that wouldn’t otherwise be accessible.”

design, basic video design principals in display technology and systems as well as planning, pre-visualisation and programming.

TDC carries out further training sessions, master classes and collaboration with loans equipment for the final module of the course, where students carry out their individual creative projects, designs and work experience.

“We’ve seen some wonderful, refreshing and creative applications of technology from some genius minds who are so eager

to learn – some methods even we haven’t discovered or experimented with yet,” explained Drew Ferors, technical manager at TDC.

Ferors explained that even after NIDA graduation, “TDC delivers technical training to graduates and new recruits using a classroom-based environment with support and assessments developed in-house by TDC, giving further access to the best entertainment technology and expertise to develop skills long after graduation.”

TDC’s technician Declan Lodge joined the company alongside Harrison Dow, a technician who joined TDC in 2019. Both are graduates of the VET course at NIDA in Sydney. In their new roles, Lodge and Dow worked on the latest projection mapping and LED technology across 27 sites at the biggest ever Vivid Sydney 2022.

Dow said: “The NIDA course puts you in front of the right people and a job. I’m really pleased to have joined TDC to pursue my ambitions there.”

“We work really closely with NIDA with training, lessons and technical support all the time. This year, we ended up taking on some secondments who were lucky enough

to also secure a technical role within our ranks here at TDC. We pride ourselves on our training that we conduct at TDC and we are actively supporting and bringing in fresh talent into the industry,” explained Ferors.

“People are our most important asset,” echoed Michael Hassett, founder and managing director at TDC. “We’re delighted to bring two new NIDA graduates on board who have excellent skills and practical understanding. Once at TDC, we continue to train staff on the job and give them experience in using the latest groundbreaking visual display technologies in a range of projects.”

Dow concluded: “TDC has a really nice culture of trying to teach anyone anything –if you’re willing to learn, they’ll probably teach you.”

There are a number of students attending the NIDA VET 12-month course. Lodge said: “If you are looking to be a technician or project manager who loves coordinating and working as part of a dedicated team, then TDC is the right place to start.”

Dave Gill

David Dowling

Love and Information at NIDA

Riedel acquires dynamic duo

Riedel Communications has expanded its competence team in the area of real-time IP network orchestration and Software Defined Networks (SDN) control, enriching its developing range of video solutions, with the acquisition of SDNsquare.

Belgium-based SDNsquare is a technology provider of SDN solutions for complex and demanding IP-based media installations. Its technology has been proven in numerous IPbased projects and deployed by its customers in major sporting events, such as the Tokyo Games, Roland Garros and European Athletics Munich.

“SDNsquare is a recognised innovator when it comes to Software Defined Network orchestration in media,” said Rik Hoerée, CEO product division at Riedel. “We are very excited to welcome the SDNsquare team to the Riedel family, integrate their technology into our future products and grow its capabilities to help make IP simple for our customers.”

Henry Alexander, CEO at SDNsquare, commented: “Being part of the Riedel family

Ross Video adds another leg with

Ross Video has agreed terms to acquire the broadcast cable camera solutions supplier, Spidercam. Having made its television debut in 2005, Austrianbased Spidercam focuses on cable camera solutions. Notable Spidercam production work includes major international sports

head to provide HD or 4K video. System rentals include an accompanying technician, pilot and camera operator. More recently, the company launched a fixed mini solution for smaller internal production environments.

“Becoming part of Ross Video is an incredible opportunity to truly unlock the

leagues and tournaments, award shows, entertainment events and esports competitions.

“Spidercam’s technology creates visuals that are simply spectacular, and we’re thrilled to integrate them into our production universe,” commented Ross Video CEO, David Ross. “We’re committed to continuing Spidercam’s excellent customer experience as a part of Ross while offering more capabilities to even more customers. On a personal level, I just love cable cameras, they’re such an awe-inspiring and dramatic technology.”

Suspended on four cables with winches that navigate a camera dolly in 3D space, the Spidercam system incorporates a stabilised

potential of Spidercam,” added Spidercam CEO, Herbert Neff from his Feistritz im Rosental headquarters. “We are looking forward to the benefits of integrating our camera systems and services offering into a highly innovative, true end-to-end live production company. We’ve already been working together to produce live augmented reality with the combinations of our technology and Ross’s and there is a lot more we will be able to do in the future. Our camera solutions extend the current robotic solutions from Ross Video by offering unique and creative images.”

serve our clients worldwide.”

“This is a great day in the history of Riedel, and an important step for our product division and the entire Riedel Group,” concluded Thomas Riedel, CEO, Riedel Group. “I am very much looking forward to welcoming the SimplyLive team at Riedel and together changing the way events are produced, attracting more viewers.”

www.riedel.net

Mobius Labs partners with Nomad Media

Mobius Labs has partnered with Nomad Media, the developer of a cloud-based content and asset management platform for on-demand and live video. The integration of Mobius AI technology into the Nomad Media platform brings an extended range of AI services, including advanced face recognition, video tagging and speech to text, enabling content owners to upload, search and manage the thousands of media files in their content libraries and discover new value hidden within their assets.

“The partnership between Nomad Media and Mobius Labs ushers in a new artificial intelligence era where powerful video and

image analysis along with speech to text conversion is the foundation of every content catalogue,” said Adam Miller, co-founder and CEO of Nomad Media. “In addition, this new AI-powered catalogue foundation will futureproof an organisation’s content for emerging and innovative new AI services.”

Appu Shaji, CEO and chief scientist at Mobius Labs, added: “Through our partnership with Nomad, they will now have access to powerful new tools that enable them to maximise monetisation opportunities for their content.”

www.mobiuslabs.com www.nomad-cms.com

Vizrt Group goes with Flowics

Vizrt Group has announced the acquisition of Flowics, a provider of cloudnative, browser-based, live and interactive graphics platforms for content producers.

With the addition of Flowics, customers of all three trading brands – NewTek, NDI, and Vizrt – can advance their content creation capabilities through nimble HTML5 graphics and rich live data integrations.

“In Flowics, we recognise our own passion for helping customers deliver more stories, better told,” said Michael Hallén, CEO of Vizrt Group. “The Flowics software-as-a-service offer reinforces the leadership position Vizrt Group enjoys by providing content creators even more creative flexibility across all their channels and platforms.”

Gabriel Baños, CEO and founder of Flowics, said: “We are delighted that the Flowics platform will become a powerful extension to the group’s offering. NDI and TriCaster

were already a significant part of the Flowics story, so being able to build on that, as well as adding in Vizrt, means we can reach even more visual storytellers than ever before.”

Hallén continued: “This acquisition gives content creators the right tools to engage and interact with their audiences as they pioneer fresh content formats in new and emerging channels. Together, we offer the most comprehensive graphics solutions for storytellers as they seek to captivate their audiences.”

www.flowics.com

L–R: Thomas Riedel, Luc Doneux and Rik Hoerée

L–R: Henry Alexander and Rik Hoerée seal the deal

Audiotonix enhances its presence with Slate Digital

Audiotonix has announced the acquisition of Slate Digital, a software plug-in developer for audio creation and production. With a brand portfolio that includes Allen & Heath, Calrec, DiGiCo, DiGiGrid, Group One, KLANG:technologies, Solid State Logic and Sound Devices, the transaction aims to further enhance the group’s presence in the professional audio creation and production markets. Slate Digital was co-founded in 2008 by Steven Slate and Fabrice Gabriel, with a mission to create digital audio tools for professional producers, mixers and engineers.

“The Slate Digital team share many of the key attributes we have across all our brands – great technology combined with committed staff with a real energy and passion for what they do,” commented James Gordon, CEO of Audiotonix. “Their history and reputation for building stellar software tools is second to none and, from a business perspective, their success in building a strong subscription model adds another bow in how we grow in the audio creation market.”

Slate added: “Audiotonix shares the passion for pushing the boundaries within the industry and I look forward to seeing how Slate Digital unlocks even more possibilities for music creators. The products that will soon be released in this new chapter are the company’s most bold and innovative to date. I believe our loyal Slate Digital customers will be thrilled at what is to come.”

www.audiotonix.com www.slatedigital.com

MultiDyne purchases Niagara Video Corporation

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MultiDyne Fiber Optic Solutions has acquired Niagara Video Corporation, a supplier of compression, streaming and IPTB solutions for broadcast and commercial AV. The acquisition aims to strengthen MultiDyne’s value proposition for software-defined video transport and aims to position the company as a full-service provider of hardware and software solutions for moving video over any distance or network architecture.

Black Pearl Management Group, owned and operated by the well-known Bob

McAlpine, facilitated the acquisition process on behalf of both companies. Mike Galli, CEO of Niagara Video Corporation,

will join the company as VP of streaming products, and MultiDyne will retain Niagara’s existing staff.

“We can help MultiDyne establish a robust streaming portfolio and bring them into the compression world with greater authority. And we at Niagara have always looked for the right partner to complete our vision. MultiDyne’s global presence, business reputation and the range of customers and applications they support are all phenomenal,” concluded Galli.

www.multidyne.com www.niagara-video.com

2028 VOCAL MICROPHONE

To take the vocals to the next level, focus on the beginning of the audio chain – with the right microphone. A 2028 Vocal Mic upgrade to existing wired or wireless handhelds will inspire vocalists to give it their all and make live mixing a breeze.

Amagi plans to take Northeast Asia by storm

Amagi has announced that it has increased its presence in Northeast Asia, with a sales and customer support team in South Korea, to serve customers in the region. The company has also signed a partnership with Digibase, a Seoul-based provider of professional media services for live video encoding and file-based transcoding.

A partner of enterprise-grade cloud infrastructure providers such as Amazon Web Services and Google Cloud, Amagi enables broadcasters, content owners and streaming platforms worldwide to create, distribute and monetise live linear channels effortlessly. In 2021, Amagi was chosen by media companies around the world – ABSCBN, Rakuten TV, Xiaomi, AccuWeather, Spark Sport to name a few – for cloudbased channel creation, distribution and

monetisation across cable, satellite and OTT.

“Amagi’s cloud-native solutions have helped our global customers to automate their workflows, save costs up to 40–50% and achieve higher ROI. We believe that Northeast Asia, particularly South Korea,

is a promising market for our cloud-led innovations as content owners from the region seek to leverage the global popularity of their content and expand their presence across international markets.

FAST penetration in South Korea has just started picking up and there is a

tremendous opportunity for growth. We’re excited to ride this wave and partner with Korean broadcasters and content producers in their growth journey,” said Srinivasan KA, co-founder of Amagi. “Amagi’s solutions serve the entire spectrum of broadcasting operations. They understand the cloud and video content through and through and are able to lead their customers to the best possible outcomes. Their innovative and pathbreaking solutions are transforming the future of media and entertainment. We hope to leverage their deep experience across the globe to deliver superior solutions to customers in South Korea,” said Sunghwa Bang, director, Digibase.

www.amagi.com

Korea’s Tongsuh Technology distributes Cameo

With Tongsuh Technology, Adam Hall Group has gained a new distribution partner for its Cameo lighting solutions in South Korea. With more than 25 years of experience in the field of professional lighting and stage technology, Tongsuh is said to be one of the leading distributors in Korea and, with immediate effect, Tongsuh will take over the exclusive distribution of Cameo products.

“We are very pleased to form a partnership with Cameo and the Adam Hall Group,” said Shin Hyunryang, president and founder of Tongsuh Technology. “In consideration of the market and demand diversification, Cameo is an excellent match for our portfolio. We anticipate a significant growth in the Korean market in the future, given the size of the

Harman Professional Solutions has announced a strengthening and refinement of the JBL Professional performance audio distribution in Australia. CMI Music and Audio will continue to distribute BRX modular portable line array systems and will distribute the new JBL SRX900 Series of powered line arrays. The family, which includes dual 6.5-inch and dual 10-inch powered line array elements and 18-inch and dual 18-inch powered subwoofers, is reportedly ideal for rental companies, fixed installations and musicians seeking the ultimate combination of performance and portability.

MadisonAV will distribute the JBL VRX900 Series of constant curvature line array loudspeakers and the VTX family of products. This includes the newest

members of JBL’s VTX line array series, the VTX A6 subcompact dual line array element and the B15 subwoofer.

“2022 has been an exciting year of product launches from JBL Professional with both the SRX900 Series and VTX A6 line arrays being launched. Australia is a very important market for Harman Professional Solutions and we are focused on growing and strengthening our line array business there,” said Amar Subash, VP and GM, APAC. “The refinements to the Australian distribution leverages the strength of the brand, our products and the strengths of Harman’s two well-established distributors: CMI Music and Audio and MadisonAV.”

pro.harman.com

company, product reliability, members’ enthusiasm and investment in new products.”

Glenn Lin, business development manager, Asia Pacific, added: “With Tongsuh, we have an experienced distribution partner for the rental and fixed installation market with an excellent network. Tongsuh brings an impressive list of references, whether it’s in theatres, event centres, TV/broadcasting or in the field of education. We are looking forward to the future cooperation and the first Cameo reference projects in Korea.”

www.adamhall.com www.cameolight.com www.tongsuhtech.com

partners with

for India

Avocor has signed a new long-term partnership in India with Shree Info System Solutions (SISS), an expert in IT product distribution in the region.

partnerships in India and drive new business opportunities.

Dana Corey, SVP and GM global sales at Avocor, said: “I’m delighted that we’re

Avocor is a global collaborative displays company, headquartered in Oregon, US, which creates interactive solutions that enable people to communicate and collaborate more effectively together. It has built an ecosystem of strategic partnerships with Google Meet, Microsoft Teams, RingCentral, Zoom and Logitech. Avocor hopes this agreement with SISS will help to amplify these strategic product

partnering with SISS in India, a well-established and successful distributor of IT and AV products across the Indian subcontinent. The deal with SISS strengthens our existing presence in India and will allow us to implement our ambitious regional growth strategy for our market-leading interactive displays.”

www.avocor.com www.siss.co.in

Ayrton appoints Pro-AVL for Vietnam

Ayrton has appointed Pro-AVL as its exclusive distributor for Vietnam. The distribution company, founded in 2011 by Lê Manh Thang, also provides consultancy, design, integration and after-sales services, with clients in the theatre, TV, venue, events and rental sectors.

“For a long time, Ayrton has been a well-known

statement is always to aim for the highestquality products for our customers, which makes the Ayrton brand and their products the perfect addition to our portfolio. LED technology overcomes the limitations of products using traditional lamps. However, in order to truly replace the old products, new products must be continuously researched and developed, and Ayrton’s strength lies in its leading position in

Ve rsatech International brings Kramer to the Philippines

PHILIPPINES

Kramer has signed a partnership with Versatech International as the distributor in the Philippines for its range of pro audiovisual products. This agreement authorises and enables Versatech International to market, distribute and support the entire Kramer solutions portfolio and to deliver through its wide network of AV and IT resellers.

Philippines. Through Versatech International, both IT and AV resellers and integrators will get access to secure and reliable AV products and obtain the necessary professional certification enabling them to offer Kramer audiovisual experiences that power creativity, collaboration and engagement in the Physi-Digi world.”

Stephen Yu, president of Versatech International, added: “Because of how embedded it has become, audiovisual technologies must be part of the conversation during budget formation and strategic planning. Delaying or excluding AV discussions will only amplify the risks of what has become central to how our world uses technology. The fact of the matter is that we are being called to deliver AV technology, and we believe that Kramer is the answer. Our partnership will help foster the future of digital engagement in the Philippines.”

Manila to discuss the partnership and vision. This appointment falls under the Kramer ENGAGE partner programme which is soon to be launched across the Asia Pacific region. The new Kramer channel partner programme is designed to enable “its network of partners to grow, accelerate, gain and excel” forming ENGAGE.

Kramer’s president of Asia Pacific, Marc Rémond, said: “I’m very excited to partner with such a professional, structured and competent distributor to represent Kramer in the

makes moves in distribution

Gerriets of Germany. The company also distributes a range of specialist AV products, rigging accessories and test equipment from Audio Press Box, Teqsas, Eclipse Broadcast, CableJog, Nixer and CTP Systems.

The company has also been busy developing a complete range of new Australian designed and built TheatreQuip products. Over the next few months, TheatreQuip will release and show its new range of theatrical Drum and Pile Wind hoists, new fully extruded theatrical and architectural lighting bars, all alongside its existing range of drapes, tracks and accessories.

The P.A. People has been appointed exclusive distributor of Movecat Motion Control products in Australia and New Zealand. Movecat is a German supplier of specialist entertainment hoists including D8+ and BVG-C1-rated chain motors and SIL3-compliant motion control systems suitable for lifting and moving loads over audiences.

Over the past three years, The P.A. People has worked with Movecat products on several hoisting projects, including the design and supply of the 10-tonne

motorised Gondola supporting four LED screens at Sydney’s Ken Rosewall Arena.

“I first saw the PROstage+ hoists a few years ago,” said Chris Dodds, director at The P.A. People. “They are significantly lighter than any other D8+ hoist on the market – around 85kg for a one-tonne D8+ hoist complete with 36m of unique D-shaped chain is remarkable.”

“We are delighted to appoint The P.A. People as our new Australian and New Zealand distributor,” commented Peter Streicher, CEO for Movecat. “Movecat

has a large installed base of chain hoists and control systems around Australia and New Zealand. There have been a lot of changes in the local marketplace over the last 12 months. The P.A. People have the knowledge and understanding to represent our product and to support our existing and new customers. We look forward to a long and productive relationship with The P.A. People,” he concluded.

The P.A. People has also secured distribution rights for the range of specialist screens, fabrics and flooring products from

“We have had a very steep path since we announced the formation of this team in February, but we feel we are now wellplaced to provide solutions, products and advice to the industry. Our team is focused on providing innovative and standardscompliant solutions, proven products from around the world, the very best in Australian design and manufacturing, all backed by

The P.A. People, an organisation that has been trading continuously for 50 years,” Dodds concluded.

L–R: Ayrton’s Vijay Thaygarajoo with Pro-AVL’s

Huong Nguyen, Ngoc Truong and Loan Tran

Pro-AVL founder, Lê Manh Thang

Marc Rémond

Stephen Yu

AtlasIED welcomes industry veterans

AtlasIED has strengthened its expertise by appointing Graham Hendry as VP of loudspeaker strategy, Mike Ulrich as VP of specialty acoustic projects, Riccardo Balistreri as director of acoustical engineering and Kim Porter who will serve as director of mechanical engineering, designing and delivering the company’s new audio and security hardware products.

With more than 25 years in premium audio in engineering, business development and leadership, Hendry will lead all facets of the company’s loudspeaker business strategy. During his career at Northern Light, Tannoy and Renkus-Heinz, Hendry served in multiple leadership positions.

Ulrich will lead engineering and design for specialty acoustical projects. He carries over 20 years managing research and development operations and leading consumer electronics and professional audio product design.

Cobalt

Cobalt Digital has announced the promotion of Dr Ciro Noronha to CTO and the appointment of Anthony Tan as director of sales engineering for APAC. Chris Shaw, Cobalt COO, said: “This is an exciting time for Cobalt as the company progresses both geographically and technically. We’ve experienced record-breaking sales month after month for the past few years and much of that success can be linked to Ciro’s ability to identify an industry need and bring new technologies to market. Now it’s time to acknowledge Ciro’s skill and talent with a promotion to CTO and watch his leadership drive the engineering department to the next level.”

Sai

Grass Valley has announced the appointment of Sai Gopal as the company’s new chief financial officer. Gopal joins Grass Valley with over 20 years’ experience in running finance operations for small- and medium-sized public and private companies. He previously held the position of VP of finance and operations at Evolv Technology.

“Sai is a great addition to the Grass Valley team,” commented Andrew Cross, Grass Valley CEO. “His tremendous experience combined with his great track record of delivering financial rigour and operational change in fast-moving and complex environments will enable us to take Grass Valley to the next level.”

Gopal added: “I look forward to working with Andrew and everyone at Grass Valley as we create and advance live production

mechanical engineering, product design and leadership, Porter is responsible for creating and managing new product conceptualisation. Reporting to vice president of engineering, Simon Broadley,

ImmediaTV Corporation which was acquired by Cobalt Digital in 2016, Noronha has worked in the compressed video-over-IP

she will be instrumental in leading AtlasIED’s mechanical engineering team as they focus on new product development.

AtlasIED executive vice president, Matt Czyzewski, said: “I am excited for the opportunity to work closely with all of them to advance the loudspeaker sector of our business.”

www.atlasied.com

Avid has announced that David Toomey is the new senior vice president and GM of Audio & Music Solutions at Avid.

Toomey joins Avid following six years with Adobe, most recently serving as senior practice director for media and entertainment and Telco markets. Previously serving as senior vice president of operations for Warner Music Group, Toomey led operations for hundreds of global recording artist brand websites and artist ecommerce sites. Earlier, as Sony Music Entertainment’s vice president of international marketing, he devised and ran global marketing campaigns for numerous recording artists, including Celine Dion, John Mayer and Wyclef Jean.

Jeff Rosica, Avid’s CEO and president, said: “Surrounding our core competency in media creation and media management technology with David’s crucial digital go-to-market skills, plus his innate knowledge of the music industry,

space since 1995. He previously held engineering management positions at Optivision, SkyStream, Tandberg Television and Ericsson.

Tan will work closely with both the sales team and the engineering department to identify technical requirements relevant to the region and deliver solutions to meet customers’ specific needs. He will be based in Malaysia. Shaw added: “Anthony’s experience in APAC combined with his technical knowledge will ensure that our customers receive the highest level of support and are matched with the most appropriate solutions as he helps grow the presence of the company.”

www.cobaltdigital.com

Solutions business area.” www.avid.com

WORLD WORLD

Graham Hendry

Kim Porter

Mike Ulrich

Riccardo Balistreri

David Toomey

Sai Gopal

Anthony Tan

Ciro Noronha

Audiotonix welcomes Bastianelli as Slate Digital CEO

Following on from the Slate Digital acquisition, Audiotonix has confirmed John Bastianelli as the new CEO of Slate Digital. Bastianelli brings a wealth of technology and creative expertise to the role, with 30 years’ experience as a professional audio industry executive, music producer, songwriter and musician. He has worked with PreSonus (Fender), M-Audio (Avid Technology) and Tascam and at each of these organisations, has been responsible for delivering new product innovation.

James Gordon, CEO of Audiotonix, commented: “I’ve wanted to work with John for many years, and finally the stars have aligned just at the right time and with the right company. He has that rare background in both technology and music creation which I know will resonate with Slate Digital users and the teams in LA and Grenoble. It’s exciting times at Slate Digital and bringing John into the team is the icing on the cake.”

Bastianelli added: “It’s hard to express just how excited I am to be a part of this new chapter having been a longtime fan of Slate Digital products. The team here is incredibly talented and with access to additional

founders, Steven Slate and Fabrice Gabriel, will both take part-time consultancy roles within Slate Digital.

www.audiotonix.com www.slatedigital.com

LEA Professional builds its dream team

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LEA Professional has several new additions to its team to meet what is said to be increasing demand. Nelson Lugo has joined LEA in the role of tech support specialist, Kevin Gring as senior tech support specialist, Nakala Bell as customer care specialist

segments in which we can expand, and I look forward to working with the new additions to our team who will help us on this growth journey.”

“Driven by accelerated trends as a result of the pandemic, we have seen tremendous growth across all segments

Gledic joins Adam Hall Group as global sales director

WORLD

The Adam Hall Group has appointed Nik Gledic to global sales director for the strategic orientation and implementation of the worldwide sales division. Among the focal points of the position are the strengthening of the core market, the expansion of international business, and the successful implementation of the AV installation segment. Before joining the Adam Hall Group, Gledic gained many years of experience at

“The development of the Adam Hall Group as an international key player in the field of event technology has impressed me for many years,” explained Gledic. “For this reason, I am all the more pleased to follow this path and to shape it even more successfully in the future. At Adam Hall, I encounter an extremely human, modern and open corporate culture with a highly motivated team that is eager to continue driving growth and success with passion. This ultimately convinced me that the newly created position of global sales director at Adam Hall is the right challenge for me.” Markus Jahnel, COO Adam Hall Group, said: “Nik is an extremely experienced

solutions, reliable partnerships and customer orientation. In his role as global sales director, Nik Gledic will be a key part of this.”

www.adamhall.com

Q-SYS promotes and appoints experienced trio

Q-SYS has announced the promotion of Markus Winkler to executive vice president, APAC, as well as EMEA. In this new role, Winkler will continue to manage the growing

“At LEA Professional we have all the right components at the right time – industryfirst technology, satisfied returning customers and a skilled team of industry veterans,” said Brian Pickowitz, VP of marketing at LEA Professional. “We are focused on the exciting markets and

very much still at the beginning of our growth journey and with more resources onboard we can accelerate our mission to redefine the AV industry through innovative, industry-first technology.”

www.leaprofessional.com

business and expand capabilities and operations in both regions.

“I am incredibly proud of our team who has worked tirelessly these past six years to bolster the strength of the Q-SYS brand in APAC,” said Winkler. “I am confident in the business strategy and look forward to riding this wave of momentum as we continue to proliferate Q-SYS and its innovative technology and partnerships.”

Q-SYS has also promoted Karon Evanoff to senior vice president of global operations. In this new role, Evanoff will be responsible for all aspects of operations including global supply chain, manufacturing, quality, facilities and product data management. Jatan Shah, president and COO, QSC, said: “We are thrilled to have Karon at the helm of global operations

as she continues to work with her team to deliver value to our customers.”

Q-SYS has also announced the appointment of Crispin Thompson as vice president of sales enablement and customer engagement. QSC executive VP, Anna Csontos, said: “Cris brings tremendous knowledge of supporting the enterprise channel and we are thrilled to have him on board to help elevate our customer and partner experience.”

WORLD

John Bastianelli

Nik Gledic

Cris Thompson

Karon Evanoff

Markus Winkler

The LEA Professional team

Henry Packard appointed new FD at Martin Audio

Martin Audio has announced the appointment of Henry Packard as its new finance director.

Packard had previously been financial controller at parent company Focusrite. He said the drive to fill the vacant position, following the departure of his predecessor Steve Miller, had become more pressing with the runaway growth

of Martin Audio and the launch of sister brand, Optimal Audio.

His new role requires an even greater focus on strategic and planning duties. He said: “Ultimately, I will be taking on more responsibility – driving the brands forward and maximising the great potential which is already present.”

Visionary appoints Ericson for ANZ

Visionary has announced that Jack Ericson will take over as director of Australia and New Zealand. In this role, he will establish and build customer relationships and support business development in the rapidly growing region. Ericson has numerous years of success in sales, operations and business development in the professional AV industry. Based in Canberra, Australia, Ericson has worked with Diversified, NEC Australia and Crestron Electronics, and understands the unique challenges and priorities for integrators in Australia and New Zealand. Ericson will manage Visionary’s key accounts in the region while expanding its customer base with new opportunities.

“I’m energised to join Visionary. They are at the forefront of AV-over-IP development and constantly looking to expand and improve solutions that accelerate ultra-low latency distribution for the professional AV industry,” said Ericson. “The region’s focus on audio visual technology has never been stronger and it’s an exciting time for Visionary to solve many of the unique challenges that customers in the region are facing. In my new role, I look forward to building lasting relationships with our customers

“We are focused on growing business relationships and supporting global end user customers, consultants and integrators with

Summing up the road ahead, and his short-term goals, he continued: “The biggest challenge is how we maximise the growth we’re seeing and strong demand while coping with all the macroeconomic risks and volatility such as production demands, component supply, freight availability and costs. We’ll be planning to mitigate these risks and looking to make the most of our position to continue this growth.”

Welcoming the new FD, Dom Harter said: “With Henry’s quality of thought, skill set and energy, I’m delighted with the progress and contribution he is making.”

www.martin-audio.com

innovative AV-over-IP distribution solutions,” said Scott Freshman, chief operations officer for Visionary. “Since our inception in 1995, we have built a trusted and reliable professional AV brand. We are excited to strengthen our brand in Australia and New Zealand with feature-rich solutions, personable customer and technical support, and a continued investment in innovation.”

Visionary said that its latest hire is the next strategic step in expanding business development to support the global AV industry.

www.vsicam.com

Henry Packard

Jack Ericson

Sea it to believe it

parkland into a virtual “under-the-sea” experience, immersing audiences in light displays and kaleidoscopes of colour. From floating holograms of sea turtles and jellyfish to beautiful pulsing bioluminescence and jelly fish gardens bathed in laser waves, Laservision’s performance is said to have drawn visitors to the area in celebration of the Great Barrier Reef. Cairns Mayor, Bob Manning, said the community embraced the event despite some wet weather. He added: “It was the largest festival we’ve ever produced, and the positive response from the local community has been

“Reef Light” is the latest offering from Laservision’s Luna Light Journeys and acted as a key component of the annual Cairns Festival. The 10-day festival celebrated its Diamond Jubilee of promoting arts and culture in the tropics,

with Laservision being selected to illustrate the importance of the Great Barrier Reef, one of the seven wonders of the natural world.

Laservision transformed the Cairns Esplanade Lagoon and over 30,000m2 of Esplanade

Dream Inc.’s visions made true with Riedel

Riedel Communications has announced that Dream Inc., a Japanese audio equipment rental company, has expanded its inventory with a new mini OB van featuring a Riedel MediorNet signal distribution and processing system as well as a Bolero wireless intercom system. Providing video and infrastructure capabilities, the Riedel solutions allow Dream Inc. customers to transmit audio, video, intercom and data over a single optical cable at various live events.

“Riedel was an easy choice when it came to outfitting our OB van with a communications infrastructure,” said Kei Koyama, intercom operator at Dream Inc. “The company’s products are very popular worldwide and have a proven track record of delivering low latency, reliability and stable transmission – all of which are critical for the events industry. With the MediorNet and Bolero systems in place, we’ve greatly expanded our business by going from being an audio-only company to one that allows our customers to deliver all aspects of live event coverage.”

Dream Inc.’s MediorNet system consists of two MediorNet MicroN media distribution network devices and two MediorNet Compact real-time networking stageboxes. Five Blackmagic Design cameras and return monitors are connected to the MicroN devices. Audio, intercom, remote cameras and the Ethernet control signal for remote cameras are connected to the MediorNet Compact devices. For intercom capabilities, the OB van is equipped with four Bolero antennas and 18 beltpacks.

“Dream Inc. has been using our Bolero wireless intercom system for several years, and we couldn’t be more excited that the company has branched out into other aspects of live event coverage with MediorNet,” said Takako Konishi, senior sales manager, Japan, at Riedel Communications. “The company’s new OB van has already been successfully utilised at several high-profile events – including the world sports events in Japan – and we can’t wait to see where it’s deployed next.”

www.riedel.net

Laservision CEO, Shannon Brooks, also commented: “We are honoured to have another incredible Luna Light Journey for such a significant milestone of the 60-year Diamond Jubilee of Cairns Festival. We were very excited to see over 100,000 people attend this year’s event and have received many fantastic comments about our installation, as well as the involvement of many artists, providers and performers who made up this incredible, 10-day experience.”

www.laservision.com.au

Vari-Lite solutions take flight at Air Force Museum of New Zealand

ZEALAND

Visitors to the Air Force Museum of New Zealand are seeing its collection of historic

of fixtures, run multiple cue lists, accept inputs from a variety of sources and run time-

long-lasting and dynamic solution. More than 100 honeycomb-lens SL Punchlite 220 fixtures are now installed, beaming blended, saturated colours onto classic airplanes such as a Spitfire, Hudson and Avenger, and washing the space with hues.

