“Everything about it feels premium, with a proper connector on the back, decent fittings and two options of how you hold the cabinet, either on a mic stand or in a little frame.
Paul Timmins 22live
Unite Your Audience The Martin Audio Experience UNITE YOUR AUDIENCE WITH OUR STRONGEST EVER LINE-UP
Welcome to final issue of 2024 –where did the year go? Our November–December cover feature dives into Ian Schrager’s The Edition Singapore, the latest hotel in a joint venture with Marriott International (p62). Its style and glamour are matched by equally uncompromising AV designs from Electro-Acoustics Systems featuring an array of leading brands across the property. Schrager has been changing the fabric of global hospitality since 1977 when he opened Studio 54 in Manhattan, the legendary venue that redefined nightclubbing and continues as a theatre and cabaret venue. Although Schrager’s association with the Manhattan property ended long
ago, it’s remarkable that he’s still shaking things up almost 50 years later. Further Asian Edition properties are planned for Bali and Kuala Lumpur, joining those in Shanghai and Tokyo.
Elsewhere, Richard Lawn sits down with Sennheiser to learn more about its groundbreaking new Spectera WMAS bidirectional wideband technology (p74), we take a look at Calrec at 60 (p78) and I bring news of an innovative new museum to open in Mumbai, the Museum of Solutions (MuSo), which, as we went to press, had won the international Hands On! Children in Museums award (p54). I hope you enjoy the issue, and here’s to another year of news and developments from across APAC.
Richard Lawn General manager rlawn@proavl-asia.com
Nick Smith Digital media manager nsmith@proavl-asia.com
Sue Gould Advertising director sgould@proavl-asia.com
Chris Yardley Video editor cyardley@proavl-asia.com
Carolyn Valliere Sales associate cvalliere@proavl-asia.com
Jack Stennulat Digital content creator jstennulat@proavl-asia.com
TELEPHONE: +44 (0) 1892 676280 WEB: www.proavl-asia.com
Simon Luckhurst Senior reporter sluckhurst@proavl-asia.com
Adrian Baker Production manager abaker@proavl-asia.com
Karen
Marne Mittelmann Circulation manager circulation@proavl-asia.com
Bea Meikle News editor bmeikle@proavl-asia.com
Sue Su Guangzhou manager ssu@proavl-asia.com
To support the growth of Q-SYS in Australia, QSC APAC and TAG have established a new dedicated business team. Committed to delivering focused solutions and enhanced support for Q-SYS end users, the team will be backed by sales coordination and customer support with the manufacturer’s headquarters in California.
opening of a new headquarters in Indonesia, formed as a subsidiary of Peavey Electronics in the US. The move to open a regional outpost is in response to the country’s growing demand for music, nightlife and entertainment.
Peavey Electronics Indonesia has launched a corporate office in Thamrin, Jakarta, which is headed by Riko Cantino, an industry veteran who previously worked at audio brands Bose Professional and Yamaha. The showroom in Kuta, Bali, will serve as a place for business owners, sound engineers and musicians to experience the full range of Peavey, Crest Audio and MediaMatrix products under the guidance of Joy Athanasius. To ramp up support for its customers, six service centres
“We are excited to deepen our presence in Indonesia, which is undoubtedly going to be a major economy on the global stage in the years to come,” remarked Akshay Vaidya, MD for Peavey Corp APAC. “We view this as a longterm project, with a view to both manufacturing within Indonesia as well as supplying the Indonesian market with our exciting suite of products under the Peavey, Crest Audio and MediaMatrix brands. Education is a critical backbone of our growth strategy; therefore, we have invested in infrastructure that allows us to familiarise the systems integrators and resale partners with the specific features and benefits of deploying our products. We also plan to have regular seminars at the Bali location both for the Indonesian systems
Shayne Thomas, MD for Peavey commercial audio – global, added: “The timing couldn’t be better for our expansion into the Indonesian market, with our cutting-edge MM Gen III product line imminently available. We’re excited to reconnect with Indonesia’s extensive network of audio professionals and give them a handson experience with the latest MediaMatrix technologies. This feels like a homecoming of sorts, given the numerous successful projects we’ve completed throughout the archipelago with the MM Gen II range. With Indonesia’s economy on an upward trajectory and our most comprehensive lineup of products to date, we’re poised for an exciting future in this dynamic market.”
www.peaveycommercialaudio.com
Golden Sea has announced the acquisition of SGM Light AS. Effective immediately, SGM will begin to restart trading under a new legal entity, while retaining the SGM name. Denmark-based SGM first joined the industry in 1975 as an IP65 moving lights manufacturer. More recently, the company places a focus on architectural lighting with its technology covering both the architectural and stage lighting portfolios, aligning with Golden Sea’s current investments in both entertainment and architectural IP65 lighting products. The company boasts experienced R&D, creative, operations and sales teams alongside mature sales channels and partners which Golden Sea will leverage through the agreement.
“Our investment in SGM aligns with Golden Sea’s future strategic and long-term development plans,” said Christopher Agius Ferrante, VP of Golden Sea. “The purchase of
Sea noted that
“TAG is widely recognised as one of the premier AV systems distributors in Australia and we have full confidence in their ability to strengthen the Q-SYS business,” noted Duncan Savage, vice president and general manager, APAC, Q-SYS. “Leveraging their exceptional technical capabilities, TAG’s Q-SYS Australia team will benefit from unrivalled direct access to Q-SYS
product development, roadmaps and advanced technical support. This increased level of engagement uniquely positions TAG to accelerate the development of the Q-SYS business in Australia.”
The team will be led by Q-SYS’s general manager Giles Brading and director of technical services –TAG, Ewan McDonald and will offer comprehensive logistical, technical and financial services for customers, with a singular focus on Q-SYS products and solutions. The manufacturer hopes that the hyperfocused approach will enable the local team to provide direct and immediate market and customer interface in the region.
“This partnership combines the long-term distribution expertise of TAG with a dedicated team of Q-SYS professionals to deliver the highest level of support, training, service and integration,” commented Brading. “It is a significant waypoint on the Q-SYS journey in Australia and the best way to serve Q-SYS and those deploying and using it both now and in the future.”
www.qsysaustralia.com.au www.tag.com.au
Allen & Heath has partnered with Jetbuilt to integrate its comprehensive product catalogue into Jetbuilt’s database. The partnership aims to streamline the workflow for end users, integrators and consultants by providing access to the latest information on Allen & Heath’s audio solutions.
Through the partnership, integrators will gain direct access to Allen & Heath’s detailed product specifications, pricing information, product availability and warranty details, enabling them to accelerate various stages of their projects, from proposal generation to comprehensive 360° project management. Additionally, the manufacturer’s products can be customised within the Jetbuilt platform to reflect the integrator’s specific pricing, shipping, labour and tax details. Once customised, these items are saved to the company’s product database for future projects. The manufacturer’s full portfolio, including lines like dLive, Avantis, SQ, Qu and AHM, will be readily available within the Jetbuilt platform.
Jetbuilt’s Project Registration allows integrators to register their products in each project, directly within the platform. Furthermore, Jetbuilt empowers Allen & Heath to engage directly with integrators during the planning stages of a project to allow the manufacturer to validate product fit, discuss specialised project requirements and offer potential incentives.
“This is an exciting new phase of our growth with the Allen & Heath brand visibility and ease of project design spec,” said Jeff Hawley, director of marketing for Allen & Heath USA/American Music & Sound. “Our customers asked for more detail and access to the increasingly popular range of Allen & Heath products and Jetbuilt was a no-brainer way to make this happen.”
Avid has entered into a definitive agreement to acquire Wolftech Broadcast Solutions, a provider of cloud-based multiplatform planning and publishing news production solutions. The strategic alliance is aimed at empowering digital-first, story-driven newsroom collaboration.
The acquisition combines Avid’s endto-end media solution with Wolftech’s expertise in story-centric workflow management. The integration is intended to enable news organisations to rapidly deliver stories through multiplatform amplification, increasing efficiency and improving remote collaboration.
Wolftech already integrates with a wide range of tools, including Avid MediaCentral, and will continue to build integrations with the manufacturer’s solutions and other platforms. Avid noted that with the acquisition, it will deepen the integration between the two toolsets while continuing to partner with a wide range of media production tools and newsroom systems. Furthermore, existing Wolftech customers will gain access to Avid’s global scale for customer support and professional services.
Both parties stated that the planned acquisition will enable news production organisations to break down silos between digital, broadcast and long-form teams and increase efficiency with planning and analytics tools. The integration also aims to enable production teams to centralise communication and optimise team collaboration with web and mobile tools, amplify stories faster across distribution platforms, as well as leverage an integration engine, open API and AI framework to build and evolve workflows.
ROE Visual Japan recently celebrated the relocation to its new Tokyo office with a launch event. Located close to Tokyo station, the new facility is double the size of the previous one and is designed to accommodate expanding operations, as part of the company’s growth plans for the region.
“More than 10 years ago, Imo-san [director and managing executive officer at Hibino] welcomed us into the Japanese market. Since then, we’ve seen this region
consistently leading in innovation and excellence,” remarked Jason Lu, general manager at ROE Visual. “Japan’s undeniable impact on technology motivates us to continue offering products and services tailored specifically to this market’s unique needs. That was one of my earliest memories about Japan.
“In 2020, ROE Visual made the strategic decision to establish a subsidiary in Japan, which has significantly enhanced our ability
digital platforms more efficiently than ever
developed a strong, stable community and it’s through this community’s ongoing trust and loyalty that has enabled us to expand into a new office.”
The office features an expansive showroom showcasing the manufacturer’s latest products, such as the RBC1.9, TP-C2.6, V5S MKII and V8S MKII. There are dedicated areas for XR, rental and fixed installation applications to showcase each solution.
The space also features separate sections for items in-progress and those completed, as well as a specific entrance for repairs to boost operational efficiency and streamline service delivery.
“The opening of our new office marks a major step forward for ROE Japan,” added Teppei Shuhama, VP of ROE Visual Japan. “It not only boosts our brand presence but also provides a more effective and collaborative work environment. With upcoming opportunities like the 2025 Osaka Expo, we’re excited about the potential for growth and innovation that our new space supports.”
www.roevisual.com
Mirroring the transformation of its South Melbourne neighbourhood over the past three decades, Factory Sound has matured and prospered sufficiently to be regarded as an Australian professional audio institution. Under new ownership, the retailer is diversifying its business model and accelerating towards its next phase of growth. The new owner’s vision now takes the Victoria-based business to the next level, or rather, the next state.
“Factory Sound had been doing good business amongst the production companies, houses of worship installation divisions and event organisers in Sydney,” commented Factory Sound national sales manager, Dean McGrath. “However, we want to set the benchmark and develop our business potential. In previous years, for example, we worked with a few educational facilities in New South Wales from our Melbourne office. Now we are established in Sydney, it will be easier for us to access these sites and that will help us better understand our clients.”
To its customers, Factory Sound differentiates itself by the long, personal relationships it develops through expertise and trust, as McGrath continued: “We have never been a company that simply supplies a quotation on a piece of paper or over the phone. Audio is so much more personal than that and a customer must hear, see and touch for themselves, because there’s no right and wrong in audio. We welcome the professional audio mixing engineers preparing for shows here in our demo room as they feel comfortable in this space.”
The focus may be on the new Parramatta multilevel facility, but the legacy of Factory Sound remains over 1,000km away. “This location will serve as a base to help us attract clients further north up the coast,” noted McGrath. “Sydney customers now have a place to go and experience the
Factory Sound difference. They will soon appreciate that our business model is slightly different with equipment that starts at midrange and goes up to professional tour sound.”
Factory Sound has always marketed itself as a problem-solving outlet. “A good ‘solution’ is more about giving the correct information than it is to sell equipment,” explained McGrath. “With a
better understanding of our customers, we can help them create whatever they wish to achieve. By building a good rapport, our customers feel comfortable having a place where they can have a chat and further develop their ideas.”
Located in the western suburbs, Parramatta was selected for being relatively central to the market and is four times larger than the Melbourne location. “Promoting all the brands and equipment in our Melbourne space has always been challenging, but in Sydney it is panning out beautifully. It’s a dream as the studio monitor rooms are more than triple the size. We can also demonstrate largeformat loudspeaker arrays and more digital consoles. Further to demand, we will be hosting educational nights – it is our job to better inform audio engineers about the equipment they are investing in.”
Having started his career as a part-time salesperson at Factory Sound in 1998, McGrath fully comprehends that music is passion. “Because of our passion, we have survived and grown for 30 years in Melbourne, but we now want our New South Wales customers to experience how we’ve done things in Melbourne over that time. It may sound bold, but I believe that we offer a totally unique experience like no other in Australia.”
Understandably, transplanting passion from one location to another will take time. McGrath and his fellow Factory Sound workers are committed to making that investment. “My colleagues here in Melbourne are real experts and know what to do,” concluded McGrath. “By regularly travelling to Parramatta, we will ensure that our new teammates are set up and we will also be rotating staff between Melbourne and Sydney. Crucially, Parramatta needs to evolve on a similar trajectory with the same brand values and DNA.”
www.factorysound.com
Hi-Tech Audio & Image
recently hosted the L-Acoustics Day 2024 event in New Delhi, the first official visit to India by the manufacturer’s global leadership team. Jacob Barfoed, director of global sales; Tim Volker, director of sales; Chris Mead, head of sales –EMEA, Africa, India and Eurasia; and Peter Owen, sales manager, all conducted presentations highlighting the company’s vision for the Indian market.
Barfoed presented L-Acoustics’ global company profile and the accolades it has achieved in the industry. He remarked: “India represents a vibrant and rapidly growing market with immense potential. Our partnership with Hi-Tech Audio & Image has been instrumental in extending our reach and impact. We are committed to bringing the best of L-Acoustics to India.”
Volker shared an update on business and market trends in the live sound sector across EMEA and other markets, stating: “India is a key focus for us as we look to expand our footprint in the region. The synergy between L-Acoustics and Hi-Tech Audio & Image is a testament to the power of collaboration and we are excited about the opportunities that lie ahead.”
Emphasising the importance of a strong, unified approach to expand the manufacturer’s presence in India, Mead outlined the new team structure at L-Acoustics. “Our goal is to create a robust support network that empowers our partners in India to achieve greater success,” he explained. “The new team structure will enhance our ability to deliver superior service and innovative solutions tailored to the unique needs of the market.”
Lastly, Owen highlighted crucial updates on the strategies L-Acoustics is implementing to combat counterfeit products, stating: “Counterfeit products pose a significant threat to the integrity of the AV industry. We are committed to working closely with our partners to ensure the authenticity of our products and safeguard the reputation of L-Acoustics.”
During the event, High-Tech’s CEO and founder, Rajan Gupta, said: “Over the years, we’ve strategically mapped and penetrated every region of India with L-Acoustics’ technology, transforming the soundscape of prestigious venues and events across the nation. Our collaboration with L-Acoustics has redefined audio experiences, and the expertise shared by their global team during this visit has provided us with invaluable insights.”
One of the Maldives’ largest event management companies, Stage Core has announced its investment in d&b audiotechnik sound systems to enhance its audio inventory. The company stated that, with the investment, it holds the largest collection of internationally recognised sound equipment in the country.
subwoofers, eight M4 stage monitors and five D80 amplifiers. The addition enhances Stage Core’s existing d&b inventory which includes 24 V-Series tops, eight V subs, eight B22 subs and 12 D80s.
“While private events have been fewer this season, we are optimistic about a strong
Stage Core has established itself as a key partner for resorts in the region hosting largescale private events and exclusive buyout experiences, featuring performances by international top-tier artists and global superstars. The company has extensive expertise in managing high-profile events with the aim of elevating the resort experience for its clientele, reinforcing the Maldives’ standing as a top destination for luxury entertainment.
The new investment comprises loudspeakers from d&b’s V-Series: four V12s, eight V8s and four V subwoofers, as well as four B22
rebound in the upcoming winter season,” said Ahmed Haisham, managing director, Stage Core. “The primary challenge has always been the availability of high-end equipment. With our latest investments, we are now better positioned than ever to attract more large-scale events and international performers to the Maldives. This will not only enhance our brand but also significantly boost tourism by drawing more travellers to our shores.”
www.dbaudio.com www.scmaldives.com
The Riedel Group has invested in Austrian manufacturer Apex Stabilizations to broaden its range of services. Through the partnership, the company will become part of the Riedel Group but remain an independent business.
Established in 2019, Apex provides camera stabilisation solutions (gimbals) which are primarily used for shots from helicopters, cars, boats or cranes for the production of live TV, commercials and films. Through the agreement, Apex will leverage Riedel’s global sales and service network, gaining an experienced team and know-how as well as access to new markets. The partnership will also create synergies at the development hubs in Vienna, with the aim to benefit partners and customers alike.
“I firmly believe in the innovative technologies of the Viennese pioneers at Apex,” commented Thomas Riedel, founder and CEO of the Riedel Group. “Investments in
such specialised technology are investments in our future and open up new niches in our core markets. Cameras with Apex stabilisation are already being used in many large-scale productions we are involved in – and with Apex as part of the Riedel Group, we will be able to create even more comprehensive offerings for our customers.”
Added Thomas Schindler, managing director, Apex Stabilizations: “Whether for live events, film productions or TV broadcasts, the solutions of our two companies have become an integral part of the modern media landscape and have often excelled together, most recently at the games in Paris. By joining forces, we will develop innovative products that set new standards in terms of both image quality and smooth communication.”
www.apex-g.systems www.riedel.net
Genelec has announced the opening of a new experience centre in Seoul. The facility will serve as a place for visitors to receive expert advice on the manufacturer’s technology as well as offer a high-quality critical listening environment, from stereo to immersive.
Situated in Jongro, the Seoul location is a collaboration between Genelec and local distribution partner SAMA Sound and offers a wide selection of solutions from the brand’s professional audio, installed sound and home audio ranges. The centre is hosted by SAMA Sound’s Genelec product manager Wonjoo Lee and tech specialist Jaehyuk Han, who are on hand to offer personal demonstrations and advice to customers.
The centre is divided into three distinct zones. Designed to enable visitors to experience the UNIO monitoring system, the Immersive Room features a 9320A Reference Controller acting as a hub for both 7.1.4 in-room loudspeaker and personal headphone monitoring. The in-room Smart Active Monitoring system comprises a combination of 8351B three-way coaxial monitors and W371A woofer systems in
the L-C-R position, 8351Bs in the surround and height positions and a pair of 7370A subwoofers – all configured and calibrated via GLM loudspeaker manager software. The room has the ability to instantly switch between in-room and personal headphone monitoring, showcasing the capabilities of UNIO between the two.
The Demonstration Room offers a range of stereo systems for both professionals and audiophiles. A selection of Genelec professional studio monitors can be auditioned, with and without subwoofers, as well as a range of speakers for home audio enthusiasts.
The Smart IP Zone offers integrators, consultants and users the opportunity
to evaluate the Smart IP family of PoE installation loudspeakers which operate via a single CAT cable that delivers audio, power and loudspeaker management.
“We are thrilled to announce the opening of the Seoul Experience Centre,” remarked Lee. “Here, audiophiles and professionals alike can immerse themselves in Genelec’s innovative technology. Moving forward, SAMA Sound and Genelec will continue to collaborate closely to deliver even more advanced audio experiences and we invite all our customers to stay tuned for future announcements.”
Genelec business development director Ken Kimura, added: “The Seoul Experience Centre offers local customers the perfect opportunity to audition our solutions in a controlled, high-quality listening environment and get expert personal advice in a relaxed atmosphere. We firmly believe that our experience centres are continuing to bring us closer to our global customers, through education and the appreciation of exquisite audio performance.”
www.genelec.com
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Grass Valley and ES Broadcast have signed a strategic partnership agreement aimed at driving global expansion and innovation. The agreement marks the continuation and expansion of their longstanding relationship which has been in place for over a decade.
ES Broadcast is a global business known for its sales and systems integration, as well as its expansive hire business. The company rents the manufacturer’s camera systems to major sporting, news and entertainment events across the globe. Included in the agreement is a multimillion-dollar annual spend by ES Broadcast across Grass Valley’s extensive product portfolio, including live production infrastructure, cameras and switchers. ES Broadcast, one of the first AMPP-certified partners globally, will also emphasise the expansion of the AMPP Platform as a key component of its strategic focus.
“This partnership is not just about maintaining our relationship with Grass Valley; it’s about expanding it,” said Greg de Bressac, managing director at ES Broadcast. “We’re growing our geographical reach and deepening our strategic interactions to unlock new opportunities. Grass Valley products continue to be a crucial part
of our inventory, especially with the adoption of the LDX100 series, which we believe will play a significant role in our future. We’re also committed to driving the adoption of AMPPbased products, which we see as vital to the future of our industry.”
Tim Banks, chief revenue officer at Grass Valley, added: “We are thrilled to enter this next chapter with ES Broadcast. Their commitment to Grass Valley products and their expertise in the media and entertainment industry – across a range of hardware- and software-based applications – make them an ideal partner to drive our joint vision of growth and innovation.”
“Our partnership with Grass Valley is built on trust, innovation and a shared vision for the future of media production and entertainment,” concluded Ed Saunders, owner and CEO at ES Broadcast. “This agreement reinforces our commitment to delivering the highest-quality products and services to our customers around the world and we’re excited about the opportunities it will bring as we continue to expand our business.”
www.esbroadcast.com www.grassvalley.com
Global Sound Technologies Participations has finalised an agreement to acquire Italian audio systems manufacturer RCF Group.
Established in 1949 and headquartered in Reggio Emilia, Italy, RCF Group has reinforced itself over the past two decades as a major professional loudspeaker brand. In 2023, the group – which includes dBTechnologies, EAW and Montarbo in addition to RCF –achieved a turnover of approximately €250m. Represented in over 130 countries, RCF has approximately 600 employees and operates seven plants worldwide.
Investindustrial aims to accelerate RCF’s international expansion both organically and through acquisitions, with a particular focus on Asia, the Middle East and America. Currently representing approximately 70% of its capital, Investindustrial has proven to be a successful investor in niche manufacturing companies. These include Fassi, Amalfi, Ceme, CSM Ingredients, Guala Closures and Omnia Technologies which work across various sectors including automation technologies and food ingredients technology.
Andrea C Bonomi, chairman of the Investindustrial industrial advisory board, commented: “Investindustrial is the ideal partner for entrepreneurial families looking to elevate their companies to the next level of global expansion. RCF Group is an Italian
business. As such, Arturo Vicari and Alfredo Macchiaverna will continue to hold the roles of chief executive officer and chairman of the board of directors, respectively.
Bonomi furthered: “We are excited to work with Arturo Vicari, Alfredo Macchiaverna and the entire management team and the shareholder families on a growth project focused on consolidating RCF’s presence in its existing markets, expanding its footprint –especially in Asia – and strengthening its competitive position also through acquisitions. Investindustrial’s long track record of successful investments in familyowned companies, its industrial approach and its global infrastructure were key factors in creating this partnership with RCF. Together, we share the same vision: to make RCF even stronger and the global leader in the professional audio market.”
Vicari stated: “We are proud to be partnering with one of the most successful entrepreneurs on the market today. We have chosen to work with a group that not only shares our desire to manufacture excellent and successful products but, first and foremost, the absolute transparency in the way of doing business that has always defined our families.”
www.investindustrial.com www.rcf-group.it
AUO Display Plus (ADP), a subsidiary of AUO Corporation, has acquired Avocor. The move aims to accelerate Avocor’s growth by integrating ADP’s extensive expertise in display technology and global resources.
Part of AUO’s ongoing biaxial transformation strategy, the acquisition marks a step in deepening its vertical market applications under the Go Vertical initiative. By integrating Avocor’s sales capabilities and distribution channels, ADP hopes to offer more diverse product platforms and comprehensive services to global customers in the education and enterprise markets.
since 2022, fostering a partnership that has enabled the latter to expand its product offerings, including DvLED displays, digital signage and
further strengthen our presence in the solution business while also amplifying the cross-business synergies within the AUO group,” said Frank Ko,
Mumbai-based rental company NJSM has announced that it will be joining the SOUND.COM organisation with immediate effect, citing their shared commitment to excellence and stating that the new partnership will “enhance both organisations’ capabilities” while simultaneously ensuring the expansion of both companies’ services and product offerings for its clients.
“Partnering with SOUND.COM was a natural choice for a sustainable and prosperous
future for both our team and our clients,” commented Nixon Johny, NJSM’s founder and owner. “SOUND.COM aligns perfectly with our values and dedication to delivering exceptional sound and customer support.” SOUND.COM was established back in 1998 in Mumbai by founder and MD, Warren Dsouza. Having expanded steadily over the past three decades, the new partnership is set to see the company’s growth accelerate and the team’s headcount increase from 100
Seiko Epson Corporation has announced the establishment of Epson METACWA, a new sales company aimed at serving businesses and consumers across the Middle East, Turkey, Africa and Central and West Asia (META-CWA). Operations are set to commence this month, with the company headquartered in Dubai.
The new regional operation is being led by Neil Colquhoun, as president for Epson METACWA, who has spent more than a decade with the company. “At Epson, we take pride in what we design, manufacture and deliver. This expansion into the Middle East, Turkey,
growth potential within these regions, which are seen as key areas for technology adoption. Epson META-CWA will provide a range of technology solutions, including printing, scanning, visual display, manufacturing and lifestyle products. The company will continue to offer enterprise solutions tailored to sectors such as education, healthcare, financial services, construction, tourism, hospitality, retail and entertainment.
the planet and building a more sustainable future,” noted Colquhoun. “Moreover, this structure will give our talented on-ground teams even greater opportunity to support the continued business growth with local partners.”
corporate.epson/en
CEO and president, AUO. “Together, we are poised to set new benchmarks in the display industry, leveraging our combined expertise to deliver unparalleled value to our customers and partners.” “All sides are incredibly excited to welcome Avocor into the AUO Display Plus family,” said Scott Hix, Avocor CEO, AUO education and enterprise business group GM and CMO of ADP. “With AUO and ADP’s support, Avocor is positioned for unprecedented growth and expansion, enhancing our product roadmap and accelerating our go-to-market strategies.”
www.auodplus.com/en-global www.avocor.com
to 145. It also provides increased global opportunities for both companies going forward. “NJSM shares the same culture and values that drive us at SOUND.COM,” added Dsouza, “and we are excited to welcome their outstanding team, who I am confident will seamlessly integrate into our organisation.”
www.njsm.in www.online-sound.com
The Production People (TPP) has expanded its technical capabilities with the investment in Clear-Com’s Arcadia Central Station. Through the acquisition, TPP is one of the select rental companies in Singapore equipped with the manufacturer’s intercom platform, supported by the FreeSpeak digital wireless system and the HelixNet digital network partyline system.
TPP noted that the investment, driven by growing client requests for more advanced intercom solutions, will enhance its offering for high-profile events. “We saw a clear shift where clients began requesting Clear-Com systems by name, particularly HelixNet and FreeSpeak II, as they’ve become the go-to standard for reliable multichannel communications,” confirmed Sheldon Gooi, director of TPP.
The production company collaborated closely with Clear-Com and its local distributor Electronics & Engineering (E&E), on a tailored solution to ensure the system would meet clients’ diverse needs. Since implementing the new system, TPP said it has received positive feedback from clients who value the system’s performance, ease of use and ability to handle the demands of large-scale events.
“We’re thrilled to see The Production People adopt the Arcadia system to elevate their event productions,” remarked Hans Chia, regional sales manager at Clear-Com. “We’re confident that our systems will offer them the
The Production People team with their new gear
flexibility and performance needed to meet the growing demands of their clients.”
“Our clients appreciate the fact that we are proactive in meeting their communication needs and that we’ve invested in Clear-Com to guarantee seamless production workflows,” noted Gooi. “The support from Clear-Com and E&E, from initial design to hands-on training, has been exemplary.”
www.clearcom.com
www.enepl.com.sg
www.tpp.com.sg
Kramer has opened its new APAC experience centre and regional headquarters in the Tai Seng district of Singapore. The facility integrates Kramer solutions into the daily working lives of employees while allowing systems integrators and clients to experience the AV systems first-hand and attend training sessions.
The 370m2 second-floor space in the new, sustainably built Tai Seng Exchange reflects the 43-year-old company’s renewed brand values and focus since it was acquired by Fortissimo Capital in 2021.
“Fortissimo Capital recognised the potential to turn Kramer into one of the top AV providers globally, but the company had to change,” remarked Marc Remond, APAC president, Kramer. “When Gilad Yron was appointed CEO, he began the company’s transformation by first changing from a very centralised structure to a more decentralised organisation and, as a result, we created three regions each with their own president: the Americas, EMEA and APAC. In 2022, we rebranded and started to introduce new products following heavy investments in R&D. In 2023,
we started to invest in software by acquiring UC Workspace and Quick Launch and made additional investments in R&D in India. Now, 2024 marks the opening of our Asia Pacific headquarters which integrates our executive experience centre as well.”