To control the luminaires in the Aircraft Hall, and for multi-room control of six other spaces including further display areas, lecture theatres, restrooms and the main atrium, the technical team invested in a Neo Compact 10 Console. A Vision.Net architectural control system has also been installed for an integrated lighting control experience across all the sites to help the team manage looks, power lighting scenes and simplify management.

“We needed a replacement control system that would be able to manage a large number

In addition to the lighting, the Neo C10 and Vision.Net duo are also being used to run timeclock-based events such as audio announcements, video playback via screens around the venue, as well as building startup and closedown each day.

“Vision.Net screens provide all the human interface requirements around the complex,” Nicholson explained. “There are touchscreens in five locations, and three physical button panels. The panels allow local control of some features, as well as more general functionality such as turning full complex on or off, putting the system into Event Mode to disable or play announcements and activating on-demand display features.”

L–R: Kei Koyama, audio and livestreaming engineer, Julien Loretan, international sales and marketing and Tsubura Kojima, marketing

4 Wide paves the way with silent sensory concert

Listen Technologies Corporation recently played a role in helping Australian band, 4 Wide, perform an unwired sensory rock concert. The fully inclusive live music event took place on 11 September at Emmanuel College Warrnambool. The concert was supported with funds received from the Warrnambool City Council from its “Activate Warrnambool” funding, which was designed to bring events back to Warrnambool post Covid lockdowns. 4 Wide, a popular cover band, wanted to host a free “silent” concert for neurodivergent individuals who may not be able to attend a traditional rock concert due to noise, crowds and possible overstimulation. 4 Wide chose an accessible venue with low lighting and Listen Everywhere, an audio over Wi-Fi assistive listening system from Listen Technologies, so individuals could adjust the music experience to their comfort level.

Listen Everywhere broadcasts live and recorded audio across a venue’s wireless network to individual smart devices. Users download the free Listen Everywhere app on their smartphone, select an audio channel and listen to clear sound via headphones or earbuds connected to their smartphones.

can also stream audio from their smartphones to cochlear implants and Bluetooth-enabled hearing aids.

quiet and dim respite room for attendees who needed a break.

4 Wide posted on its Facebook page: “The main idea of our gig was to let people experience and hopefully enjoy a live rock ‘n’ roll gig that they would not normally have been able to.”

“We are honoured that Listen Everywhere helped 4 Wide hold a concert where attendees could engage in a shared music experience in a way that met each person’s unique

When 4 Wide played at the sensory concert, live audio was broadcast directly to audience members’ headphones via their smartphones. The band had iPads available to loan to attendees who did not have a smart device.

Concertgoers could choose from two audio channels through the Listen Everywhere app. One channel broadcasted the concert; the other channel played meditation music so attendees could tune into more calming audio if a song or set the band played became too much for them. 4 Wide also provided a

sensory needs,” said Maile Keone, president and CEO of Listen Technologies. “Listen Technologies is committed to fostering inclusion with listening solutions and technologies that accommodate people in whatever way they prefer.”

4 Wide estimated 50 people, including children, attended the concert. It was reported that one woman in her 50s drove four hours from Melbourne to attend because she had never been able to participate in a rock concert.

Wide

KSCAPE redefines a human-centric office space

As companies evolve and aim to create engaging workplaces, Jones Lang LaSalle (JLL), a commercial real-estate service provider, embraced this shift in workplaces when establishing its new office in Singapore in the Capita Spring building. The project is a step in the longer journey of upgrading JLL’s technology across its APAC offices. JLL worked with Singaporean distributor, Loud Technologies, on the project.

The Platinum WELL-certified space at Capita Spring was designed to be “human-centric”, with a sense of community and dedicated areas for staff to socialise. Amenities to enhance these spaces include a barista-hosted coffee bar and complimentary beer tap.

JLL wanted to optimise the space –sound included. K-array’s RAIL has been installed around the open-plan office to provide scientific biophilic soundscapes by Moodsonic, said to reduce heart rates and improve creativity, according to university research.

With the meeting rooms, JLL wanted to create a minimalistic feel, decluttered with various technologies and keep it simple for employees to plug in and go. JLL installed RAIL in six of the meeting rooms, with small meeting rooms including two RAIL, while the larger rooms use four symmetric RAIL. Every room has RAIL suspended from the ceiling

microphone, and the audio is powered by a KA-02 amplifier and a KU44 subwoofer for optimised speech performance.

“We worked together with KSCAPE and Shure to find a way to reduce the technology on the ceiling, therefore minimising aesthetic distractions while providing the technology required to deliver an optimum videoconferencing performance,” said Colin Quek, CEO, Loud Technologies.

“With RAIL, we were able to solve a number of challenges in one product. It worked very well with the beam-steering microphone and the system can be configured to account for a standing or seated audience. This was perfect for us because we did not want to make meetings any more complicated for users and reduce the clutter of technology that you see in many spaces. It also saved on wiring, installing and drafting,” added Thomas Riby, KSCAPE brand manager at K-array.

Design Silverfish brings Korean folktales to life

Christie laser projectors have brought deities from Korean folktales to life at the National Folk Museum of Korea in The Mysterious Village exhibition highlighting daily life and culture over the ages.

The immersive digital exhibition, which draws on projection mapping and augmented reality (AR), consists of six themed zones, each dedicated to a specific deity. Media production company Design Silverfish handled the content and projection design, as well as the installation of 17 Christie D20WU-HS 1DLP laser projectors across all exhibition zones.

“This exhibition has been meticulously planned with the active participation of our UK branch as a new immersive and realistic content production that goes beyond conventional methods of expression used by existing national museums,” said Gyeongtae Hong, CEO, Design Silverfish. “In particular, the direction was conceived through data collection

on various European exhibitions by our Londonbased designer Younsook Im.

“In order for these unique contents to be realistically displayed on multiple surfaces, we require a high-performance projection

system that can deliver excellent colour and contrast, and yet provide us with the installation flexibility to set up multi-projector arrays quickly and reliably. The Christie D20WU-HS, with its high lumen output, enhanced colour

accuracy, compact footprint and omnidirectional capabilities, easily emerged as our top choice.” Images are displayed on large screens and surfaces by the projectors, which are fitted discreetly overhead in the Jangseung and Sotdae Protect Their Town, Sansin Gives Peace, Jeoseungsin Works Together with the Death, Gasin Protects Their Home, Yongsin Brings Rain and Dokkaebi Returns with a Big Catch exhibition areas.

In Jangseung and Sotdae Protect Their Town, the deities that dwell in Jangseung and Sotdae to guard villagers are given a new lease of life through the displays, while Yongsin Brings Rain features floor and curved screen projections to provide an immersive experience of a tale about two dragons. Dokkaebi Returns with a Big Catch sets a mischievous goblin against images of the sea and night sky on an ultra-wide screen.

www.christiedigital.com

NEXO sends sound flying through the air

both of which are equipped with NEXO sound systems.

contains both large and small theatres seating

GEO M10 line arrays with MSUB15 subs are flown left, centre and right above the stage in the large theatre, with additional clusters left and right and NEXO ID24s used as under-balcony auxiliary speakers. Small clusters of NEXO GEO M6 are hung LCR in the small theatre, with NEXO PS10s used as side speakers and ID24s to cover seating areas under the balconies. Amplification and processing for both systems are delivered by three racks of NEXO NXAMPMK2 powered processors.

“We chose NEXO as this setup allowed us to build a full digital system with Dante encompassing everything from the Yamaha consoles to the power amps,” said Hiroyuki Fukazawa, manager, sound engineering at

University

the Culture Promotion division, Civic Culture Department, Naha City. “This is the key advantage of NEXO. The NEXO speaker system also allows us to suspend subwoofers alongside speakers, providing better sound and a better sense of localisation.”

Commenting on the performance of the system, Naha Cultural Arts Theatre sound engineer, Ryoko Hirano, said: “When I heard the main speaker in the large theatre, my first impression was ‘Wow, what a beautiful sound’. Not only do the speakers deliver a faithful rendition of any song, regardless of genre, I was taken aback by how such small speakers can produce such a powerful sound, as though the sounds are sent flying through the air.”

www.nexo-sa.com

“significant gain for Deakin” that strengthened the university’s capabilities at the interface of digital technology and creative industries. “It will enable our students to be exposed to some of the most exciting film production technologies globally and cement Deakin’s standing as a digital leader,” Martin stated.

Deakin University and Dreamscreen have signed a landmark partnership agreement to significantly improve the nation’s film and entertainment industry. The university has put a large investment in ROE Visual Black Pearl panels and associated equipment from Technical Direction Company (TDC), ready for a virtual production facility in Geelong, Australia. Under the agreement, Dreamscreen will have exclusive access to the panels for television and film projects. Correspondingly, there will be 25 industry placements annually for Deakin film, animation and design students to work on Dreamscreen projects. The deal opens the door for content production, enabling the students to gain hands-on experiences and collaborate with industry professionals in the LED studio.

Deakin University vice-chancellor professor, Iain Martin, said the agreement was a

Having worked with ROE Visual LEDs on numerous occasions, Dreamscreen Australia featured Black Pearl BP2V2 panels out of what it viewed as trust and foresight. Filmmaker and Dreamscreen Australia founder and chief executive, Clayton Jacobson, said: “Virtual production requires the close collaboration of many different filmmaking disciplines, both traditional and new, working closely together onstage to deliver breathtaking, real-time effects. “We are dedicated to more creative productions with the latest techniques. And ROE Visual provides vital support in LED technology, offering an ideal display solution with stunning in-camera performance.”

www.dreamscreenaustralia.com www.roevisual.com www.tdc.com.au

The Naha Cultural Arts Theatre is a new Naha Civic Centre, the new venue is located

HH serves the community at Onehunga High School

deliver clear powerful sound and excellent coverage.

Local provider ITL Technologies of Auckland was awarded the AV contract and chose loudspeakers from UK-based HH Electronics. A combination of ceiling and wall-mounted speakers were installed to provide a competitively priced solution. For teaching areas with suspended ceilings, ITL installed HH TNi-C4 ceiling speakers. In areas where

across 20 teaching spaces. A further 15 units covered six spaces in ancillary areas.

Ian Wright, global sales director at HH Electronics, commented: “The provision of excellent audio in education settings is an absolute essential for the successful delivery of a modern teaching and learning environment. We’re very proud that a significant number of HH speakers were installed at Onehunga High School for a

Onehunga High School, a state coeducational secondary school serving as one of the oldest suburbs in Auckland, has undergone a significant redevelopment at a cost of $30m, which saw the creation of several technologically advanced facilities. Overlooking the Manukau Harbour, it was established in 1959 and provides a wideranging curriculum that is extended to the wider community with its Adult Learning Centre and English Language School.

Two teaching facilities were constructed, one of which houses a two-basketball-court gymnasium with exercise room, locker rooms and teaching spaces; the other, a technical block catering to the sciences, woodwork, metalwork, art, food technology and nutrition. Two commercial-grade kitchens and an atrium space completed this building. An essential element of the new facilities was provision for a flexible, high-quality audio system that could

suspended ceilings were not present, audio continuity was maintained with the HH TNi-W4 passive 4-inch wall-mounted unit.

A total of 97 HH loudspeakers were installed at the school. The gym block saw 19 units installed across 10 spaces, while in the technical block, 63 units were deployed

solution that met the qualitative and budgetary requirements of its brand-new, cutting-edge facilities. Thank you to our NZ distribution partner NSL and ITL technologies for choosing HH to be a part of this impressive project.”

www.hhelectronics.com

marks the spot at Chonburi Stadium

Chonburi Stadium was built in 2009 to host the 39th Thailand National Games, held in Chonburi in December 2010. The stadium is now home to Thai League 1 football team Chonburi FC, also known as the Sharks, who play both domestic and international home fixtures in the ground, located around 50 miles east of Bangkok.

The replacement of the original audio system, with Bose 802 III and Bose 402 II speakers, driven by budget consideration, was part of an ongoing upgrade of the 13-year-old stadium’s facilities that also included improved lighting, new seats and a returfed grass pitch.

Tasked with improving intelligibility for both speech and music, systems integrator Asavasopon used Modeler and Auditioner software by Bose Professional (of which Asavasopon is the Thai distributor) to design a new sound system that could deliver clarity and volume across all of Chonburi Stadium’s 8,600 seats.

“To the stadium owners, the sound quality in the stadium is crucial, both in

Asavasopon, president of Asavasopon, explaining the brief given to the integrator.

“The quality of the communications providing information to spectators was considered

The chosen setup pairs 40 units of Bose’s ArenaMatch loudspeakers with six high-performance Powersoft X4 DSP + Dante amplifiers. The SI also made use of Powersoft’s ArmoníaPlus control and monitoring software, which is fully integrated with the X Series, to fine-tune the newly installed system. Rated for direct exposure in outdoor applications and operating down to 65Hz (–3dB), the three 14-inch models vary in terms of vertical coverage between 10° and 40°. Providing 100° of horizontal dispersion, all three ArenaMatch models can be further configured, if necessary, by replacing the waveguides with 60°, 80° or 100° variants. When combined, the 24 AM40/100, four AM20/100 and 12 10/100 enclosures fulfil consistent dispersion

characteristics to the spectator areas. A 12-in/eight-out ControlSpace EX conferencing processor provides all signal processing including AEC (audio echo cancellation) with 64x64 Dante connectivity.

The system is completed by a Midas M32R Live console and four Electro-Voice ND86 wireless microphones.

When the refurbished Chonburi Stadium was handed over to the city by Asavasopon, local government representatives were “overwhelmingly enthusiastic”, reported Asavasopon, with the new audio system “far exceeding expectations of the sound quality”, especially with regards to the money spent.

The company added that Chonburi Stadium will now “become a unique showcase” for high-quality audio, “as it is very likely this is now the best sports stadium in Thailand for sound.” With Chonburi FC in the Thai League 1, the club stands a good chance of qualifying for international competition, meaning the new sound system could also get a work-out in front of an overseas audience for the first time soon.

“We are delighted to have worked with our Thai partners on this once-in-a-generation project to create Thailand’s best-sounding stadium,” commented Powersoft’s APAC sales manager consultant, Arthur Soh. “It is great to hear the X Series doing what it does best: delivering powerful, reliable, highquality sound that meets the demanding requirements of a world-leading venue.”

www.asavasopon.co.th www.powersoft.com pro.bose.com

Creativity unleashed

Nail your sound with GLM 4.2

For over 15 years, GLM loudspeaker manager software has enabled sound engineers across the globe to utilise our Smart Active Monitors and dial in precise mixes that translate flawlessly to other rooms and playback systems. GLM automatically adjusts your monitor’s settings to counteract unwanted room-acoustic effects, ensuring that you hear the sonic truth, no matter where you choose to set up your system.

With the introduction of our powerful new GRADE report, GLM 4.2 offers you the unique possibility to completely understand and transform your entire listening environment – creating detailed readouts in a matter of minutes.

It’s time to mix faster and better.

Get to know GLM, visit www.genelec.com/glm

Ayrton Domino LT shines at National Day Parade

Showtec, one of the largest rental

qualities and, most importantly, the fact that it

Parade. We placed 32 fixtures outdoors without any cover or shelter for almost two months –there were some minor issues which under such harsh outdoor conditions for that amount of time is to be expected, but TSM provided us with a quick service turnaround, and everything went extremely smoothly.”

Ang concluded: “We are very happy with the performance and acceptance of Domino LT by lighting designers, and my technicians love it too. Going forward, the fixtures are already booked for other shows, and they will be moving into the National Stadium one week after the NDP bumps out. We are keen to add more of these fixtures as we transition our lamp-based moving lights to LED. The Domino LT ticks all the boxes.”

“We are excited to see Henry Ang and Showtec acknowledging, with their choice and investment, both the performance and quality of Ayrton products,” commented Michael Althaus, global sales director of Ayrton. “It’s great to welcome yet another big player in the fast-growing Ayrton community.”

www.ayrton.eu www.showtecgroup.com www.tsm-int.com

Day Parade, one of the biggest events in the country.

Henry Ang, founder of Showtec, chose Ayrton Domino LT to boost his rental stock but also specifically for the National Day Parade. “We chose Ayrton Domino LT after a lot of research comparing it against other major moving light brands at the Prolight + Sound Frankfurt exhibition,” he said. “We found Domino LT to have the best combination of being IP65-rated, with an extremely bright LED engine, flat optics, great colour and good quality graphics.”

The Domino LT is the first all-terrain LED luminaire in Ayrton’s Long Throw range designed for intensive outdoor use in long-distance applications requiring extremely high precision.

“The Domino LT fixtures were immediately put to use for the National Day Parade 2022, which had two months of weekly rehearsals before the actual show,” said Ang. “Everybody was very happy with its long throw ability and

were first introduced to the Ayrton Domino LT by Henry from Showtec as there was a need to find a suitable IP65 protection rating luminaire for NDP22,” explained Tan. “The total stage area this year was vast. The lighting coverage needed to accommodate the side lighting of many performers on the main stage deck, but also avoid some of the key projection looks.

“The Ayrton Domino LT gave us the ability to create almost theatre-like side lighting that could both punctuate the performers, but also avoid getting in the way of extensive projections on deck. Overall, the Ayrton Domino LT exceeded our expectations on all fronts and allowed us to vary our lighting design, undoubtedly serving as a versatile and reliable multi-function luminaire designed for intensive outdoor use.”

Cheng was also impressed by the Domino LT’s weatherproof qualities: “The Ayrton Domino LT is not only a bright lighting fixture, but its

IP65 rating makes it an ideal lighting fixture for NDP22 as it had to last through the entire setup

Images courtesy of Low Wee Cheng

One Up and Banana Culture devise a fail-safe Clear-Com game plan

THAILAND

When the PUBG (PlayerUnknown’s Battlegrounds) Nations Cup returned to a live audience format in June 2022, event producers One Up Solutions and Banana Culture felt well-equipped to deliver a dynamic experience. The two teams deployed a hybrid intercom network using the Clear-Com Eclipse HX Pico Digital Matrix and FreeSpeak II Digital Wireless systems for reliable audio communications among technical teams, stage crews and talent.

The event was held at True Icon Hall in the Icon Siam building on the banks of the Chao Phraya River in Bangkok, Thailand. One Up Solutions, Clear-Com’s long-term partner in South Korea, provided onsite technical support and equipment specification, while Banana Culture was responsible for overall event management and broadcast production. According to One Up, the Clear-Com equipment was a perfect match for the challenging production requirements of this year’s event. “We chose a hybrid wired/wireless for the combined benefits of reliability and flexibility,” said Andy Ryu (Jaehyung Ryu) at One Up. “The Eclipse HX-PiCo delivered a stable and secure wired connection with the convenience of easy routing customisation. The FreeSpeak II system provided crews with maximum flexibility and the antenna scalability to roam

freely throughout the event production areas and also create targeted communication channels between different technical teams.”

FreeSpeak transceivers were installed at key positions throughout the venue, allowing the technical teams to communicate with the control room or FOH using wireless beltpacks whether they were inside or outside. The Eclipse HX-PiCo system was installed as the main matrix, with 21 V-Series panels deployed across multiple zones, including the main control room, stage left or stage right, OB rooms, livestream, tournament operations and the front-of-house position.

One Up linked the Eclipse to the audio console using a four-wire connection, which was also used to send intercom signals to the IFBs for talent, analysts and cast, as well as the radio devices used by camera staff.

The FreeSpeak II wireless system was allocated between the broadcast production group and the FOH and director’s teams. One Up spread eight FreeSpeak II transceivers around the stage, in the main venue lobby and at the FOH position, using 11 FreeSpeak II beltpacks. One Up also configured the FreeSpeak II beltpacks with a V-Series user station panel to work with the FOH console for backup redundancy.

Christie illuminates Indian earthquake memorial

Christie laser projection systems are delivering immersive visuals at the Smritivan Earthquake Museum in Gujarat, the country’s largest memorial and museum, dedicated to those who perished in an earthquake more than two decades ago and inaugurated by Indian Prime Minister Narendra Modi in August.

The Smritivan memorial is spread over 470 acres on Bhujio Hill near Bhuj town in Kutch District, the earthquake’s epicentre. It houses the Smritivan Earthquake Museum consisting of seven blocks named Rebirth, Rediscover, Restore, Rebuild, Rethink, Relive and Renew, each using AV technologies, including projection mapping, to guide visitors through its focused theme. These include Gujarat’s topography, rebuilding initiatives and success stories following the disaster that claimed more than 13,000 lives. Almost 100 Christie 1DLP laser projectors from the HS, GS, Inspire and Captiva series have been installed throughout the exhibition blocks.

The 11,500m2 museum also houses a theatre where visitors can experience an earthquake through immersive projections and environmental effects. In another block, multiple projections are displayed on a

wall where guests can pay respects to the earthquake victims.

“The Smritivan Earthquake Museum is a world-class facility that offers a unique experience unlike any other museums or public spaces,” said Rishubh Nayar, director of sales for India, Enterprise, Christie. “Not only will visitors be informed about the 2001 earthquake, they can also learn more about Gujarat’s culture, the Harappan civilisation of this region, the science of seismology and how the people of Kutch triumphed against adversities after the earthquake.”

The HS Series laser projectors display images around the Geodome total immersive chamber to create an earthquake experience, complemented by surround audio as well as vibration and motion effects.

The GS, Inspire and Captiva Series laser projectors are used to support multimedia presentations, interactive exhibits, as well as a holographic projection and virtual reality demonstrations. “The projections have added poignancy to this historical event and, at the same time, exemplified the courage and resilience of the people in rebuilding their homeland,” Nayar concluded.

Extron connects South Korean researchers with peers worldwide

Korea Institute for Advanced Study (KIAS) was established by the government of South Korea to promote research in mathematics, physics and computational sciences. The institute is a destination for scientists from all over the world to conduct collaborative research. It hosts international meetings, seminars, workshops and seasonal schools where participants exchange ideas across disciplines and disseminate research findings. To further its collaboration goals, KIAS contracted Seoul-based pro AV integrator Neuroo Digitech to design, install and commission a professional conferencing system to connect its collaboration sessions, meetings and seminars to presentation spaces throughout the building and to scientists around the world. Extron’s NAV Pro AV over IP platform is at the core of the VTC system. “KIAS decision-makers were delighted to see how the design scaled so easily from their 100-person lecture hall to their 30-person meeting rooms, thanks to the versatility of NAV

Neuroo Digitech general manager. “They almost immediately began planning for future phased expansions of their VTC capabilities by adding more NAV Pro endpoints to extend the reach of their knowledge sharing events.”

KIAS required video teleconferencing connectivity between several meeting spaces within its building, plus capability to connect overseas participants via the internet. Matrix switching and NAV encoder and decoder endpoint configuration are controlled by a NAVigator Pro AV over IP System Manager.

Remote audiences participate via a VTC hardware codec and through Zoom. Lecternmounted NBP 50 and NBP 200 network button panels interfaced to IPCP Pro 250 and IPCP Pro 550 control processors turn displays on and off and adjust audio volume. Pre- and postmeeting AV system configuration is performed via an interactive user interface on the lectern’s iPad tablet, sending user selections through an IPCP Pro 350 control processor.

TVU Networks enables collaboration at Beijing Sport University

TVU Networks has recently provided its technology for remote sports proficiency testing and competition at China’s elite Beijing Sport University. The university’s School of Journalism and Communication students produced a collaborative livestream of university table tennis athletes completing their tests. The selected products were TVU Anywhere, TVU Partyline and TVU Producer. More than 50 students completed these tests, each creating an AV self-portrait with camera input from their smartphone or tablet. The TVU Anywhere livestreaming app allowed each student to transmit using HEVC encoding and cellular bonding technology to aggregate all available cellular connections from their location. They entered TVU Partyline in groups

in HD quality through Bilibili – the Shanghaibased over-the-top streaming platform.

Liming Fu, TVU Networks VP of sales APAC, said: “TVU Networks is pleased to provide the university with our cloud-based solutions for streaming, collaborating and producing this first-of-its-kind live virtual event. The students from the Beijing Sports University School of Journalism and Communication gained valuable experience in cloud production and broadcasting with this rare opportunity to practise in a real-world application. We will continue to support the university as they expand their capabilities and TVU technology to new types of applications.”

Korea Institute for Advanced Study

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Shure strengthens connections at student-run Rock Central 2022

Rock Central 2022, an annual rock concert conceptualised and organised by the Audio Visual Production Management (AVPM) Club, a CCA in ITE College Central specialising in audiovisual productions, provides a unique learning opportunity for local students to garner hands-on exposure to what goes on behind the scenes in the entertainment and event management industry.

Held at ITE College Central grounds and livestreamed on social media, AVPM Rock Central 2022 relied on the Shure Axient digital wireless system and microphones to deliver audio for concertgoers and those watching at home via streaming. Professional audio support was provided by Shure’s authorised distributor, Electronics & Engineering. With nine bands taking the helm onstage, it was critical to have an audio system that was robust and resilient enough to handle their demands.

Haizan Salam, the technical officer, founder and organiser for the event, was said to be very pleased with the outcome, as were the

“With Axient Digital, RF scanning is a breeze given the wide range of frequencies available for use. ITE Central in-house venues use the same system with wider distribution and more quantities and there are no frequencies clashes,” said Djasman Hussian, AVPM sound I/C and mentor for staging and sound.

“With the option of having digital and analogue gain, we chose the option of digital gain and analogue gain as a backup,” continued Hussain. “The best part is there is so much output gain on the Axient systems that the signal-tonoise ratio is incredible, enabling the FOH mix to work with so much ease. Equipped

with two Active Directional Antenna, there are no dropouts or blind spots onstage. When the MCs go offstage, we were expecting signal drops, but nothing happened!”

The concert series included performances from artists who depended on Shure Axient Digital SM58 and Beta 58A handheld microphones. At one point during an opera performance, the singer performed with a Beta 58 mic capsule that captured her voice, despite the sound of many distorted guitars being played simultaneously onstage. “Axient Digital was easy to set up and

use. We had no lost connection problems during the show,” said Puteri Anggraenie, sound department student-in-charge at Rock Central 2022. “Overall, it’s a very good system to use.”

“We’re proud to be a supporting partner of Rock Central 2022 and happy to help give students the opportunity to organise a large-scale live concert and a platform to share the stage with experienced local performers,” said Jayme Quah, sales manager, Southeast Asia at Shure.

Seongnam-si Atrium chooses DiGiCo

Built on the side of the old Civic Centre next to the Seongnam Medical Centre building in the Taepyeong-dong, Seongnam-si Atrium officially opened in March this year.

The 4,943m2 building spans six floors, four of them below ground. It features a 645-seat grand theatre and a smaller 200seat theatre, both with access to a DiGiCo Quantum 338 and Quantum 225 mixing console, as well as offices to host local art groups.

The name Seongnam Atrium was confirmed in November 2019 through a contest to name the venue and a preference survey of Seongnam-si’s citizens. The name means the central garden of an ancient Roman house and denotes a creative culture and arts space that aims to connect with its community.

DiGiCo’s Korean distributor, Soundus, became involved with the project in June 2021. “Originally a different console was specified,” said Soundus sales director, Mr Park. “But we and our partner continually reached out to the client so we could provide them with a demo and technical training on DiGiCo consoles. As a result of that, DiGiCo was confirmed as the right solution for the venue.”

Soundus recommended a Quantum 338 because it was the latest console in the range and felt that the Quantum 338’s

specification, price point and design would attract the interest of the team at Seongnam Atrium.

The Quantum 338 is deployed at front of house in the grand theatre, with the Quantum 225 in the theatre’s control room. Both include HMA touring-grade connectors for the optical patch cable that runs throughout the venue.

“Thanks to the optical loop, the client can conveniently control and adjust the entire systems,” noted Park. “As well as hosting its own productions, Seongnam Atrium sometimes provides its space to external companies for their events. Our client wanted a complete infrastructure which is compatible with any configuration. Most rental companies in Korea have DiGiCo consoles with HMA so,

when they come to Seongnam Atrium, they can use their own consoles without the need for any additional equipment.”

As well as providing the consoles, Soundus has also delivered multiple training sessions, providing the venue’s engineers with an indepth technical understanding of the consoles.

“Seongnam Atrium’s engineers were already

experienced console operators and found it easy to understand the Quantum consoles’ interface and additional features,” concluded Park. “They are all really pleased with the new DiGiCo system, and the venue team is delighted with both their performance and excellent sound quality.”

www.digico.biz

Seongnam-si Atrium

History and fantasy collide with Audinate

Unique Henan: Land of Drama, spanning more than 100 acres and welcoming almost 10,000 visitors each day, is recognised as the world’s largest fantasy city. The self-guided, multimedia live experience details the 5,000-year history of Chinese civilisation around the Henan region. Twenty-one theatres and dozens of outdoor spaces, including 56 maze-like courtyards, provide the space for dramatic, full-immersion, panoramic storytelling. The attraction, which includes themed restaurant areas and employs more than 800 performers, took more than four years to construct and cost nearly US$930m to do so.

The facility’s many lighting, video and sound systems are controlled by a mix of pre-programmed, synchronised, time-code-based presentations, audio-triggered routines, as well as live production and mixing. At Unique Henan: Land of Drama, many elements of the global sound system and the many standalone systems are all built upon Dante audio networks managed and monitored with Dante Domain Manager.

expansive indoor and outdoor spaces, restaurants,

panoramic vistas and more,” said Steven Cai, marketing manager, APAC, Audinate. “For sound design, each theatre has very different venue characteristics, different performance forms and different construction conditions. Each theatre is unique. The only way to manage such a set of venues and bring consistency and reliability to the project was to design all audio systems around a Dante network with many Danteenabled products.”

“The AV integrator for this project, Advanced Communication Equipment, did an amazing job,” said Cai. “As you can imagine, this is essentially more than 100 AV installations all wrapped up in one huge project. Many spaces work independently, and many are tied together. Some sound systems are hidden for background music, and some are large full-on line array, concert-level productions. They even have mobile sound systems that can be relocated and positioned as needed to better cover larger crowds. The flexibility required here is like nothing else.”

With such a large and complex system, hundreds of Danteenabled devices are connected to the network. Some of the core Dante-enabled components include multiple Soundcraft Vi1000 and Vi2000 digital mixers, Shure ULX-D Series digital wireless microphones, a range of BSS digital processors and more.

Mr Pang, the audio system administrator for the project, was said to be particularly impressed with how stable the system was, thanks to Dante Domain Manager.

“DDM gave us power and control

Cai explained that the vast number of loudspeaker points throughout the Land of Drama dictate that a very flexible sound system architecture be created to accommodate evolving, ongoing production and space changes. The main theatres, micro theatres and outdoor scene spaces are all built on a Dante system architecture, which significantly simplifies the cable installation and connections between large systems. The three main theatres work as independent networks, and the micro theatres and the scene spaces interconnect through an optical fibre network.

over the Dante network, ensuring the network was not only more secure, but also more scalable.”

“With the evolving nature of the programmes and performances, the content, speaker positions and the connected equipment in use are constantly changing; only a Dante network managed with Dante Domain Manager could take on a project of this scale,” added Cai. “Along with flexibility, sound quality and system reliability are also critical. The system – in all spaces – sounds great, is extremely stable and the client is thrilled with the results.”