Visitors are greeted with a welcome space featuring a small huddle area for working.
The modular main space can be adapted for multiple applications, featuring touchscreen displays for ideation and collaboration and a Microsoft Teams Room
(MTR) system. The space can be reconfigured to showcase command and control centre solutions. Kramer speakers and two Sennheiser in-ceiling microphones enable sound to be captured from anywhere in the room, and the displays are connected via IP, allowing any source to be displayed onto the screens.
The immersive “innovation room” incorporates a configurable table, AI tracking camera facing participants and a 21:9 display to enable immersive meetings using Signature Microsoft Teams Rooms. Multiple office spaces include an executive office with a camera and screen that can be wirelessly accessed. A hybrid meeting area features a V-shaped table for collaboration, while multiple
cameras capture the presenter on a single stream.
Focus spaces feature Kramer docking with USB-C connections, and there are also social and shared working spaces, a private area with a phone booth and a lab used for troubleshooting solutions.
“The idea was to hide the technology as much as possible to create a space that is highly useable as our own working environment,” continued Remond.
“The entire infrastructure is run on IP, HDMI USB-C is used as the last cable to connect the devices, but the whole infrastructure is on IP with cloud-based solutions for controlled monitoring and management.”
Kramer’s acquisition of Ashton Bentley and ZeeVee this year aligns with its strategy to provide a fully end-to-end audiovisual solution, according to Remond. “The company has grown to become a global organisation that has shifted to selling solutions and building experiences in different spaces for our customers,” he said.
“The Ashton Bentley and ZeeVee acquisitions are definitely a part of that experience. Ashton Bentley’s products enable that user experience in hybrid meeting spaces.
“Kramer has always been renowned for its connectivity products such as our impressive cable range that ensures smooth transmission of every type of signal over any distance. The new Singapore facility now serves as a place to showcase the full breadth of our expertise as an end-to-end AV experience solutions provider. This space highlights our complete range of advanced offerings, demonstrating our leadership in the AV industry.”
www.kramerav.com
Technical and operational solutions provider The Helm has partnered with VA Hire, combining cinematic camera and lens technology with broadcast multicamera workflows. The collaboration aims to open new opportunities for premium corporate content capture, live events, TV productions and bespoke studio and livestream broadcasts across the APAC region.
“Partnering with VA Hire is a huge privilege for our business and I am very excited for the opportunities for our clients and staff alike,” noted Josh Moffat, CEO, The Helm. “Pairing VA’s expansive cinematic inventory and experienced team with our broadcast pedigree and event technology offering, is a match made in heaven.”
The alliance leverages The Helm’s expertise in broadcast production and technical project management, combined with VA Hire’s vast cinematic experience and inventory of cameras, lenses and accessories, to offer a new end-to-end solution for the market. It has already seen the introduction of the ALEXA 35 Live system to the Australian market, supported by ARRI Australia.
to deliver this to market both locally and internationally.”
Josh Harvey, vice president and country manager, ARRI Australia, concluded: “ARRI Australia is privileged to be the first in the world to bring the ALEXA 35 Live technology to market. The feedback we have received from The Helm and VA Hire will go a long way into developing our live system products into the future.”
www.arri.com www.the-helm.co www.vahire.com
Global Mounts Group, the parent company of Neomounts and B-Tech AV Mounts, has acquired Audipack, a manufacturer of high-end and custom-made mounting solutions. Established in 1982, Audipack provides custom solutions tailored to the professional AV market.
Absen recently opened its Thailand showroom located in the AIA Capital Center in the Din Daeng district of Bangkok. The facility will serve as a space for live product demonstrations and in-depth product knowledge and will be used as a service centre for repairs and troubleshooting.
The centre showcases the manufacturer’s KLCOB display, Absenicon interactive LED X136 FHD, PL PRO V10, AbsenCP, plus multiple small LED cabinets ranging from P1.2mm to P2.5mm. The showroom also includes Yealink’s videoconferencing solution, Black Box and Poly-M command centre solutions and a Bose Professional audio system.
Dick van Baarlen, CEO of Global Mounts Group, said: “The acquisition aligns with our mission to offer the most comprehensive and innovative range, expanding the company’s portfolio to include Audipack’s specialised products and expertise. With Neomounts and B-Tech already known for their extensive ranges of mounting systems for AV and IT, the addition of Audipack’s unique quick install rental solutions will further enhance the group’s ability to support our business partners and end customers.”
“Audipack becoming part of the Global Mounts Group with allow the company to further grow and develop. The strong combination of Audipack, B-Tech and Neomounts, as well as the versatile range of mounting solutions, will complement each other and contribute to further growth,” added Julian van den Berg, Audipack owner. Through the deal, Audipack will continue to operate under its own brand name and the companies can share distribution networks to further strengthen their international presence. www.globalmountsgroup.com
The launch was celebrated with an opening event which was attended by over 100 systems integrators, AV consultants, event providers, distributors and sponsors. Absen’s Linda Chen, vice
general manager – international sales, and Emily Yang – general manager for the Thailand market, commemorated the event with a ribbon-cutting ceremony.
“The Absen Thailand showroom showcases our latest LED innovations with a wide range of products and solutions,” commented David
displays have been designed to impress and are a must-see for anyone interested in cutting-edge LED technology.”
www.absen.com
Mumbai-based rental solutions provider
PP Sound Light Productions has invested in a second DiGiCo Quantum 338 console as well as a Meyer Sound Panther system, reportedly the first in Western India.
“Almost all the world-class artists, performers and engineers that we’ve worked with since we acquired our first Quantum 338 have absolutely loved the console,” noted Prasad Parkar, director,
From a rental perspective, the fact that the Quantum 338 supports DMI Cards and therefore Dante gives us the capacity to provide a solid and reliable networked solution for intricately complex events and all types of major productions.”
In addition, 24 Panther line array modules and 18 2100-LFC subwoofers have been added to the company’s FOH inventory. PP Sound Lights Productions stated that it is the first company to
is reportedly the second rental service provider in the country to stock the 2100-LFCs.
“The Panthers pack unbelievable power and precision into a form factor that’s both logistically convenient and aesthetically appealing,” added Parkar. “The system’s high output and minimal distortion, remarkable frequency response, exceptional phase coherence and expansive horizontal coverage – all make it the ideal choice.
“The 2100-LFC subs perfectly complement the unique voicing characteristics of the Panther line array modules and effortlessly enhance the overall performance of the system with their thunderous low-frequency fidelity – all within an astoundingly compact footprint.”
The day the company took delivery of the Panther system it was deployed at the Ed Sheeran Mathematics tour concert in Mumbai. It has also been put to use on a range of other events, including multicity concert tours headlined by Bollywood music producer Amit Trivedi and music sensation Aditya Gadhvi, plus the Royal Stag Boombox 2.0 music festival tour hosted in Indore, Jaipur, Pune and Bhuwaneshwar.
www.digico.biz
www.meyersound.com
www.ppsoundlight.co.in
Taking place at the Sofitel Mumbai, Pink Noise Professionals recently held an EAW Anya system “Hear it First” event, the first live demonstration of the system in India. The event brought together a distinguished lineup of attendees, including renowned sound engineers, music producers and live sound experts. Pink Noise invited Durgesh Sound, the first buyer of the Anya system in the country, as well as James Bamlett, sales director – APAC at EAW to the event. In addition, a video featuring renowned sound engineer Robert Scovill was showcased, where he provided in-depth insights into the technical specifications and features
of the Anya system for guests. “For many, the highlight of the evening was when the attending sound engineers played their own tracks to experience the incredible performance of the Anya system,” said Vijay Sinha – director of marketing and sales, Pink Noise Professionals. “We also had a live performance from the Malang Band, followed by an exciting DJ set. The feedback we received from our guests was overwhelmingly positive, with many impressed by the system’s capabilities.”
www.eaw.com
www.pinknoisepro.com
AV NOW, FOUNDED IN 1994, SPECIALISES in providing professional audiovisual equipment and installation services to fitness facilities across the US. The company was established with the goal of connecting fitness instructors with robust and user-friendly audiovisual gear. It offers fitness-focused retail products such as headset microphones, accessories and complete sound systems. Additionally, their Pro division specialises in nationwide integration and installation services.
In a recent project, AV Now completed an installation at the Ottawa YMCA in Ottawa, Illinois. The YMCA, a community-focused organisation, emphasises health and wellness for people of all ages. The Ottawa branch, whose brand-new campus opened this year, required a dependable and easy-to-use audio system for two group exercise studios.
challenge
Aiming to enhance its newly constructed group exercise studios, the Ottawa YMCA sought a user-friendly audio system for both instructors and staff. The system needed to provide:
● Intuitive control: instructors needed a simple way to manage audio sources during classes, including Bluetooth music playback and wireless microphones.
● High-quality sound: sound quality was paramount to create an immersive fitness experience and compete with other local facilities.
● Reliable performance: the system needed to function seamlessly without requiring frequent technical intervention.
solution
To meet these requirements, AV Now designed a system around the Allen & Heath AHM-32, a powerful audio matrix processor designed for installations requiring scalability and flexibility. Key features of the AHM series include:
● Scalability: the AHM family offers a range of matrix sizes (16x16, 32x32, 64x64) and
Processing power: advanced FPGA technology ensures robust and high-quality audio processing with minimal latency.
● Intuitive software: AHM System Manager and Custom Control software enable straightforward configuration without specialised programming knowledge.
The AHM-32 serves as the central hub of the system, managing audio routing, mixing and speaker processing for the two group exercise studios. Ken Lyon, director of commercial integration and technology at AV Now, highlights the AHM’s intuitive System Manager software as a key differentiator: “We’re able to build the DSP routing and a user interface a lot quicker on AHM than we’ve been able to on other systems,” he explained. “It’s so much more accessible than some of the other products out there. We can get signals from endpoints to outputs fairly quickly.” The AHM routes the various inputs to four separate zones – with two zones per studio. “Each room has a separate zone feeding the tops and the subs,” explained Lyon. “The subs help give a new level of impact to make the experience more immersive during classes.”
Prioritising user experience and sound quality. Lyon emphasises the importance of both ease
inputs, ensuring instructors can focus on leading their classes without technical distractions. To design the end user control interface, Lyon’s team made use of Allen & Heath’s Custom Control Editor, a free software enabling drag-anddrop app creation to adjust AHM parameters and external equipment. Applications created in Custom Control Editor can be run on Allen & Heath’s proprietary CC touchscreen panels, or on any iOS, Android, Windows or Mac device.
Dante for audio distribution and Bluetooth integration. AV Now added a Dante module to the AHM processor, enabling connection to a pair of RDL Dante-enabled Bluetooth endpoints. These endpoints enable instructors to connect their smartphones wirelessly to play music during classes, while a 3.5mm input provides a wired backup option. A wireless mic system was also included in each studio to ensure the instructors are clearly heard.
of use and sound quality in fitness facility installations: “The number one priority is ease of use in fitness facilities, but a very close number two is sound quality,” he explains. The newly installed AHM system successfully addresses both aspects, empowering instructors with a simple interface and delivering professionalquality audio to enhance the workout experience for members.
Seamless control with CC-7 touch panels. Each studio features an Allen & Heath CC-7 Custom Control touch panel, providing instructors with a user-friendly interface to control audio sources. The CC-7 boasts a 7-inch touchscreen and can be wall-mounted for convenient access. Its tailored app design simplifies level management and mutes for microphones, Bluetooth audio and auxiliary
Since installation, the Ottawa YMCA’s new audio system has received positive feedback from both staff and instructors. The simplified controls, reliable performance and high-quality sound have contributed to a more engaging and enjoyable fitness experience in the new facility.
“I love the AV system,” said Karen Szewczuk, health and wellness director at the facility. “It is extremely easy to use, even for those who are nervous with technology. All of our members and instructors enjoy the high-quality sound that fills our group exercise studios.” This project highlights the advantages of Allen & Heath’s AHM series for commercial audio installations, particularly in settings like fitness facilities where ease of use and exceptional sound quality are paramount. By combining intuitive control surfaces with powerful processing capabilities, AV Now has delivered a system that elevates the Ottawa YMCA’s commitment to providing a welcoming and enriching environment for its members.
Minimal dimensions with the power of a giant. The new NXL 14-A is the most compact active speaker in the professional NXL series. It features two 6” woofers in a symmetrical configuration and the new 1.75” Precision Transducers PKX driver loaded on a rotatable TRW waveguide, all powered by a 2,100W two-channel amplifier with FiRPHASE and Bass Motion Control processing. Available in black or white finish, the NXL 14-A is designed to deliver definition, power, and portability in any live application. Perfect for vocal reproduction, ideal in compact live systems paired with SUB series subwoofers, in immersive applications, or as a fill speaker.
HH Audio has appointed Audio Source as its official distribution partner for Australia. Through the agreement, Audio Source will leverage its regional network to offer the manufacturer’s entire portfolio across Australia and enhance its presence in the local market.
“Audio Source is thrilled to become the exclusive Australian distributor for HH Audio,” said Scott Goodby, Audio Source national sales manager. “Their exceptional product range, designed for retail, installation and production environments, has seen remarkable growth and development in recent years. We are proud to partner with such an innovative company and their fantastic team.” Ian Wright, Headstock’s director of global sales, commented: “I am extremely happy that we are embarking on this exciting new
partnership with Audio Source and I look forward to seeing the HH brand back in the Australian market. I am confident that Scott and his team will do a fantastic job growing the brand. The staff are professional, wellrespected and experienced within the audio industry, so I believe Audio Source is the perfect partner for HH. We look forward to building a strong, long-term relationship with them.”
James Laney, Headstock CEO, concluded: “We are delighted to be working with Audio Source. We share a mutual goal to fulfil the potential for HH products in Australia and we look forward to a long and successful partnership.”
www.audiosource.com.au www.hhaudio.com
Akshay Vaidya, MD for Peavey Electronics APAC, provided a demonstration of the Crest line arrays and install speakers, while Shayne Thomas, MD for Peavey commercial audio global, gave a PowerPoint introduction to MediaMatrix Gen III line of products including Scion.
Peavey Electronics Indonesia has signed a two-year “preferred partner” agreement with Aquila Data Indonesia for representation of the Crest Audio brand in Indonesia. The announcement was made at an event attended by over 100 systems integrators in the region and featured demonstrations and presentations by members of both companies.
“We are thrilled to welcome Crest Audio into our expanding portfolio of professional AV solutions,” commented Handry Bun, MD, Aquila Data Indonesia. “Crest Audio’s legacy of innovative audio technologies perfectly aligns with our mission to deliver high-performance, reliable and integrated AV systems. This collaboration will enable us to offer our clients cutting-edge audio solutions that meet the evolving demands of today’s professional environments.”
Vaidya added: “We are delighted to onboard Aquila Data as a preferred partner for Crest Audio for the Indonesian market. Aquila’s track record as a first-class provider of today’s leading AV solutions speaks for itself and the fact that they chose our recently launched line of Crest Audio products over many other interested suitors is a testament to the hard work in R&D put in by our engineering teams and the value proposition that the Crest product range offers to today’s marketplace.”
www.aquila-data.com www.peaveycommercialaudio.com/crest-audio
Broadening its reach in the region, NST Audio has appointed ACE as its distribution partner for installation products in the Chinese market. Since its establishment in Hong Kong in 1982, ACE has expanded its coverage to most major cities in China, with branches in Beijing, Shanghai, Guangzhou, Shenyang, Xian and Chengdu.
Each of the distributor’s branches has its own technical support team and service department, as well as localised sales and marketing teams ready to serve the whole China market.
“We are honoured to welcome NST Audio into our distribution network,” said Frida Guo, technical and production director at ACE. “They complement the lineup very well with their focus on audio quality and software ease of use. We are keen to build on these qualities as we expand our customer support and service even further.”
Dan Cartman, founder and MD of NST, commented: “We have been looking for a partner to help us with the distribution and support of our installation products in China for some time and ACE offer a strong roster of established brands. Coupled with their enviable support network through China and Hong Kong, this feels like a great fit for us.”
www.acehk.com www.nstaudio.com
KH Audio has been named as the new distributor for console manufacturer Allen & Heath in Cambodia. Taking place with immediate effect, the new partnership will see KH Audio grow the brand locally by engaging in training programmes, demo opportunities and providing comprehensive local support. “KH Audio impressed us with their focus and experience in the increasingly wide range of markets that our product ranges cover, from premium installation to live production,” commented Jamie Ward, APAC sales director at Allen & Heath. “The team are also dedicated to providing extensive training and education to support the growing demand that we see in Cambodia and I’m excited for the opportunities
“This marks an exciting new chapter for KH Audio, and the pro audio market, in Cambodia,” added KH Audio director Chheang Huy. “Allen & Heath’s reputation for excellence is already established here, and we’re excited to build upon that foundation and take it to the next level. This partnership will allow us to offer even more comprehensive solutions to our clients across various sectors – be it in live sound, broadcast, streaming and recording, conference facilities, commercial spaces or premium installs.”
www.allen-heath.com www.khaudio.co
for professional camera, film & broadcast solutions
6G/12G UHD transmission via BNC, SMPTE, HICON Fiber4, OpticalCON, FiberLens Broadcast
CAT 8.1 network connections with up to 40 GBit/s
Fiberoptical systems for installations and mobile applications IP67
Lightning fast data transfer with up to 100 GBit/s *
CAT 8.1, 40 GBit/s Highflex
6G/12G UHD BNC connectors
* Singlemode
SOMMER CABLE based in Straubenhardt/Germany was founded in 1999 and is now one of the leading suppliers of professional high-quality cable and connection technology with a focus on the audio, video, broadcast, studio and media technology sectors. The product range including the in-house brands HICON, CARDINAL DVM and SYSBOXX covers cable bulkware, connectors, connection cables, individually adaptable distribution systems and electronics.
A B2B shop with over 25,000 products is available 24/7.
LSC Control Systems and Avolites have announced a partnership for Australia and New Zealand which will see Melbourne-based LSC take on distribution for Avolites in the region. Both companies are owned by Robe lighting and, through the partnership, will draw on each other’s strengths together with the resources and dynamics of the wider Robe group, to offer solutions that support the Australasian market. The announcement brings the two brands full circle, as they previously had a partnership back in the 1980s, when LSC provided certain products under OEM licence to Avolites. “We’re all very happy to welcome LSC as our representative for Australia and New Zealand,” commented Avolites managing director Paul Wong. “Their years of industry experience and strong relationships will strengthen Avolites in the region. We all take great confidence from the natural alignment between the two brands.”
Gary Pritchard, LSC’s founder and managing director, echoed those sentiments: “This is incredibly exciting news that allows us to provide a very attractive turnkey offering to the customers. Two manufacturers working together
Lightware Visual Engineering has announced Aquila Data Group (AQS) as its official distributor in Singapore. Through the agreement, AQS will leverage its extensive network to offer the manufacturer’s AV products, including matrix switchers, extenders and AV-over-IP solutions in the region.
AQS boasts over two decades of experience in the Unified Communications (UC) arena and is trusted by organisations across the
regional director, SEA, Lightware Visual Engineering. “Singapore is a dynamic market with a growing demand for high-performance AV technology in the UC&C space. I believe that with AQS’s expertise enhanced with Lightware’s cutting-edge product portfolio, especially our advanced USB-C solutions, we are confident that this partnership will be highly successful. Together, we aim to set new standards for AV excellence.”
a fully certified team, the company analyses, designs, creates and implements network infrastructure to provide its clients with the most suitable solutions for projects. The partnership between AQS and Lightware is aimed at driving significant growth in Singapore’s AV sector, providing businesses with access to technology to enhance communication, collaboration and overall operational efficiency.
“We are delighted to partner with AQS, a company that shares our passion for delivering top-tier AV solutions,” said Candice Siow,
in their respective fields of expertise can only benefit the market. Just a few short years ago, we wouldn’t have imagined that an opportunity like this was possible. But now, I’m delighted to say that some big, bold moves in this incredible industry have made it a reality.”
LSC’s business development manager, Darren McLanders, remarked: “Avolites’ latest range of lighting control consoles and media servers perfectly complements our product portfolio. It’s a powerful synergy and we’re looking forward to passing it on to our customers here in Australia and New Zealand.
“The Avolites team has done an amazing job over the years, establishing a real presence, particularly in the UK, supporting and training console users at festivals and shows. It’s a model we’ll follow here, with regular training and direct product support from industry professionals, giving users the confidence and support they need to grow an advanced range of
www.avolites.com
www.lsccontrol.com.au
QSC APAC has appointed Electrosmith as a distributor for its pro audio product portfolio in South Korea.
With over 20 years of experience in the industry, Electrosmith first focused its business on video projection and now offers audio and visual solutions across the Korean market.
sentiments: “The collaboration with Lightware is a significant development for AQS and our continued growth in the region. Lightware’s advanced technology complements our existing solutions and strengthens our position as a leading distributor of high-quality AV solutions. We are excited to provide our partners with toptier products that will enable them to deliver enhanced communication and operational capabilities to their clients.”
www.aquila-data.com www.lightware.com
“We are excited to start our journey with Electrosmith and to expand into the Korean market with QSC being their primary pro audio brand,” said Kim Muurholm Jurgensen, director of pro audio sales APAC, QSC. “The management is very experienced and the team is growing rapidly due to their success with their existing portfolio. We look forward to collaborating with them to help make QSC a long-term trusted and leading player, leveraging on our global reputation and Electrosmith’s expertise in the Korean market.”
Albert Kim, founder and managing director at Electrosmith, noted his gratification for the partnership, citing the manufacturer’s reputation in the global audio industry. “With our expertise and network, I am confident that our business will successfully expand, supported by a long-lasting partnership with QSC in the Korean market,” he said.
“We are ready to embrace new chapters powered by our experienced team and are optimistic for new products like L Class,” added Daniel Hong, business development director, Electrosmith. “The reputation QSC has for quality and innovation aligns perfectly with our commitment to offering the best solutions to our clients. We look forward to a successful collaboration and introducing QSC solutions to new and existing customers.”
www.electrosmith.co.kr
www.qsc.com
MadisonAV will now assume distribution of Audinate’s Dante AVIO line of adapters in Australia. Through the partnership, Australian professionals in education, corporate, broadcast and live events will now be able to connect legacy analogue and digital audio equipment into Dante networked systems.
“We’re excited to expand our portfolio with Dante AVIO adapters, which are perfectly
suited for integrating legacy equipment into Dante networks,” said Ken Kyle, CEO of MadisonAV. “These products enhance our existing offerings and enable us to deliver even more flexible and reliable solutions to our clients.”
“MadisonAV’s strong portfolio and market expertise make them an ideal partner to expand our Dante AVIO products in
Australia,” commented Eric Armstrong, executive vice president of sales at Audinate. “Their commitment to delivering top-tier AV solutions aligns with our goals and will greatly benefit Australian
www.audinate.com
www.madisonav.com.au
JPRO has been appointed as the distributor for Netgear AV managed switches in New Zealand. This partnership broadens JPRO’s range of AV products, enhancing its ability to deliver networked AV solutions to a wide range of clients. JPRO will leverage its regional network to offer system design assistance, training and technical support.
“We are excited to partner with Netgear to bring their leading AV managed switches
to the New Zealand market,” said Jacques Klopper, video and control sales director, JPRO. “Our existing networked AV courses utilise Netgear switches and this partnership further integrates with our product portfolio, enhancing our ability to deliver top-tier AV solutions for our customers.
“With the Netgear AV range you can manage audio, video and lighting protocols seamlessly. One of our key brands, AMX, has a preferred
vendor relationship with Netgear, where their AV switches are now the recommended choice for all AMX AV-over-IP installations globally. This partnership provides added confidence, reinforcing our commitment to provide an enhanced, fully integrated networked AV experience for our customers.”
www.jpro.co.nz www.netgear.com
Renkus-Heinz has announced its exclusive partnership with AV distributor Shanghai You Shi Wei Xin in China. With over 100 employees nationwide, Shanghai You Shi Wei Xin offers a comprehensive portfolio of solutions for various sectors such as government, enterprise, hospitality and education.
“We are proud to be the sole agent of RenkusHeinz in China,” commented Shanghai You Shi
and services to our region. This partnership is a perfect fit for us, as both companies share a deep commitment to innovation and service excellence.” Karan Kathuria, sales and business development director, Renkus-Heinz, added: “China, Hong Kong and Macau are very important markets. We are thrilled to partner with Shanghai You Shi Wei Xin – their sales, technical support, marketing and post-sales service are the perfect support for our
• MARC ALDRICH
As part of its ongoing expansion into the region, Chyron has welcomed new members to its APAC customer-facing team to enhance growth and customer success. John Foo joins as technical sales manager and Wanlop Wattanadussadee has been appointed technical account manager.
Based in Singapore, Foo initially will drive business development in APAC, with a special focus on Southeast Asia. He has over two decades of broad industry experience with expertise in all aspects of regional growth including market assessment, sales funnel development and analysis, technology partnerships, overall growth strategy and channel partner relationship management.
Wattanadussadee brings a range of sales and relationship management skills along with deep knowledge of broadcast technology and workflows. Based in Thailand, he holds a Bachelor of Science degree in Information Technology and Multimedia from King Mongkut’s University of Technology in North Bangkok.
“APAC is an important part of our overall growth strategy. Chyron’s product line has never been more robust than it is today, so it is an ideal time for expansion,” commented Alain Polgar, Chyron senior vice president of sales, EMEA and APAC. “Customer-centricity is an important core value here at Chyron and these are regions www.chyron.com
Adamson Systems Engineering has welcomed Lee Stevens as sales director for the APAC region. In his new position, Stevens will focus on expanding and strengthening the development that his predecessors have successfully built in the APAC region.
Stevens brings to the role a strong background in the professional audio industry, having worked as a touring sound engineer for over 20 years across various sectors, including live, corporate, touring and theatre. Based in Melbourne, Stevens previously worked at CMI Music and Audio for five years, which is where he became heavily associated with the Adamson brand. Following this, he assumed the position of head of production at Encore Event Technologies, before rejoining CMI last year to rebuild the national pro audio team.
In his new role, Stevens will place a focus on education and support, working alongside head of education and applications engineer – APAC, Carlos Sallaberry to increase the company’s
the VG and CS product lines. He will also work to widen the manufacturer’s partner network to meet the number of enquiries it is receiving from around the region.
“With the brand in such a strong position globally and being recognised as one of
the leading touring systems in the world, it’s a real honour and pleasure to have this opportunity to work with Adamson,” commented Stevens. “The Adamson team is great, and our partners are great – all this, mixed with an incredible lineup of products, puts us in a very positive and strong position for the future. This mix of passion, technology and people is really exciting to me and I’m looking forward to being part of this next stage of the business.”
Pieter van Hoogdalem, business development strategist for Adamson Systems Engineering, remarked: “We are thrilled to have Lee leading our sales in the APAC region. We are confident that his combined experience in both sound engineering and business development, as well as his familiarity with the brand, will help our partners continue to grow their markets.”
www.adamson.ai
• MAXIMILIAN BREDER
• COO
Industry veteran Bjorn Van Munster has joined Harman Professional Solutions as senior business development manager for
spatial audio technology but being able to articulate what’s possible to a new set of customers in these regions,” stated Karam Kaul,
Netherlands, Munster will play a critical role supporting the development and execution of the group’s immersive audio products lines in EMEA and APAC.
His primary focus is to help drive demand for Harman immersive solutions with his regional counterparts and develop new business channels and markets by establishing, building and maintaining relationships with key decision makers in this category. He will manage all aspects of the company’s immersive commercial strategy.
“Bjorn has a very unique skill in not only understanding
video and control, Harman Professional Solutions. “We’re excited for him to carry forward our immersive commercial strategy.”
“I’m thrilled to be joining Harman Professional Solutions, an organisation that has built a team with expertise that gave the industry immersive audio products like the ground-breaking SPAT Revolution from FLUX::,” Munster commented. “I’m thrilled to have the chance to introduce these immersive audio products to Harman customers throughout the EMEA and APAC regions.”
pro.harman.com
dBTechnologies has welcomed Manuele Poli back to the role of head of sales for the APAC region. In his new position, Poli is set to lead a strategic brand expansion path with a re-assignment dedicated to the entire dBTechnologies and VIO product portfolio. The company noted that his efforts will significantly increase its prominence, brand awareness and visibility in touring and installation solutions. Poli previously assumed the position of Asia Pacific business unit manager at the company from 2015–2020 before joining
the role a strong background in business development, with solid experience in the audio sector built on numerous achievements and a reputation at the relationship level. He will leverage his prior experience with a prominent and managementoriented role with a complete strategic vision for the APAC countries.