Arirang TV migrates to LaON’s Genie

Arirang International Broadcasting, also known as Arirang TV, has selected LaON’s Genie intercom systems for its four studio facilities. LaON Technology distributor, Donghwa AV, was called upon to implement the system.

Arirang TV is a South Korean-based broadcasting company operated by the International Broadcasting Exchange Foundation – initially a cable TV service in 1997, later becoming Korea’s first overseas satellite broadcaster. Arirang TV provides subtitles for Chinese, Spanish, Korean, Arabic, Russian and Vietnamese. It uses a total of nine major broadcasting satellite relays and Arirang Espanol, a Spanish-language YouTube channel launched in May 2022.

To reinforce its position as a global broadcaster, Arirang TV replaced its

existing systems in the control rooms and studios and built a Smart Live Studio focusing on the Metaverse, artificial intelligence and extended reality. This newly opened Smart Live Studio is an IP-based NDI-enabled space built in an existing part of Arirang TV’s lobby, but the space is designed to encompass the entire lobby when needed. A key requirement of designing its existing studios and Smart Live Studio was to be based on core technology that would serve Arirang TV for the next decade as a global media platform. Along with the technical focuses, Arirang TV chose LaON’s full digital IPbased intercom system, Genie.

Genie has been installed in the control rooms, studio A, B and C and the Smart Live Studio. The system includes four BS1000 Base Stations, five RA100

Remote Antennas and 30 BP850 Wireless Beltpacks. Jae Hyuk Lee, sales director at DongHwa AV, commented: “We are happy to announce that this project has finally been closed with great success. Genie is an IP-based digital intercom system that is scalable with the additional connections of Genie wired or wireless devices when needed. We believe the

Genie intercom system, with high-quality communication performance, will be one of the important systems of the client’s studios that supports seamless and smooth broadcasting.”

www.arirang.com www.dhav.co.kr www.laon-tech.com

Vega Global draws worldwide audience to Hilton Tokyo

In the constantly changing world of events, “hybrid” is here to stay, and this is accelerating a demand for increased venue flexibility to fill the void between in-person and remote networking. The benefits to employers of virtual events include the cost and time savings associated with employees connecting from home, while many employees have resisted the call to return to the office. Similarly, meeting, exhibition and conference delegates have not rushed back to dedicated MICE (meetings, incentives, conferences and exhibitions) venues. To stay ahead of the curve, venue owners and operators are innovatively converting existing spaces to maximise their potential audiences.

Located in the bustling Shinjuku entertainment and business district, the 830room Hilton Tokyo offers 2,305m2 of event space, including 20 meeting rooms and the 968m2 Kiku ballroom. With a goal to support in-person, hybrid and online business events, the Hilton Tokyo management team turned to

facilities. The result of this collaboration has consolidated its position as one of the leading MICE venues in Japan. The facilities comprise a complete virtual production studio installed

comprising 252 LED tiles, the single screen is currently the largest in any hotel in the country.

“We see great opportunities for the studio and LED wall beyond the pandemic, especially with

the rising cost of travel and many companies looking at their carbon footprint in line with their SDG goals,” confirmed Hilton Tokyo general manager, Roger Brantsma.

The studio and LED screen are both supported by Vega Global’s Japanese technicians to provide services such as preand postproduction, while event organisers can be in Japan or overseas. Business event organisers can utilise the venue in a standalone capacity or combined with other meeting spaces in the hotel, for livestreaming and broadcasting, by creating pre-recorded video, content or attending remote meetings.

The studio uses the latest game engine software and cinema-grade hardware together with specialised VR, XR and spatial audio capabilities to create content that can be streamed simultaneously from the studio to the LED screen, facilitating meetings that require breakout spaces such as panel discussions and workshops.

All India Radio (AIR), also known as Akashvani (translating to “voice from the sky”), has been the national public radio broadcaster of India since 1936. AEQ has been awarded the project to supply digital consoles for three types of studios, all of them with IP connectivity based on Dante technology, in more than 33 different cities throughout India.

After more than three months of evaluating different proposals from several manufacturers, AIR’s technical management selected AEQ technology. The project was led by AEQ’s sales manager for India, Antonio Pérez, in collaboration with India-based Falcon Technologies.

The first studio, intended for transmission, was designed based on the CAPITOL IP 12 TT desktop console with Dante connectivity, with 12 faders, four microphones, four

AES/EBU inputs and outputs, 12 analogue inputs and eight outputs, control and paging monitoring and 16 Dante bidirectional channels; 35 consoles were supplied and installed and an additional one was supplied as a spare.

The second studio, intended for switching, was developed based on the CAPITOL IP 8 TT desktop console with Dante connectivity, with eight faders, four microphones, four AES/EBU inputs and outputs, 12 analogue inputs and four analogue outputs, control and paging monitoring and 16 Dante bidirectional channels.

arrival of AEQ’s CAPITOL digital consoles

Here, 32 consoles were supplied and installed and an additional one was supplied as a spare.

The third studio, used for dubbing, is also based on the CAPITOL IP 12 TT desktop

console. An AEQ Netbox 4MH AoIP terminal with capacity for four additional microphones and four stereo headphone outputs was added to each console. Again, 32 consoles were supplied and installed and an additional one

All the consoles were programmed from the AEQ factory with the configuration requested

special functions, programmable keys and work modes where the console of one of the studios interacted with the consoles of the other two. Being able to create and test these configurations at the factory has greatly simplified the installation process onsite and the training courses.

www.aeq.eu www.prasarbharati.gov.in

Hilton Tokyo’s flexible spaces, offering multiple layout options, backed up by technical support from Vega Global, have transformed interactions at business meetings and the production of events together with content. Supporting xR and non-xR filming, the adoption of greenscreen technology and a configurable operator console has added to the versatility. The cabling infrastructure includes an NDI network for multisite link-ups, while the adoption of Dolby Atmos spatial audio recording capabilities and a large inventory of cameras, microphones, mixers, lighting and support teams ensures that concepts can be fully played out.

“Content creators, game developers, movie directors and new media artists can benefit immensely from having these tools at their disposal in a rental location, to create their next generation of content,” commented Jimmy Heil, managing consultant of new media technology, Vega Japan.

“As professionals in both technology and creative artistry, Vega Global is uniquely positioned to support these clients in the comfort of the Hilton environment.”

Having taken the decision to partner with Vega Japan on the significant enhancements to its AV capabilities, Hilton Tokyo now offers world-class conferencing technology for its many and varied clients. “The new LED wall allows clients to easily create highimpact presentations and, together with the virtual studio, we can offer competitively priced solutions for all levels of events, be they in-person, hybrid or fully online,” said Hilton Tokyo commercial director, Leo Frankel.

and Research Institute, to host performances ranging from concerts, plays, musicals and Chinese opera. L-Acoustics Certified Provider distributor, Rightway Audio Consultants, designed and installed an LCR main system of 10 L-Acoustics Kara II per array for the hall. Two stacks of four SB18 subwoofers placed on either side of the stage below the L-R main arrays provide low-end reinforcement, while a pair of L-Acoustics X12 on both sides of the stage front are deployed as out-fills. Further X12s, both fixed and mobile, are used for stage

and S21 mixing consoles in the theatre and multifunctional hall, respectively.

Recently, for the opening night of a Song Dynasty painting exhibit, the Xi’an Chanba Poly Theatre was host to a capacity crowd for the premiere of the China Philharmonic Orchestra’s tone poem A Panorama of Rivers and Mountains. The musical piece was presented in what was said to be pristine audio quality, setting a precedence for the kind of productions and performances the Xi’an Silk Road International Cultural Arts Centre aspires

Kara II installation signifies a vibrant and progressive silk road

CHINA

At the very beginning of the silk road, Xi’an City in Central China is home to two of UNESCO’s World Heritage sites and several of China’s most prestigious universities. The recently opened Xi’an Silk Road International Cultural Arts Centre was conceived as a cultural exchange and exhibition centre for literary and artistic work between China and the 149 countries along the Belt and Road Initiative trade route. The complex spans 150,000m2 and comprises a theatre, a multipurpose hall and an art gallery.

The facilities have been fitted with some of the most comprehensive and modern technical equipment to display Chinese cultural arts and host art and cultural performances from around

the globe. The 1,500-capacity Xi’an Chanba Poly Theatre and a smaller multifunctional hall are designated facilities within the complex for staging performances and have been fitted with L-Acoustics audio systems.

“The goal for the Poly Theatre was to possess the most modern system configuration in China. As a cultural centre along the new ‘Silk Road’, we needed it to reach a leading standard in technology to meet the requirements of largescale performances from around the world,” said Jin Ruidong, head of stage technology at Xi’an Chanba Poly Theatre.

The larger Xi’an Chanba Poly Theatre was designed by Zhao Yuanchao, chief architect of the China Northwest Architecture Design

stage lip fill. Surrounding the horseshoe-shaped audience seating area, X8s were placed around each of the three theatre floors as surround fills.

In the smaller multifunctional hall, the main system comprises two hangs of four L-Acoustics ARCS Focus. The low end is provided by two ground-stacked SB18 subwoofers below each array. Here as well, an X8 on each side provides front-fill and X12 boxes are used as stage monitors. The systems in both halls are driven by LA4X amplified controllers, with DiGiCo SD5

“To have the sound of the orchestra all around you in the grandeur of the theatre, playing A Panorama of Rivers and Mountains, looking up at the beautiful painting from the Song Dynasty era, was a brilliantly immersive experience,” said Ruidong. “We are set to present the best in Chinese culture to the world in this centre located on a vibrant and progressive new silk road.”

www.l-acoustics.com www.racpro.net

ViewSonic’s Visual Solutions powers World Women’s Art Festival

TAIWAN

ViewSonic Corp has partnered with the Taiwan Women’s Art Association (TWAA) to create immersive art experiences at the Love and Hope – 2022 World Women’s Art Festival. ViewSonic has provided projectors, touch displays and large-format interactive displays to enhance the exhibiting experience, which includes a total of 98 artworks by 70 female artists that demonstrate the strength and resilience of women.

“We are glad to be a part of this collaboration and provide artists with our visual solutions to create more diverse artworks. ViewSonic is committed to inspire the world to see the difference between the ordinary and the extraordinary,” said Steven Yu, senior global marketing director at ViewSonic. “Through this partnership, not only we were able to support art and the fight for gender equality, but we were also able to transcend barriers, spreading love and hope around the world.”

“Since TWAA’s establishment in 2000, we have taken the concept of we/women as a collective entity to examine history more closely,” said Jun T Lai, chairwoman of TWAA

and chief convener of the festival. “The 2022 World Women’s Art Festival reflects our beliefs. Through the power of contemporary female artwork in Taiwan and conversations

between women’s art groups around the world, we were able to create a momentum in the post-pandemic era for people to start a new chapter in their lives.”

In the exhibition, ViewSonic’s projectors use interlaced light and shadows to immerse visitors into the artworks. For instance, “The Hot Zone” by Cynthia Lin is projected onto a wall to present the gradual decay of brain cells in a person with Alzheimer’s disease, whereas

“Forest of Enchantress” by Xiao-Hua Dou portrays a woman’s inner self, expressing their love and awe for life.

ViewSonic’s 65-inch ViewBoard interactive display and a 24-inch touch display were placed in the rest area. Visitors could interact with the displays to learn more about the art festival and concepts behind the exhibition.

Taking a stand

KLAUS WERNER, KÖNIG & MEYER’S project manager of research and development, introduces its new Wind-Up series, explaining how the established manufacturer have succeeded in designing the new stands in such a way that they are durable, user-friendly and at the same time comply with Germany’s strict DIN standards.

STANDING APART FROM THE CROWD

This year’s Frankfurt Prolight & Sound show saw K&M introduce two unique new wind-up stands: the “3000” and “4000” measuring 3m and 4m respectively. The process of designing wind-up stands of these heights, however, comes with several challenges. If the load is in excess of 15kg, one can’t use a hand-operated stand, hence a mechanical system is required. Many manufacturers opt for internal wire ropes in these instances,

the intuitive crank system which benefits from a very low operating force. But we also needed to ensure that with this, we still complied with the German DIN 56950-3 safety standard. This standard has been in force since 2015 and describes the necessary safety requirements for both stands and truss lifts. Our design also meets several professional associations’ requirements too.

CLEAR ADVANTAGES

height. They had to be easy to operate and have a high load-bearing capacity but user safety is prioritised. Central to König & Meyer’s long-standing ethos though is that manufacturing with high-quality material is imperative. To carry the heavy load, the segments in the mast are made of steel while the base tubes are made of an aluminium alloy. Other components are zinc diecast and the guides are made of plastic.

PRACTICAL POSITIVES

Installations without the gremlins.

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enable quick setups and changeovers. Han identified three keywords – durability, setup speed and monitoring – that should define the installation.

“I wanted the sound system to be a creative tool for artists, leaving behind the traditional notion that the speaker is there, and the sound comes from it,” he explains. “Beyond simply being responsible for sales and installation, I wanted to provide a sound system that functions as a tool for free expression like a musical instrument; to function as a partner of the theatre and, ultimately, as part of a production. To break away from the combination of products that already exist and create a system that is most suitable for a concert hall. It’s obviously a pretty tricky endeavour but, as with any kind of customisation, the user’s taste and will is a prerequisite.”

Fortunately, the theatre was very clear in what it wanted from a sound system, and Han and his team set out to design a system to meet those requirements. “The first thing we wanted to remove was any sense of it being over-engineered or made to respond to the extreme conditions experienced by touring grade products,” he explains. “From an indoor installation perspective, certain features and functions are not necessary, so we planned to remove some of these and concentrate on what was necessary, creating new speakers that weren’t in our massproduced catalogue and building a system based on them.”

and performances. As such, the installed PA system needed to offer a high degree of flexibility with simple usability to

Han’s team began the design project by conceptualising Dongsoong Art Centre as a musician for which it was creating a customised instrument. Adopting the form factor of its massproduced JLab E6L line array system, they selected a transducer and went through a process of optimising a passive crossover for this configuration, working closely with consultants from Denmark, Italy and the UK. An 18-inch subwoofer provides low frequency coverage, with a 15-inch model filling out the mid-low frequency range. As this was a theatrical application, it was decided that it would be appropriate to provide a bass that was rich and, at the same time, easy to control, so it was configured

Dongsoong Art Centre’s black box concert hall can be reconfigured for different performances

founder and CEO, Jay Han

The custom line array system is based on the form factor of the JLab E6L

as a single unit configuration. “I wanted to create a low frequency sound that was natural,” Han explains.

JLab J6 point source speakers have also been installed to provide surround sound, while onstage, a monitoring system of JLab J15CX and J12CX coaxials is in place.

which have an independent power supply, basic routing and connection functions, were chosen. To fulfil the requirement of fast setup and changeover times, the speaker management system was divided into two and linked to a preset on the console. The third important factor was monitoring. “Console and speaker management already have excellent monitoring tools, and we applied our Vision software to monitor the amplifier status, input/ output and temperature in real time,” Han explains. “We put a lot of effort into the ability to keep an eye on what’s going on with the system, as well as durability and sound quality, while being able to quickly switch between setups. As the equipment itself is able to respond to various production environments, we have optimised it to be as simple as possible to use.”

Given that black box concert halls are a blank canvas on which to stage many different types of productions, Han felt that the system should provide a similarly blank canvas. For this reason, the theatre chose a Yamaha CL5 console for FOH. “It was decided that the combination of a preamplifier that didn’t add unnecessary colouration to the sound, together with a powerful plugin, would be able to fulfil the requirements of a black box theatre,” says Han. “It was also suitable for the optical requirements of the theatre, as well as being compatible with the Dante network.”

Embodying the first of its three keywords – durability –six-channel J2482P and eight-channel J8400P amplifiers,

Han’s overarching conviction endured throughout the project: “We weren’t selling boxes; we were building a theatre together,” he says. “Anyone can accidentally cook delicious food once in a while, but that one coincidence doesn’t pave the way for a successful business. Collaboration in many fields is required. The origins of modern sound can be traced to the German composer Wagner, who built the famous Bayreuth Festival Theatre himself to perfect the sound he wanted for a series of his works, including Der Ring des Nibelungen. The sound of a concert hall changes gradually in the years after its completion. This is something that people who work there continuously may not notice very much, but you can definitely feel it if you visit the concert hall once every few months. Therefore, the acoustic system of the concert hall needs to be continuously checked and fine-tuned. Looking to the future, it’s not an exaggeration to state that the days of box-moving is over when it comes to providing a sound system, but that this is a rule that must be followed.”

www.jlabsys.com

JLab J6 point source speakers provide a surround sound system

Better goes bigger

Terry Snow in Bawley Point, New South Wales, Willinga Park equestrian centre boasts three Olympic-sized dressage arenas as well as fields for showjumping and the Australian cattle herding sport of campdrafting. The 2,300-acre site also offers native gardens, a sculpture walk and conferencing facilities, and it was for the latter that Better Music was contacted to provide a video screen. However, on reaching the site, the company’s sound reinforcement division manager Garry Peadon realised he’d missed the window when it came to giving AV advice.

“When we arrived to install an 11m x 4m TV screen in the conference room, a quick discussion revealed that they would be requiring a lot more than that,” he recalls. “The client mentioned that a restaurant and a boardroom were also in construction and, looking around, I could see that stud walls were in place, electrical and plumbing services were being finalised and they had started sheeting the walls.” A longer discussion with Willinga staff confirmed they needed a multifunctional conference room that could be

linked to the restaurant and boardroom if required, and that could be operated by staff unskilled in AV. Better Music got the go-ahead a couple of weeks later and started work immediately, if somewhat unconventionally, by handling the install first and working out the design later.

“I had some idea of what I would install and focused on roughing in cables as they were literally sheeting behind us,” continues Peadon. “After a few weeks, I had the system plan finished. This changed a little throughout the install and we had the final quote accepted about a month before we handed it over. Right from the start I was set on using QSC’s Q-SYS Core 510i integrated processor as main control. I realised how complex the system could get in the future, so I knew we would need equipment that could be expanded and used in conjunction with the rest of the park, which also used an older Q-SYS core for audio routing. I opted to use Q-SYS NV-32-H IPTV [internet protocol television] native network video endpoints to handle video routing and Extron’s Quantum 610 videowall processors to handle the scaling required on each of the screens.”

QSC’s Australian distributor TAG provided all equipment for the Q-SYS system, together with technical expertise. The setup allows any input to be displayed on any screen with multiple PiP (picture-in-picture) and screen display configurations. All audio is routed through either QLAN or Dante networks which, with the addition of IPTV, put some strain on the network as it had to use the existing infrastructure. “There was a lot of liaising with Willinga’s IT supplier on setup and requirements, and then there were the architectural limitations to deal with,” explains Peadon. “Only the conference room could have exposed speakers; the restaurant has a timber-battened ceiling and the boardroom is lined in leather, with a custom-made felt ceiling. No visible speakers could be used, nor was the design to be altered.”

Better Music joined forces with distributor CMI to provide Fohhn and Adamson loudspeakers for the conference hall and boardroom, introducing Better Music to Fohhn for the first time.

The 20-person boardroom is soundproofed and formed from strips of laser-cut foam lined with leather panels. Although a clean visual aesthetic was paramount in this opulent room, reported to have required an investment of over A$1m (US$650,000), no specs had been provided. With only 80mm between the foam strips, the solution was to install six Fohhn LX-10 ultra-compact passive two-way speakers powered by a QSC CXD4.2Q four-channel amplifier, with custom brackets to position the speakers as close to the ceiling as possible. A Fohhn AS10 compact subwoofer has been installed behind the 2.4m x 1.3m Eventtec P1.2 LED wall, and two Biamp TCM-1 beamtracking mics have been provided. A Q-SYS NV-32-H endpoint, a QSC PTZ12x72 IP camera and QSC TSC-80 touch panel complete the video setup.

The multifunctional, 300-capacity conference room is used for high-end conferences, musical events and private functions. “It was already framed and most of the sheeting was up when we arrived,” says Peadon. “The builders had

It started with a simple request for a video screen and turned into the biggest installation to date for Australian music and AV specialist, Better Music. Caroline Moss finds out more

OPENED IN 2017 BY AUSTRALIAN BUSINESSMAN

L–R: Better Music’s Garry Peadon and Shane Whiting

The soundproofed boardroom is lined with leather panels and required a clean visual aesthetic

A QSC AD-C6T ceiling speaker system is installed above the restaurant’s timber ceiling battens

to redo the main walls as we were now installing three large videowalls which had to be recessed. In the end, the main front wall was rebuilt to handle the two-ton load and the side walls retrofitted to accept the new screen dimensions. A larger mains transformer and another mains power supply with its own distribution board had to be brought into the building and extra air-conditioning had to be installed in the comms room. We were very popular at the time!”

The ceiling features a custom-made dowel structure with integrated LED tubes and, with all the air conditioning and general lighting already planned out, a suitable plan was needed to install the Clay Paky lighting and Adamson speakers that wouldn’t interfere with the infrastructure already in place. Continuing the theme of seamless aesthetics, tracks were custom designed so that the speaker system can be manually rolled out to the front of the stage when required, such as for band performances. Designed with sensors to recall different presets for speaker positions, even the most unskilled can set things in motion. The tracks can be moved to the back of the wall to blend in with the room when in general AV mode.

Adamson speakers were deemed suitable for this highend venue, and were also small and light enough to fit the track well. An L-R system of six-per-side Adamson IS7 line array speakers have been mounted onto the track, with a single Adamson IS7px flown in the centre of the room and two Adamson PC5 coaxials and four Adamson Point 8s distributed on the entry and back deck of the conference hall for extra coverage. Two Adamson S118 subwoofers provide the low end, and the Adamson system is powered by one Lab Gruppen D40 and three Lab Gruppen D80 amplifiers.

A QSC TSC-7 touchscreen provides control, and an Attero Tech BT2A Bluetooth receiver and a Williams AV DL210 NET hearing loop amp complete the boardroom system.

Better Music solved any issues in the restaurant – which also hosts presentations and parties – by making brackets to support a total of 16 QSC AD-C6T ceiling mount speakers above the timber ceiling battens and flying four AD-C81T ceiling mount subwoofers above the ceiling.

Willinga staff are able to operate all installed systems for general events, while more complex setups can be handed over to external audio and video engineers and additional equipment such as larger mixing consoles brought in. Each space can be used independently or combined, and audio and video content can be sent to other parts of the park during large events.

The fast-paced project was a learning curve for Better Music.

“There was some equipment I hadn’t installed before, so

researching these items and building them into the client’s and architect’s specs – and even the equipment room – was a challenge,” recalls Peadon. “Thankfully, we have experienced staff, very helpful suppliers and accommodating builders, which is the reason we were able to complete the project on time. This was a unique installation and we were happy to be a part of it: lots of challenges, but lots of solutions.”

Although Better Music made the deadline in late 2019, the planet had other ideas for the reopening of Willinga Park. “The venue managed to stage a soft and a grand opening before the fires arrived in December 2019 which shut down most of Australia’s south coast,” says Peadon.

Fortunately, as the property is built to be a firebreak and a safe haven, Willinga Park provided relief to the entire community with its underground generators, fuel tanks and water pumps combined with steel-clad buildings and water irrigation systems. Surviving the two-month fire season unscathed, the centre was unable to reopen because, by now, Covid and its lengthy lockdowns were appearing over the horizon. Finally, earlier this year, Willinga Park was able to open its doors and reveal its extensive AV upgrade and all it can offer.

Adamson IS7 array in the conference hall ceiling, a dowel structure with integrated LED tubes

The Adamson IS7 system in the conference room can be repositioned on tracks depending on the application

of wonder

MOST APTLY FOR A COUNTRY AT THE CUTTING EDGE OF technology and creativity, art exhibitions, special events and commercial presentations in South Korea are increasingly drawing on immersive technology to envelop audiences in the experience. In July, the latest creation from SILO Lab. –Ambience – opened at E-Ham Campus, a new multi-room gallery in Yangpyeong-gun on the banks of the Namhangang River.

The gallery, a collection of buildings scattered throughout a landscaped garden, was established by a businessman who acquired the site a number of years ago to create a public space that would benefit the community. Joining forces with a collective of artists who collaborate as SILO Lab., the Ambience immersive exhibition featuring seven installations was commissioned to run across the galleries for a year, from July 2022.

SILO Lab.’s aim is to cross the boundaries between technology and art. “In an attempt to create experiences that have never existed at the intersection of technology and art, we constantly carry out research and express them through art,” a spokesman from the collective comments. “Our work brings interesting experiences by realising our imaginations with technology. SILO Lab.’s work has a strong theme of nature that allows digital media – which used to be distant and difficult – to become emotionally approachable and to communicate with the audience by encouraging active participation.”

It follows, then, that in order to create immersive experiences that don’t appear to rely on technology to evoke an emotional response, a non-negotiable condition was that the speakers were concealed as much as possible in each of the seven installations. SILO Lab. had decided they wanted to use Martin Audio speakers for this project having already worked with Korean distributor Samasound to install the brand at a new showroom for Kia Motors in Seoul. “They were impressed with Martin Audio at that installation, feeling that, compared to other speakers, the Martin

Audio models were small, powerful and suitable for spaces like this gallery, where they need to perform without being obtrusive,” says Wonjoo Lee, senior manager business planning, Samasound.

The exhibitions – all in separate galleries apart from two which share the same space – consist of Starglow, strands of LED strips that twinkle in the darkness, representing stars pouring their light into the infinite universe. Here, four Martin Audio Adorn A40 ultra compact speakers have been installed in the ceiling to create an aural effect of stars falling in space. These are powered by an Inter-M L800 amplifier with PreSonus HP4 four-channel headphone amplifier with monitor control.

Three Adorn A55 compact speakers and an SX110B slimline subwoofer, powered by an LEA Professional Connect 354 fourchannel amplifier, have been installed in the Glowing Clouds gallery which features a huge LED wall segueing from sunsets to clear skies and aurora light displays, with artificial smoke creating a cloud effect. Here, the soundscape is focused as closely to the top of the audience’s heads as possible.

Seven more A55s powered by an LEA Connect 168 provide the soundscape for Pitch Black, which reproduces the sense of floating in a deep, dark space as the sound moves according to the direction of the light. In Horizon, a solitary lighthouse beam sweeps across the room, accompanied by dramatic music with added sound effects including a boat horn, thunder and waves. This is relayed by six Martin Audio A40s and an SX110B sub powered by LEA Connect 168 and 354 amps.

features a backdrop of the sun setting behind a still pool of dark water into which a single drop falls intermittently. Lasers discreetly illuminate the ripples created, which are reflected back onto the walls. The accompanying soundscape – a bell tolling clearly above soft music – appears courtesy of two Martin Audio A40s, with a single Genelec 8330 Smart Active Monitor to amplify the bell and a SX110B sub powered by an LEA Connect 354 amp, while a PreSonus AR8c eight-channel audio mixer can adjust the volume according to audience presence.

Finally, eight A40s can be found in the Starglow and Sparkling Ripple exhibits which take place in the same gallery, powered by an LEA Connect 168 and a Connect 354. Large water tanks and lights create the effect of ripples reflected in moonlight, while kinetic lighting is set in motion by the accompanying music. There is also a large AV room which displays a video about SILO Lab.’s history; here, Samasound has installed a pair of Genelec 8330 SAM monitors.

With a catalogue of high-end audio brands as well as a new LED department, Samasound is firmly behind the current wave of immersive art, evidenced at this year’s KOBA show where its demo room featured an immersive 7.1.4 demo with an original media art display on an LED videowall. An exciting development, then, for one of Korea’s long-established distributors and the products, tools and expertise it provides.

www.martin-audio.com

Ripple features a backdrop of the sun setting behind a pool of water

Sound follows the light in Pitch Black

Strands of LED strips represent stars in the Starglow gallery

The E-Ham Gallery is set in landscaped gardens

Streaming becomes a reality

THE STREAMING SERVICES OFFERED BY TENCENT HAVE grown rapidly in recent years. This expansion has led to a move to a new Beijing headquarters which offers a huge studio complex and is equipped with a full IP audio broadcasting system to adapt to the fast-changing streaming production requirements.

The new 300,000m2 building constructed with an investment of CNY1.8b (US$257m) has a studio complex spanning the ground floor and basement below, with a usable area of about 9,000m2. This houses eight livestreaming studios, a Dolby Atmos recording studio and screening room and 13 standalone voiceover suites. The facility mainly serves Tencent Video and Tencent Sports but can also cater for the company’s other business sectors such as esports, medical care and news, as well producing variety shows, sports and esports broadcasts, art, fashion and educational programmes.

Audio solutions for the studio complex were provided by Tencent’s long-term partner Digital Media Technology (DMT). The entire system operates on a Dante network,

which not only meets the client’s core requirement of audio signal intercommunication and sharing but also ensures the system’s scalability and security.

The two companies have a long history of cooperation. As early as 2012, when Tencent was still working in its previous offices in Beijing’s Sigma Building, DMT had built a studio system for Tencent. In 2018, Tencent’s first OB van was installed with two Solid State Logic (SSL) Live consoles and was later upgraded to a 64-fader multi-operator SSL System T S500 console. DMT was also contracted to put together an audio system for the Tencent Studio Group in the Capital Steel and Iron Works industrial park, which is mainly used for livestreamed sports events, using a Dante network for the audio architecture. “SSL’s high-quality sound, together with Dante’s intuitiveness, stability and efficient audio transmission capability, impressed the client very much,” recalls Hu Jinyi, senior project manager of DMT. “This helped us to build a good customer relationship and laid a strong foundation for selecting a Dante solution again for the studio group in its new headquarters.”

Sue Su reports from the new Beijing HQ of Chinese internet and technology giant Tencent, built to handle the company’s escalating broadcasting and livestreaming services

One of the larger livestreaming studios

The Dolby Atmos screening room

The two main rooms in the studio complex are an 800m2 studio floor for livestreaming and the 100m2 Dolby Atmos recording studio. Both are using a 48-fader SSL System T S500 console surface for broadcasting, powered by a T80 DSP engine and Tempest Control Rack (TCR) together with Network I/O stageboxes providing a variety of interfaces such as microphone/line, AES/EBU and MADI.

“Tencent needed a system that was 100% IP-based and, for these two rooms which produce relatively complex programmes, the most suitable console on the market is the SSL System T,” says DMT’s technical director, Johnathan Wang. “As a pure IP digital console based on Dante, it does not even have an audio I/O on the processor – all console surfaces, processing cores and I/O are connected through the TCP/IP network protocol.”

“Because System T is completely based on Dante, any Dante-enabled device can be used as a stagebox to control signal routing directly,” adds Hu. “It facilitates the communication and sharing of Dante signals between multiple studios and makes remote control workflow and multi-station collaboration much easier. This means it is very suitable for the entire architecture of the studio complex in Tencent’s Beijing headquarters. In addition to the onboard compressor, equaliser and delay processing, System T also has more than 80 additional built-in effects, which can meet the demands of more complex programme production.”

Dolby Atmos setups in both rooms feature Genelec The Ones Smart Active Monitors (SAM). The system in the 800m2 studio is a 5.1.4 configuration consisting of five 8351B SAMs,

Pro Tools HDX and HD Native are used to form a redundant multitrack recording system. DMT has also provided the studio with outboard equipment including an Eventide H9000, TC Electronics Music 6000 and classic analogue gear from Universal Audio, Tubetech, Manley, AMS Neve and Rupert Neve. In addition to the 7.1.4 Genelec monitoring system there are also three pairs of stereo monitor speakers for comparative listening: PMC twotwo.6s, M&K Sound MPS2520Ps and Fostex 6301s.