“It’s an incredible feeling getting back where everything started for me professionally,” said Poli. “I love the APAC region, both humanly and professionally. region, with its rich mixture of cultures, traditions and people, is
As head of sales, Poli will support and expand business in Asia and Oceania, working closely with dBTechnologies partners to strengthen relationships and meet important and influential figures in the professional audio industry in the various regions of the locales. Poli brings to
is crystal clear: to elevate dBTechnologies to a premium brand in APAC. The company has given me the tools to build a solid structure that will serve the region as it deserves; now, it’s just a matter of making it happen.”
www.dbtechnologies.com
Lawo has announced the appointment of Nick Pemberton as global partner business development director. In this role, Pemberton will oversee the strategic and commercial development of Lawo’s global partner ecosystem. He will report to Lawo’s deputy CEO, Jamie Dunn, and collaborate with sales, marketing and product management teams to implement strategies aimed at enhancing and expanding partnerships globally.
“This role is strategically important and is a testament to Lawo’s commitment to strengthening our partnerships across the globe,” remarked Dunn. “Nick brings a wealth of experience in building successful alliances and driving partnerfocused growth strategies. His leadership will be vital as we continue to expand and optimise our partner ecosystem.”
Pemberton began his career as a sound engineer, specialising in live sound reinforcement and, since then, he has held leadership roles at companies such as Sennheiser, Harman and Avid, where he led the EMEA channel partner management team.
With over 20 years of experience, he has been involved in designing partnership frameworks, growth strategies and strategic agreements.
“I’m very excited to join Lawo and lead the development and drive the success of our global partnerships. I am highly motivated by the role, culture and Lawo’s dedication to innovation which encompass my personal and professional values and passions,” commented Pemberton.
“This
there
blown away.”
Mike
Richards, House Sound Engineer, The Vine Theater at Del Lago
Martin Audio has welcomed Simon Honywill as market development manager for live sound, production and immersive audio markets. With 45 years of experience in sound engineering, Honywill is set to propel the manufacturer into new markets while further strengthening its position in the live sound and immersive technology sector.
“After years of working as a sound engineer, I’ve been looking for a way to bring my expertise to a broader market and make a bigger impact,” said Honywill. “This role with Martin Audio offers me exactly that opportunity. I’ve always admired the company’s innovation and now I have the chance to be part of shaping its future.”
Honywill has worked across major global events over the course of his career, and he will continue to support large sound installations while at the company. As market development manager, he will work globally to foster stronger relationships with both existing and prospective clients.
involvement in product development, taking new products into the field and providing feedback to the R&D team,” remarked Honywill. “There’s a lot of momentum within Martin Audio right now and I’m proud to be part of this new chapter.”
www.martin-audio.com
When the 26-year-old isn’t fulfilling his duties as chief operating officer at Broadcast Solutions, Maximilian Breder is fighting fires at his local fire station
that I was part of an integrated trainee programme where I studied and worked at the same time. I’m still studying now –I’m completing an integrated master’s degree in Management at the University of Mainz, so I’m often completing assignments after work in the evenings.
How did you get into firefighting?
It all started when I was 11 years old and I attended our local Jugendfeuerwehr (youth fire brigade) which takes children until the age of 16. I was also playing the trumpet in an orchestra and playing football, but firefighting was my real passion. When I turned 16, I started to attend courses at weekends and learn about breathing apparatus for example – the training takes about a year-and-a-half and then you’re qualified as a firefighter and at this point you can enter a building that’s on fire, of course with a breathing apparatus. You can go out on an emergency at the age of 16 but once you’ve completed the training, you can do so much more.
What other responsibilities do you have?
I’m also the leader at our emergency coordination centre – in my area there are nine fire stations and if someone has rung 112 and an alarm is activated in one of the nine stations, it also comes through to the emergency coordination centre. I manage any operational or strategic problems that might come up and make sure we’re following all the protocols. If a house is on fire, I need to coordinate all the fire trucks and maybe even call other units in or call the water agency, the electricity agency and
Training takes about a year-and-a-half to complete
possibly also the police and the mayor, and it all happens via the emergency coordination centre. There are about 12 volunteers who work at the centre and there needs to be at least two people there when an emergency is happening.
Are there any full-time firefighters?
No – because it’s quite a small area, all the firefighters are volunteers. Normally, there’s a callout about once every three days. We had more volunteers on emergencies during Covid as people were generally at home and they had more spare time. We use an app on our phones where people can signal whether they’re available for a callout – when the alarm rings, they can say how long it’ll take them to get to the station and
through this we can coordinate all the volunteers. When a big fire occurs and there aren’t enough firefighters, we need to call more volunteers from their workplace.
What’s the best thing about your hobby?
It comes from the heart – I want to help people. And there’s still that little boy in me that wants to drive the big red fire truck and of course extinguish the fire. It’s like a big family – you get to know all the people in the firefighting community and most of them are your friends. We meet up when we’re not firefighting –some of my closest friends are also firefighters.
Is there any crossover between your job and your firefighting?
Yes – Broadcast Solutions builds not only OB vans but also command support units with big screens, radio communications and meeting rooms. I can bring my knowledge of firefighting and our emergency coordination centre and use this when I’m talking with customers as I understand the technology and know what they’re looking for.
What’s the best and worst thing about firefighting?
It’s the people – obviously we take everything seriously, but we also have fun. Outside of work and my studies, it’s important for me to have this time away. It might not be everyone’s idea of how to relax during your time off, but for me it’s rewarding in its own way. I have become friends with people of all ages, not just my own age. And they come from all kinds of backgrounds – car mechanics, electricians – so this comes in handy sometimes! But the disputes between people are tough – in the end we all have a common goal, we want to help people and not just push through our own personal goals and it’s also the bureaucracy that gets in the way of what we’re trying to do.
What other difficulties is your station facing?
It’s hard attracting people because even when you’re qualified, you’re only a volunteer. Last year at our station, we established a bambini firefighting group with the aim of trying to encourage children at a younger age to join and then when they’re 10 years old, they transfer to the Jugendfeuerwehr. Up until 2011, you could choose to volunteer at your local firefighting station instead of carrying out military service, but this has stopped now as there’s no military service in Germany.
How do you cope with tragedy?
We all talk together – but for me, it’s the camaraderie and the time I spend together with my friends that helps me deal with everything. You are one big family. My time as a firefighter has taught me about teamwork and working as one – and that’s so valuable for both my firefighting and my job. I’m always trying to be better tomorrow than I am today.
kimlengaudio.com
T: +66 081-875-2519
Email: thanong @kimlengaudio.com
Contact: Thanong Saeheng, Owner
Automaker Stellantis’s recently opened Dolby Atmos 9.1.6 qualified immersive audio lab in Bengaluru is powered by Genelec Smart Active Monitors. Playing a key role in the company’s initiative to define unique audio strategies, the new lab focuses on audio reference, production and quality assurance. The space also creates roadmaps for each of its brands, internalises automotive acoustic R&D capabilities and supports its “Dare Forward” plan to achieve carbon net zero by 2038.
“Audio plays a vital role in our customers’ satisfaction and enjoyment of their vehicles, as well as alerting them to key functions and driving situations,” commented Yves Bonnefont, chief software officer, Stellantis. “This lab demonstrates our commitment to class-leading automotive acoustics – and highlights India’s pivotal role in Stellantis’s global strategy.”
Akshay Khanna, director and space leader in acoustics engineering, who spearheaded the project, said that the lab was created to help develop the company’s in-house audio signature for cars, aiding in fostering programmes, affording features over the air and faster time to market.
It is reported that the lab achieves 0.5s in low frequencies and maintains a linear 0.2s from mid to high frequencies.
Advanced computational simulation modelling has been utilised to craft the room’s acoustics, including Finite Element
Furthermore, it aligns with stringent IEC and Dolby acoustical standards, earning a 100% score in several criteria and has a Noise Criteria value of less than 20.
Analysis, Boundary Element Method and Raytracing for a conducive time-domain response. It also achieves a Sound Transmission Class score of 68. These
methods enabled an accelerated 53-day project turnaround and the optimal use of materials.
Sound Team supplied the Genelec system and provided pre- and post-sales support. Relying entirely on the Smart Active Monitors, there are 8361s in the L-C-R positions, 8351s for the surround and height channels and a 7382 subwoofer for low frequencies. Providing multichannel digital audio connectivity is a 9301 AES/ EBU interface which integrates the 7382 into the immersive audio system. GLM software has been incorporated for precise calibration of frequency response, playback level and distance delay.
“Genelec’s technology is playing a vital role in meeting our requirements,” concluded Khanna. “It offers us an unobtrusive footprint without compromising on bandwidth, tonality or SPL. It’s one of the few monitors that provides AES digital inputs, reducing cabling needs and enabling digital up-sampling. This alignment with our needs was essential for the project. We share our joy and excitement with our partner Genelec, who has helped tremendously in securing this great feat.”
www.genelec.com
VIETNAM
The luxurious Dhawa Ho Tram Resort in Vietnam has received a modern AV makeover courtesy of Harman Professional. Basao Investment Company facilitated the project which included a tailored system featuring equipment from AMX, JBL Professional and Soundcraft for the hotel’s ballrooms and meeting rooms.
Located just a two-hour drive from Ho Chi Minh City, the five-star Dhawa Ho Tram Resort offers intimate spaces for social gatherings and business events. The AV control system, powered by AMX, provides integration – all managed through two Modero 7-inch G5 touchpanels. Staff can use the unified user interfaces to control multiple zones, from guest rooms to event spaces, including personalised settings for audio, video and ambience. For added versatility, the conference rooms can operate as two separate rooms or be combined as a single event space when necessary.
Each conference room utilises two JBL PRX ONEs for the main PA system. The solution was chosen for its audio connectivity, Bluetooth functionality and compact form factor. The portability of the units also allows for the rooms to be set up into different configurations depending on the format of events. The AMX SVSI N2300 series encoders and decoders have also been deployed to distribute source video signals in 4K to the displays within the conference rooms.
areas and function rooms, powered by JBL VMA1240 amplifiers, facilitating the playback of background music in the pre-function area.
In the 250-capacity grand ballroom, a JBL BRX300 line array system comprising 12 boxes has been installed alongside two JBL EON712 speakers which provide extended coverage for large functions. The BRX300 was also selected for its plug-and-play operation, transport system
Following installation, the resort’s management has praised the new solution, citing how it has enhanced daily operations and provided productivity and efficiency for corporate events and meetings.
“At Harman Professional Solutions, we believe that integrated audio and video solutions enhance hospitality standards by delivering versatile spaces, streamlining operations and
Harman Professional Solutions of APAC.
“We would like to thank our partner, Basao Investment Company, for their professional services in this project and for their role in fulfilling Dhawa Ho Tram Resort’s mission statement in creating only the best experiences for their guests.”
pro.harman.com
INDONESIA
Dubbed as one of Mandopop’s top acts, JJ Lin’s show at the Indonesia Arena at the Gelora Bung Karno (GBK) Sports Complex featured dynamic backing visuals displayed on Absen LED screens. As part of his JJ20 World Tour, the show marked the singer’s first concert in Jakarta and was attended by thousands of adoring fans.
Absen’s LR Lightweight Transparent Display screens measuring 132m PL Series Screens measuring 230m
structural integrity. Furthermore, they had to ensure that the content displayed across the individual displays was perfectly synchronised. The solution was provided by local supplier Mata Elang Productions which boasts an inventory of 3,000m of Absen LED displays.
Reinaldy Febriyanto, head of LED and video division at the company, oversaw the
deployed for the show. The display’s elevated the visual experience with various visuals, including live video feeds of JJ Lin, as well as background animations and special effects which synchronised with the music, adding depth and energy to the performances. The screens also displayed interactive visuals and messages from fans to create a personal connection with the audience. The team noted various challenges posed by the project, including incorporating the large, transparent displays into the stage design which required precise planning to avoid obstructing the view while maintaining
PL series screens allowed us to create a multidimensional experience that was both immersive and intimate,” he said. “This project was an extraordinary experience from start to finish. The collaboration and expertise of everyone involved turned ambitious plans into a spectacular reality. The result was not only a visually stunning show but also a testament to the power of innovation and teamwork in delivering an exceptional audience experience.”
www.absen.com www.mataelang.com
An architectural marvel in the southeastern Tongzhou District, the Beijing City Library has implemented an L-Acoustics A Series sound system for its multipurpose Zhihe Hall.
Designed by Norwegian-based architectural firm Snøhetta in collaboration with local institute ECADI, the glass-lined structure is reportedly the world’s largest library reading space, spanning 75,000m2 with capacity for 8 million books and 2,400 reading seats.
As well as being a repository of knowledge, the Zhihe Hall serves as a space for cultural exchange and technological integration. “The Beijing City Library is not just about books; it’s about creating elevated cultural and educational experiences for our visitors,” said Li Nianzu, director, Beijing City Library. “The installation of the L-Acoustics system in the Zhihe Hall allows us to host a wide range of events with unparalleled audio quality, from lectures and performances to multimedia presentations.”
Rightway Audio Consultants designed and installed the audio solution. The main PA
system comprises three A10i Focus enclosures per side, discreetly hidden behind black mesh screens. Low-frequency reinforcement is provided by two KS21i subwoofers each side, while six X4i miniature coaxial speakers are integrated into the stage lip as front-fill for coverage in the front rows. Onstage monitoring is courtesy of eight X12 coaxial speakers, which can also be used as a mobile system for various events. The entire system is powered by one LA2Xi and four LA4X amplified controllers. A DiGiCo SD12 console was also installed for live sound control.
“The A10i Focus is the perfect choice for the Zhihe Hall,” noted Xuan Shisong, senior product manager, Rightway Audio Consultants. “Its compact form factor allows for discreet installation, while its wide, consistent coverage and exceptional clarity make it ideal for the diverse range of events hosted in this space.”
www.l-acoustics.com
www.racpro.net
The crowning event of the Valorant esports calendar, Valorant Champions 2024, took place in Seoul with production support from Creative Technology. The tournament attracted over 10,000 fans at the Inspire Grand Ballroom, with 25,000 at the Inspire Arena and was live streamed to over 1.4 million viewers per hour, surpassing the previous record by approximately 120,000 viewers. Over the 106-hour period, fans collectively watched nearly 50 million hours of exhilarating Valorant action.
The spectacle featured four main event walls, an LED floor, stage façade LEDs and diamond-shaped LED panels that acted as doors and tracked the stage-end main wall. Illuminating the stage were 2,840 LED tiles with 46,530,560 pixels. Lightlink Display 3.9mm panels were installed for the video floor, while Unilumin URM III tiles were incorporated for the rest of the LED setup. Custom frames and brackets were developed to achieve the diamond-shaped
such as camera feed content from the arena and the gamers’ PCs as well as computergenerated graphics. Eleven Novastar MX40 video processors were used to push the content to the LED walls and 6km of power and signal cables served as the backbone of the presentation. The visuals were enhanced with 1,400 lighting fixtures which projected the arena with dynamic colours, enhancing both the player experience and audience engagement.
“Valorant Champions 2024 features 16 teams, with four representatives from each region,” noted Jeon Hyuck, general manager, Creative Technology Korea. “It is a great honour that Creative Technology Korea was asked to provide LEDs and lighting fixtures. It was a collaborative effort across multiple CT offices in the region: South Korea, Shanghai and Hong Kong.”
www.ct-group.com
www.szlightlink.com
www.unilumin.com
OLA MELZIG
PRODUCTION MANAGER
M&M PRODUCTION MANAGEMENT
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The North Wollongong Hotel has upgraded its ageing audio system to an Optimal Audio solution, designed and installed by Data Dan. Popularly known as the North Gong Hotel, the New South Wales venue features a bar, bistro, beer garden and an upstairs function area for private events. The venue regularly hosts live music, DJ sets, televised sport and pool matches.
“Having good audio is crucial in creating atmosphere – it’s the basis of people having a good time,” said Josh Hill, the venue’s manager.
“The old system was installed in 2003 and we had a lot of dropout points and quiet areas where music would fluctuate in level, so key to our upgrade criteria was to obtain full coverage without pushing the music too hard – we’re in a
residential area and we don’t want to impact our neighbours.”
Dan Chapman of Data Dan, with support from Scott Angove of Audio Brands Australia, provided Optimal Audio’s Cuboid 8 loudspeakers for the indoor spaces. In the bistro and bar areas of the North Gong, the loudspeakers were positioned fairly close together to run at a lower level for
background music but still provide complete coverage in every area. Featuring an 8-inch driver, the Cuboid 8s will also be used for late night lively events where a punchy low-end is needed. The function room’s stage area benefits from a pair of Cuboid 12s and a single Optimal Audio Sub 15 subwoofer for the low-frequency response required for live music performances and DJ sets. The onstage system was augmented with a complement of Cuboid 8s distributed down the length of the room for even coverage.
“This is a big hotel with a large capacity which can get very loud,” noted Angove. “It quickly became apparent that the Cuboid Series from Optimal Audio would be the best option, particularly the Cuboid 8. It fitted perfectly in the bistro and bar areas, as well as supplementing the larger Cuboid 12s in the function room to great effect.”
Hill noted his satisfaction with the new system: “Since installing Optimal Audio, we’ve seen that the dropout zones are not there anymore – the quality of sound is really good without pushing it too hard. The coverage means that we now see people inside the venue dancing at their tables. It’s not just in one space where people can enjoy themselves like that – it’s everywhere throughout the venue.”
www.audiobrands.com.au www.optimal-audio.co.uk
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The audio systems inside the Hilton Kuala Lumpur hotel’s grand and junior ballroom, as well as its meeting room, have been replaced with a cost-saving new setup powered by Powersoft amplifiers. The award-winning hotel, located in the Malaysian capital’s transportation hub in the vibrant Kuala Lumpur Sentral area, wanted to refresh the sound systems in order to have highquality and clear sounding audio in its newly renovated function spaces.
602 ADs. The Hilton’s meeting room is powered by one Mezzo 322 AD.
Accompanying the Powersoft amplifiers in the Grand Ballroom are 18 Tannoy CMS 1201DCTs, 16 Tannoy CMS 503ICs, six Tannoy CMS 503ICTs and four Tannoy CVS 4 ceiling speakers. In the Junior Ballroom, Concept Audio also installed 12 Tannoy CMS 803DC BMs and 10 Tannoy CMS 503ICT ceiling speakers. Mezzo powers 10 Tannoy CMS 803DC BM ceiling speakers in the meeting room.
After winning the tender, Concept Audio chose Powersoft’s Mezzo, Duecanali and Quattrocanali amplifiers to play a central role in the audio overhaul. “We chose Powersoft due to the amplifier flexibility and enhanced efficiency, as well as the seamless integration they provide,” said Castrit Lim Lit Seong, managing director of Concept Audio.
Seong and his team revamped multiple areas of the Hilton hotel, including the 565m 2 Grand Ballroom, Junior Ballroom and the meeting rooms, with a focus on delivering clear and crisp audio quality.
“The integration within the rooms was done separately,” he explained. “We relied on three Powersoft Duecanali 1604 DSP+Ds, one Quattrocanali 1204 DSP+D and a Duecanali 804 DSP+D to power the Grand Ballroom.”
In the Junior Ballroom, used for team building activities or small gatherings, Seong and his team installed three Mezzo
According to Seong, the amplifier platforms’ flexible output capabilities enabled a reduction in the number of units required, resulting in substantial cost savings for the client. “Mezzo amplifiers offer the versatility to seamlessly convert analogue inputs to network audio, eliminating the necessity for additional network audio input hardware,” noted Seong.
The installation process was smooth, with the amplifiers easily integrating with the ceiling speakers in various rooms within the hotel. Seong adds that the team faced no significant challenges, underscoring the reliability of the amplifiers. “The newly installed system is easy to control, stable and has allowed for the hotel to save on equipment costs,” he said.
www.conceptaudio.com.my www.powersoft.com
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CATS FM has celebrated its 28th anniversary with a state-of-the-art upgrade to its main On-Air Conty studio. The transformation has introduced a fresh new concept and the latest in full IP radio mixing technology, signalling the station’s ongoing commitment to innovation and quality broadcasting.
JAA Systems provided the solution for the space which includes Calrec’s Type R radio mixer, the RCS Zetta radio automation system and OC White low-profile mic arms, among other accessories. The equipment has helped provide a smooth, efficient and modern broadcasting environment that meets the demands of today’s digital landscape.
The new studio layout incorporates a fresh and vibrant look, featuring 3D acoustic wall designs with LED strips and a sleek oval console table with integrated LED lighting. These enhancements are aimed at creating an immersive and visually dynamic environment, providing both the CATS FM team and their listeners with an enhanced audiovisual experience.
Tuan Hj Iskandar Nawawi, managing director, CATS FM, said: “As we celebrate 28 years
of serving the people of Sarawak, this studio refurbishment represents our dedication to evolving with the times. We are committed to providing our listeners with the best audio experience possible, and this upgrade takes us to a new level of innovation and quality. The new technology and design will certainly elevate our shows and strengthen our connection with the audience. We’re thrilled to partner with JAA Systems to bring this vision to life.”
David Chan, CEO, JAA Systems, commented:
“We are honoured to be part of CATS FM’s journey in modernising their studio with the latest broadcast technology. Our goal is to ensure that CATS FM remains at the forefront of radio broadcasting in the region. This project showcases the fusion of cutting-edge technology with a fresh design that enhances both functionality and aesthetics.”
www.calrec.com
www.catsfm.my
www.jaasys.com
Located in Osaka, Octave Rooftop Lounge & Bar has installed a Crest Audio and Peavey sound system to elevate the dining experience. The venue is divided into three distinct spaces: the café, bar and lounge. It welcomes visitors for casual nights out and plays host to music events and wedding after parties. The FOH system features Versarray 112 Mk III line arrays with ribbon drivers for high frequencies paired with CPL 118 subwoofers for low-end reinforcement. CPL 28+ loudspeakers have been integrated for delay coverage, while control is managed through the Aureus 28 digital mixer. Power is courtesy of CPX 3 and CS 6000 power amplifiers.
us by DJ Fatfingaz from Hot 97 radio in NYC and we are delighted that we took his advice,” noted Forbes, GM at Octave Osaka. “The sound at Octave
is always on point whether we are hosting chill evening sessions with Afrohouse and cocktails or playing it loud after hours. The most notable aspect of Crest is the immersive and clean sounding ambience their system creates. A big thanks to Akshay Vaidya at Peavey APAC and DJ Fatfingaz for making this happen at Octave.” Managing director Vaidya said: “We are thrilled to have Crest Audio back in Japan at the truly exceptional Octave lounge. After hearing their diverse requirements in terms of the threedimensional purpose of the venue, we decided to go with Versarray with the
FUL Kyoto, a restaurant, bar and lounge in the Kawaramachi district of Japan, has become known for its ability to offer an experience like no other. In addition to the venue’s unique collection of greenery from South and Central America, customers are surrounded by gentle sounds to create an extraordinary ambience. FUL is a “Sound Forest” where visitors can savour natural wines and unique cocktails while immersing themselves in music that flows like forest rain.
The “Sound Forest” is the brainchild of multidisciplinary producer Tomoyuki Tanaka, better known as Fantastic Plastic Machine. As a DJ, he has performed at Coachella and the Reading and Leeds festivals in the UK. As a music producer, his songs are featured in an Austin Powers movie, the British sitcom Spaced and, recently, he earned acclaim as the music director for the Tokyo 2020 Olympics. FUL uses Tanaka’s rich knowledge and industry connections to achieve kodawari – the pursuit of perfection – in every aspect: music, interior, plants, food and drinks. When Tanaka conceived the idea for this store, he consulted with Satoru “Tocci” Tochibori from Tokyo Sound System Laboratory (TSSL) and came across 1 SOUND. GizaGiza, the official 1 SOUND distributor in Japan, worked with Tomoyuki and TSSL to make custom 1 SOUND loudspeakers that would fit into the physical aesthetic of the sound forest concept. The end result consists of 10 custom wood finish loudspeakers, strategically installed in the ceilings by TSSL to bring Tanaka’s
vision to life. Music from across the ages and around the world fills the space evenly, without interfering with conversations, and maintains its sonic intelligibility.
“The concept of the ‘Sound Forest’ was born when the intelligent sound and craftsmanship of 1 SOUND was combined with the lushly planted interior of the store. Without 1 SOUND, this restaurant would not have been complete,” explained Tanaka.
The setup consists of four 1 SOUND C5i speakers, which comprise a 5-inch Cannon coaxial that uses a low-frequency driver with
a 1-inch silk dome high-frequency driver. The speakers have been designed to enable high sound pressure levels, with improved sound quality, as well as consistency and durability over time. The enclosures also incorporate a rear-facing passive radiator for extended bass-frequency response.
Two C8i full-range, high-fidelity coaxial loudspeakers come with an 8-inch driver with a high-frequency element. They include a 7-inch rear-facing passive radiator for extended low frequencies, a 55Hz–18kHz bandwidth and a maximum SPL of 120dB.
Both the C5i and C8i units have been installed using L-Brackets and C-Clamp accessories. Finally, two WSUB45i ultra-compact, outdoor-rated, slim and lightweight subwoofers have been incorporated for the low frequencies and are discreetly mounted to the ceiling using C-Clamps. The subwoofers complete the speaker trio which effortlessly combines to bring Tanaka’s audio vision to life.
www.1-sound.com
Emerging Indore hotspot Notch has implemented a Martin Audio and British Acoustics sound system, provided by VMT Enterprise. Located in the heart of the city, Notch is a vibrant café and restaurant that hosts a wide range of events, from brunches and intimate dinners to lively parties. The venue required a sound system that not only complemented its contemporary aesthetic but also enhanced the overall customer experience. The management’s vision was to create a versatile sound environment that could easily transition from daytime dining to energetic night parties. Notch also wanted a system that would remain relevant and effective as the venue evolves and potentially expands its event offerings.
The installation team had to navigate the complexities of delivering high-quality sound in a space with varying acoustic demands. The challenge was to ensure that the system could handle both low and high volumes with equal clarity, providing a consistent audio experience regardless of the event type or guest count. Moreover, the system needed to be easy to manage, with the flexibility to adjust settings quickly as different events unfold throughout the day.
Installed by systems integrator Audiocratz Sound & Light Solutions, the solution features Martin Audio Blackline X118S subwoofers, paired with the Blackline X12 and X8 loudspeakers for full-range sound that covers all frequencies for various events. British Acoustics 2XM, 2XS and 2XL amplifiers provide power for the system, while the Delta 48X audio processing system
offers control, allowing the staff to tweak settings to match the specific requirements of each event.
“Since the installation of the new sound system, Notch has experienced a transformation in the overall atmosphere of the restobar,” said Avinash Mandloi, director at Notch Indore. “The quality of sound is exceptional, creating a vibrant and engaging
environment that complements our modern design. The upgrade has made a noticeable difference in how our guests enjoy their time at Notch and we couldn’t be happier with the results.”
Vinayak Luthra, systems integrator at Audiocratz Sound & Light Solutions, commented: “The performance of the sound system has been outstanding, with clear and immersive audio that aligns perfectly with Notch’s sophisticated atmosphere. The impact of these products has been highly positive, showcasing their capability to deliver exceptional sound quality in a demanding environment.”
“The installation at Notch highlights the exceptional performance of our audio solutions in a real-world setting,” concluded Dharam Koli, pre-design and sales engineer at VMT Enterprise. “The deep, powerful bass and clear midrange frequencies delivered by our equipment truly elevate the audio experience. The amplifiers and processor provide reliable and precise audio management.”
www.britishacoustics.com www.martin-audio.com www.vmt.in
CHINA
For the Paris Jazz Quintet’s performance at Forbidden City Concert Hall in Beijing, EZPro supplied a sound system featuring Allen & Heath products for mixing duties. One of the most revered names in French contemporary jazz, the group enchanted the audience with a rich blend of musette, classic chansons, traditional folk tunes and original pieces that exuded the distinct charm of French culture. Handling FOH and monitors simultaneously was a 64-channel/42-bus Avantis Solo mixer, featuring Allen & Heath’s XCVI FPGA core in a compact form factor, with a 15.6-inch full HD touchscreen, 72 fader strips and 18 assignable SoftKeys. This was partnered onstage with a GX4816 remote audio expander providing 48 mic/line inputs and 16 line outs.
As part of a series of programmes to mark the 25th anniversary of the venue’s reopening, the concert featured a special collaboration with Chinese musician Jinlong Fang and pianist David Qu, who performed jazz renditions of well-known Chinese songs. The performance featured 20 input signals, including piano, guitar, bass, accordion, drums and traditional Chinese instruments like the pipa, ruan, erhu and flute. The sound engineer assigned these inputs across fader layers A and B of the Avantis Solo, ensuring that each instrument signal was easily within reach. Additionally, aux busses and intercom channels were configured on layer C, while complex instrument signals were grouped into a DCA on layer D.