For the Dolby Atmos screening room, a QSC cinema speaker system based on the Q-SYS network audio protocol has been provided, along with Sony 4K projectors, Oppo 4K Blu-ray players and Marantz decoders. The Q-SYS and Dante networks are connected by the AES67 protocol. The

stereo monitoring units. Thirteen individual voiceover suites are equipped with a Sonifex AVN-CU2-Dante commentary and monitor unit and a Jünger D*AP8 TAP automatic mixer.

A total of 31 pairs of Sennheiser antenna systems are provided across the studio complex for wireless RF coverage, with Sennheiser 6000 series and Shure AD4Q receivers to ensure that wireless microphones can be used in every corner.

The AoIP architecture based on Dante affords the audio system in Tencent’s new building a great deal of flexibility. As many different types of programmes are being produced, new equipment often needs to be added to the system aside from what’s already installed in the studios, and the Dante-enabled plug-and-play products greatly save setup time. There is also the possibility to add new Dante-compatible products as they appear on the market, meaning that the system is scalable and futureproofed.

The building’s intercom system is also connected via Dante which transmits signals from the audio and intercom matrices, allowing staff to monitor signals from any of the working areas. The audio system can also record intercom talkback. In addition, high-quality audio and video signals can be transmitted through the company’s intranet, and signals from Tencent’s production facilities such as those in Capital Steel and Iron Works industrial park, studios in the HQ building and the Tianjin Signal Routing Centre are all interconnected.

one 7370A and four 8341As. The Dolby Atmos room has a 7.1.4 configuration of seven 8351As, two 7370As and four 8331As, with two 9301A AES/EBU multichannel interfaces. Both rooms are equipped with Avid Pro Tools HDX DAWs, Focusrite RedNet HD32R Dante interfaces and RTW TM9Dante multichannel audio meters for real-time monitoring of audio signals.

DMT has also installed a PA system into the 800m2 studio consisting of 12 L-Acoustics KIVA II long-throw speakers and four X12 coaxials as monitors, an SSL Live L500 as the main console and an L300 for monitors, together with SSL Network I/O stageboxes. Dante conversion is handled by a Focusrite RedNet HD32R.

The Dolby Atmos recording studio can handle three main functions simultaneously: traditional mixing, Dolby Atmos mixing and Dolby Atmos playback for screenings. The System T 500 has been expanded with an SSL TCR to allow

playback system in the screening room is also equipped with a Tac System VMC-102 multichannel monitor controller to allow switching between multiple signal source formats and different monitor configurations as well as for talkback during recording work.

The studio complex also includes several smaller studios ranging from 70m2 to 260m2, all of which feature Yamaha consoles for broadcasting and livestreaming. The largest 260m2 studio has been installed with a Yamaha CL5 digital mixing console and a monitoring system composed of five Genelec 8340s. Other equipment also includes RTW Mastering Tools multichannel meters and Focusrite RedNet AM2 Dante stereo monitoring units.

There are also some simpler studios ranging from 70m2 to 180m2 in area, and all except one 110m2 unit – which has a Yamaha CL3 broadcast console – are installed with a Yamaha QL1, with KRK Rokit RP7 G4 stereo monitors, an RTW

Tencent has a dedicated local area network system installed across the studio complex, using spine-leaf architecture consisting of two switching layers, with several switches provided in each studio for Dante audio transmission. Dante devices are configured and routed in the system through the Dante Controller, and the entire Dante network is managed by a Dante Domain Manager (DDM) server. This enhanced Dante network management server can provide users with different access levels to the Dante devices in the entire LAN by means of username and password to ensure the security of the streaming system.

“With Dante Controller and DDM, we can set up and monitor the entire Dante network, while easily sharing and recalling signals across studios with high security,” concludes Hu. “The Dante architecture makes the system extremely flexible and scalable. In addition, through the SMPTE ST 2110-30 and 2022-7 protocols, audio signals can be safely and efficiently used for pure IP interaction with the video systems.”

Tencent’s new HQ has already undertaken a number of key broadcasts including some major sporting events, and the company is planning to focus on remote and cloud production in the future.

www.dmtpro.com www.solidstatelogic.com

On-air in the largest studio

The 800m2 studio for livestreaming and broadcasts

A 48-fader SSL System T S500 is at the heart of the 100m2 Dolby Atmos studio

The 110m2 studio is installed with a Yamaha CL3 broadcast console

surrounded

WHEN CONTEMPLATING THE RISE OF DOLBY ATMOS HE (home entertainment) studios that have been proliferating across parts of Asia for several years now, one of the first questions I ask is: how are people consuming this content at home? On a recent visit to Seoul, where UK speaker manufacturer PMC alone has installed more than 20 studios, the answer became apparent – for South Korea anyway.

Telecom provider LG U+ has been giving away free Dolby Atmos soundbars with subscriptions, in much the same way that other providers offer a set-top box, allowing Korean subscribers to stream immersive content to their heart’s desire.

Slightly strangely, considering that Harman is owned by LG’s major Korean rival, Samsung, the U+tv Soundbar Black, featuring Dolby Vision and Dolby Atmos, is being provided by JBL in a partnership brokered by Technicolor Connected Home, a supplier of customer premises equipment (CPE). “To address the growing demand for a complete immersive audio and viewing experience in the Korean market, Technicolor Connected Home has teamed up with best-in-class providers of audio and imaging technology to fully meet the high demands of the South Korean market,” says Technicolor Connected Home’s senior vice president for Eurasia, Mercedes Pastor. Unbeatable offers aside, Dolby Atmos HE does indeed seem to be approaching the point where consumers can affordably watch films and TV shows, indulge in some gaming and listen to music with a Dolby Atmos mix in the comfort of their own homes.

Kim Seongi, owner of Thundersound studios in Seoul, realised that he was going to have to invest in a Dolby HE system when his clients increasingly began to ask about this format. In early 2022, Thundersound – established in 2014 – began converting its main control room into a 9.1.6 Dolby Atmos HE facility, selecting three PMC 6-2 main monitors to handle the LCR channels, PMC 6s for the L-R wide channels and ci65 speakers from the manufacturer’s custom install range for the LRS (left right surround), rear surround and overhead channels,

all powered by Linea Research amplifiers, with four PMC 8-2 subwoofers providing plenty of bottom end. “The ci65s are just 4 inches thick, and fit beautifully into this room,” says Dan Zimbelman, senior international business development at PMC.

“These speakers are carefully voiced to work well with the main PMC speaker lines for the LCR positions.

“The fact that the ci series is passive means that the amplification is kept in a machine room, which removes the need to run power to each surround and overhead location, keeping installation costs low compared to other solutions. It’s an ideal solution for immersive audio applications. At PMC we work closely with Dolby, involving them on the front end, prior to an order, in making sure each potential installation meets Dolby specifications. We see this partnership as crucial to making certain the client receives the most accurate information, assuring that after installation, the facility will work at its very best.”

The speakers were provided by PMC’s South Korean distributor, Music Metro, which also advised on studio design and speaker positioning, referring to Dolby’s HE DARDT (Home Entertainment Dolby Audio Room Design Tool). This interactive Microsoft Excel tool allows users to input speaker layout dimensions, speaker locations and speaker and amplifier details to help design and model a Dolby Atmos HE configuration to Dolby recommendations, adhering to Dolby’s technical guidelines.

“We started to become interested in Dolby Atmos setups from around 2017, but there was little demand from the studios at that time, as the format hadn’t yet become commercialised,” says PMC product manager at Music Metro, Sunny Park, who goes on to explain that the company’s first Dolby Atmos installation was for the SBA Seoul Animation Centre in 2017 with the PMC twotwo series.

“As the OTT market began growing rapidly during the pandemic, demand for Dolby Atmos setups started to increase simultaneously,” she continues. “Our diverse experience in studio installations meant that we were able to adopt the technical skills required to meet Dolby’s standards.”

Among the more than 20 Dolby Atmos studios in Korea with a PMC system is the Seoul Arts Centre, which has a 7.1.4 system consisting of 1B1S-A LCR speakers with models from the ci range for the surround and overhead channels and twotwo sub2 subwoofers. Another 7.1.4 system can be found at the Dong-Ah Institute of Media Arts with PMC twotwo.8s as the LCR, ci65s for LRS, surrounds and overheads and twotwo sub2s.

With Korean consumers demanding the format and studios scrambling to update, Dolby Atmos is well on its way to becoming a mainstream for broadcasting and music consumption in

country.

www.musicmetro.co.kr

Kim Seongi in the new Dolby Atmos HE room at Thundersound

Thundersound has a main monitor system of PMC 6-2s and result6s for the L-R wide channels

The PMC ci65 speakers are just 4 inches thick

INTEGRAL

A letter from America

Is contemporary Christian music the next target for private equity, asks Dan Daley

DAVID BOWIE, BOB DYLAN, BRUCE SPRINGSTEEN, Barry Manilow, Shakira, Fleetwood Mac. These and dozens more hitmakers from the past five decades have joined the trend of selling their publishing and/or master recordings rights to a handful of well-capitalised ventures, such as the Hipgnosis Songs Fund and Primary Wave, which have collectively invested tens of billions of dollars in these classic songs and recordings.

The investments have paid off. Just look at Kobalt Music, which Google Venture capital funds pumped US$60m a couple of years back, and which manages $3.5b in publishing assets for Paul McCartney, Prince, Dave Grohl and others. Kobalt’s annual revenue growth has averaged 40% over the past decade. However, they also may be hitting the last of the most valuable toys in the toybox: most of the hits from the ’60s, ’70s, ’80s and ’90s have by now been scooped up and, quite frankly, EDM, hip hop and other more recent genres haven’t exactly been turning out the same kind of durable classics in recent years. So music catalogues have proven their value in the capital markets but, if the well that spawned them may be starting to run dry, where else to look? Church, perhaps. On a corporate level, Christian music has been in play,

and lucratively, for some time, but mostly to the trade. For instance, a decade ago, Universal Music Publishing Group acquired the music publishing assets of Maranatha! Music, the world’s largest Christian music publishing catalogue as well as the second-largest evangelically styled choral music catalogue, and included the catalogues of leading Christian label, Sparrow Records. Since then, other highlevel acquisitions have taken place, including Curb Records’ acquisition of Word Entertainment, a huge Christian faith-based entertainment company. But, in what may be a portent, Primary Wave has this year acquired a stake in the publishing and master royalties of Matt Redman, who has won Grammy awards for the Best Contemporary Christian Music Song and Best Contemporary Christian Music Performance.

“Retail” Christianity, of the sort practised in the US evangelical universe, has never been averse to mingling music, money and the message, and never less so than lately. I’ve previously looked at how the house of worship sector has grown as a percentage of the installed AV market, but the numbers become even more interesting (when you can find them; the Gospel Music Association, its main trade group, is notoriously stingy with data) when you

letter from Europe

OK, IT’S SATURDAY AFTERNOON AND YOU’RE

itching to unlock Ancient Egypt by exploring hieroglyphs. No? How about printmaking in Prague? Isn’t it time you brushed up on art from the court of Rudolf II? Ah, hang on, here we are. Step aside, everyone, because here comes The Woodpecking Factory: Victorian Illustrations by the Brothers Dalziel. Pack the hard-boiled eggs in kerchiefs, Ethel, we’re going to the British Museum.

These and other arcane experiences hide a secret, and it’s a secret that, believe it or not, gives a special metal-detector beep to the news that Sennheiser – home of Dear Reality, Ambeo and Neumann – has added Swiss DAW gem Merging Technologies to the portfolio. Merging, you will need no reminding, gave the world the Pyramix digital audio workstation and, while it never matched Pro Tools as an industry standard, it has spawned an ecosystem of network-ready interfaces, terminals and clocks that would set the sprinklers off in the Rolex factory.

The words of Georg Neumann CEO Ralf Oehl, in the press statement, for once elevate the PR to authentic import.

Regarding Merging, he says: “We plan to strengthen Neumann’s offering, particularly in the area of digital workstreams, in order to provide our customers with holistic audio solutions in studio

quality.” The key phrase is “studio quality” because these are workstreams and holistic solutions that will end up far beyond the studio. Yes, Neumann will benefit from Merging’s prowess in studio production. But at the same time Sennheiser, already striding into new markets with the courage of the archaeologists who prised open King Tut’s tomb, can continue to shape a future in which every ticketed experience will hide a timecoded catacomb behind its kaleidoscope of sensations.

At the moment, the British Museum relies on an AV backbone controlled by Q-SYS, the software-based control system for audio, video and control developed by QSC over the past 13 years. In fact, the institution has just completed a new installation of it courtesy of London-based Autograph Sound, another pioneer carrying theatre techniques into places not used to this kind of drama. Access to hugely sophisticated programme material has been made simpler and more effective than ever before, such that personnel with no experience of sound engineering can maintain a high standard of dynamic presentation that never allows the dust to settle on ancient artefacts.

But museums are only a small sector in a rapidly expanding market of “experience design”, where almost anything

look at the music being pumped through those speakers and from those stages. What we do know is that Christian music accounts for over $350m: 3.6% of the nearly $10b US music market. While that’s a bit more than what Sony Music paid for just Dylan’s publishing catalogue, some context puts it into perspective: they’re apparently not making any more Dylans; meanwhile, 68% of Americans listened to Christian music in a given month. And the demographics are as attractive: while classic rock’s cohort, the target of most of the catalogue acquisitions in recent years, continues to age out, the Christian music enthusiast keeps getting younger and more female, and who buys more music than men. And contemporary Christian music (CCM), the core of the industry, has its own institutionalised development and marketing infrastructure in the form of hundreds of megachurches throughout the country, virtually all of which offer one or more contemporary worship service each week.

In other words, as the remarkable run of so-called legacy music catalogues reaches towards its inevitable conclusion, there may be an as-yet untapped reservoir ready to soak up those dollars. Matt Redman may be just the first of many in his genre to pick up that glorious paycheque.

can be transformed by AV sequences that range from subtle background enhancements to a complete show in which venues from Las Vegas to Macau are drilled through mesmerising spectacles. One new venue in London has been created expressly for this purpose: in this instance, a timecoded tribute to Abba, Sweden’s most enduring pop export and Tutankhamen’s main rivals for longevity beyond the grave. The ancients would have killed for the immortality conferred by the digital video avatars created for the ABBA show by motion capture using, thankfully, all four members of ABBA and their very-much-alive faces and bodies. True, lithe young dancers were also used for the more exerting sequences, which is exactly what the Egyptians would have done. The point is, though, that the entire AV programme of ABBA Voyage is driven by a timecode host called Ovation made, you guessed it, by Merging Technologies. The entire mix is a unified AV sequence, with space even for dynamic overlays by a live band. Q-SYS is in there as well, handling extra audio level control.

So, everything is becoming a managed experience, and Sennheiser now has the tools for waking the dead. Honestly, I’m not sure dear old “reality” will survive.

Phil Ward views the vast strides being made in the realm of virtual reality through the prism of Sennheiser’s Merging Technologies acquisition

InfoComm India 2022

Sue Gould heads back to Mumbai for the Indian edition of the pro AV tradeshow

departments sets the tone for top-tier attendees and ensures that exhibitors’ expectations of a high ROI are met. This year’s programme welcomed 150 buyers from the government, education, healthcare, defence, IT, architecture and consultancy sectors, who were taken on guided tours around the show floor and introduced to leading solutions providers.

From conversations overheard on the show floor, it’s clear that India is experiencing a wave of large-scale projects and infrastructure development and evident that manufacturers invested in setting up dedicated hubs in the country are now reaping the rewards. Systems integrators are in high demand, with many only able to attend the show for a few hours.

News on everyone’s lips was that next year’s show will shift to a state-of-the-art exhibition centre in the Bandra Kurla Complex, a little further south of the current venue. The impressive Jio World Convention Centre has finally been finished and will become InfoComm’s new home when it returns in late October 2023. The move was positively received across the floor and, according to the organiser, prebookings are already very healthy. As an event celebrating the very best of AV tech, it is only fitting that it should now take place in a setting that reflects this.

AS INFOCOMM INDIA FINALLY RETURNED FOR THE first time in three years, it was apparent that the “reconnect, refresh, revitalise” theme was a hat-trick the show organiser was determined to recreate at the ageing Bombay Exhibition Centre.

Over 160 exhibitors from 15 countries gathered in Hall 1 for the three-day event in early September and, as is to be expected from the InfoComm organisation, a substantial and well-thought-out summit programme was in place, encompassing over 35 learning sessions.

Mirroring other exhibitions that have returned in 2022, the show was more about reconnecting with partners and clients rather than launching new products. Nevertheless, visitors were presented with innovative solutions including powerful unified

From the show floor

and Microsoft Teams-certified devices, mission-critical solutions for command-and-control centres, 4K interactive screens for smart classrooms and high-quality digital signage and displays for advertising and retail installations.

Although the show took place during the Hindu festival of Ganesh Chaturthi, the registration desks never appeared overloaded and there was a steady flow of traffic in the aisles. Exhibitors seemed satisfied with attendance which, while predominantly from the Mumbai area, did hail further afield nationwide, if not on an international scale.

But numbers only tell half the story; what InfoComm does very well is to attract quality visitors through the door. Inviting teams of hosted buyers and delegations from various government

“India is expected to be the world’s fastest-growing pro AV market as well as the world’s fastest-growing economy,” said See Lay Eng, senior director, InfoComm Asia. “It’s a huge, robust market hungry for disruption-driven solutions and, with a population always seeking innovation, India is the place for pro AV technology to flourish.”

2022 Dates: 5 – 7 September 2023 Dates: 25 – 27 October

Venue: Bombay Exhibition Centre, Mumbai Total exhibitors: 160 Attendance: 11,381 Contact: www.infocomm-india.com

visitors knew about the industry and 70% were just exploring. Now it’s the other way around. Some of them know more than us, so that’s been a delight and the mix of people has certainly increased in our favour. We have always made it a point that if you are going to be at the biggest AV event in the country, we’ll be there in the grandest manner possible, and we have already booked one of the biggest booths for next year.”

Niko Walraven, NEAT: “It’s our first time at InfoComm India and we’re loving it, the traffic has been great. The number of partners that we are getting here is fantastic, about 90% of partners to 10% of end customers so the discussions have mostly been around partnerships and understanding our products. We have an amazing booth and people just want to drop by and have a talk with us. We have one person on the booth who has had a line of people waiting for him. It’s been a very good experience and I’m sure we’ll be back.”

Santosh Kumar, QSC: “We’ve been looking forward to this show as you can’t properly connect with people virtually. In-person is more energising and gives us an assurance that the business is coming back. Our presence in India has increased in the last few years; we’ve been moving from audio and focusing more on video and control, and that’s what is attracting people to the booth. The new venue will lift the show and encourage quality international participation, giving us good visibility and attracting more decision-makers.”

the show floor

Hemant Gaba, Sun Infonet: “The show is important and gives us the opportunity to see quality customers and new players in the market, and they can experience demos and meet industry experts from our OEMs. New players are involved in systems integration for the corporate, government and education sectors. It’s a really busy time for us; people have started investing again in all the projects which were on hold.”

Blessing Joseph, Vega Global: “It’s been a fantastic event and we’ve been showcasing hybrid solutions to our clients. We’ve seen a lot of people from outside of Mumbai, with some coming from the north and south of India. Next year’s show is going to be exciting because it’s a new location in the BKC, a financial hub in Mumbai itself. We’re moving into a state-of-the-art convention centre run by state-of-the-art guys.”

Mayank Gaurav, AlphaTec: “The right people have come, from systems integrators to end users, IT and construction companies. This is definitely the right platform for us to display our systems, interact and explain how we can design solutions as well as introduce the upcoming technologies. We are showcasing TiMax, which has been something of a showstopper. The rental companies are also looking at it to make their shows more immersive and interactive.”

Joel Mulpeter, Crestron: “It’s a show where we get a very healthy mix of end users, channel partners, consultants and really the entire industry – we see the whole gamut, which is very healthy for a tradeshow. We’ve been having very good conversations about long-term projects and big deployments. We’ve seen new customers for Crestron, but also customers that are redeploying and upgrading rooms with the return-to-work movement that’s happening at the moment.”

Amar Subash, Harman Asia Pacific: “InfoComm India is a flagship event for us and it’s fantastic to showcase our installed side of the business here. We introduced the JBL SRX900 powered line array series and we are very happy to reconnect with the community and see partners and end users. I would rate the level of knowledge here to be very high – it’s a strong set of people who’ve been visiting us.”

Justin Joy, Peerless AV: “It’s been good to be back. The crowd is a lot more filtered and we’ve seen the right customers, with lots of professional integrators, some of whom are global. They’ve come from all over India, including from some of the smaller cities, which I generally never saw previously. I think that tech is growing in the Tier 3 cities as well, and that’s good for the AV business in general.”

WHEN QUESTIONED ABOUT HOW IBC 2022 HAD FARED, Lawo marketing director Andreas Hilmer summed up the mood for many. “This is 3D immersive with real people and real customers, talking about real projects, all creatively interacting without a screen,” he declared. His observations were echoed –in slightly different ways – throughout Amsterdam’s RAI, where an in-person format after two years of going virtual was characterised by packed halls, standing room only in theatres, bustling networking events and full meeting schedules.

The visitor count may have been 35% down on the previous 2019 edition, but it mattered not one bit. Exhibitors including Adobe, Amazon Web Services (AWS), Avid, Google and Sony, together with a host of familiar industry brands and companies, firmly extinguished the shadow of Covid-19 that plagued this exhibition in 2020 and 2021.

Although the pandemic accelerated the rate of change, it appeared to be business as usual for many exhibitors who seemingly carried on where they had left off – in many cases in the same locations. Many booths were showing 4K, 6K and 8K cameras and monitors including ARRI (Alexa35), Canon, Grass Valley (LDX 135), Ikegami (UHK-X750), Panasonic and Sony. As in previous years, Ross Video and Riedel – which premiered the Ultrix FR12 hyperconverged platform – announced acquisitions, this time of Spidercam and SDNSquare, respectively, on the eve of the show.

Conversations about 5G continued, joined by topics including remote production and augmented reality. The pandemic could arguably be credited with promoting PTZ camera development, with Marshall (CV730 and NDI|HX3), MRMC (Arc360), PTZOptics (G3 4K) and Sony (FR7) showing the latest highresolution, 4K and networkable models. Talk among audio exhibitors extended from stereo upmixes to immersive to AoiP. Cloaked “Argonauts” lifted gold wraps from the latest Argo control surfaces on the Calrec booth, while Lawo networked on its Black Forest-themed stand. Designed for remote and modular radio productions, Wheatstone’s Strata 32 console was shown alongside the Blade4 I/O unit and GSX console surface for the WheatNet-IP network. Solid State Logic highlighted broadcast

From the show floor

to the TE1 and TE2 DSP engines, while Stage Tec IP-based Avatus E console and the portable Nexus Compact. The buzz of making up for lost time was particularly noticeable in halls 1, 2 and 7, but the traditionally peripheral halls were not spared the visitor rush. While DPA, Lectrosonics, Microtech Gefell, Schoeps and Sennheiser enticed a mix of new and traditional broadcasters seeking microphone technologies, the Clear-Com (Arcadia), Altair (IPCom), Pliant (Crewcom), Riedel (Bolero 2.4GHz), RTS (Omneo IP) and AEQ (X-Peak and X-Core) booths premiered their latest IP comms.

The IP video revolution continues to have a dramatic effect on broadcasting and media operations, with problem-solving collaborations in evidence, such as the openGear modular frame system designed by Ross Video, which supports a diverse range of third-party terminal products. Audinate, whose roll call of licensed video partners reached 26 in June, revealed the latest Dante AV-H and Dante Studio.

previously five-day event being a day too long were absent. As manufacturers continue to juggle record order books with supply chain challenges that define the current era, they could use the long wait at Schiphol Airport to reflect on an IBC that had delivered the goods.

2022 Dates: 9 – 12 September

2023 Dates: 15 – 18 September

Venue: RAI Amsterdam

Total exhibitors: 1,000+ Attendance: 37,071

Francesco Martinez, Altair:

“We’re exhibiting at IBC for the first time with IPCom, a new IP-based intercom system for broadcast environments, and we wanted to test out the exhibition by talking to end users and distributors. Broadcast has never been our traditional market, but we’ve had a good show. Coming from the professional audio market and dealing with rental companies and installers, IBC is more of a show that draws decision makers who are looking to conduct business. We normally exhibit at ISE, and you can tell that AV and broadcast are converging as an increasing number of products operate over IP, such as Dante. Cameras, data, video and audio share the same networks, so the integration of video and broadcast is the future.”

to YouTubers. Most of our customers want a solution that doesn’t break the bank and they want to keep it simple. As a result, we design smart, simple-to-use, cost-effective technology that is exemplified by several new products, such as the Showcast 100, which allows people not trained in video productions to create professional content by simply tapping a touchscreen. As a solutions-based company we are in the cloud, and we collaborate with other manufacturers such as Sony and Panasonic to extend those solutions.”

Samer Mouwanes, Clear-Com:

“With Arcadia Station we are more focused on IP as everything is in the cloud and everyone is using IP networks. During lockdown we spent our time developing existing products in addition to new ones and listening to our customers. Prior to travelling from Dubai, I expected few customers from the Middle East, but I was reassured when I boarded the plane as half of the passengers were broadcast people. Compared to other shows I have attended, IBC feels like a return to normal. The crowds have returned, so we can talk normally and see facial expressions, which is very important during meetings. After two years of video conferencing, I’ve really enjoyed having face-to-face meetings and after-show dinners.”

L–R: Altair’s Francisco Martinez, Sergio Martin, Antonio Ruiz and Miguel Gimenez

Datavideo’s Valentijn Diemel

Clear-Com Middle East’s Samer Mouwanes presenting Arcadia 1

Richard Lawn reports from the first IBC tradeshow to return to Amsterdam in three years

the show

Dave Letson, Calrec:

were unsure how many people would come to IBC this year, but it has more than surpassed our expectations. The launch of our new flagship console, Argo, has brought the crowds in and it has been fabulous to see so many people again including a lot of our distributors from APAC, who have brought new faces to the stand. It’s a slightly smaller show than three years ago but we’ve had more appointments and a huge number of walk-on visitors. Over the last three years we’ve experienced a lot of changes. In 2018 we started to look at remote production, but during lockdown that really accelerated with the huge shift towards remote production. Our consoles now connect to calls over long distances. We witnessed many customers attempting to adopt their current architectures and workflows towards remote production, so we were fortunate to be able to offer that.”

IBC we have introduced Ambeo as two-channel spatial audio. The concept is to output Dolby Atmos content to viewers with two channels on their TV, iPad and mobile phone in addition to headphones. It’s received a very positive response because a large majority of our visitors’ customers are still listening to stereo content. We’ve had a lot of feedback from sports producers and other broadcasters. During the past three years we’ve missed these conversations. We previously exhibited to receive interest from customers but, today, we are more eager to learn about problems in their workflows before recommending solutions and improvements. The Neumann Berlin business unit of Sennheiser recently acquired Merging Technologies, which adds to a complete AES67 workflow starting with Neumann microphones before being converted by Merging, processed by Dear Reality plugins and output from our latest loudspeakers. By separating the business into three distinct units, we can focus efficiently on the customer’s needs rather than going back and forth between different markets.”

Tom Murphy, ARRI:

“Since IBC 2019, ARRI has taken a keen interest in virtual production and can now offer remote control solutions. At IBC 2022 we have launched our smallest fully featured production camera, Alexa 35. It’s a 4.6K Super 35 sensor with 17 stops of dynamic range, which could take the streaming mandates. The goal is to elevate live multicam broadcast productions to a more cinematic level. Although there have been a couple of other tradeshows since the pandemic, IBC has felt like the first one where we’ve had a real international mix. After three years of Teams and Zoom, the importance of meeting customers face-to-face cannot be underestimated.”

Renato Pellegrini, Sennheiser/ProLabs:

L–R: Calrec’s Gareth Frimston and Dave Letson presented the new Argo console

Sennheiser’s Renato Pelligrini demonstrated Ambeo’s two-channel spatial AV 4

ARRI’s Tom Murphy with the latest Alexa 35 production camera

From the show floor

Abe Adt, AJA:

“We’ve focused on our latest device, ColorBox: an advanced inline colour transform box. Leading into IBC I had good expectations but, honestly, these have been exceeded; the energy is unbelievable. Traditionally, this is a tough five-day event, but [dropping to four days this year] I’d welcome another day because I’ve had so many good conversations. I’m seeing all my friends here again, talking shop and giving out a lot of hugs. Employees aren’t working in centralised facilities anymore; it’s now available at home. Editors prefer to work in the cloud using their own home setup and tools connected to cloud storage. AJA is responding to this trend and our partnership with Discover Data allows creators to work and collaborate remotely. Another reason we exhibit is to educate as many people as possible, because so much has changed since IBC 2019. There’s so much emphasis on data rather than baseband video because everything is file-based, stored in the cloud and accessed online. There’s been a big shift, with a lot of new, accompanying tools and methods. We’re aiming to simplify workflows and make lives easier for customers in addition to receiving feedback for our next round of developments.”

Andreas Hilmer, Lawo:

“It’s great to be at IBC; it finally feels like we’re back to real life. The main priority has been to engage and network with our customers and that mission has been fulfilled. We added some new features to Home software, such as health monitoring, and our new partners such as DirectOut and Merging want to become native citizens on the platform. In addition to debuting the .edge hyper-density SDI-toIP conversion device, we added a new software module to provide jpeg access compression to the We Matrix software-defined processing platform. We’ve also revealed the latest software features within the mc2 production and added hardware I/O devices to complement Power Core. As our products are IP-native, we could assist broadcasters transition to remote practices and workflows at the start of the pandemic. It went further with our factory acceptance and site configuration tests as we remotely supported our clients; this would never have been accepted prior to Covid. I am proud that Lawo could contribute towards maintaining the continuous flow of media and news. IBC 2022 turned out to be more global than expected, with visitors coming from beyond Europe including North America, Latin America, APAC and the Middle East. In an age when technical progress is so fast, standards are changing and there is a degree of uncertainty, we place our trust in relationships. And you cannot trust what you can’t touch and what you can’t see, so it’s essential to renew those relationships. IBC is like a big community with frenemies, competitors and customers with alternative choices coming together.”

if it’s right for you. Our technical specialists come to IBC to understand what the customer is trying to do. With any purchase, you’re buying a product to solve a problem or improve workflows, so we need to listen as the conversation has changed since the last time we exhibited. You don’t get the level of engagement on a videoconferencing call as you do here at IBC. Resolve always attracts headlines: I stood in this hall in 2009 when the Resolve Ultimatte system was on sale for US$650,000. Today, we offer a version that you can download for free which is not watermarked and does not time out after 30 days. We continue to find different ways of doing things, including collaboration. The Blackmagic Cloud has attracted a lot of interest as it allows users such as a colourist in London, an editor in Madrid and a VFX artist in Los Angeles to collaborate on a project in real time, and the media is then synchronised to a local 20TB storage device.”

IBC 2022 appeared to be business as usual for many

AJA’s Abe Abt promotes the virtues of Colorbox

Andreas Hilmer from Lawo

Blackmagic Design’s Simon Westland

How low can a 10-inch driver go?

Down to earth

WHEN AUDIO ENGINEER DAVID BLACKMER SOLD dbx to BSR in 1979, he had no intention of starting another professional audio company. By 1995 however, after several years’ consultancy with dbx and a move with his family to rural New England, that was exactly what he was doing.

Blackmer started on his country sojourn by adding a hydroelectric dam to an old mill on land he had purchased, acquiring the large trucks and tractors that gave his original company the Earthworks name. However, his passion for audio shone through. As Mike Dias, VP of global sales and marketing, explains: “David was driven by the idea of transferring the realistic experience of intimate live acoustic sound to loudspeakers. He could perceive differences in low frequencies depending on which high frequency driver he was using, and this information helps with time cohesion and phase linearity. He was hearing these fundamentals, but he couldn’t accurately explain why, so he started with the measurement mics to prove this supposition to himself. This led him down a path of exploration: trying to understand what our human physiology is capable of hearing and looking to meet those needs in full, with better technology.”

At this point in time, the closest any of his new employees came to having a background in audio were those running the kitchen at the café he owned, who also played in a local band. Having tried out a prototype measurement mic that Blackmer had designed to test his speakers, they encouraged him to go further and start building his own range of microphones. The TC30K was the first microphone manufactured by Earthworks, which sold its first one in 1995 before ramping up production the following year. The M30 measurement mic followed in 1997. “Our measurement microphones were the first product category that gave a glimpse of what happens when you design the performance

product that he’d been conceiving – was released in early 2004. After David’s demise, Earthworks Inc reincorporated under the leadership of his wife, Heidi Blackmer. It was her desire to continue Earthworks to honour her husband’s legacy and so that their son Daniel Blackmer, who was working part-time at Earthworks while still at school, could continue in the family business. By 2011 he had joined fulltime as VP of engineering, helping the company move into podium and lectern voice microphones. This focus on vocals has seen the podium mics being used for huge gatherings including recent outings with the Pope and President

Caroline Moss discovers how a retreat to the New England countryside several decades ago led to the formation of a homegrown microphone brand

The Ethos broadcasting mic

Earthworks’ HQ, the original mill building purchased by David Blackmer

Mike Dias, Earthworks’ VP of global sales and marketing

Biden as well as for the Mecca and Medina religious pilgrimages. They have also been deployed on major sporting events including the Super Bowl.

In 2016, Gareth Krausser, who had grown up with Heidi and David Blackmer, was appointed as Earthworks’ CEO, a position he holds to this day. A year later he was behind the launch of the DK7 drum mic system, which has gone on to tour with acts including Justin Bieber, Olivia Rodrigo, Santana and The 1975. Then, in 2019, Krausser launched the SR314 vocal microphone which was to set the look, feel and tone for the streaming products that followed in late 2020 in response to the changing working practices created by the pandemic, as well as an understanding of the need for connection when separated and isolated. These combined the core technology from the podium mics with the visual appearance of the SR314.

First up was the stainless steel Icon USB microphone geared towards music students forced to study online due to the pandemic. This was rapidly followed by the Icon Pro XLR version for gamers and streamers and, in late 2021, the Ethos broadcasting microphone was launched. While enthusiastically received by the broadcast community, its US$699 price tag meant it wasn’t widely accessible. Earthworks took note, announcing in September 2022 that it was reducing the price to $399 until the end of the year, or while stocks last.

As Earthworks president, Heidi Blackmer continues to directly oversee the growth and direction of the company. Thanks to her ongoing stewardship, Earthworks holds WBENC (Women’s Business Enterprise National Council) certification, awarded to companies that are at least 51% owned by one or more women. The company still operates from the original mill building in Milford, New Hampshire, designing, tuning, assembling and testing the microphones here as well as machining nearly all the core components.

“The DNA of the company is machining,” explains Dias. “Most microphones start their life as 12ft bars of stainless steel or aluminium and they are cut, machined and hand-assembled into the tools and

instruments that you see all over the world. There are certain ideals that we strive for that start with our domestic workforce, including the desire to create sustainable and rewarding careers in the manufacturing sector here in the US. It is for that reason that we continue to design, assemble and tune all of our products here. That said, we do recognise that we don’t have a monopoly on quality components, so we continue to leverage a global supply chain and foster relationships with international partners.”

Around 20 people are employed in production, split between the machine shop, quality control, packing/shipping and assembly. A further 10 staff are employed in engineering, sales, marketing and finance roles. Manufacturing jobs have been created for over 30 local families and many original employees are still onboard, reinforcing the belief in human potential that Earthworks has embodied since the early days of teaching truck drivers and line cooks how to transition to crafting microphones.

The company’s belief in human potential also extends to its clients. “Earthworks Audio has always been about amplifying voices,” says Dias. “We firmly believe that everyone has something to say and that everyone is a creator. This belief is at the heart of our human-centred audio approach. We are constantly looking to expand the human potential and to give creators better and more accessible tools. This is the criteria that we use when exploring any new product development opportunities.”

Dias points to the company’s ethos of revitalising this vision of human-centred audio, which originated with David Blackmer.

“That process will always be ongoing as we evolve as an organisation, but the way in which a brand communicates visually, sonically or otherwise is simply a manifestation of that vision,” he says, pointing out some recent changes to new branding and company logo. “It represents everything that Earthworks stands for: clean and unobstructed; bold, fast and professional – just like everything else that we do.”

The PM40 piano mic was David Blackmer’s last design

Full stream ahead

Starting a new business just before the pandemic could have been disastrous, but Singapore’s VStream Media soon found itself providing essential services during the country’s circuit breakers. Caroline Moss talks to one of its founders

THE PANDEMIC HAS GREATLY CHANGED THE nature of employment for people around the world, even for those in established professions, and VStream Media cofounder and MD Adarsh Mohan is no exception. Having launched the business with his partner Ang Ming Song in 2019, he quickly entered new territory, working closely –albeit remotely – with Singapore’s leading government ministers as they addressed the nation with crucial public announcements during the nation’s circuit breakers.

“The pandemic was devastating for the whole world but changed everything for us,” recounts Mohan. “Our officials

cameras in their offices, running cables and setting up consoles at a distance. Everyone was happy to work in this way and keep government business running during the circuit breakers.”

VStream was set up by Mohan and Ang as a one-stop solutions provider for AV-over-IP technologies, specialising in video streaming for hybrid events and remote productions. “We support our clients and partners on many fronts: from the conceptualisation of workflows and technical planning to knowledge-based training, all with the intent of bringing productions to the next level,” explains Mohan. “We also aim to provide educational tools and guidance to the next generation of bright minds in this age of the ever-growing and always-evolving technology landscape in the broadcast industry. Our primary workflows are structured around the usage of AVoIP technologies such as NDI [Network Device Interface] and Dante as well as PTZ [pan-tilt-zoom] cameras, which have greatly impacted the way productions are done in

With a background in telecoms engineering, Ang had been running a production company making corporate videos –which he still heads up – for more than a decade. Mohan has 18 years’ experience in the AVL and events industry, working first as an in-house engineer – again in the corporate world – before becoming a freelance audio engineer and moving into lighting and projection mapping. “Before the pandemic, Ming Song and I were doing a lot of livestreaming work for pharma companies together,” explains Mohan. “The vision we had when starting VStream Media was to maximise the use of technologies to provide our clients forward-thinking processes and solutions. We investigated the use of PTZ cameras and NDI due to our interest in pushing the boundaries of unmanned operation as well as optical and remote technologies. On some productions, the differing ideas, opinions and human errors don’t produce a desired outcome. Using PTZ cameras, we

can achieve the intended visual storytelling through the use of automation and remote control. So we explored the idea of using robots to take over some of the human functions and tried to plan our creativity in this way.”

A big breakthrough was discovering that NDI – a technology developed by NewTek enabling video-compatible products to communicate, deliver and receive high-definition video suitable for a live production environment over a computer –was the key they needed to facilitate workflows. “We needed to provide an end-to-end solution, and when we looked at using NDI with PTZ cameras, everything became so easy,” he continues. “We could use traditional capturing methods in our workflow, but the biggest advantage of using NDI is that it gets from one point to another on a single cable and it’s bidirectional. It is what I would call a cleaner workflow.”

A typical project using a PTZ camera would involve using Seervision’s AI technology to draw the stage in a virtual environment. “The moment the talent walks onstage, the camera will begin to zoom in and track all their movements smoothly and flawlessly,” explains Mohan. “We specify the area within which the presenter will be tracked, so the camera can capture that area as long as they stay within it. The camera operator has been replaced by a robot executing flawless tracking movement while the camera operator is free to do wide shots, closeups and and make more artistic contributions.”

According to Mohan, this way of working is still in its infancy in Singapore. “We are trying our best to bring this into our industry and take it forward,” he says. “Just before lockdown we did some training in Singapore for the AV companies, inviting everyone free of charge to introduce the technology and teach them what we’d been learning. In that way, we’re expanding the market for everyone.”

While acknowledging the global disaster of the pandemic, Mohan is also aware of the boost it gave his fledgling business. “Dreadful as it was, the pandemic provided us with many new opportunities and challenges at the same time,” he says. “It has not only changed the way we work but has catapulted the industry into digitalisation and the possibilities of online collaborations and workflows. We have

VStream cofounder and MD Adarsh Mohan

Mohan operates multiple PTZ cameras during a concert at Singapore’s Star performing arts theatre

VStream specialises in hybrid events and remote productions

seen a surge in demand for our services, especially in the execution of online events and online collaboration for video productions. We have clients and AV partners coming in daily to seek advice on how their ideas and productions can be executed online and what solutions we can provide to realise them. It has forced us to constantly be on our feet and have our thinking caps on, but at the same time we are extremely happy to provide solutions we were pushing to implement in the pre-pandemic era.”

VStream now employs three full-time members at its Singapore headquarters, with a further two in Indonesia, and a roster of freelance staff can be called upon, depending on the production’s requirements. The company is preparing to move into new premises with a demo studio to showcase its solutions. A dedicated team focuses on research and development while another handles operations, converting technological possibilities into real-world scenarios. “We have clients across APAC in countries including Thailand, Japan and China as well as Singapore and Indonesia,” explains Mohan. “We have also provided consultancy services to companies working on productions in the Middle East.”

and camera automation software to run multicamera productions fully autonomously. “The

meetings, studio productions and other hybrid events, making it super functional and easy to

years ago, VStream’s learning curve has been a steep one, and it will be interesting to follow

hybrid and remote

VStream Academy on livestreaming for high school students in Indonesia

Mohan conducts training on vMix livestreaming software

Taking control

Andrew King, global brand support at PK Sound, explains the technology behind the Canadian manufacturer’s robotically controlled line source system

SINCE LINE ARRAY TECHNOLOGY WAS INTRODUCED in 1992, most innovations have been focused on incremental improvements to acoustic performance and coverage control by way of software-based solutions and digital signal processing (DSP). While such refinements have undoubtedly improved some of the limitations of line array systems, it comes at a cost: specifically, a diluted output quality and efficiency.

These limitations inspired the team here in Calgary at PK Sound to build on the advantages of line source technology, creating a solution that enables vertical and horizontal adjustments to the soundfield in real time via integrated robotics. The Trinity series was the first robotically controlled line source system when it was introduced in 2015, allowing variable multi-axis coverage adjustments to be made, even after an array is flown. Users can adapt to varying room widths, avoid reflective surfaces, reduce SPLs outside the target area and, ultimately, avoid the compromise to acoustic performance inherent in digital beam steering and other DSP-based systems. Today, that technology is available in the medium-format T10 line source element, augmented by PK’s latest V4 DSP presets for the Trinity series.

One of the patents awarded to PK is for a robotic mounting and adjustment solution that enables the vertical and horizontal angles of the soundfield to be adjusted remotely and automatically – even after the system is flown. Each T10 module in the array is connected to a vertically adjacent counterpart via a rigging assembly on each side that controls the angle between cabinets. A linear actuator within each assembly enables control down to 0.1° of resolution in the vertical plane. This increase in the accuracy of an

pollution – particularly relevant in areas surrounding outdoor events sites.

Another plus is that unlike conventional line source systems, which are limited to symmetrical directivity and almost always flown parallel to the stage, leaving part of the audience without an appreciable stereo image, variable

PK Sound’s Andrew King

The

asymmetric horizontal coverage options can provide a better stereo image for a larger percentage of the audience. Since its introduction, the Trinity series has undergone upgrades to enhance its performance, capabilities and operational efficiencies. The most recent of these DSP- and firmware-based overhauls was developed together with a team of experts including Paul Bauman of PdB Sound Design Associates, who co-authored a paper titled Wavefront Sculpture Technology for the Journal of the Audio Engineering Society. “The concept of variable horizontal coverage and the need for it has always been there, and this is a very good execution of that concept –especially in the design of the cabinet itself,” comments Bauman. “The main advantage of this technology – apart from the speed of installation – is the resolution of what you can achieve in terms of coverage angles. You have 0.1° of resolution between boxes instead of fixed angles, so you have the potential to do more sophisticated coverage shaping in the vertical plane. Plus, powered speakers offer single-cabinet control, which opens up even more possibilities to optimise coverage and throw. On top of that, instead of two or maybe three discrete angles, you’ve got virtually continuous control of the horizontal plane, so the potential to do sophisticated beam forming with tapered arrays combined with the physical optimisation of horizontal coverage is a pretty powerful base to build on.”

The Trinity series’ V4 DSP presets involved extensive work to optimise the consistency and quality of output across the full spectrum of symmetric and asymmetric horizontal coverage options in each array element. T10 modules running the latest presets have a high output-to-size ratio, with measurements of 145.6dBA and 146dBC at 1m for the M-Noise test signal and virtually uniform polar patterns across 60°, 90° and 120° horizontal configurations. They will also be the first to be controlled by PK Sound’s .dynamics software application, which can handle everything from system design and venue simulation to coverage configurations, measurement, tuning, live monitoring and diagnostics. The software also integrates safety features based on load calculations, which limit the motion of the array

to maintain safety parameters in tandem with the inclinometers onboard each loudspeaker.

Variable multi-axis coverage control is an applicable solution for virtually any live sound reinforcement application, but how does it translate to real-world acoustic and operational advantages for users? Predictive simulation work is often rendered obsolete because of the last-minute changes inherent in live events, such as obstructions to suspension points, incorrect or outdated rigging plots, blocks of seating being opened or closed at the last minute and any other factors that can arise beyond an audio provider’s control. In many cases, there’s simply not enough time to adjust and re-hang a conventional line array system and technicians are forced to work with DSP to compensate for inaccurate physical design.

One of the fundamental principles of audio is: the less manipulation of the source signal, the better. Acoustic engineering is a complex and painstaking process, but ensuring

the basic attributes of physical design are correct before digitally addressing a problem results in a better experience with fewer compromises. Even practically, variable multi-axis control offers operational advantages for owners and users: flying an array straight and then making the necessary angular adjustments remotely is faster, easier and safer.

The primary concern, however, is acoustic performance. The T10’s variable multi-axis coverage control allows users to tailor a system in three dimensions and make decisions that positively impact the sound quality in virtually any indoor or outdoor application. It does so without the need for drastic DSP, instead increasing coherency and output by mechanically directing sound only where it’s intended, avoiding reflections and spillage into nearby areas and, ultimately, offering a rewarding live sound experience for audiences and engineers alike.

T10 system supporting ZZ Top

Clear intent

Caroline Moss talks to Singapore-based Clear-Com applications engineer SookFong Lau, who’s turned her lifelong passion for music and audio into a fulfilling career

How did you set out on your career path?

I’ve always loved music and watching live performances, but I was more interested in what was happening behind the scenes: the technical aspects of studio recording and live sound engineering. My heart has always been in audio, so I was fortunate to be able to pursue that as my career. Even though I didn’t continue my formal education onto university level, I got the best type of education through hands-on experience in many areas of the audio industry, from live sound to theatre and stage management to events management. I combined that work experience with tertiary classes related to these fields.

There is often a lack of awareness about the different types of employment available in the pro audio industry. How did you find out about working in this field?

It can be difficult at times to learn about new career or employment opportunities in the pro audio industry. In my experience, I’ve found that the best way to stay current with what’s happening is to put yourself in a position to be available when an opportunity comes along. For me, that’s meant pursuing education and training courses and being open to accepting freelance gigs. Also, if you show an interest and demonstrate a passion, people will recognise that.

How did you get your first break in the industry?

At first it wasn’t easy finding a studio job doing music recording, especially being young and just starting to get experience – and it didn’t help that I’ve always been a little shy! I completed some coursework in stage management, then moved on to study audio engineering, specifically studio recording. It allowed me to learn more about audio, my first love, while pursuing more education at the same time. In late 1993, a friend let me know about an opportunity to work on a wardrobe maintenance crew for the musical, Cats. This helped me get to know the local crew manager who was also the tech manager of a large audio rental company in Singapore. Once he learned I was studying audio, he got me work as a trainee in the company, starting in 1994. I was eager to learn, and

it also gave me an opportunity to branch out into a different area of audio: theatre. Not many AV engineers at the time were interested in theatre, preferring rock concerts instead. I got the chance to mix sound for theatre productions, including musicals, which was a perfect fit for me. That experience

What brought you to Clear-Com?

In addition to freelancing and corporate events management for large global organisations, I also worked briefly for Resorts World Singapore, where I’d worked with Clear-Com

Clear-Com applications engineer, SookFong Lau

Working on comms backstage at the Kallang Theatre

and more, which definitely keeps things interesting. My title hasn’t changed but the scope of my role has kept expanding and broadening. I’ve been fortunate to work on so many different functions and try new experiences as part of my job, so that it’s continually rewarding and I’m always learning something new.

What are some of your highlights while working for the company?

Many of my most vivid memories are working with customers to upgrade technologies and keep broadcasters

working from 1:00am to 5:00am. We always get it done and keep the customer operating.

How have audio and live events changed during your career?

Events across all categories have grown more elaborate and complex, with larger casts, more crews and higher levels of production value. It’s made communications during a show more important which, in turn, has made what I do – intercoms technology – also more important. Ever since the early days of my live sound career, I enjoyed

How have you addressed the challenge of being a woman in a traditionally male field?

When I started, there weren’t too many women audio engineers, which has changed from then to now. Now there are so many more. But since the beginning of my career, I’ve been fortunate to have met and worked with people who were usually willing to give me a shot. Sure, there was some gender bias, but more often it came down to the basic requirement of “are you able to carry the heavy stuff?”

Now that you’ve advanced in your career, how important to you is mentoring the next wave of audio professionals?

I’ve always found that other people in this business are willing to take care of you and help you learn so, yes, I want to give some of that back to others. It’s important that we all do what we can to pass along our experiences – good and bad – to help others learn and develop their own careers.

What are you most proud of in your career?

I’m proud that I’ve been able to make a living doing what I love and contributing to so many creative productions. I’m looking forward to continuing the work I’m doing while helping the audio and events industries grow stronger. The past few years have been tough on many industries and the live market was hit especially hard. It’s been a long two years of seeing friends lose jobs. But now, things are coming back and I’m proud to be part of that. It’s not just about the work, it’s the people, too. The more experience you get, and the older you get, you realise that’s what’s important and you want to work with people you enjoy being around.

www.clearcom.com

DESIGNED TO simplify digital workflows by delivering a scalable UHF system, Sennheiser has expanded the Evolution Wireless digital microphone series. Aiming to remove the complexities of wireless, the EW-DX has been engineered to not generate any significant intermodulation products. At the press of a button, the Auto Scan function can automatically assign frequencies using an equidistant tuning grid that allows more channels to be packed into a given frequency window. Transmitters are synchronised via Bluetooth Low Energy.

Adding to the single-channel receiver, the EW-DX offers three receiver versions: a two-channel receiver in a half-rack size with and without Dante together with a four-channel Dante receiver housed in a full 19-inch rack. The Dante versions offer various network modes to flexibly integrate into existing workflows. The receivers have a switching bandwidth of up to 88MHz, which can translate with Sennheiser’s equidistant

spacing up to 146 channels in standard mode and up to 293 in link density mode.

The EW-DX offers a choice of two bodypacks, two handhelds and two tabletop transmitters. Offering output power of 10mW for a range of up to 100m, all units benefit from the same audio input dynamic range as the existing EW-D models. In addition, the handhelds and bodypacks feature a trim control to adapt individual transmitters alternating on the same receiver channel.

The handheld and bodypack transmitters feature e-ink displays, so that should a transmitter be switched off, essential device data can still be read. Both transmitter types are fitted with in-device charging contacts and, with a dedicated BA rechargeable battery pack, can operate for approximately 12 hours. Available with either three-pin or 3.5mm jack microphone connectors, the bodypack can be used with all digital-proof Sennheiser clip-on and headset mics, Neumann miniature mics and instrument cables. Other features include

a programmable mute switch and cable emulation for guitarists and bassists. Available in two versions, the handheld transmitter comes with an optional, programmable mute switch (RF mute, AF mute, no function). Fitted with Sennheiser’s standard capsule interface, the handheld can be connected to 14 Sennheiser and Neumann microphone heads. The tabletop transmitter comes with an XLR-3 connector for standard gooseneck microphones and an XLR-5 connector for gooseneck mics with a light ring. The tabletop can be recharged inductively with the CHG 2W charging unit for 11 hours on a single charge. In addition to plugins for third-party control software, the EW-DX is integrated into the Sennheiser Control Cockpit software, Wireless Systems Manager desktop software and Smart Assist App.

FOLLOWING THE OC7 and OC16 condensers, Austrian Audio has engineered a price-sensitive dynamic vocal microphone for musicians.

Described as well-balanced and open, the OD303 incorporates Open Acoustic technology to deliver an optimally shaped super cardioid polar pattern across a wide frequency

wireless microphone antennas or equipment housed in cupboards, RF Venue has introduced a troubleshooting two-channel Remote Antenna Kit, designed to enhance the signal quality of smaller wireless systems by bringing receive antennas to the front of the rack or to the outside of equipment cupboards.

Including a pair of 1⁄2 -wave antennas designed for front rack panel mounting using the included BNC passthrough connectors or for remote mounting using

band. The open design

minimal changes in sound and feedback behaviour when holding the die-cast capsule close to the head grille. In addition, the proprietary 3D Pop Noise Diffuser reduces noise caused by explosive sounds

AtlasIED charts further airport expansions

the included bracket hardware, the Remote Antenna Kit contributes to dropout-free wireless microphone performance. Allowing connection to the antenna inputs of a pair of wireless microphone receivers, six 600mm coaxial cables are included for connecting antennas to the two-way splitters. The kits are available in the 470–530MHz, 500–570MHz and 530–608MHz frequency bands.

www.rfvenue.com

DEVELOPED FOR critical life safety and mass communications systems such as airports, AtlasIED has developed the GlobalCom-enabled 571 Mic Station. Available in both CobraNet- and Dantesupported models, the 571 Mic Station is a programmable touchscreen device that promotes audio paging and messages with GlobalCom Series announcement control systems.

The 571 Mic Station comes equipped with a touchscreen interface that can be configured with template options and security restrictions. In addition, the handheld microphone includes an omnidirectional element eliminating the proximity effect, maintaining audio intelligibility when the user is holding the microphone in close attendance. The mic station can be used with one of three mounting kits, allowing for desktop use, flush mounting and surface mounting. In addition, the touchscreen can be orientated either vertically or horizontally. Developed to deliver visual content for multisensory airport communications,

Synect has created the LookHear digital signage solution in collaboration with AtlasIED. This is the first visual digital signage display to incorporate AtlasIED’s GlobalCom enterprise-wide communications system. LookHear offers airport branding, messaging and efficient deployment of urgent communications in a custom-designed digital signage endpoint.

The natively integrated digital signage endpoint supplements urgent communications and wayfinding protocols with optional animations, moving graphics, scrolling announcements and visual warning systems. The display system threads into AtlasIED’s GlobalCom mass communication and emergency platform. By adopting voice-over-IP (VoIP) and audio-over-Ethernet (AoE) protocols simultaneously over a single IP-based network infrastructure, the communications platform can integrate within an airport’s existing network infrastructure.

www.atlasied.com www.synectmedia.com

FURTHERING K-ARRAY’S integration of its latest technologies, the Mugello line of compact line array units combine high power with intelligibility and performance control. The compact designs of the KH2, KH3 and KH5 enclosures are based on Slim Array Technology (SAT). The implementation of Electronic Beam Steering (EBS) technology in Mugello systems allows the directivity to be electronically modified to improve audience coverage, even in the absence of correct mechanical alignment. This feature allows extreme configurations where the array is hung perfectly straight, without

The Pinnacle series of loudspeakers can be adapted to discreetly blend into any space. A simple modular configuration allows elements to be added and aggregated in the creation of complex large systems. The Pinnacle-KR2 (Link) is made up of Kobra columns with 2-inch transducers, the Pinnacle-KR4 (Link) combines 3.15-inch Python models and the Pinnacle-KR8 (Link) consists of Kayman columns with 4-inch transducers. All three models comprise Thunder subwoofers in their KS1, KS2, KS3, KS4 and KS5 variants.

The adoption of K-array’s Pure Array Technology (PAT) maximises homogeneity of diffusion across the listening field. The compact Pinnacle enclosures incorporate a self-centring system that allows up to eight units to be mounted in a short space of time. Incorporating Class-D amplifiers with DSP processors, the electronics deliver the power signal to the subwoofer in addition to three further channels of amplification and processing to an entire stereo system using only one active unit. The

manages the entire ecosystem controlling the main functions of the DSP directly from the device. The remote control of subwoofers is enabled using one of three types of software, including the K-framework for Windows and Mac. The Kobra, Python and Kayman chassis are partly handcrafted from a bespoke stainlesssteel sheet, cut, folded and welded with precision to minimise vibrations and unwanted resonances. The metal can be subjected to galvanic treatments, including a 24k gold-plated finish or brushing/polishing.

that benefit PAT, the Vypers are the flattest speakers in the K-array portfolio. Available in custom RAL colours, the Vypers are housed in discreet, slim aluminium frames that incorporate a simpler mounting installation and a magnetic grille that can be removed without screws. The Italian innovator has now developed a 1m version with a high SPL rating that provides a longer throw and even coverage.

THE LATEST version of the PAcalculate Android and iOS app sponsored by RCF introduces several new features for modelling subwoofer arrays. The software comprises over 30 calculators, reference info and utilities for sound reinforcement and lighting professionals.

Version 1.3.2 boasts in-line and broadside subwoofer array calculators. The former allows for the simulation of end-fire and gradient arrays, including an obscure four-element topology originally proposed by Harry Olson. The broadside section features independent mechanical and electronic arcing and steering, with the possibility of adding a gradient line, or several end-fire lines, a type of subwoofer configuration that has become widespread to achieve wide uniform subwoofer coverage with reduced stage leakage. Frequency response graphs (front-to-back ratio as well as multi-angle responses), an isobar display, polar plots and coverage maps provide a comprehensive set of graphics for analysis of design alternatives. Up to 96 elements (sound sources) can be simulated, 48+48 in L-R mode. A table is displayed with coordinates and settings (delay, polarity) that can be emailed for reference. A

footer alerts the user if the specific configuration requires delay tuning on top of the results calculated (such as for gradient arrays).

PAcalculate can be downloaded for free and supports eight different languages, including English, Spanish, Italian and

Designed for use as a standalone speaker, flown, coupled with another NX 985-A or combined with a subwoofer, the NX 985-A features a 1.75-inch neodymium compression driver with a constant directivity waveguide, 8-inch midrange on a phase-coherent waveguide and a 15-inch LF woofer.

Offering consistent 100° x 60° coverage and operating within a 40Hz–20kHz (–10dB) linear frequency response, the three-way design can produce a maximum SPL of 138dB. Loaded with a 2,100W Class-D amplifier, the NX 985-A also incorporates FiRPHASE and Bass Motion Control DSP processing. Finished in a durable outer texture, the wooden cabinet with ergonomic handles on each side can be coupled for improved coverage, in addition to being flown or truss-mounted using the

included M10 rigging points and accessories. Designed as a multipurpose, two-way, full-range series of loudspeakers suitable for a wide range of sound reinforcement applications including stage monitoring, RCF has launched the Compact A Series. The Compact A 10 combines a 10-inch woofer, a 1.75-inch compression driver and a constant directivity True Resistive Waveguide to produce 100° x 60° coverage. The 16.2kg polypropylene composite cabinet benefits from M-brace internal reinforcement, for

secure flown, pole-, wall- or truss-mounted installation using the multiple rigging points and available accessories. The 350W power handling model can produce up to 128dB SPL, within a 60Hz–20kHz (–10dB) frequency

Based on the same build, components and dispersion characteristics, the larger Compact A 12 and A 15 models distinguish themselves with 12- and 15-inch woofers respectively. Weighing 18.8kg, the 400W Compact A 12 version can produce deeper bass to 55Hz (–10dB), while the 450W Compact A 15 is capable of producing 130dB SPL down to 50Hz (–10B).

In brief, a Dante version of the XPS 16K has been released. The XPS 16KD is equipped with a Dante board that makes eight additional digital inputs available.

www.rcf.it

Control Contractor Series blends in

JBL PROFESSIONAL has extended its Control Contractor Series with wall-mounted, pendant and landscape loudspeakers in addition to three subwoofers. Intended to provide versatility when designing new systems or when adding to legacy setups, the latest additions feature multitap transformers for use in distributed systems, which are switchable for direct operation.

The Control 68HP has been designed to provide clarity and consistent coverage in open-architecture ceiling applications and rooms with challenging acoustics requiring especially high SPL capability from a pendant loudspeaker. Incorporating an 8-inch LF woofer and a coaxially mounted 1-inch HF compression driver, the two-way pendant incorporates a 68W multi-tap transformer for 70V/100V distributed loudspeaker lines and is switchable for 8Ω direct operation.

Providing a 110° constant directivity dispersion pattern, the Control 68HP ships with a secure mounting system including main and safety suspension cables and an included 4.5m-high tensile galvanised steel wire rope with spring clips and UL-listed cable fasteners.

Featuring 3- and 4-inch drivers respectively, the SLP12/T and SLP14/T low-profile, fullrange enclosures are equipped with 15W and 25W multi-tap transformers for use in

70V/100V systems and are switchable for direct 8Ω operation. With similar voicing to the JBL Control 12C/T and 14C/T ceiling speakers, the 40W and 50W coaxial models include a slide-in wall bracket and the 15°

down-tilted coverage allows flush-mounting against a wall. Finished in either black or white, an inclusive rain cover protects the terminal compartment in outdoor applications.

Primarily designed for outdoor commercial use, the GSF3 and GSF6 landscape loudspeakers offer wide coverage with respective two-way 3- and 6.5-inch coaxial drivers. Featuring 15W and 30W multi-tap transformers for use on 70V/100V distributed systems, switchable for 8Ω direct operation, both models are available in hunter green and tan finishes. Mounting options include a ground stake and an L-bracket for secure mounting on either horizontal or vertical

By adding GSB8 or GSB12 in-ground landscape subwoofers, extended bass response down to 39Hz (–3dB) is catered for with a steep, multiple-slope low-pass filter. Augmenting the Control 80 Series landscape speaker series, the Control 89MS aboveground landscape IP56-rated subwoofer features an 8-inch driver that can deliver 115dB (peak) of bass down to 40Hz. The builtin low-pass crossover features a dual-slope filter, creating a balanced subwoofer transition, regardless of whether the speaker is driven from a full-range or a dedicated subwoofer amplifier channel. The dedicated subwoofer band multi-tap transformer and tap selector with 8Ω bypass promote its use in 70V and 100V distributed systems.