For stage monitoring, six individual monitors were controlled via six aux busses, each
dedicated to a specific instrument or musician such as piano, bass, drums, electric guitar, accordion and Jinlong Fang.
“The Avantis Solo may be compact, but it packs a punch with its outstanding sound quality and user-friendly design,” remarked the sound engineer. “The interface is intuitive, allowing me to quickly locate and
adjust settings. I was particularly impressed with how easy it was to integrate the Dyn8 multiband processor – just a few clicks and I was ready to go. It made the entire process incredibly convenient.”
www.allen-heath.com
www.ezpro.com
NG Media radio station, in collaboration with Broadcast Components, has implemented AEQ’s digital radio technology for six new studios. The broadcaster produces radio content from the remote 250,000km2 of Ngaanyatjarra Lanas in Australia, with a clear focus on cultural and community-based information for the traditional inhabitants of that part of the country.
as the station and its operational requirements grow. NG Media opted for a 12-fader AEQ Forum Lite at its main site in Wingellina (Irrunytju) and an eight-fader version for its other five RIBS studios.
The technical team at Broadcast Components coordinated the installation of all cabling and electrical work for all locations
The station said it selected the AEQ technology as it allows for easy implementation and simple remote access for technicians and crew members. This new digital audio technology also means that stations in the remote communities can now share content and news with each other. At the heart of the system lies the AEQ Forum Lite digital console, chosen for its flexibility, robustness and ease of operation. It can be configured between four and 12 faders to meet the needs of each of the six new studios and more can be added in future expansions
loudspeakers, processors, ONAIR indicators and more. To ensure continuity of transmission and minimise security issues, the equipment rack furniture has been moved from inside the studios to a separate room with controlled access.
Australian engineer Ben Pridmore was responsible for the installation, coordinating the commissioning and onsite training, as well as the requested remote work.
www.aeq.eu
www.broadcastcomponents.com.au
SOUTH KOREA
Datapath, alongside South Korea AV distributor ONEED, recently provided a video processing solution for Woori Bank’s multipurpose hall at its headquarters in Seoul. Dating back to 1899, the Korean national bank is one of the four largest domestic banks in the country.
The 468-seat hall has been renovated to include an AV system that meets the needs of the meetings, conventions, weddings and other events it hosts, with a large 12.5m x 4.3m, 1.5mm pixel pitch LED display dominating a viewing stage. The size of the LED display posed issues with tearing/output synchronisation, as there are no natural bezel borders.
With the need to use multiple video sources and scale content as required, Datapath, ONEED and AV integration specialist Seah Networks collaborated to offer hardware and software to enable the creation of highresolution content. As the system required at least six 4K@60fps inputs and six 4K@60 outputs, as well as 32GB memory, a revised solution was utilised.
“Datapath have a proven history in advanced video processing technology and they are our default manufacturer for tackling these multisource challenges with LED displays,” commented Sangjun Yoo, sales engineer, ONEED. “By working with Datapath, we could offer a solution that
has all the power and flexibility that Woori Bank required. Furthermore, specifying a videowall controller, input/output cards and management software from a single
manufacturer with Datapath’s experience provides optimum system stability, along with peace of mind should any technical support be required.”
The chosen solution comprised a VSN1172 controller, equipped with three Image2K graphics cards each providing two 4K@60fps signals, along with a trio of Datapath’s VisionSC-UHD2 capture cards – each providing two HDMI 2.0 capture channels at 4K@60fps with 4:4:4 chroma sampling. Total control of the content comes from the manufacturer’s WallControl 10 Pro software. Seah Networks’ team provided a smooth installation of the solution, which Woori Bank said provides “high performance for various purposes, including meetings, conventions and even weddings”.
Michael Austin, director of channel management for APAC at Datapath, concluded: “Our gratitude goes to ONEED for allowing Datapath to support them with their Woori Bank project. We are delighted to have assisted them with creating this powerful Datapath solution, which enables the bank to offer a new, creative video dimension to events, functions and presentations. We take great pride in our commitment to support our customers and we look forward to reinforcing our excellent relationship with ONEED and Seah Networks.”
www.datapath.co.uk
www.oneed.co.kr
www.seahnetworks.com
Located at Haengju Fortress, KoKo Sound Studios has invested in a Prism Sound Dream ADA-128 multichannel converter as part of a major upgrade to accommodate Dolby Atmos music mixing. The sought-after mixing facilities in South
issues. Even when using hardware inserts from Pro Tools, the signal remains clear and returns to digital without losing its original quality. Since installing the ADA-128, we have noticed a significant improvement in sound quality compared
Korea is owned by Ko Hyun-Jung who is widely acclaimed for his music mixes across diverse genres including K-Pop, Hip-Hop, Rock and R&B.
The studio decided to upgrade to Dolby Atmos to attract international artists that want to tap into the energy and vibrancy of the popular Korean K-Pop genre. To achieve a first-rate mixing environment, the studio required additional Dante outputs for 7.1.4 Atmos and analogue converters for its existing console and outboard gear.
“We wanted all these systems to be managed by a single integrated device and the Dream ADA-128 was the only product that met all these requirements,” said Hyun-Jung, who is also the studio’s chief engineer. “The converter handles both our existing analogue setup and Dolby Atmos setup in one device. The mix room is designed to handle both stereo and immersive audio work and switching between them is incredibly simple.
“Using analogue consoles and outboard gear in the digital era inevitably requires conversion which tends to degrade the source quality, but the ADA-128’s conversion significantly alleviates these
As the owner of two successful wine bars in the Singaporean neighbourhood districts of Holland Village and Club Street, chef and owner Keirin Buck has veered off course for his third venue. The detour from the vinology and organic wines of Le Bon Funk takes him into the world of mixology and cocktails at Bar Bon Funk. Located on the second level of the New Bahru complex, Bar Bon Funk may be out of sight, but the combination of classic vinyl reproduction and crafted cocktails has attracted a steady fan club of admirers to date.
Audio plays a starring role in the design concept. “When I lived in Toronto with my parents, I owned a pair of old JBL L100s, on which I used to listen to the Greek composer, Yanni. So, when I acquired a pair of repurposed Altec A5 speakers, I insisted on building the bar and the fixtures around these beautiful speakers. The interior designer from London, Nice Projects, was not overjoyed with this decision and I had to bring in an acoustician to get the best out of these large speakers within this relatively small space.”
The self-termed passion project won over the admiration of the various contractors who played a role in creating Bar Bon Funk. Powered by a McIntosh MA6200 integrated amplifier, Buck was duly assisted by his friend Fritz Yonathan, who sourced and supplied a vintage DJ mixer from Bandung in Java along with the vintage Altec A5s. In the private club room, guests relax with their cocktails
and are powered by a McIntosh MAB700 twochannel 200W integrated amplifier.
Loud Technologies Asia founder Colin Quek was drafted in to add his digital audio signature to the classic analogue setup. The implementation challenge of this hybrid analogue-digital DSP system is the need to matrix process all audio inputs and outputs for EQ, source selection, accurate delay and phase alignment in each section without losing the signature warmth and imperfection of the analogue sound system. Fully loaded with input, output and GPIO logic cards, a Xilica Solaro QR1 digital signal processor plays a leading role in the digital design. Measuring a 1⁄4U in size, the dual core processor provides full 4x4 Dante and AES67 audio transmission. Tactile audio control for both rooms is performed from the PoE Xilica Lucia wall panels, but Buck can further control the level, EQ and other audio parameters from his wireless tablet courtesy of the downloaded X-Touch app. The audio network is complete with the addition of Radial Catapult network snakes and RDL Format-A Bluetooth receivers.
“I was fortunate to assist with the audio design in Keirin’s other establishments, but this latest bar shows that high-quality digital sound processing can be married to classic analogue equipment,” confirmed Quek. “It’s certainly not common here in Singapore and, as a result, Bar Bon Funk appears to be rocking each night.”
to our previous converter. Additionally, the large front LCD and the web-controlled driver offer unparalleled convenience.”
The Dream ADA-128 was supplied and installed by ANK Pro, headed by Tom Kim. “Tom provided an optimised setup for our studio and easy-to-understand explanations, making it immediately usable for our work,” noted Hyun-Jung.
“We were really happy with the service provided – the installation was quick and precise.”
KoKo Sound Studios also co-operates with Dreamfactory Studio, a one-stop content creation hub that has music recording facilities. Since arriving in the studio, the Prism Sound Dream ADA-128 has been used for all projects, including Dolby Atmos and stereo mixes.
“It is the only converter that scores 100 points in performance, stability, convenience and compatibility,” concluded Hyun-Jung. “We are very grateful to Prism Sound for making a device that seems like a dream come true, just as its name suggests.”
www.prismsound.com
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TIMOR-LESTE
As part of the Pope’s 12-day pastoral visit to Asia Pacific, his third stop in TimorLeste, near Lake Tasi Tolu and close to the capital Dili, drew in over 600,000 worshippers. To power sound for the monumental event, a Wharfedale Pro system was chosen, covering the vast public area which spanned approximately 600m x 200m and expanded into nearby roads and beaches.
Remo Orsoni, director of the professional product research and development laboratory at IAG Group, oversaw the project and designed the Wharfedale Pro system which was provided by local distributor Hard Rock. The full solution comprised 64 WLA312X speakers, eight towers with eight WLA-312X line arrays, each with one fly frame, plus 12 WLA-218BX subwoofers: six WLA-218BX subs per side on main L-R towers in gradient cardioid arrangement.
Powering the setup were 24 DP-4100 amplifiers for the WLA-312Xs and four DP-4120s for the WLA-218BX subs, while six SC-48FIR processors provided control of the system. Monitoring for the stage, choir and orchestra was courtesy of eight WLA-15MXs
and four SH1294Ms, powered by two DP-4100 amplifiers. Lastly, four TITAN-15AX loudspeakers were implemented as side-fill for the piano, organ and choir.
The planning process, which spanned months, included careful design work and culminated in the WLA-312X system being field tested to ensure it provided uniform coverage for the immense listening area.
The project team, fully aware of the complex requirements of such an event, was eager to see how the system would perform in a realworld setting.
“Despite the vast size of the listening area and the challenges posed by the terrain, the WLA system has not only met but surpassed all expectations,” said Orsoni. “Its ability to provide consistent and uniform coverage, with minimal drop in sound quality, has impressed even the most experienced audio professionals involved. The sound remains clear and evenly distributed across every corner of the space, ensuring that every attendee experiences the same level of audio excellence. This performance highlights the remarkable capabilities of the WLA system in demanding, large-scale applications.”
Orsoni noted that from the outset it was clear that the system would need to be designed to deliver a lower average sound pressure level compared to European standards. “Nevertheless, it has successfully
maintained a consistent level of coverage and ensured strong engagement with the vast crowd,” he concluded.
www.wharfedalepro.com
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Disney Harmony: A Magical event showcased orchestral arrangements of Disney’s most popular songs, with a KV2 VHD audio system to power sound. Hosted by the Indonesia Design District (IDD) in the PIK 2 development just outside Jakarta, the songs were performed by Indonesian stars Lucky Octavian and Eka Deli, under the direction of renowned musical director, Dwiki
Taking place at the IDD’s 2,500-capacity Town Hall building, the event’s sound system was provided by rental companies EO Toto Sound Pro and Sumber Ria, while KV2’s Leo Tanzil provided support and advice during the setup and sound check.
“We sound-checked with Lucky Octavian performing a duet with Eka Deli singing excerpts from Disney classics including Beauty & The , The Lion King, Aladdin, Mulan and many more, accompanied by Dwiki Dharmawan on piano,” noted Tanzil. “We even got some lessons from Lucky on vocal exercises in between the songs which was really interesting for us and another good test for the system.”
The system comprised a pair of VHD2.0 and VHD1.0 point source cabinets, one each per side, supplemented by eight VHD4.18 subwoofers. Power was courtesy of two KV2 VHD2000s for the mid-high boxes and two VHD3200s for the subs.
“Lucky and Eka’s vocal reproduction is very harmonious and well-articulated throughout – they are both extremely talented singers with powerful voices,” continued Tanzil. “I was pleased to note that we could hear all the detail of their voices without it feeling aggressive. Also, the trumpet sound was very detailed with no clipping or stacking, but we could feel the micro dynamics of the vibration from the mouth of the trumpet. The same goes for the piano – the detail and transparency were beautiful.”
According to Adityo Ramadhan Dharmanto, marketing communication IDD PIK 2, the evening was a great success, uniting generations. “We were able to bring back beautiful childhood memories for the adults while creating new ones for the children who loved every moment,” he said.
“We were delighted to present this concert, where the beauty of orchestral music meets the magic of the Disney world. It was an unforgettable moment for all the families who came,” concluded Dharmawan.
www.kv2audio.com
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Christchurch’s University of Canterbury (UC) has made a significant investment in new screen production and postproduction spaces like sound stages, studios, motion capture, and game and animation laboratories.
Aimed at enhancing the facilities in the screen industries, the newest upgrades include a virtual production (VP) and extended reality (XR) stage.
Mike Forrester, programme manager – Kōawa Creative Technologies Precinct, University of Canterbury, led the VP project, working alongside various local companies to devise experts and Dreamscreen Australia. Garth Reynolds, branch manager NZ, along with the team at ULA Group, plus Dion Peszynski, programme director – strategic solutions development and implementation at Futureworks, provided the VP volume based on Dreamscreen’s and Forrester’s design.
The main screen comprises a curved VuePix INFiLED DB VSS Series 1.9mm pixel pitch
volume and processor are absolutely brilliant and top of the line,” noted Forrester. There are four portable side screens which will be used as lighting sources/ reflections – two VuePix INFiLED AR VSS series 5.9mm pixel pitch screens measuring 9m2 at 504x504 pixels and two VuePix INFiLED AR VSS series 3.9mm pixel pitch screens measuring 4m2 and 512x512 pixels.
Powering all four is one SX40 processor and two XD data distribution units.
“The entire LED build was completed in approximately five days. When we first powered everything up, everyone was absolutely blown away,” said Reynolds. “At a width of almost 8K just for the main wall – it is a sight to behold, with unbelievable clarity, colours and contrast.”
The VP stage includes an Unreal Engine (UE) workstation for 3D world generation. PBtech NZ built the real-time render nodes and UE workstation based on a design created between Forrester’s team and Epic Games’ Jack Corban. For stills and plates, a Pixera workstation was built by PBtech NZ and implemented by the programme delivery team working with Pixera supplier, Showtechnology NZ.