New wave of Crest Audio speakers hits the ceiling

OFFERING A low-recessed profile and widely distributed audio coverage, Crest Audio has launched the CPL T Series of ceiling speakers. The two-way, flushmounting series with back cans currently consists of the 4-inch CPL 4T with 40W of

Athos R adds to Equipson’s green credentials

Fulcrum balances compact form factor with high output

RETAINING THE compact enclosures and associated features of the original AH series while incorporating upgraded drivers capable of higher output, Fulcrum Acoustic has released the AHC2 high-output coaxial horn.

CPL 6T with 50W and the 8-inch CPL 8T with 90W. Each model integrates a 1-inch soft dome tweeter with titanium membrane, which can be aimed towards the listening area.

Located at the speaker face and behind the front grille, a five-step Tap selectable switch can be adjusted before and after installation for both 70V or 100V Hi-Z distributed speaker lines and up to 90W selectable. The injectionmoulded plastic units are housed in a steel fire-rated back can equipped with four-pin screw terminal daisy-chain wiring terminations. In addition, the magnetically attached front grille in a white finish can be painted to suit any interior.

DEVELOPED AS a more environmentally friendly loudspeaker range, Equipson has performed a “green” redesign by adapting eco-friendly polymer cabinets. More efficiently manufactured and as durable as fibreglass for outdoor environments, the enclosures are more biodegradable towards the end of their useful life. Manufactured to resemble wood, the material improves the acoustic performance of the loudspeakers. The 250W Athos 6R, the 300W Athos 8R and the 400W Athos 10R make up the existing passive Athos R Series. Created for outdoor applications with sealed connections on the rear panel, the enclosures can be equipped with U, X, Y and fixed position brackets to enhance installation options. The Athos R series front panel now resembles the Entar loudspeaker series.

The Spanish manufacturer has also updated the Pro Zenith amplifier series from its Work range, with a switching power supply. Designed to improve airflow, the four Class-D amplifiers sport a remodelled front panel. Operating in stereo, bridge and parallel modes, with power levels between 2x500W @ 4Ω and 2x1,750W @ 4Ω, the amplifiers

are equipped with balanced connections, an input signal sensitivity selector and protections.

The WFS 5 CX two-way loudspeaker incorporates a 10-inch coaxial bass-reflex woofer and a 1-inch tweeter. A covered rear panel is equipped with five power tap positions from 12.5W to 200W for 70V/100V line systems in high-impedance applications. Finished in black or white, the IP66-rated ABS material enclosure makes it suitable for a multitude of indoor and outdoor applications.

Comprising physical faders, encoders and a separate DMX engine capable of supporting up to five devices simultaneously, the LightShark range of lighting consoles has received a major software update. The LS-Core and the LS-1 consoles integrate wirelessly with the Lightshark software engine via web-based user interfaces including PCs, smartphones and tablets. The latest software updates include Autosave, an Exclude Fixture, a Freeze Fixture, a Focus Active Cue, Playback exclusion from control by the Grand Master and various improvements to Cue controls.

Providing broadband pattern control to below 400Hz and low-frequency extension to below 80Hz, the AHC2 products are available in multiple horn patterns and incorporate two high-power 10-inch woofers and one coaxial mid/high compression driver. The length of the low-frequency horn is extended while the cabinet depth is minimised with Fulcrum Acoustic’s Compression Head horn architecture and Oculus Phase Plugs.

Fulcrum Acoustic’s proprietary Temporal Equalisation ensures clarity and precise transient response, even at high sound pressure levels. The AHC2 Series currently comprises the AHC295 (90° x 45°), AHC296 (90° x 60°), AHC265 (60° x 45°) and AHC266 (60° x 60°).

Wharfedale Pro focuses on natural sound

THE GPL Series from Wharfedale Pro is a range of 12 compact point source birch plywood cabinets including bass-reflex and band-pass subwoofers. Integrating coaxial drive units and an original waveguide horn design, the full-range models provide spherical or 80° x 40° (HQ models) dispersion options. The unique horn allows the high-frequency range to be addressed directly to the audience and the HQ models are equipped with a turntable constant directivity horn for more accurate asymmetrical coverage. Available in a black or white finish, the multiple mounting options include yoke brackets, while the rear panel features speakON compatible and barrier strip connections. FIR preset libraries are also available for download.

The UK manufacturer has also refreshed its Sigma series of installation loudspeakers featuring rotatable HF waveguides. Enhancing their installation credentials, the nine Sigma-X enclosures feature speakON and barrier strip

connections, mounting and rigging options and newly designed front grilles. Also available as a Hi-Z 70V/100V format, the Sigma-XV5 and XV9 columns feature HF compression drivers coupled to a mini-EVO-Fold waveguide utilised in the WLA-1 Hybrid Curvature Array system.

EASE GLL files, FIR presets and system diagrams are available for download.

Designed primarily for mobile performers, the IS-48 is an active entertainment system that comprises three interlocking column elements and an 8-inch active subwoofer. In

addition to hosting the internal amplification, the subwoofer powers the full-range column element and incorporates an internal mixer and media player module. Two of the column elements include LED lighting effects with four modes. The plug-and-play system incorporates SD card, USB and Bluetooth inputs together with an IR Remote control and TWS system pairing for wirelessly connecting two IS units for a full stereo system.

Providing four input and eight output channels, the SC-48 FIR Versadrive processor delivers routing and distribution for loudspeaker networks. Independent control of magnitude, EQ and phase optimisation is included with FIR filtering. Remote control editing is possible from a PC via USB connection, a D-sub connector (RS-232/RS-485) and an RJ45 interface by downloading the inclusive software.

HK forecasts Polar front extension

WITH THE launch of the Contour CT28, 1 Sound has added a three-way, passive, hornloaded point source speaker to its growing catalogue.

and four M6 points, the CT28’s versatility

settings with a wide range of accessories,

DESIGNED TO deliver optimal sound in confined spaces and for smaller stages, HK Audio has developed the Polar 8 as a highly portable, smaller addition to the Polar 12 and Polar 10 speaker systems. The subwoofer’s birch plywood 13kg enclosure incorporates a 1,200W amplifier with 24-bit DSP and an 8-inch long-excursion woofer that is capable of operating down to 50Hz (±10dB). Optimised for a powerful midrange response, the top section is loaded with six 2.5-inch neodymium midrange drivers with a 1-inch voice coil in a curved column arrangement. Tuned to project a 120° throw pattern and impede feedback, the Polar 8 can also be adopted as a stage monitor.

Capable of delivering a maximum SPL of 145dB and a bass response down to 70Hz (–6dB), the Contour CT28 maintains its directionality in the far field with a consistent 100° x 50° coverage pattern down to 200Hz. Two 8-inch LF drivers together with a 4-inch and 2-inch coaxial mid-high frequency driver form the electroacoustic components within the 345mm x 345mm x 510mm (WxDxH) birch cabinet. In addition to the eight integrated M5

system and tube mount. Weighing 20kg, the compact enclosure is available in black, white or RAL custom colours with a protective magnetic front grille that can be removed from the front of the IP55-rated cabinet.

www.1-sound.com

The input panel comprises two mic/ line channels, one aux channel for music players and TWS Bluetooth for connecting two Polar 8s to form a fully fledged stereo system. The mixer’s settings can be stored in five presets for future access and audio streams can also be rendered wirelessly via Bluetooth 5.0. The system comes complete with a padded gig bag for the columnar elements and a padded cover to protect the subwoofer in transit.

www.hkaudio.com

Events draw on ribbon-cutting solutions from Alcons

EXTENDING ITS catalogue of line array solutions, Alcons Audio has created a two-way micro array for both portable and fixed installations that can be deployed as a vertical array, either in stacked or flown configurations. In addition to the 6.5-inch LF woofer, the LR7 is loaded with a RBN401 pro-ribbon driver on a Morpher lens which creates a cylindrical wavefront resulting in high throw efficiency and projection control. Available in 90° and 120° configurations, the LR7 exerts consistent horizontal dispersion within a 74Hz–20kHz (±3dB) frequency response range. Weighing 8kg, up to five enclosures can be pole mounted for plug-and-play use and bass extension can be provided with the companion LR7B line array bass module. Driven by the Sentinel amplified loudspeaker controller, optimisation of the system’s response is via LR7-specific drive processing and feedback for each array, including presets for phasematched LF extensions. The Androgyn flying hardware enables an acoustically

symmetric L-R system with the asymmetric LR module.

The Dutch innovator has extended the VR series with the creation of the VR8 as a fullrange PA, stage monitor or an under-balcony

Hortus Audio adds to LVT series

THE LVT-128 from Hortus Audio features 100° horizontal directivity, two-way integrated amplification and built-in DSP. The line array comes with a 1,550W bass complemented by 800W mid loudspeakers and a 200W treble. It consists of a phase correlating system that can effectively increase the cut-off frequency limit of the midrange loudspeakers and significantly improve the reproduction of frequency responses.

The LVT-128 frequency range of 60Hz–18kHz (±3dB) and nominal sound pressure

level of 135dB flow from the bass section’s 6th-order bandpass enclosure as well as from its 1,300W AES 12-inch loudspeaker. While the 700W medium section has a bass reflex of 2 x 8 inches regulated by top notch phasing signal controllers, the 120W treble section is powered by a 1.5-inch dual compression driver. The LVT-128 box is made out of Baltic birch wood and the line array is also available as a two-way passive version.

www.hortusaudio.eu

VR8 features the RBN401 pro-ribbon driver mounted on a rotatable 90° x 40° waveguide for projecting “real 90” horizontal dispersion up to 20kHz. An 8-inch mid-bass transducer with a 2-inch voice coil motor structure and treated cone extend the LF range down to 74Hz (–3dB).

Available in a mirrored version in the form of the VR8M (mirrored asymmetric cabinet and baffle configuration) for symmetrical monitor pairing, the Durotect-coated asymmetrical enclosure design promotes flexible mounting on ceilings and walls. Increasing response accuracy regardless of cable length and system impedance with accurate mid and bass response, Signal Integrity Sensing (SIS) pre-wiring ensures complete cable-connector compensation between the VR8 and the ALC controller amplifier.

Designed to offer a high output and accurate sub-bass when extending the LF response of any Alcons pro-ribbon system deployed in permanent and portable ground-stacked applications, the BC332 is a self-contained cardioid subwoofer. The front and rear located woofer configuration together with dedicated processing promote selectable cardioid LF pattern control and up to 42dB rear rejection without the need for additional cabinets.

www.alconsaudio.com

Vaddio highlights in-room audio solutions

THROUGH ITS robotic PTZ camera and camera control systems company Vaddio has developed products that integrate into new or existing systems to deliver high-quality audio.

The new offering includes the EasyIP Ceiling Speaker D, EasyIP AMP D and EasyIP CeilingMIC/ AMP D. The EasyIP AMP D powers passive speakers and brings Dante-networked audio to any space. For more convenience, the EasyIP CeilingMIC/AMP D features Vaddio’s Dante ceiling microphone with a built-in amplifier for powering nearby analogue speakers from a single PoE Ethernet connection.

The new audio offerings join other AVoIP audio solutions from Vaddio, such as the EasyIP ceiling and table microphones,

EasyIP Mixer and AV Bridge 2x1. The EasyIP Mixer features a Dante audio matrix that allows installers to combine Dante audio sources with EasyIP cameras, making it a simple production switcher, while the AV Bridge 2x1 combines Dante audio with analogue video mixing functionality in a single device.

Away from audio, the manufacturer has announced a new PTZ camera specifically engineered and certified for use in Microsoft Teams Rooms. The camera features 30x zoom with 70.2° field of view and is equipped with Vaddio’s IntelliFrame auto-framing technology. Rather than rely on facial recognition alone, which can fail with facial coverings or falsely identify objects like posters on the wall as people, IntelliFrame

uses a combination of sensitive motion detection and complex algorithms to deliver participant framing.

IntelliSHOT-M also allows for fine-tuning the camera’s speed for following a presenter and how tight the shot should be around the instructor. The integrator can adjust the wait time before framing additional people up at a whiteboard, how often the auto-framer resizes the image and limit how much zoom is allowed.

If time is of the essence, the camera

it fast to install and configure without compromising performance.

IntelliSHOT-M is PoE+ powered and network connectivity allows IT administrators and tech staff to manage and control the camera remotely via Vaddio’s web-based user interface. They can select Vaddio IntelliSHOT-M cameras from the network, choose an action like rebooting the device or conduct mass firmware updates on hundreds of devices all at once, saving time for corporate or educational campus staff

A SECOND generation of Yamaha’s STAGEPAS 1K portable PA system has been unveiled by the Japanese manufacturer and is complemented by the launch of the DXL1K, a user-requested sister system that omits the onboard mixer.

Featuring a high-frequency array of 10 1.5-inch speakers and a 12-inch bass-reflex subwoofer, all driven by an integrated Class‐D amplifier, the STAGEPAS 1K is an all‐in‐one portable PA that provides professional audio performance from a small footprint and slimline vertical profile. The new mkII variant adds enhanced sound pressure levels and more flexible remote control capabilities.

A fully redesigned, 1,100W Class-D amplifier delivers 125dB SPL, while functionality is enhanced with STAGEPAS Controller, a new software application that allows users to remotely control all STAGEPAS 1K mkII parameters using an Android or iOS device. In addition, a scene recall feature allows for the saving and recalling of settings for individual songs or applications, reducing the setup time during rehearsals or performances.

The DXL1K shares an identical power amplifier, speaker arrays, cabinet construction and slimline profile, without the onboard mixer. In addition to being suitable for use as a standalone powered speaker system with a separate audio mixer, linking STAGEPAS 1K mkII and DXL1K systems provides increased coverage and output power for larger‐scale events. A 1:1 system can be set up to deliver either stereo or mono sound.

If the STAGEPAS 1K mkII is set to deliver mono audio, the inputs of the DXL1K and STAGEPAS 1K mkII can both be used, meaning up to five mono inputs plus one stereo input are available. Similarly, two DXL1K can be used with two STAGEPAS 1K mkII – or three DXL1K with one STAGEPAS 1K mkII – to cover

CREATED TO offer customisation and scalability across a variety of types, the Q-SYS SPA-Q Series provides multiple I/O options for room

www.yamaha.com/proaudio

DENEB and DUBHE increase RAM capacity

WITH THE advent of the DENEB series, RAM Audio has developed a four-channel amplification platform. Capable of outputting up to 9,600W over 2Ω, 4Ω and 8Ω impedances, the DENEB-2.5Q, 5Q and 10Q models can also operate in 35V, 50V, 70V and 100V line mode. The Class-D models incorporate 96kHz DSP functionalities including peak dynamic control, an input EQ user section with up to 20 presets, an IIR EQ section with crossover, gain, delay and seven EQ filters, together with an FIR EQ section with linear phase crossover and EQ filters that can be customised up to 1,000 taps.

DSP management can be accessed via the RAM OCS or via the IPS capacitive touch panel interface. The rear panel of the 2U chassis incorporates Phoenix connectors for inputs and outputs, in addition to two Ethernet ports for optional Dante networking (AES67) and AES3 digital inputs. A USB port is located on the front

MC2

for pairing with smaller Q-SYS Cores, including the Q-SYS Core Nano for decoupling the I/O from the processor.

The convection-cooled Q-SYS SPA-Q 100-2f (two channels x 60W) and Q-SYS SPA-Q 200-4f (four channels x 60W) amplifiers provide bidirectional GPIO

in height, the latest amplifiers include hardware for multiple mounting options.

www.qsc.com

panel for easy access DSP control. Weighing 7kg and designed upside down to avoid fan dust accumulation, other DENEB features include universal power supply with PFC, RAM Audio advanced Power Control Management (PCM) and a temperature controlled, front-toback cooling fan.

Dedicated to the fixed installation sector, the DUBHE Series are four-channel amplifiers for connecting loads in low and high impedance. Incorporating input and output Phoenix connectors together with output level control potentiometers in the rear panel, the amplifiers can be configured according to specific needs in bridge mode, subsonic filter, channel power limiter and signal link. Further equipped with a GPIO connection to interface with a third-party control system, the DUBHE amplifiers can meet the power requirements ranging from 300–2,500W per channel.

configuration

MC2 AUDIO has launched two new amplifier models – the i-64 and i-68 – aimed at satisfying the needs of contractors requiring quick rearpanel configuration of 70V/100V line sources. Low impedance and bridging mean the same models are able to cover subs in clubs, ceiling loudspeakers or high-end residential cinema requirements. They deliver scalable power with changes in load of 325W@8Ω, 650W@4Ω and 750W@2.7Ω, with 500W@100V and 600W@70V. The models have universal power supplies, barrier strip speaker outputs and phoenix-type analogue inputs, while integration is made possible with GPIO for control and monitoring by a third-party control system or simply a remote switch. Load monitoring, a Dante option and an auto-sleep mode complete the feature set.

XTA and MC2 have also announced a major collaboration with globcon alongside the launch of two new multichannel installation amplifiers.

globcon is a global control software platform for the management of professional entertainment production equipment that already controls DirectOut products. XTA, MC2 and globcon have partnered to produce a new software control module for XTA DPA and MC2 Delta DSP amplifiers that allows MC2 and XTA amps to be monitored and controlled along with DirectOut products and the Rational Acoustics Smaart measurement system.

This will enable XTA and MC2 users the benefit of control via PCs and Macs, multiple window control and floating faders. The XTA/MC2 grouping system gets a major upgrade as well, adding a crosspoint matrix for quick group assignment and group spill feature, allowing an engineer to drill down quickly to individual members of groups.

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

LEA PROFESSIONAL is shipping its Connect Series 1504. The four-channel 1504 model drives up to 1,500W per channel (into two, four and eight in addition to 70V and 100V RMS) and is available in network connect (1504) and Dante connect versions (1504D). The 1504 and 1504D feature advanced DSP that includes linear phase FIR filters and up to 4s of delay. Enhancing flexibility, the Smart Power Bridge feature consists of two Smart Power Bridge channels for transforming the amplifier into a dual 3,000W model. Network connection can be made through the integrated Wi-Fi access point, by connecting to an existing Wi-Fi network or by utilising an LAN Ethernet connection.

Providing secure remote monitoring and control capabilities allowing SIs to work remotely, the Connect Series models boast built-in Amazon Web Services (AWS) IoT Core via the LEA Cloud Unique. Furthermore, the Connect Series has access to the LEA Professional web UI providing a clear status check of every amplifier connected to the network and a status of every channel on any given amplifier to monitor channel performance. The platform can be used to view and adjust channel settings such as input settings, signal generator, crossover, equaliser, limiter and load monitoring.

www.leaprofessional.com

AEA reveals 3G 500 Series preamp

RIBBON MICROPHONE and preamplifier producer Audio Engineering Associates (AEA) has unveiled the first product in its third generation of microphone preamps. The US brand claims that the slightly neutral TRP500 is unlike other clean preamps owing to its rich and musical tonality. Optimised for ribbon mics, the single channel 500 Series format offers up to 85dB of gain for any microphone.

ACCOMMODATING A variety of optional modules, the XMP44 SourceCon modular audio system has benefitted a multitude of installations with its four interface card slots since its release in 2016. Designed and manufactured by Audac, the variety of available modules ranges from FM tuners to DAB+ tuners, internet radio tuners and voice file interfaces. Simultaneous operation for all four modules is said to ensure that the multi-source system can be appropriately expanded for any multi-zone audio system. With the launch of the DMP42 SourceCon DAB/DAB+ and FM tuner module, the Belgian developer is providing access to a wider selection of radio stations.

When inserted into a supporting slot, the module is instantly installed, discovered and ready for operation. Stations can be selected manually or

HOME extensions for Lawo

LAWO HAS introduced the HOME-native .edge hyper-density SDI/IP conversion and routing platform. Each rear I/O blade integrates 48 HD-BNC connectors in

infrastructure management solution, which is officially labelled as NMOS IS-04 and IS-05 compatible in the controller and registry category. Through the API-based “lives@HOME”

Based on the circuit and topology of the original AEA TRP preamp, the TRP500 exerts low noise, musical sonics, high gain and high impedance (100,000Ω) qualities. Other features include up to 85dB of DC-coupled gain, minimal path architecture and a switchable 115Hz or 230Hz high-pass filter.

www.aearibbonmics.com

automatically, with up to 10 preferred channels that can be internally stored and recalled. Radio station information carried by RDS/ Radiotext can be retrieved, while functions such as mono/stereo switching (FM) reportedly provide optimum audio clarity. Enhancing the intelligibility for low volumes in applications with high BGM levels, the signal output level is user-configurable and the dynamic range compression (DRC) is supported. Signal reception strength can be retrieved from the module and indicated on the graphical interface of the controlling device.

replacement and hyper-density conversion unit for IP and hybrid infrastructures provides full support for the SMPTE ST 2110 suite in addition to ST 2022-7 redundancy and seamless protection switching of audio, video and ancillary data streams in both local and wide-area network operations. The evolving V__matrix platform has been expanded with the addition of the vm_jpegXS

network. Other additions to the HOME feature set include Signal Rights Management for audio parameters and system health, which provides status information regarding components with centrally logged information, warning and error entries. With the addition of C100 processing blades, Lawo’s LCU commentary unit and the Nova73 router to the HOME inventory, the inclusion of the entire Lawo product portfolio nears completion.

The Audio I/O Extender (AIOX) is a softwaredefined DSP mixing and I/O engine for the Power Core gateway that bridges baseband audio formats and AES67 IP media networks.

Each AIOX 1U unit provides up to eight additional I/O card slots delivering up to 64 additional channels of I/O. Up to 20 AIOX units can connect to one Power Core via coax, twisted pair or fibre, providing

compliant TicoXS codec, the vm_jpegXS app provides full ST 2110 compatibility for interoperability while offering higher video compression ratios. Supporting compression ratios between 5:1 and 36:1, the vm_jpegXS offers four encoding and four decoding from and to JPEG XS (ST 2110-22). Uncompressed signals can be interfaced with SMPTE ST 2110, ST 2022-6 or SDI.

The German brand has engineered features including health monitoring and native support for third-party devices for the HOME IP

with signal ownership groups, health monitoring and user lists to the available feature set with the latest v10.4 software update. Signal ownership groups arbitrate resources shared on a network and signals originating from a variety of devices or locations can be combined into logical groups. In production environments, control assignments can be isolated to avoid accidental overrides by other networked consoles.

Everywhere further extends its reach

LISTEN TECHNOLOGIES CORPORATION

has extended the Listen Everywhere audio over Wi-Fi series with the development of a dedicated receiver. By streaming audio over Wi-Fi, personal smart devices can function as receivers by allowing guests to listen to venue audio from their smartphones using headphones. Alternatively, audio can be transmitted directly to Bluetooth-enabled speakers, headphones or hearing aids.

Developed for guests who prefer not to use their own smartphone to stream real-time audio, the Listen Everywhere receivers support hearing aid telecoils when used with a neck loop. Compliant with the Americans with Disabilities Act (ADA), the LWR-1020 receiver is available as an add-on to existing Listen Everywhere servers. Available in a bundled ADA-compliant assistive listening system, the SKU (LWS-10) includes a two-channel server, rack mount kit, two LWR-1020 receivers, two

protective receiver cases, two neck loops, two ear speakers and a signage kit.

The Listen Everywhere series has been further enhanced with a Dante-enabled Wi-Fi audio server. The LW-150P-D two-channel server promotes the routing and management of Listen Everywhere audio via Dante Controller software. Integrating existing IT infrastructures, Dante enables monitoring and user access controls. The two-channel server is available with or without Dante in an SKU (LWS-10-D) bundle that includes a rack mount kit, two LWR1020 receivers with protective cases, two neck loops, two ear speakers and a signage kit.

Tascam and Atomos announce wireless synchronisation

TASCAM AND Atomos have jointly made wireless Bluetooth synchronisation available for the Tascam Portacapture X8. With the addition of the optional Tascam AK-BT1 Bluetooth dongle for the Portacapture X8 and either the Atomos Connect devices, AtomX SYNC or Ultrasync Blue timecode sync adapters, the Portacapture X8’s eight-track recording capability can be wirelessly synchronised using 192kHz/32-bit float point recording technology with a wide array of video cameras.

Syncing via timecode enhances the post-editing process by aligning files on a time basis, particularly on projects using multiple cameras or recorders. Used as the master timecode device, the Atomos Ultrasync Blue is a wireless timecode adapter that can synchronise any compatible camera and the Portacapture X8/AK-BT1 using Atomos AirGlu connectivity. With wireless Bluetooth transmission operating up to 30m for up to six

Portacapture X8

used as the Master Timecode source, a more sophisticated camera setup can receive a direct timecode feed while the Ultrasync One wirelessly sends timecode to the Ultrasync Blue, which in turn wirelessly feeds the Tascam Portacapture X8/AK-BT1.

For production environments using either the Atomos Shogun Connect, Ninja V or Ninja V+ to record and monitor onset, the Atomos AtomX Sync connects multiple Atomos devices, cameras and audio recorders by adopting RF wireless technology. To facilitate wireless timecode synchronisation via Bluetooth, the Portacapture X8 control app has been updated to include the tools necessary to operate the wireless sync

for each of the Mixcast 4’s eight sound pads. Now, each individual pad including the pre-assigned Bleep tone can have its own user-defined output level for volume. This new function enables complete control by the user for the sound pad mix – to adjust the volume of individual pads to constitute a wellbalanced podcast.

www.tascam.com

Offering the flexibility to function either as a transmitter timecode server or as a receiver client device, the setup can be expanded by adding the Atomos Ultrasync One. When

In other news, version 1.30 firmware for the Tascam Mixcast 4 Podcast Station has introduced several new functions for streamlining the process of content creation. The upgrade includes the addition of level adjustment

finds a new voice

WITH THE unveiling of the BF10.10LA, Lavoce Italiana has made the professional transducer manufacturer’s first entry into the compression tweeter category. Including a compact integral horn, the BF10.10LA is a ferrite magnet compression tweeter designed for projecting high frequencies to a multiway audio system using one or multiple

devices. Alternatively, it can also be integrated as the HF section of a bass guitar cabinet or combo. The BF10.10LA uses a one-piece aluminium diaphragm and surround with a 1-inch copper-clad aluminium voice coil on a Kapton former. With a 20W AES power rating and 106dB sensitivity, the BF10.10LA operates within

4

a 5kHz recommended crossover point. Like all Lavoce high-frequency devices, the BF10.10LA has been designed and optimised using proprietary FEA software applications to produce an accurate device with low distortion and a linear frequency response.

WyreStorm unveils smarter 4K HDR 1:8 HDMI splitter

WITH THE release of the SP-0108-SCL, WyreStorm Technologies has upgraded the HDMI splitter to replace the SP-618. Purporting to be smarter and more p owerful, the 1:8 4K HDR HDMI splitter comes with scaling outputs, audio breakout, EDID management and CEC. Providing added tools for troubleshooting, such as testing API commands and the uploading of EDID files, the downloadable PC software

eliminates the need for a control system. Allowing for mixed resolution displays to be used simultaneously without suffering from compatibility limitations, each of the eight HDMI outputs has a 4K to 1080p down-scaling capability. Featuring both an analogue and digital S/PDIF, HDMI input audio can be de-embedded to a secondary audio distribution system without external adapters or converters.

www.listentech.com

www.lavocespeakers.com

LWR-1020

Audinate bolsters Dante Studio software

WITH DANTE Video TX and Dante Video Viewer, Audinate has added two new tools to its Dante Studio software to further advance AV production capabilities. As an application within the Dante AV ecosystem, Dante Studio integrates PC applications with AV-over-IP. Created to provide a complete networkable AV workflow, the Dante Video TX virtual transmitter works with the standalone Dante Video Viewer application to monitor video signals coming from products on the AV network, bypassing the need for a dedicated video-related application.

for broadcast applications requiring the lowest latency and completely synchronised audio and video, the original Dante AV module has been renamed Dante AV-Ultra and is the highestperforming solution in the new Dante AV family.

Providing the opportunity for OEMs to incorporate Dante control into existing H.264based IP video product designs, Audinate has developed the Dante AV-H software solution. As one of the most used compression standards today, H.26x is available on products that use H.26x codecs available on most Systems on a Chip (SoC).

Waves heads to the cloud

Dante AV-H into AV production workflows. Capable of monitoring all Dante AV cameras and sources on a network, Dante Studio allows the use of high-resolution, low-latency Dante AV video directly in AV production applications, such as OBS (Open Broadcaster Software) or platforms such as Teams and Zoom.

By adopting Dante Video TX, a Dante video stream can be transmitted directly from a PC by capturing the Windows display output, for sharing on the entire PC screen as a Dante AV flow to the network. Capable of supporting 4K video, the receiving Dante Video RX channel enables Windows PCs to receive video from any Dante AV-enabled source. Dante Video RX and TX supports 1080p resolution, 60fps and system timing and synchronisation, together with separate routing of video and audio elements.

In addition, Audinate has expanded Dante AV variants with new partners for different streaming bandwidths to deliver networked video over standard Gigabit networks. Designed

video product designs, including PTZ cameras, encoders and decoders using Dante Domain Manager. It integrates Dante audio into AVover-IP products, for independently routing audio and video to wherever it is needed using Dante Controller software. All Dante AV family products use a single application to manage both audio and video for enhanced ease of use. Interoperable with more than 3,500 Dante products on the market, Dante AV can be separated into routable streams for audio and video, making integration with sound and recording systems simpler.

In brief, the manufacturer has announced the release of the Dante Brooklyn 3 audio networking module and Dante Fremont 3 AV networking module. The new units are pincompatible replacements for Dante Brooklyn 2 and Dante Fremont modules and have been redesigned to ensure continuous availability while delivering support for current and future Dante features.

www.audinate.com

Shipping with mounting brackets, the more compact SP-0108-SCL HDMI splitter can be discreetly mounted locally close to the source within digital signage, education, retail and hospitality settings. Retail electronics showrooms can distribute the same HD content over eight simultaneous display outputs. The splitter supports full 18Gbps 4K60 4:4:4 video content compatible with the

latest HDR video standards, including HDR10, HDR10+ Dolby Vision and HLG.

As part of WyreStorm’s increasingly environmentally sustainable product line-up, the splitter adopts 12V 1A DC power, which utilises a fraction of its predecessor’s power consumption, and releases less heat.

WAVES AUDIO has adopted NDI (Network Device Interface) for cloud-based productions with the Waves Cloud MX audio mixer. The NDI network protocol for transporting media streams over Ethernet allows video and audio sources to be shared bidirectionally across a network. Operating within NDI-based environments, the NDI-compatible mixer is also deployed on AWS. Broadcast and media production teams can add the Waves’ Cloud MX audio mixer directly within the cloud workflow for routing audio inputs and outputs via NDI. With the introduction of the Waves CA3000MX, Waves has developed an install-ready commercial audio mixer and processing engine for deployment in single-room and multi-zone AV installations. Housed in a half-width 2U rack-mountable chassis, the CA3000-MX combines a digital audio processing engine with an install-ready version of the Waves eMotion LV1 mixer for supporting up to 32 stereo inputs, 24 stereo aux mix outputs and a 12x8 stereo matrix. The CA3000-MX integrates either with standard ASIO-compatible (USB or Ethernet) audio device drivers or with a Dante Virtual Soundcard (DVS) for audio networking. Specific processing customisation can be added to the CA3000-MX in the form of Wave plugins including feedback suppression, dynamics control, source levelling, noise

reduction, acoustic response, broadcast streaming and optimisation. Built-in USB and HDMI/DisplayPort assists system configuration. Venues requiring automatic mixing of multiple live microphones can optionally add the Waves Dugan Speech plugin to automatically control the gains of multiple microphones in real time.

Preconfigured, fully customised audio settings can be managed using the Waves mRecall audio scene recall app.

Featuring 64 stereo/mono input channels, 44 bus/return channels and eight FX auxes (stereo/mono), the Cloud MX is a broadcastready, cloud-based audio mixer with a doubleprecision 32-bit float mixing engine offering full Waves plugin integration. Chains of up to eight cloud-licensed plugins are available directly on any channel inside the mixer itself. The mixer packages come with cloud-licensed eMo D5 Dynamics, eMo F2 Filter and eMo Q4 Equaliser plugins. An upgrade to Cloud MX audio mixer premium adds over 150 cloudlicensed plugins, including 11 extra cloudlicensed plugins such as Primary Source Expander for automatic mic bleed elimination and the Renaissance Vox vocal compressor. Control options include multiple touchscreen support, Waves FIT controller and MIDI controllers.

TVU keeps ransomware attacks at bay

DESCRIBED AS the “first cloud-native, 24/7/365, critical threat protection solution for broadcasters”, TVU Networks has unveiled Channel Ready, a cloud-native platform that lets broadcasters run stations remotely from a single interface on a laptop or tablet. Using the solution, operators can instantly control 100% of their stations’ upcoming live and pre-recorded programming, commercial content, crawl capabilities and captioning.

According to TVU Networks, stations’ ability to continuously broadcast critical information has never before seen the size and scope of the threats present today. TVU Channel can reportedly relaunch a compromised station across all distribution platforms within 2–5 minutes from TVU Networks’ stand-by mode option or in as little as 3s via the 24/7/365 always-on offering.

Dante Studio

Cloud MX

multiple applications

TASKER’S TSK1038 DMX cable has a nominal section of 2x0.35mm² with a

First, the TSK1038 LSZH is available with or without homologation for low

regulation and tested by an independent TSK1038 PUR has an outer polyurethane sheath which is flame retardant, halogen free and resistant to friction, treading,

Clear-Com arrival of HelixNet at Arcadia Central Station

operative temperature Tasker, these characteristics make this cable the best solution for outdoor mobile use, even for permanent

water at a maximum depth of 50m.

Lastly, the TSK1038 AR has a special underground installation, even in presence

CLEAR-COM HAS announced new features for the Arcadia Central Station including integration with HelixNet Partyline Digital. Capable of providing an intercom system that can support over 100 beltpacks and 180 ports of mixing capability, the 1U package combines wireless analogue and digital intercoms in addition to Dante connectivity. The latest features include a 5GHz scanning tool for FreeSpeak Edge systems, together with increased beltpack capacity for FreeSpeak systems and an increase in licensed port capacity. With support for up to 64 HelixNet endpoints – including HelixNet Remote Stations and speaker Stations – over 24 HelixNet-

enabled channels, Arcadia can equip large networks. The wireless system can be deployed without interference from other Wi-Fi device traffic with the 5GHz scanning tool as it displays and promotes open-frequency channels for FreeSpeak Edge transceivers and beltpacks. Expanding on the existing 96 IP port capacity, Arcadia now offers an extra 32 IP ports for an additional eight FreeSpeak beltpacks and up to 24 ports for HelixNet channels, while providing additional intercom access through eight fourwire ports, four two-wire ports and up to 64 Dante audio ports.

Clockaudio transports Dante

THE CDT 100 MK3 Dante transporter from Clockaudio is described as an advanced professional Dante communications product which combines audio and control transport using the network-based Dante protocol. By taking advantage of the advanced Dante technology and based on the high performance and pre-configurable hardware platform, the CDT 100 MK3 transfers audio and control signals via Ethernet. It has a variety of uses, including but not limited to boardrooms, conference rooms, videoconference rooms and any place where multiple table microphones and control devices are connected back to the AV equipment cabinet. Features include four audio inputs with gain control and high-pass filter, while multiple units can be daisychained (a maximum of six units on a single

unmute, latching mute and push to mute modes and VU metering for microphone gain setup via TS buttons. It is a compact aluminium enclosure with flange mounts and comes with an optional 12V external supply.

The CUB-33 plug-and-play tabletop USB microphone uses the same technology developed for the CUI-2 but in a “no holes required” tabletop version. It adds an LCD capacitive touchscreen that can be used as a mute button and a multi-stage VU meter. For privacy, the CUB-33’s mute is local, meaning the audio never leaves the microphone if muted and cannot be unmuted by a hacker that gains access to a computer without knowledge. It is driverless and also mute sync compatible with the Zoom meetings app.

are also available in single mode (12x 9/125µm, OS2), assembled with a FiberFlex ULTRA F12US11A cable. Allowing mixed use of connectors in a signal chain, the SmartBeam connectors with two, four, eight and 12 channels are compatible with each other, as well as with MIL-DTL-83526/20 connectors. A matching breakout box, the FiberExplorer, is available on request.

Suitable for analogue and digital audio signals, the cable manufacturer has added

foil and dense braid double shield. The triple shielding and EN50575 flame test ensure that the OmniFIX is interference free with lowloss signal transfer. The LSZH materials used for the pair and outer jacket emit no toxic or halogen-containing gases with very little smoke in the event of a fire. The foil shields and pair jackets of the OX22GHB are bonded together for quicker processing.

www.klotz-ais.com

Cat5). Phantom power is provided for each mic input and the four RJ45 touch switch ports are compatible with all logic-enabled Clockaudio devices.

The 24-bit/48kHz CUI-2 USB stereo microphone preamp interface has been designed for working from home. It is described as easy to install with under-table mounting and comes with a low noise design, optimised for Clockaudio microphones. Features include 10–50dB gain control, 48V phantom power, a touch switch port for use with Clockaudio capacitive touch switches, LED brightness control, RGB colour selection for mute and

RØDE

DESCRIBED AS the world’s most powerful all-in-one audio solution for content creators, the RØDECaster Pro II offers users four studio-grade Neutrik combo inputs for connecting microphones and instruments, with each input featuring RØDE’s ultra-lownoise, high-gain Revolution Preamps. The device features a full suite of studio-quality APHEX audio processors that have been completely overhauled from the original RØDECaster Pro and remodelled using component-level analysis of analogue units. RØDE claims that the unit’s highperformance quad-core audio engine delivers “significantly more processing power than any other content creation console on the market”, while onboard effects allow users to craft their own sound. The highdefinition colour touchscreen combines with tactile rotary encoders for control. Even for those with no prior audio experience,

ASI

enhances music with Gen2 IEM

ASI AUDIO x Sensaphonics has announced its second-generation 3DME Gen2 Active Ambient Monitoring System, which features ASI Audio app and beltpack enhancements to expand the system feature set based on user requests and customer needs, along with extended battery life. The core remains

the 3DME system’s application of patented Active Ambient technology to give users a high-fidelity in-ear monitor mix with natural room sound from their bandmates and the audience. The 3DME Gen2 allows the Monitor In signal to bypass the limiting and EQ stages to enable professional monitor

engineers to maintain full unimpeded control over the mix they deliver, plus the system has been optimised for use with either the standard full-range, dual-driver earpiece or the new Custom Pro quad-driver earpiece. The internal limiter’s lowest Limiter Threshold setting has been stretched down from 84dB SPL to 76dB SPL for those with especially sensitive hearing, along with subtle improvements in the attack characteristic of the limiter and the linearity of extremely high frequencies. The selectable Start-Up Squeal Suppressor (formerly called the Safety Limiter) eliminates the rare, unharmful feedback squeal that was possible when a user covered the ambient microphone with their finger while inserting the earpieces with the system powered. Similarly, turn-on and turn-off “thumps” heard when powering the system with earpieces inserted are now greatly reduced. For musicians and other end users who can hear very little in one ear – single-sided deafness (SSD) or unilateral hearing loss, which creates a head shadowing effect that negatively impacts clarity and timing – the CROS (Crosslateral Routing of Signal) option restores intelligibility by combining the binaural signals and removing all sound to the impaired ear.

reverb, echo, robot and pitch effects – and sending MIDI commands to external software and hardware, to activating automated mixer

In terms of output connectivity, the console has four high-power headphone outputs and ¼-inch balanced line outputs for connecting speakers for monitoring and playback.

Dual USB-C interfaces accommodate the connection of two computers or mobile devices simultaneously, with an extra virtual USB channel for connecting chat applications.

The RØDECaster Pro II also offers Advanced Bluetooth connectivity with wide-band speech for high-quality audio transfer between mobile devices, in addition to Wi-Fi and Ethernet connections. Users can record in stereo or multitrack either to an onboard microSD, computer or external storage device.

www.rode.com

The second-generation system consists of Active Ambient earphones with embedded binaural MEMS ambient microphones, a bodypack mixer/controller/DSP processor/ headphone amplifier and the Bluetoothenabled ASI Audio app for control. The free ASI Audio app allows untethered adjustment of the system’s seven-band stereo EQ and limiter threshold. The app also offers an Audio Seal Test to confirm the best IEM fit and allows the saving and recall of User Presets to ensure repeat access to preferred sound signatures. In operation, after locking in the preferred EQ and limiter settings, up/down switches on the bodypack make it easy to add the perfect amount of ambience to the monitor mix, so the performer can hear exactly what they want, no matter the style of music or type of venue. When used without a monitor mix, the 3DME functions as variable-level, high-fidelity earplugs. The universal-fit earphones supplied with the 3DME can be converted to custom fit with silicone sleeves from Sensaphonics or upgraded to Custom Pro earpieces.

IN RESPONSE to high customer demand for its 718AVP and 749AVP transmitters at a time when the solutions’ Dolby downmixing chipset was in short supply, Just Add Power has introduced 718KVM and 749KVM transmitter models. The new models provide both stereo audio breakout as well as KVM. The transmitters will reportedly be field-modifiable in the future to have all features of the 718AVP/749AVP once chips become more readily available. The 718KVM and the rackmount 749KVM will replace the out-of-stock 718AVP and 749AVP indefinitely. Like the AVP models, the new PoE transmitters encode a 4K or lowerresolution source device into an IP signal and send it over the network with ultra-low latency

and instant switching. They also support HDCP 2.2 and USB 2.0, and feature image pull, as well as stereo audio output 3.5mm with adjustable delay and RS-232, IR and CEC control of sources. Once available, the upgrade will enable Dolby DSP, re-encoding

www.justaddpower.com

Dolby Digital 5.1 as Dolby Pro Logic II for HDMI distribution to both multichannel and stereo audio zones, providing two analogue audio inputs that are mixable with HDMI audio.

IMPROVING THE user experience while enhancing connectivity – particularly for large installations that require multiple controllers and subsystems – has been the focus for Bosch with the V1.5 software release for the Praesensa public address and voice alarm system.

As a result of the release, it’s now possible to directly assign multiple controllers in large networks with subnets. Up to 3,000 networked devices and 10,000 audio zones can be managed by a total of up to 20 system controllers, while both master controllers and subsystem controllers can be optionally deployed for controller redundancy.

The EN 54-certified networked solution allows high-level priority calls from fireman microphones to any zone or group throughout the entire Praesensa system, optimising security and fallback options. In case of a connection failure of a subsystem controller to the master controller, the subsystem controllers will continue to operate as an independent, self-sufficient system. The

latest software allows the user to activate push-to-talk (PTT) messages more quickly when the call station is in idle mode, with a single push of a button. This is especially convenient when no extension keypad is connected and a handheld microphone is being used.

All Praesensa network components now come with EN 54-16 certification, including the Cisco IE 5000 industrial Ethernet switch, which can be used as a backbone switch in larger Praesensa installations. Both switches –Praesensa PRA-ES8P2S and Cisco IE 5000 –can be supervised via SNMP (Simple Network Management Protocol) for direct fault reporting and daisy-chained for greater flexibility in network designs. In addition, overall network performance has been improved by Bosch’s OMN-ARNIE and OMN-ARNIS audio routing interfaces, contributing to a fully EN 54-16-certified Dante audio routing solution for multiple subnets.

www.boschsecurity.com

Allen & Heath debuts V1.2 firmware for Avantis

V1.2 FIRMWARE for Allen & Heath’s Avantis mixing consoles has introduced new tools to the platform, including a nextgeneration RTA engine, Sennheiser wireless integration and a trio of new dPack bundles of DEEP processors.

V1.2 features the new RTA engine, which has been built around a 61-band bar or line display

and Threshold Expander is for challenging environments where expert audio control is required. Additionally, the existing OptTronik compressor has been updated to include Model B for a new flavour of classic 2A-style optical compression. Existing dPack owners receive all new dPack updates and models free of charge.

VERSION 3.0 software has been developed by DiGiCo to increase the power of its small footprint S-Series consoles. The update offers an optional software expansion that increases the channel count from 48 to 60 flexi channels and 24 flexi busses, turning S-Series consoles into an S21+ or an S31+. Version 3.0 also includes two new Master Bus configurations: LCR (Left Centre Right) or LRM (Left Right Mono), providing additional control on the channels over the LCR blend or the LRM Mono Gain. LCR or LRM are suitable for running an expanded speaker setup or sending out a mono mix alongside a stereo mix.

Software version 2.2 introduced OSC Control of Snapshots. Version 3.0 extends the OSC control capabilities to channel processing controls. With the ability to control many aspects of channel and bus processing, including EQ and dynamics, the update adds flexibility when integrating an S-Series console with external remote-control systems. Version 3.0 also adds compatibility for MADI Sample Rate Conversion on the DMI-MADI-B and DMI-MADI-C. SRC allows the S21 or S31 to run at a different sample rate to connected MADI devices, providing flexibility when connecting to external MADI devices. This is commonly used for recording and virtual soundchecks, and, for maximum compatibility,

both Hi-Speed and SMUX 96k MADI modes are supported.

Compatibility for DiGiCo’s Dante-based DQ Rack is also included. When connecting an S-Series console via a Dante64@96 DMI Card, this provides cost-effective expansion, suitable for both touring and installation applications.

The S-Series now makes use of GPIO, with both the S21 and S31 featuring a ¼-inch GPI and ¼-inch GPO on the back for connection to external devices.

which can be displayed behind the parametric EQ curve to enable swift and accurate EQ decisions. Additionally, a sonogram view is provided, making it simpler to identify room resonances or mix imbalances. With all RTA views also visible on an iPad and Director, engineers can access visual feedback anywhere in the venue.

The dPack bundle in V1.2 has been expanded to include three new DEEP processors from the manufacturer’s flagship dLive system. Bus is modelled on a legendary hardware compressor renowned for its ability to glue together mixes, Source Expander offers quick control of threshold and depth for set-and-forget operation

Avantis’s wireless integration has been extended to include Sennheiser’s 300/500, 2000 and 2050 wireless microphones, which can now be monitored from both the mixer and Director software. Key wireless information, including mutes, signal level and battery bars, is visible from the Bank view, with detailed information and control accessible via the Preamp page. The firmware release is rounded off with multiple workflow improvements, including extended functionality for the iOS apps, enhanced DCA spill functionality and new SoftKey options.

FOCUSRITE’S FAST Balancer plugin is an AI-powered EQ that claims to be capable of delivering the ideal EQ setting for both vocals and instruments with just a single click. FAST Balancer joins a suite of tools from the manufacturer that are all geared around offering very quick and simplified control.

The AI-powered plugin has been trained on over 500,000 real-world audio files stemming from vocals, electric and acoustic guitar, bass, drums and more. The user sets the tone that’s right for the instrument, then selects how much of FAST Balancer’s EQ to apply with the Intensity slider. Users can choose between Warm, Neutral and Bright to add an instant flavour to their instruments.

THE LATEST version of System Optimiser includes the addition of the manufacturer’s proprietary realSPL technology. CODA realSPL helps users to predict the achievable sound pressure level of CODA loudspeaker setups more accurately. It uses a combined hybrid timeand-frequencydomain approach

and creates a digital twin of the loudspeaker setup to precisely calculate the behaviour of the entire signal chain. Users are presented with a detailed analysis of both peak and RMS headroom for a collection of industrystandard stimuli, such as Pink Noise, White

Noise, AES75-2022 or Speech Noise, together with advanced post-processing features. This allows for improving the fidelity for every listener at concerts or designing safer EVAC systems in fixed installations.

To coincide with the release, the manufacturer has also announced that all documentation is now available online at codasystemoptimiser.com.

Documentation for offline use as well as full release notes for v0.6 can be accessed on the site.

www.codaaudio.com

NUGEN

THE FOURTH plugin release in the Complete Bundle from British manufacturer Solid State Logic has been announced as X-Gate, which builds upon the company’s knowledge in hardware gates. The plugin is suitable for music and content creators alike and delivers a range of features for extended sound sculpting, such as for sound design, audio restoration and mixing.

In addition to Apple M1 processor compatibility, X-Gate also introduces variable lookahead times and zero additional plugin latency at the lowest setting, making it a useful tool for tracking situations where mic bleed can distract from the primary source material. Meanwhile, its EXP and DUCK modes allow for either transparent gating or

SigMod

threshold, and this can be used in conjunction with a DAW’s sidechain function for intelligent ducking.

www.solidstatelogic.com

NEXO updates

software to integrate Yamaha speakers

THE LATEST version of NEXO’s NS-1 system configuration and simulation software supports a wide range of Yamaha professional audio speakers and includes AFC Design Assistant, which works closely with Yamaha’s AFC Image to deliver high-end immersive audio. NS-1 allows users of NEXO speaker systems to optimise performance and ensure uniform SPL coverage.

NS-1 version 4 supports several Yamaha professional audio speakers, from the VXL line array, VXS surface mount and VXC ceiling speakers to the CZR, CHR, CBR and CXS ranges of speakers and subwoofers. The Yamaha speaker data includes all the necessary information, such as maximum SPL, giving systems designers the tools they need to choose from a much greater range of NEXO and Yamaha speakers for different applications.

CEDAR

availability

PREVIOUSLY AVAILABLE for Mac only, CEDAR Audio has announced the availability of CEDAR Studio 9 noise suppression and audio restoration plugins for PC. The latest version of the audio processing and restoration suite for AAX Native, VST2, VST3 and AU formats includes the latest version of Retouch with its machinelearning Matching and AI-driven Repair

This latest update also includes AFC Design Assistant, giving NEXO users the resources to work with Yamaha’s AFC Enhance and AFC Image immersive audio systems. When the user specifies parameters such as venue dimensions, stage dimensions and aisle width, AFC Design Assistant provides the necessary guidelines for the required number and placement of speakers to provide a full immersive audio experience for an entire audience. When the system design is complete, the design file can be exported from NS-1 and imported to AFC Image Editor, making the whole process from studio design through to venue performance as quick, easy and accurate as possible.

www.nexo-sa.com

with

resampling and noise shaping capabilities and integrated metering, is available as a separate package. The CEDAR Studio 9 DNS includes both DNS One and DNS Two for dialogue noise suppression requirements in post, whereas Studio 9 Restore incorporates the Declick, Decrackle, Auto Dehiss, Declip 2, Debuzz, Adaptive Limiter and Manual Declick algorithms for audio

capabilities. Previously licensed on the PC using the CEDAR HSP dongle, CEDAR Studio 9 is now iLok compatible with PCs and Macs, bypassing the requirement for a specialist dongle.

Designed for mixing, final mastering and other creative duties, the CEDAR Studio Adaptive Limiter with its peak and oversampling modes, advanced

restorations. With Studio 9 Retouch, the Cambridge-based developer has improved the speed and user-friendliness of the software, while Studio 9 Complete contains all 11 processes from the other CEDAR Studio 9 packages for noise suppression and restoration.

Crestron

TO CREATE the ideal hybrid meeting experience, Crestron has developed Sightline by grouping core platforms including Crestron Flex digital workplace technologies together with DigitalMedia content distribution and control.

Intelligent video solutions play a central role within the Crestron Sightline room. Speakers are actively tracked and framed, with multiple displays improving visibility of remote participants, creating more immersive calls. The fundamentals of Sightline can be applied to scale different rooms, especially in larger and more specialised settings. In a Sightline setup, key Crestron Flex technologies are employed to deliver an equitable meeting experience. These include multi-camera intelligent video (such as 1 Beyond Automate VX) that draws multiple standalone camera solutions into a fully automated experience. Multiple camera technologies are said to ensure the right frame is always available with 1 Beyond AutoTracker tracing the presenter and 1 Beyond AutoFramer framing the participants. Crestron Flex solutions provide a dedicated Microsoft Teams or Zoom Rooms meeting experience, while Crestron AirMedia wireless presentation simplifies the process for participants to instantly connect and share content.

To transmit video feeds and content to multiple displays throughout the room or

over the network, DigitalMedia content distribution includes Crestron DM NVX AV-over-IP technology. In addition, Sightline draws upon control and management technologies including occupancy sensors that determine when there is someone in the room. Crestron XiO Cloud technology operations provide monitoring and management of all workplace technologies. Additionally, environmental control for lighting, shades and temperature can be manually input or pre-programmed for optimal room comfort and scene management delivers configuration for any type of meeting environment.

The portfolio of Microsoft Teams-certified devices has been expanded with Crestron Flex Conference Systems featuring Jabra PanaCast 50 video bars. Designed for smaller spaces, the Jabra PanaCast 50

hybrid work experience

provides AI-based audio and video features together with an 180° area of view around the table. Features include Intelligent Zoom which automatically adjusts the video stream to follow the flow of the meeting and Virtual Director which naturally follows the flow of conversation. In a collaboration with

Microsoft, Dynamic Composition enables Teams users joining in meetings remotely to view up to four of the most recent speakers face-to-face, matching the view of frontfacing personal videoconferencing cameras.

www.crestron.com

AV is about making connections. Connecting systems together. Connecting people with technology. Connecting people with people. Seamlessly.

For us, it’s all about the interface.

Interfacio sources and places qualified

professionals into sales, account management, engineering, project and

roles.

Interfacio. Connecting you with the people who

The Jabra PanaCast 50 includes Intelligent Zoom

NUREVA HAS announced an extension of its device management platform to include remote monitoring of third-party cameras. The latest functionality in Nureva Console allows IT managers to monitor both the status of Nureva audio devices and third-party cameras from a single cloud-based platform, to ensure the devices are functioning properly in their meeting rooms and classrooms.

Third-party remote camera monitoring player line-up

Traditional audio solutions often require multiple applications to manage different

products in the room, creating complexity and inefficiencies associated with application switching. Nureva Console reportedly makes it easier to monitor the audio and video experience in every space, from anywhere, regardless of the camera manufacturer. IT managers get the benefit of simplified device management combined with the freedom to select the best audio and camera products for their spaces. Nureva Console automatically detects a USB camera and prompts the Nureva Console account admin to add it as a monitored device. Admins can then see device details locally, monitor their readiness status and know when a device needs attention.

Adding support for third-party cameras is part of the manufacturer’s broader strategy to work with leading camera companies on unique integration opportunities made possible by its

A new era of entertainment

DISGUISE HAS released a “new era of infinitely scalable, immersive entertainment” with the vx 4+. Designed for technically demanding productions, installations and shows, the vx 4+ has the capability to handle twice the amount of video layers than its predecessor and improves on storage performance, with up to 100GbE in bandwidth for higher-resolution live video. Integral to the disguise modular ecosystem and working with disguise VFC cards, rx render nodes and preconfigured network switch fabric, the vx 4+ is designed for projects in need of a robust and scalable solution. The inclusion of two 100GbE

THE NEXT generation of Blackmagic Design’s Pocket Cinema Camera 6K has been debuted and features an adjustable screen, larger battery and an optional

to create cinematic images with shallower depth of field.

A large, bright 5-inch touchscreen helps to frame shots and accurately focus, while onscreen overlays show status and record parameters, histogram, focus peaking indicators, levels, frame guides and more. The Pocket Cinema Camera 6K G2 LCD monitor is a more advanced display that can be tilted up and down to monitor a shot from any position.

Both the G2 and existing models can now use larger NP-F570 batteries for longer shooting times, without needing to change or charge.

DIGITAL SIGNAGE media player manufacturer BrightSign has added two models to the XC5 player line-up. The XC2055 and XC4055 are the brand’s first players to be launched in two years. Both models offer the company’s most powerful HTML5/graphics engine to date, which boasts a graphics performance

support 8K output – one offering dual HDMI-out (up to two 4K or one 8K) and the other offering quad HDMI-out (up to four 4K or one 8K). The XC5 models represent an upwards expansion of the manufacturer’s media player portfolio, as the LS, HD, XD and XT models will continue to be sold.

www.brightsign.biz

ensures that the vx 4+ video playback and compositing performance is unrivalled. When combined, the vx 4+ enables additional capacity to meet performance expectations, while also keeping video latency to a minimum.

The vx 4+ is compatible with disguise’s upcoming IP Video Format Conversion (VFC) cards. IP-VFC is an industry-first and patented technology that enables users to change the video output signal from their disguise media server to a SMPTE 2110 video output.

www.disguise.one

unveiled by Blackmagic

The DeckLink Mini Recorder HD and DeckLink Mini Monitor HD feature advanced high-quality video technology that supports uncompressed and compressed capture and playback at the highest 10 bit SD and HD quality. Both models support broadcast-quality 10 bit YUV and 12 bit RGB 4:4:4 for “pixel perfect capture and playback”. Replacing the previous 1.5G SDI models, the update to 3G SDI has allowed more features to be added, as well as support for RGB video formats.

The DeckLink Mini Recorder HD lets customers capture broadcast-quality video from 3G SDI and HDMI sources with any PCIe computer. Customers can capture from virtually any SD or HD source including HDCAM, D5, SDCAM and Digital Betacam. The DeckLink Mini Recorder HD also works with popular video streaming software, such as OBS, so customers can capture from cameras or live production switchers and integrate the

viewfinder. The new model shares the majority of the original G1’s core feature set, but adds a larger 6144x3456 Super 35 sensor and EF lens mount, allowing users

The manufacturer has also released its DeckLink Mini Monitor HD and DeckLink Mini Recorder HD, new models of PCIe capture and playback solutions SDI and HDMI connections. These updated models of the manufacturer’s DeckLink Mini cards support video formats up to 1080p60 and 2Kp60 DCI, and are designed to work with advanced colour spaces such as Rec. 2020 for deep colour and higher dynamic range.

The models are low-profile 1 lane Gen 2 PCI Express cards that fit easily into either desktop or rackmount server-style computers with the included full height and low-profile PCIe shields. They can capture from decks, cameras and live video sources, and output to monitors, projectors, media servers and more. They can be used for editing, compositing, graphics production and unlimited broadcast and postproduction situations where the highest-quality video and true versatility are demanded.

Atlona expands videoconferencing solutions

ATLONA HAS unveiled its latest camera for modern communications and collaboration. The Captivate AT-CAP-FC110 is an enterprisegrade ePTZ (electronic pan-tilt-zoom) camera suitable for use in videoconferencing, distance learning and other AV applications in huddle rooms and small- to medium-sized meeting spaces. It is the second product in the Captivate family, joining the AT-CAP-SP100 speakerphone.

Universal PC and Mac compatibility through standard UVC 1.1 drivers is said to enable simple, plug-and-play operation with popular soft codec conferencing and UC platforms,

The CAP-FC110 delivers high-quality imaging at resolutions up to 4K@30Hz, with a 110° wide horizontal field of view for coverage of compact spaces such as huddle rooms. The camera’s 1/2.8-inch CMOS sensor preserves fine detail and colour fidelity, while its dualelement microphone array provides a 5m audio pickup range. The CAP-FC110 can automatically reframe the image based on detection of up to six participants and continually adjusts as participants enter or leave the space. This means that in-room attendees are always prominently captured and centred in-frame to better replicate in-person meeting experiences

The manufacturer has also launched a new service for its Velocity AV control systems that simplifies and improves all remote configuration, management and control responsibilities via an online resource. Available in three annually renewable tiers, Velocity Premier Services Remote Gateway (AT-VPS-RG) streamlines important tasks, including system setup, device configuration and troubleshooting, as well as credential and firmware updates from any device with a browser or internet connection. The result is described as a more efficient and reliable

method to service and support end users remotely. The VPS-RG establishes a secure proxy connection between a server and the gateway over the internet. This allows resellers, integrators or IT administrators to remotely configure systems and manage devices without having to directly access the corporate network, reducing costs associated with onsite visits and truck rolls, as well as increasing responsiveness for support issues.

www.atlona.com

a pedestal or tripod, Ikegami Electronics has extended its range of broadcast production cameras with the UHK-X750. Integrated into a robust metal housing, the full studio and OB camera includes high frame-rate capture for slow motion applications, global shutter sensors and versatile connectivity. Distinguishing elements of the UHK-X750 include a lower centre-of-gravity and easier staging compared to a portable camera and an optimum weight balance for operation in combination with a large lens. Weighing 19kg and measuring 315mm x 329mm x 398mm (WxHxD), the camera’s low body height brings the accompanying VFL-701D

Incorporated into the optical front end of the UHK-X750, three 2⁄3 -inch CMOS UHD sensors come with a global shutter to minimise artefacts when shooting LED screens or scenes illuminated with flash or strobe lighting. Full HDR/ SDR support is included, plus the ability to choose between BT.2020 and BT.709 colour spaces. High frame rate shooting at up to 2x speed in UHD or up to 8x in HD via the base station is an option. Five neutral density filters and four chroma filters

IN DIRECT response to customer requirements, Marshall Electronics has updated and added features to its POV and PTZ camera models which include accessory add-ons and easy fieldupgradable firmware.

Marshall now offers three levels of NeutralDensity (ND) filters for its IP67-rated CV226 all-weather lipstick camera and CV503-WP allweather miniature HD camera. In photography and optics, an ND filter reduces or modifies the intensity of all wavelengths or colours of light equally, giving no changes in hue of colour rendition. It can be a colourless (clear) or grey filter, and is denoted by Wratten number 96, a labelling system for optical filters. The purpose of a standard photographic ND filter is to reduce the amount of light entering the lens. Doing so allows the photographer to select combinations of aperture, exposure

(3200, 4300, 6300 and cross) are included. When combined with the Ikegami BSX-100 base station or CCU-X100 CCU, the UHK-X750 supports simultaneous output in UHD and HD video formats. IP interface of video, audio and intercom inputs and outputs conforming to SMPTE 2110 and NMOS standards is available as

Marshall has also added Color Matrix to the CV566, CV568, CV366 and CV368 cameras, which aims to create a more accurate colour representation with master level, master phase, colour level and colour phase enhancements, controllable remotely with Visca over RS-485 from Marshall RCP controllers, camera control software or third-party control decks such as Cyanview, Skaarhoj and others.

Additional new camera features from Marshall include support for the CGI command control function, enhanced vMix integration, new OBS plugins/docks and constant performance improvements of AF and Zoom tracking on all PTZ models. New firmware is available as a free download on each product page on the Marshall website.

an option at the base station or CCU.

PRE-CONFIGURED WITH the nWare platform ControlManager software suite, the sControl Nano network processor offers control and monitoring functionality across PA, media control and monitoring applications. Based on an Intel Celeron N3350 Apollo Lake processor with HD graphics 500, the sControl Nano comes with 32GB eMMC

compliant intelligent touchscreen. With the incorporation of a responsive Projective Capacitive (PCAP) anti-UV touch control interface, the screen has a resolution of 1024x600 and a 16:9 aspect ratio. Network connectivity is enabled via two GbE RJ45 interfaces or optional Wi-Fi, and multiple USB-2 and USB-3 ports provide control and monitoring courtesy of MediaMatrix nWare and the Kiosk2Go AV and control software suite. A power switch and reset button are included on the back panel controls.

(embedded multi-media card) storage and 4GB LPDDR4 RAM (low-power double data rate). Housed within an IP50-rated fan-less chassis measuring 112mm x 80mm x 32mm (LxWxH), the processor can be custom configured as a network edge controller using nWare open-architecture programming and a control GUI design suite. Both the Kiosk2Go and Kiosk GUI applications can be utilised on any smart device or directly to an optional touchscreen. Supporting video resolutions of up to 3840x2160 at 60Hz via two mini display ports and integrating two gigabit Ethernet RJ45 ports, the sControl Nano can support up to 16 network connected devices via the control software GUI suite.

Providing control and monitoring requirements, the sTouch 7 controller incorporates a PoE 7-inch diagonal IP65-

In brief, the sTouch 55 wall-mounted touchscreen panel is a 5.5-inch diagonal GUI that can be mounted in multiple locations. A responsive IPS (In-Plane Switching) LCD captive touchscreen produces rich colour graphics on the 720x1280-pixel display. And, finally, the sWALL 2x2 is an audio network interface panel with Dante and AES67 audio-over-IP network compatibility. The interface converts analogue devices to a digital signal for transmission across the IP network to mixers, speakers and other Dante or AES67-enabled components.

www.peaveycommercialaudio.com

WITH THE launch of the GX4pro, RGBlink has created a 2K video processor providing no gap scaling and control. The device offers multiple test pattern output resolution options. In addition to HDMI (with loop), CVBS, VGA, VI and analogue audio connector inputs, the GX4Pro integrates a vacant module slot for additional HDMI, DP, DVI, SDI, VGA, CVBS and USB input modules. The flexible input capabilities enhance the GX4pro’s feature set, including PIP (dual pictures), synchronised video with audio control and seamless switching between the different inputs. The Extended Display Identification Data (EDID management) provides consistency of display, and the connection panel is further equipped with two DVI outputs offering resolution up to 2048x1152@60.

With the installation of universal sender cards, the GX4pro can operate as an LED display controller, with two slots accommodating one 2.6 megapixel or two 1.3 megapixel cards. Providing 2.3 megapixels of display up to 3840 pixels horizontally or 1920 pixels vertically through four RJ45 ports, the RGBlink Subito NX Quatro is a dedicated sender card module that can control the LED display.

Designed to provide HDBaseT long-distance transmission for 2K signals via DVI, HDMI, SDI and USB, the FLEX4ml multi-layer videowall processor has

also been launched by RGBlink. Supporting up to eight inputs ranging from 4K@60, together with four independent DVI outputs and four backup DVI outputs, the video processor is ideal for commercial display systems, 4K stage performances, hotel conferencing and back-of-house theatre applications.

The four DVI outputs support 4K pixel-topixel splicing output for both LED and LCD screens so that multi-view splicing can be customised across the various outputs. Negating the requirement for an extra redundant LED processor, four independent DVI outputs together with four backup DVI outputs ensure that independent and backup outputs can be synchronised. Furthermore, a Genlock Y allows the output source of the FLEX4ml to be synchronised with an input source from another processor. The adoption of either the desktop XPOSE or RGBlink OpenAPI platforms extends digital control and management of the FLEX4ml over standard Ethernet.

www.rgblink.com

DESIGNED TO address signal extension for multiple participants in classrooms, huddle spaces or conference rooms, Hall Technologies has created the Discovery Series. Created for videoconferencing and audio extraction applications including Zoom, Teams, Skype and WebEx, the kits provide 4K extension with USB and HDMI capabilities. The HDBaseT wall plate transmitter and receiver kit pair natively with soft-codec videoconferencing applications. Discovery extenders support both remote and in-person learning, while USB peripherals including cameras and speakerphones simplify communication in conference room applications. US and UK 1 Gang and 2 Gang wall-plate transmitter options are available for pairing with a universal Discovery receiver.

The manufacturer has also unveiled the EMCEE200 tool for managing the challenges inherent in videoconferencing, collaboration, lecture and remote learning for education and training, and livestreaming for YouTube,

Facebook and OBS platforms. With picturein-picture (PIP) and picture-over-picture (POP) capabilities, the seamless multiview presentation switcher and scaler features a built-in dual MIC mixer and can process up to four 4K@60 video sources with zero latency. The EMCEE can not only record the presentation to an external storage device, but also provides USB3.0 4K capture to stream live with no additional hardware.

Hall Technologies has added a line of in-ceiling and surface-mount speakers to complement its end-to-end solutions. The loudspeaker outputs offer even sound

coverage, intelligibility and aesthetical designs for blending into educational and corporate meeting environments. Available in white, the SPK-OW6 is a surface-mount, 40W loudspeaker that includes taps for 8Ω, 100V and 70V audio applications. The SPK-IC6 is a 40W in-ceiling speaker that incorporates a 1-inch titanium dome tweeter with a 6.5-inch graphite cone driver with rubber surround. Like the surface-mount model, the SPK-IC6 includes taps for 8Ω, 100V and 70V audio installations and comes in a plenum fire-rated back box.

BUILT TO facilitate open, interoperable infrastructures that support compressed and uncompressed 4K IP signal transport over ST 2110 and IPMX-ready networks, the ConvertIP series of transmitters and receivers from Matrox is a new family of standards-based IP devices that enable broadcast and pro AV professionals to transform standard and existing infrastructures into interoperable, costefficient and scalable 1GbE, 2.5GbE or 10/25GbE networks to support a wide range of compressed and uncompressed 4K AV-over-IP applications and workflows. In tandem with the launch of ConvertIP is the company’s ConductIP signal routing software. Designed to simplify content distribution in AV networks of any size, the industry’s first IPMX-ready signal routing platform features a customisable, 360°

view of all devices and media flows to discover, monitor and route any NMOSenabled ST 2110 and IPMX-ready audio, video and ancillary signal on the network. The ConvertIP transmitters and receivers are built on ST 2110, the NMOS suite of open APIs and IPMX-ready industrystandard-based technologies. Combined with pro AV, JPEG XS and uncompressed codec support, the manufacturer claims they are the most flexible and interoperable IP devices on the market today, allowing broadcast and pro AV professionals to use existing 12G-SDI, HDMI and HDBaseT hardware to deliver lightly compressed and uncompressed 4K AV-over-IP transport with sub-frame to zero latency performance.

www.matrox.com

DESIGNED TO enable real-time KVM-overIP extension across long distances with 5K lossless video compression, zero-latency transmission and colour depth up to 12 bits, ATEN has launched the 5K DisplayPort KVMover-IP transmitter and receiver. The KX9970 features transcendent 5K audiovisual performance, real-time KVM-over-IP data transmission on up to 10Gbps networks and fast peripheral data sharing, making it suited for diverse control room applications, including broadcast centres, air traffic control and esports applications. In order to meet the demands for professional TV broadcast postproduction of high-definition video, the KX9970

provides 5K up to 5120x1440@60 (4:4:4), 5120x2880@30 (4:4:4) and 4096x2160@60 (4:4:4) image quality.

As far esports applications are concerned, the device’s support for 1920x1080@240Hz/2560x1440@144Hz allows broadcasting producers to seamlessly switch live between onscene players and gaming feeds without experiencing any impactful lag or interruption. Furthermore, the KX9970 can improve work efficiency at missioncritical ATC centres with its ability to display zero-latency and colour-accurate video on 2048x2048 monitors.

In addition, in tandem with CCKM (KVMover-IP Matrix Manager), the operator at each remote console connected to a KX9970 receiver can benefit from ATEN’s Panel Array Mode which enables simultaneous viewing of video sources from multiple transmitters from 2x2 up to a 6x6 multiview layout on one screen.

www.aten.com

Christie unveils “most compact and lightweight” 50,000-lumen projector

THE GRIFFYN 4K50-RGB is the latest all-inone pure laser projector from Christie, boasting a 50,000-lumen output and 98% of the Rec. 2020 colour space, making it suitable for use in projection mapping, themed entertainment and live events. At 89.3kg, the unit is said to be the most compact and lightweight 50,000-lumen model on the market. The Griffyn 4K50-RGB sports

Christie’s integrated TruLife+ connectivity, which eliminates the hassle of removeable options cards. Furthermore, with the manufacturer’s new Electronic Colour Convergence (ECC), users can adjust red, green or blue individually via remote control for ideal colour alignment. The projector integrates Christie Twist for warping and blending, which enables compatibility with the Mystique automated camera-

Lumens launches new 20x PTZs

TWO 20X HD PTZ cameras have joined the fold at Lumens Digital Optics, one capable of delivering secure IP streaming (VC-A51P) and the other with NDI|HX for networked production (VC-A51PN). Both models feature a high

for teachers and presenters. The DC132U HD/2K document camera is a portable device and, building on the success of its predecessor, the DC125, forms the manufacturer’s new standard USB visualiser. The new model

based alignment and recalibration solution to quickly install, align, calibrate and maintain multi-projection systems. For applications that require higher frame rates, such as themed attractions, the 4K50-RGB can achieve 4K resolution at 120Hz and up to 480Hz with

www.christiedigital.com

unforgettable visual experiences

auto-white balance algorithms, the cameras are said to produce sharp and well-exposed video, even in low light environments. They also integrate a new motorised mechanism for fluid three-axis motion and movement at up to 300° per second.

For integration into traditional AV and video workflows, both models incorporate 3G-SDI and HDMI ports, as well as multiple IP control and streaming protocols, including RTMPS and RTMP, in order to work seamlessly with popular streaming services, such as YouTube, Twitch and Facebook. Incorporating SRT, the cameras offer broadcasters secure remote production over the internet at low latency.

The cameras support RTSP output for compatibility with IP-based production and streaming platforms. The VC-A51PN adds the high-efficiency NDI|HX protocol for low-latency video networking using NewTek’s popular open standard, enabling live video distribution and production over 1GBit and 10GBit IP networks. The VC-A51P and VC-A51PN replace Lumens’

the DC132U connects to a PC or Mac via USB to capture, share and display images. The device’s joint-free, flexible gooseneck enables 360° viewing angles and extreme close-ups where visualising detail is crucial.

The DC-F20 HD/2K is a USB document camera that is foldable, portable and lightweight, delivering images with video output of 1080p resolution and higher (up to 2K). With the included Ladibug software, users can easily position and zoom the lens position, apply on-screen annotation and highlight parts of the document. Both of the new document cameras can connect to remote guests using popular conferencing platforms, such as Zoom, Meet, Skype or Teams.

PT-RQ25KU

DESIGNED TO add flexibility within production environments, interactive projection mapping technology and streamline workflow production, Panasonic Connect’s AV portfolio has been expanded with several turnkey immersive solutions.

Heralded as the world’s smallest and lightest 20,000-lumen 3-Chip DLP 4K laser projector, the PT-RQ25KU Series 4K model can host live events and concerts, in addition to theme park and location-based entertainment attractions. Around 40% smaller and 35% lighter than its predecessor, the PT-RQ25KU delivers up to 20,000 lumens of brightness at 4K resolution (3840x2400). Designed for maintenance-free reliability for over 20,000 hours, it is Panasonic Connect’s first projector to be Intel Smart Display Module (SDM) ready for the integration of preferred interfaces via compatible thirdparty modules and optional terminal boards, including the 12G-SDI Digital Link. Making it easy to read and change basic setups, the Smart Projector Control application and Near Field Communication (NFC) function are activated by holding a mobile device against the projector’s touchpoint.

With the launch of the PT-FRQ60, Panasonic has added Quad Pixel Drive to its 1-Chip DLP Solid Shine laser projection technology. Designed for education, corporate, art

and museum exhibition applications, the 6,000-lumen PT-FRQ60U projector produces 4K images and supports high-speed frame rates with minimal latency. Two HDMI inputs supporting CEC commands from compatible devices are included and a Digital Link connection promotes 4K video and controlsignal transmission over long distances. Preactivated Geometry Manager Pro upgrade kits enable masking functions and simultaneous multi-screen calibration for streamlining edge blending and projection mapping.

In brief, the EQ2U Series of professional displays offers 500cd/m² brightness and is available in six screen sizes (86, 75, 65, 55, 50 and 43 inches). The displays offer an anti-glare panel that suppresses the reflected

glare of surrounding natural and artificial lighting, producing optimal colour regardless of the viewing angle. And, finally, the 32-inch EF2U display can be installed vertically, horizontally or tilted up to a 20° angle. The USB memory stick eliminates the need to configure settings when deploying signage on multiple displays.

Sony unveils BRAVIA

SONY HAS added 4K HDR, 8K HDR, OLED and QD models to its range of BRAVIA displays in sizes ranging from 42–85 inches for professional installations. The new models – Z9K, A95K, A90K, A80K, X80K, X81K, X85K and X95K – include features suited for a corporate office, university campus or retail store.

The latest BRAVIA line-up includes the Z9K 8K HDR in sizes from 75–85 inches. The Z9K promises to deliver high contrast from an 8K Mini LED screen that’s controlled by Sony’s XR Backlight Master Drive technology. The A95K QD-OLED takes advantage of the new OLED (QD-OLED) panel with XR Triluminous Max and Cognitive Processor XR technology to deliver high-contrast 4K images. The Z9K and A95K models will both be equipped with BRAVIA CAM, the manufacturer’s newly developed original camera device which

DESIGNED AS a companion product to the company’s RCT 1012 rack controller, LYNX Technik has unveiled its SRV 1000 server module for its yellobrik products. With both units working together, users can control all yellobriks that are located at different sites from a central location. This enhanced functionality is said to provide facilities with a streamlined interface to control yellobriks centrally, reduce technical onboarding and support time, and ensure centralised yellobrik monitoring, reporting and other status

indicators, for both small and large yellobrik systems.

The SRV 1000 operates as a central control module for yellobrik installations and applications and is scalable in nature, supporting a single rack to hundreds of racks deployed across many facilities. The control topology is all accessed through the complimentary LYNX Technik software, LynxCentraal application. A single SRV 1000 server module can extend the control of up to 256 rack controller yellobriks, which in

for digital signage

The A90K 4K OLED reportedly promises spectacular imagery with XR Triluminous Pro, paired with Acoustic Surface Audio+ for cinematic sound, available in 42 inches or 48 inches. Combining bright OLED 4K image quality with Cognitive Processor XR, the A80K 4K OLED can add impact to digital signage visuals with a 55-, 65- or 77-inch screen, making it a valued addition to corporate, education or retail environments.

The X95K 4K Mini LED unites picture and sound with a 65-, 75- or 85-inch 4K HDR screen. Finally, the X80K, X81K and X85K 4K HDR screens are said to deliver richly coloured and high-contrast 4K HDR images with 4K X-Reality PRO. The X80K is available in sizes from 43–65 inches, the X81K is available in 75 inches and the X85K in 85 inches.

pro.sony

yellobriks

AN EXPANSION of the VuWall PAK Video Wall Node family has resulted in a new PAK 20 model that sports the same hardware as the existing PAK 10 but with support for two 1920x1080@60Hz outputs or a single 3840x2160@60Hz output, along with multi-format decoding. As a result, the range gives integrators the ability to specify anything from one 1080p60 up to four HDp60 outputs.

PAK can operate as a standalone device or can be stitched with other PAK nodes to build an IP-based videowall that is “infinitely” scalable, while also simplifying videowall deployments by reducing the number of connections and eliminating a single point of failure – reducing project risk and offering improved reliability. In addition to variable output support, PAK

turn can each connect to up to 12 yellobrik modules.

The SRV 1000 is also designed to be used with the yellobrik Rack Frame and provides Ethernet LAN connectivity to a yellobrik system for enhanced control (remote or local) from several computers (Mac or PC) or thirdparty applications. It provides remote control, status monitoring and event error reporting for all yellobrik modules in a system.

www.lynx-technik.com

features multi-format decoding of up to 32 HD streams per device, including H.264, NDI and remote desktops, or virtualised browsers using VNC.

Designed for multi-room visualisation, situational awareness, control rooms and corporate workspaces, PAK is managed by the company’s TRx centralised management platform. The TRx platform distributes AV-over-IP signals and provides fully featured videowall management software. The PAK 20’s design boasts a compact form factor and low power consumption, making it is small enough to be mounted behind monitors, saving rack space and reducing extended video cable runs.

www.vuwall.com

recognises where users are sitting and optimises the picture and sound accordingly.

BRAVIA CAM also offers gesture controls, video chat and other new experiences.

Bring On Your Glass Walls.

After nearly half a century, Renkus-Heinz loudspeaker engineers know how to build The Sound Solution that works for your space.

We accept your challenge and raise you: The Sound Solution.

The ICONYX Gen 5 arrays from Renkus-Heinz provide an elegant solution to long-standing acoustic challenges.

Tom Bradley Inter national Terminal at LAX renkus-heinz.com/LAX

Proteus and KL series’ extensions uplift Elation

ELATION PROFESSIONAL has expanded the Proteus and KL series of luminaires with the development of the Proteus Rayzor Blade and KL Profile FC.

Housed in an IP65 linear fixture, the Proteus Rayzor Blade is a combination of linear wash, high-intensity strobe line and SparkLED FX. Available with six or 12 independently controlled 60W RGBW LEDs, Proteus Rayzor Blade provides mid-air beams up to 12,500 lumens or wide and even wash coverage. In addition to wide zoom and dynamic tilt axis, two strobe lines of cool white LED dots along with Elation’s exclusive SparkLED effects add depth and visual impact.

Incorporating a 305W RGBMA LED engine, the KL Profile FC is a full-colour ellipsoidal framing fixture with a 7–50° zoom. Designed for a wide array of precision lighting applications and capable of outputting 10,000 lumens, the fixture

requires no additional lens tubes. A 16-bit rotating gobo slot and full blackout framing system are included with an optional Fresnel wash conversion kit.

www.elationlighting.com

SolaPix shines for High End

THE HIGH End Systems SolaPix 19 XT wash luminaire is an IP65-rated SolaPix 19 designed specifically for indoor and outdoor events. It uses a weatherproof housing and sealed glass front lens to deter the ingress of dust, water and other liquids. With a wide variety of looks to help set the mood, SolaPix features an additive LED, RGBW colour-mixing system for powerful saturated colours and tunable white control, a versatile 4.5–60° zoom range, FleX Effects Engine and Pixel mapping on all models.

www.etcconnect.com

Claypaky launches

THE FIRST product in Claypaky’s Volero line of LED bars is the Volero Batten Aqua, suitable for outdoor use in all weathers. Designed to stand out from other moving battens, the light source is made up of 10 60W Osram RGBW LEDs, which Claypaky reports makes the Volero Batten Aqua capable of emitting a much higher light power than most of the LED bars on the market. Each LED adopts 80mm x 80mm lenses, which is described as an unusual width that allows users more versatility with focusing the power of the LEDs and optimising their luminous efficiency and resolution.

The unit allows separate control of the zoom in two groups from five adjacent lenses to create a dynamic movement of the light beam. In addition, the Volero Batten Aqua also offers Advanced Layers Management, with which the operator can choose to use different levels of effects simultaneously. With its IP66 protection rating, optional Wireless DMX control and a large amount of effects and built-in macros, the Volero Batten Aqua is suited for both touring and installation markets and works equally well for both indoor and outdoor applications.

Claypaky’s Tambora Flash is a three-in-one LED bar that is said to be the only hybrid fixture on the market that can simultaneously act as a strobe, wash and blinder. The Tambora Flash was conceived and developed with the idea of making several product units combinable

horizontally and vertically, in order to obtain clusters that are conceptually like audio line arrays systems.

The fixture’s strobe section is based on two strips of very powerful white LEDs and a large beam angle aperture. The blinder and the wash functions are obtained thanks to four large central RGBWW LED reflectors of 100W each, individually controllable in each function through Advanced Layers Management. The presence of warm white LEDs allows for the “warm” effect typical of blinders. However, the blinder effect can also be obtained by using coloured LEDs, for a more dramatic effect than usual. Both strobe and blinder effects are reportedly

Obsidian offers no-compromise ONYX experience

is the latest ONYX platform lighting controller from Obsidian Control Systems, promising users the complete ONYX experience without compromises in an ultra-compact package. Utilising the manufacturer’s ONYX operating system and lighting control platform, the NX1 includes a high-

boot times, instant operation and the ability to process eight universes directly inside the console. With four DMX ports, a Gigabit network port for up to eight universes of Art-Net, sACN plus the ONYX X-Net protocol, the NX1 has connectivity and power for a wide variety of shows and applications. One additional touch monitor is supported for

encoders, 10 fully motorised playbacks (with four freely assignable buttons plus an extra playback and function key hybrid array). A dedicated Master Go section rounds out an efficient front-panel design. Nestled at the heart of the NX1 is a new Intel processor, high-speed NVMe SSD drive and 8GB of DDR4 RAM, allowing for fast

motorised playback wing, while a magnetic alignment system allows attachment on either side of the NX1. The keypad and playback wing are part of the ONYX platform and can be utilised with all other NX devices or ONYX on any PC system.

powerful enough that the unit can be used in concerts and live events in broad daylight, and even in bright sunlight.

The Tambora Flash’s core unit is suitable for smaller venues and is contained in a modular design that can be quickly connected together to create larger units for use in bigger venues. The unit offers two quick coupling modes and the adjustment of each single fixture within the cluster on a 30° angle, in order to adapt to every application. The fixture offers an IP66 degree of protection, permitting its use in outdoor applications.

www.obsidiancontrol.com

Volero Batten Aqua

Tambora Flash

Proteus Rayzor Blade

ADJ keeps it focus

THE FOCUS Flex from ADJ Lighting is a versatile moving head luminaire capable of creating wash, beam and pixel effects. Designed to provide lighting designers with both flexibility and creative potential, it is suitable for event production and rental applications as well as for permanent installations. The fixture is powered by an array of seven 40W four-in-one RGBW colour-mixing LEDs, each of which can be controlled independently. Through mixing the intensity of the primary LED colours, a large variety of output colours can be created to suit any mood or desired look. The fixture features a convenient Virtual CMY mode, which allows control alongside native CMY colour-mixing fixtures using hardware/software CMY colour picker/pallete tools.

The COB Cannon LP200ST is a wash lighting fixture that can be used for a wide variety of

applications. It harnesses the power of an efficient 200W COB RGBAL LED light source, which generates an even output with no colour shadows. The unit has a variable colour temperature of between 2,300K and 9,900K. The inclusion of the lime LED chip is said to help certain colours appear more vivid and also boosts the CRI to in excess of 90. Offering a wide native beam angle of 80°, the fixture is also supplied with a lens kit. This comprises both 40° and 50° lens options, which securely clip to the front of the fixture to provide a narrower beam angle when required.

In brief, the Hydro Beam X12 is a moving head beam fixture with an IP65 rating. Incorporating the latest Philips Platinum 12R LL MSD Discharge Lamp technology, the unit creates a piercing beam of light with a tight 2° beam angle. And, finally, the Encore LP32IP is

LiOS2 upgrade promises better workflows

ARRI’S ORBITER LiOS2 software

update for the Orbiter LED luminaire aids synergy between cameras and lighting by incorporating three new operation modes –Sync Mode, Cue Mode and Optics Audio Adjust Mode. The three new modes establish new possibilities for crews to work and cooperate both faster and smarter.

The first of the three modes, Sync Mode, allows the lighting parameters to be enabled or changed in sync with the camera frames –frame brightness or CCT range can be changed to accommodate new creative ideas. Exact timing is key for capturing dynamic images and Cue Mode enables precise lighting control on the spot. Besides variable timing and working options, the new Cue Mode even allows for fluid and easy light changes in different lighting

modes. The transition can be selected from five different options, already known from SkyPanel. The Optics Auto Adjust Mode offers colour stability with any optic and any focus.

Utilising the accessory recognition of Orbiter’s QLM (Quick 2 Lighting Mount), the ARRI Spectra light engine is modified to maintain the maximum colour stability

multi-functional LED wash lighting fixture with an IP65-rated casing. It is part of ADJ’s Lime Par Series of LED fixtures utilising high output four-in-one colour-mixing LEDs that each include individually controllable red, green, blue and lime elements.

www.adj.com

no matter which configuration is used, including textiles such as Softboxes or Domes, a reflector in Open Face or lenses such as the new Orbiter Fresnel Lens. Also, with the Fresnel Lens, LiOS2 ensures the colour rendition across its entire zoom range. This gives the camera crew time to focus on other important settings.

Network and remote control are becoming essential on more and more productions and the new DMX Mode Spec V5 allows for more convenient network operation and additional features within the LiOS2 update. For example, the zoom range of the Orbiter Fresnel Lens can be operated, allowing for Extended Colour Control (ECC). All elements are also addressable via RDM.

www.arri.com

ADDING TO catalogue of allweather fixtures, Chauvet Professional has developed a range of IP65-rated moving heads in the form of Maverick Storm 2 BeamWash, Maverick Storm 4 Profile and Maverick Storm 2 Profile. Promoting its use for stadium and amphitheatre applications, the Maverick Storm 2 BeamWash is characterised by its bright output of almost 10,000 lumens. The 18kg fixture features 19 50W RGBW LEDs in its centre pixel array and an outer ring of 0.2W RGB LEDs. The wide zoom range from 3.6–53.4° can create a multitude of designs from tight aerial beams to wide washes.

The versatility of the BeamWash is enhanced with a pixel-mappable

outer ring that offers

under a stealth filter, the outer ring is easier to incorporate into a wide range of designs. Built-in foreground and background LED macros facilitate the creation of pixel-mapped effects. Smooth fades result from its 16-bit dimming, and six distinct dimming modes and the fixture’s user-selectable 7,500K calibrated white together with the pan and tilt movements add further creative possibilities.

www.chauvetprofessional.com

DESIGNED TO withstand inclement weather, yet with weight and size comparable with similar non-weatherproof fixtures, the VL3600 Profile IP comes with a 1,000W monochromatic light engine producing 85,000 source lumens. Thanks to a CMY+CTO colour wheel mixing system, the fixture produces a wide range of rich colours while eliminating the appearance of blades in the lens, improving direct view applications. With dedicated CRI

created so that designers no longer need to choose between lighter, non-weatherised fixtures or heavier IP-rated ones, reducing the budget and environmental impact of event or installation. The VL3600 Profile IP includes the manufacturer’s VL*FX animation wheel, as well as gobo wheels, a dual prism and frost, framing system, iris, zoom and focus. The lighter weight and V*Track Calibration System are said to

Focus

COB

Learning curve

TWO OF LIFE’S TRUISMS – THINGS THAT ARE BORNE out by evidence and are reliable foundations for meaningful discussion – are as follows. Firstly, that education is essential: no matter how we learn, most of the skills we need for survival aren’t innate. Education can come in different forms, from trial-and-error experimentation to formal study, but we have to actively acquire knowledge in order to thrive. Secondly, while social media may not be a great place to find truth, you can certainly find out how people feel about a topic. These two axioms converge in a surprising way whenever the topic of industry certification comes up. While posts proclaiming: “Hey, I just learned this great new trick” are met with general approval, posts of: “Hey, I just got certified” commonly produce a negative visceral reaction. As both a member of the professional audio community and a lifelong educator, I’ve been shocked by some of the reactions to formal study vs real-world experience. Those opinions aren’t entirely wrong – real-world experience is an effective way to gain the skills you need but, thankfully, it’s no longer the only way to start or grow a career.

Before the advent of university curricula and industry certification in our field, the traditional way to gain experience was through apprenticeship. While those who have apprenticed deserve respect for their hard work, anyone who’s gone down that path knows that a sizeable amount of time is devoted to tasks unrelated to the professional skills being sought.

In response to a growing demand for quality media education, universities began introducing a wide variety of courses and degree programmes. When done right, these courses give students professional-level experience on the kind of equipment that they’ll see after graduation in a penalty-free environment that gives the student the flexibility to experiment – and inevitably make mistakes – without bringing a professional facility

dues-paying” qualities of an apprenticeship, and they’re right, but that doesn’t invalidate the fact that universities offer the potential to gain in months what might take others years to learn in the school of hard knocks.

Along with university courses, many businesses have developed educational content, with some organising that material into certification programmes. These

with leading colleges and universities and certified instructors. No matter how the guidance is delivered, the mission is the same – to help master the products being

While it’s possible that some of the resistance to more traditional study and its accolades is sour grapes from an older generation towards new professionals with opportunities that they never had, that’s not the whole story. The cold reality is that there are good and not-so-good courses of study, and their relative newness compared with more traditional disciplines means that if a student isn’t careful, they could easily invest their time and money

So how can we determine which programmes are worthwhile, and which ones to skip? Here are some (admittedly subjective) thoughts on what to look for: Dedicated training teams. One of the biggest criticisms of industry certification is that it’s simply reused marketing material. It’s a fair criticism in many cases, so make sure that the folks creating the material are dedicated to a mission of education and have the skills to unlock learning

Product or production? Industry certification created by manufacturers is by design focused on the use of their products so that students can make the most of the gear at hand. If you’re an experienced professional aiming to upskill or fill skillset gaps, these can be fine, but for those less experienced, this kind of focus might not be the best route. Look for a college or university that – in addition to the industry certification you’re interested in – offers comprehensive training to provide a well-rounded foundation. Judicious online study. A common reaction to achieving certification is that all you need is “YouTube University”, meaning that everything is available on that platform for free. It’s hard to know where to begin with YouTube; yes, you can find some excellent material there, but there’s also a danger of being miseducated by content that is just plain wrong. It can be a great resource if you’re looking for specific information, but maintaining a discerning eye towards what’s posted there will serve you well.

The power of mentorship. Another thing that YouTube (or any self-initiated quest for knowledge) lacks is guidance. One of the strengths of cohesive training programmes, especially those with a live instructor, is that it will take you out of your comfort zone, showing you things that you never knew you always wanted to learn.

Though on the face of it these programmes might be a great replacement for (or even improvement upon) the traditional path of apprenticeship, don’t be fooled: even the best academic environments are professional “safe spaces”. While on one hand that means you can make mistakes without the kinds of penalties that you’d face in the professional world, it also means that in an academic or online environment, you’re missing out on the pressure that real-world experience applies. It’s important to remember that all the technical training and certification in the world can’t impress upon you the finer points of working with others in a high-stakes environment. If you opt for an academic path, make sure that after you get your degrees and certification, you make as much of an effort to learn the practical skills of your field as you did the technical.

The bottom line is that whatever road you choose, the efforts that you take to learn the tools of your trade are to be applauded. Learn well!

the

Andy Hagerman, audio curriculum manager at Avid

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