In collaboration with TrackLab Australia, Forrester’s programme delivery team designed and implemented the camera tracking system and Motion Capture system, including Optitrack cameras, Motive software and EZtrack camera hub, plus time sync and genlock systems.
“The investment is beneficial for the university as well as for the creative technology industries in Christchurch and New Zealand,” professor Kevin Watson, executive dean of arts at UC. “Having full-service, commercial-standard production facilities on one site will benefit local and international projects of all sizes and the technology will expand opportunities for student learning, teaching and academic research.”
www.futureworks.co.nz www.ulagroup.com
Multipurpose arts venue Seocho Culture & Arts Center has installed a Yamaha and Nexo Active Field Control (AFC) immersive audio system to improve its acoustics for audiences and performers. The Seoul venue hosts lectures, theatre productions and an array of musical performances.
When it was built 30 years ago, Seocho Culture & Arts Center was designed to have little acoustic resonance to provide optimal sound for lectures and other amplified events. However, the venue found that the acoustics were not wellsuited to performances which use acoustic instruments, such as classical music. The system was provided by systems integrator Sound Korea Eng (SKE). “We installed AFC Enhance at Seocho Culture & Arts Center to enable audiences to enjoy performances with a rich, natural-sounding resonance, as well as a system on the stage to give artists a pleasant sound field to perform in,” commented SKE CEO Geehyoung Kim. “We also installed an AFC Image system to localise sound sources from the audience perspective.”
the stage, with four more at the proscenium. Four omnidirectional microphones are positioned in front of the auditorium, with
Nexo loudspeaker systems. These comprise 18 ID24 speakers installed on the walls around the audience, six more as front-fill
four more at the rear. A Yamaha R-series Rio3224-D2 I/O rack routes the sound from the microphones to the AFC processor, along with the outputs from a RIVAGE PM3 digital mixing system, which is used to mix performances.
The solution includes 20 microphones, comprising eight directional microphones on
Audio is routed via two MRX7-D signal processors from the AFC processor to the
and 25 more arranged above the audience in a ceiling matrix.
On the stage, eight ID24s are installed as a ceiling array, with eight P8 multipurpose speakers installed along the stage walls. Seven Yamaha XMV8280-D multichannel power amplifiers drive the ID24s, with the P8s powered by two Nexo NXAMP4x1s.
The AFC Image system includes five clusters of four Nexo GEO M10 full-range modules flown in an L-L/L-C-R/R-R configuration across the front of the proscenium, plus four MSUB 15 subwoofers. Four MSUB 18s are installed under the stage. Power is courtesy of four NXAMP4x4s.
“By placing microphones in both the stage space and the audience space, we increased the number of independent channels,” noted Kim. “This ensured sufficient acoustic energy to generate optimal reverberation for acoustic music performances. As well as the main AFC Enhance system which covers the audience, we added an independent system for the rear of the seats, which ensures enough gain for seamless coverage throughout the auditorium.”
SKE also configured the AFC system to add early reflections, reinforcing support for the performers. It includes returns from the audience sound field which gives the performers the experience of a space with more natural reverb.
www.nexo-sa.com
www.yamaha.com/2/proaudio
Inspired by a Chinese wood block puzzle, the unique geometric architecture of the Taipei Performing Arts Center (TPAC) isn’t the only thing that stands out about the venue as it now boasts the first spatial audio system in a Taiwanese theatre. Located at Taipei’s Shilin District, the sprawling 58,000m2 complex’s 800-seat Globe Playhouse, aptly named after its spherical shape, features a Meyer Sound audio system utilising Spacemap Go software.
TPAC hosts various productions from Taiwanese dance and performance groups to drama, opera, musicals, Asian co-productions and acclaimed international works. The central cube of the theatre is suspended off the ground adjacent to the main building, containing backstage areas, foyers and front of house facilities. Three theatres are plugged into the central cube: the circular Globe Playhouse, asymmetrical 1,500-seat Grand Theatre and the Blue Box studio space.
TPAC put out a tender to companies to provide a solution to improve the PA system and deliver a spatial audio system. Local distributor To Gather performed acoustic testing and sent its predictions to the Meyer Sound team who worked on the audio design with the MAPP 3D system design and prediction tool. “We knew it would be difficult to install a system without changing any architectural materials,” noted Nancy Chen, CEO at To Gather. “Another issue was the circular shape of the building – with a
spatial audio system, you can’t have too long of a reflection time.”
Meyer Sound’s Lina line arrays were installed in an L-C-R configuration with 13 boxes either side of the stage. All surround speakers were designed with custom blue housings to blend into the powder blue walls. Nine MM4-XP speakers provide front-fill, with two X-40s for side-fill. Side surround sound is courtesy of six X-20XPs, with eight units implemented for rear surround sound. An Avid S6L-24D audio console has been incorporated for digital mixing, seven Galileo Galaxy processors handle the Spacemap Go processing, and power for the Linas is courtesy of 12 MPS-488X power supplies and an RM server. It is also the first audio system in a Taiwanese theatre to run on a Milan AVB network, which is linked via a Luminex GigaCore 26i Ethernet switch.
To Gather set up an audio demonstration to highlight the capabilities of the system to the TPAC team. “A guitar player travelled around the space, showing how the sound can be moved around with the Spacemap Go software,” said Chen. “A group of students from a local university performed a drama piece, demonstrating the solution in a theatrical environment. Lastly, we showcased a multitrack playback remix – TPAC was blown away with the difference of the three-dimensional sound compared to the previous stereo system.” Kevin Wang, TPAC head of sound, commented: “It’s exciting to have the first spatial audio system in Taiwan. It has made my life so much easier – with the previous system, I would spend around three or four days designing the audio but, with the new system, I can finish the audio design in one or two days, it is also easy to use for staff. I hope our step can influence other venues in Taiwan to turn to spatial audio.”
www.meyersound.com
TLS Productions has deployed its newly acquired RCF system for the Red Country Music Festival in Newman, Western Australia. Perth-based TLS tailors productions for festivals, concerts, theatres and corporate events across a range of skills and purchased the RCF inventory from Group Technologies Australia for use during premium events.
Drawing crowds of approximately 3,000 people to its outdoor stage, the festival featured a lineup stacked with Australian country music acts. To ensure optimum sound coverage for festivalgoers, TLS flew seven HDL 30-A line arrays per side, with one HDL 30-A as in-fill and eight SUB 9006-AS boxes in clusters of two in front of the stage.
“The sound was clean, with clear transients and distortion-free at all meaningful distances,” noted Guillaume Laurent, managing director, TLS. “We experimented with delaying the outer subs – it made a huge difference in terms of coverage and how big it sounded. Everyone, from our client, the bands and FOH engineers, commented on how the PA performed – it punched well beyond its weight.”
Laurent said that the HDL 30-A has filled a gap in the company’s growing loadout: “We were looking for a modern mid-level PA system that could cater to most of our events. The
of return on investment, audio quality, clarity, volume, useability and size.”
He cited the HDL 30-A modules’ lightweight and mobile characteristics have afforded TLS a smooth loadout experience, which was particularly advantageous for the project given the lengthy commute to the festival.
“Newman is a 20-hour drive from Perth,” he said. “The size of the RCF boxes meant that
fit nicely in one truck. The HDL 30-A’s rigging system is very well designed. We simply preset the angles at our office and were then able to rig all eight boxes in just a few minutes.”
Following the festival, Laurent is now exploring further solutions from RCF. “From my first impression using the line array, I was really happy with the purchase,” he
extremely pleased with RCF. The products have always been consistent in sound quality and build quality. We will be looking to expand our inventory with more RCF products in the near future.”
www.grouptechnologies.com.au
www.rcf.it
www.tlsproductions.com.au
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A sports stadium in Korea’s southern province proved testing for experienced acoustic designer and integrator LNS Corporation. Richard Lawn
AUDIO DESIGN FOR STADIA IS A SPECIALISED FIELD that can take years to master. Having won the tender to provide optimum audio for the open-air, multipurpose Gimhae Stadium, LNS Corporation was confident in its abilities, given its experience of working in Korean stadia over the years. However, the four-year ordeal would prove to be the hardest challenge to date for the Seoul-based distributor and acoustic designer.
The landmark sports complex had been operational since 2005, and the construction of a new stadium in the same complex was approved in 2019 with an initial target of completion by 2022. Pandemic-enforced delays, which moved the completion date to mid-2024, at least gave LNS Corporation owner Andrew Park and his team ample time to focus on the main challenges of designing and installing a sound system for the 25,000-capacity stadium. Gimhae’s varied stands and architecture meant that the demand for optimum sound pressure levels and clarity was going to be a challenge. Added to this, one section of the stadium is located adjacent to a residential area, so noise pollution was also a concern.
To better assess the acoustic qualities of the stadium, the LNS Corporation team held a meeting with Gimhae City officials. Relevant data was collated, including structural information regarding the concrete construction, steel beams and roof canopy in addition to precise schematics of the stadium’s extensive 245m x 162m layout.
During the design of the stadium’s loudspeaker system, Park and his colleagues were confronted with a further audio design challenge. In addition to sporting events such as athletics and football, civic cultural events are also held in the multipurpose facility. This meant that loudspeaker coverage would need to be extended to the field of play in addition to the spectator terraces
advantage.
Deploying the Fohhn Designer prediction software, four arrays of Digital Focus Modular (DFM) line source column speakers were simulated. The results were more than encouraging, and
the design was approved and ultimately installed. Suspended below the canopy of the seated west terrace, four Fohhn active steerable line array speakers play a major role in providing even sound across the stadium. Two centre arrays combine three DFM-400 low-mid modules with a further pair of high-frequency DFM-110 modules covering both the far and nearfield. A single passive PT-70 front fill speaker is fixed to the bottom of the arrays. Incorporating one less DFM-400 module, the two outer arrays combine dual DFM-400 and dual DFM-100 and DFM-110 enclosures together with a PT-70 point source fill.
Embracing Fohhn Beam Steering technology, the three modules share the same 224mm x 274mm cabinet dimensions. However, the electroacoustic components of the DFM-100/DFM-110 and the DFM-400 models vary considerably. Combining 16 and eight 1-inch compression drivers respectively with a horn-loaded 1.75-inch voice coil married onto a waveguide, the DFM-110 and DFM-100 modules operate within a 0–90° vertical beam width, which can be adjusted in 0.1° increments between –40° and +40°. Sharing the same vertical beam width characteristics as the DFM-110 and DFM-100 modules, the DFM-400 low-mid modules integrate seamlessly into the inner arrays. Operating within a frequency range of 55–1,700Hz, each DFM-400 features 32 4-inch-long excursion speakers powered by 16 integrated Class-D amplifiers. Additional PT-70 dual 12-inch point source speakers, available as 90° or 60° horizontal dispersion variants, were added as fills to ensure an even SPL dispersion. The open terrace with its torch tower is equipped with two PT-70 passive cabinets suspended from the roof canopy adjacent to the LED display board on the western wing. Fixed to the steel roof canopy support of the eastern terrace, 12 AT-661w delay speakers focus
their distributed acoustic energy across the spectator section below. These passive point source enclosures are powered by six DI-4.1000 four-channel DSP amplifiers. FOH audio is mixed on a Soundcraft Vi3000 digital console, loaded with presets to adapt to the varied events that take place in the stadium. A Dante audio network has been put in place for monitoring and control over the stadium’s long distances.
“It’s over 150m from the control room to the opposite far field speakers,” explains Park. “Therefore, it was necessary to create a Dante network for smooth and successful communication.
With three Ethernet switch hubs used, all the equipment from the mixing console to the amplifiers is connected by Dante optical fibre cables. To extend the communications to the loudspeakers, the column line arrays are also equipped with individual Dante modules for monitoring and control.”
With the speakers installed at a distance of 140–164m from the opposite east terrace, reverberation has been minimised and even dispersion achieved. “Within a 250Hz–4kHz listening range, only a 1.5dB difference was recognised by the Fohhn Designer simulation data throughout the entire stadium,” reveals Park. “STI intelligibility varied between 0.73 to 0.76, exceeding our
Following extensive construction works, the audio system was installed between January and June 2024. Once the system was in place, Fohhn audio engineer Chris Bollinger flew in for tuning and commissioning. Controllable in real time, the extensive DSP suite was configured using Fohhn Audio Soft software, with remote control operation managed wirelessly over Fohhn Net.
“From the outset, the biggest challenge in Gimhae Stadium was the reverberation emitting from the concrete seating lines of the east terrace,” explains Bollinger. “In addition, we found that intelligibility of the right-side audience seats on the west terrace was severely impaired due to significant interference caused by reflected sound emitting from the large LED display board on the
To avoid reflections, the Fohhn DFM sound beams have been steered toward the ground within the Fohhn Soft software program.
Single PT-70 front-fill enclosures are suspended beneath the DFM arrays on the west terrace
The main challenges posed to the LNS Corporation designers were overcome by accurately configuring the two steerable beams of the individual DFM line source speakers. Meanwhile, the directivity offered by the Fohhn line source speakers mitigated the noise pollution towards the neighbouring residences.
According to S K Park, a doctor of engineering appointed by the city hall authority as the stadium’s PA director of the communication and audio department, the new loudspeaker system has proved to be a great success. “We recorded sufficient SPLs and excellent intelligibility in addition to no sound pollution and we are completely satisfied with the results,” he says. “I’ve never experienced such clean, powerful and beautiful audio in any
Another notch on the belt of the LNS Corporation when it comes to stadium sound design, but a measurable leap in audio quality
www.fohhn.com
A new Mumbai museum is connecting children with local culture, traditions and nature. Caroline Moss visits MuSo, winner of the Hands On! Children in Museums Award 2024
“THE WHOLE CONCEPT BEHIND MUSEUM OF Solutions [MuSo] was to create a space to complement the education system in India,” begins Tanvi Jindal Shete, whose vision has brought MuSo to fruition. “While our kids go to school and study, there’s a limitation to how much they can learn about what’s going on in the real world.” Within the 10-floor building in Lower Parel, half of which is dedicated exhibition space, MuSo aims to redress this balance. Starting at the ground-floor Commons auditorium right up to the rooftop Grow Lab, by way of the Make Lab’s creative workshops and the Play Lab offering STEM-based activities for younger children, MuSo is a hub of creative activity, fun and education. But the eighth-floor Discover Lab is the pinnacle of this inspiring enterprise when it comes to interactive AV displays, designed and installed by the team at Munro Acoustics led by director, Kapil Thirwani.
“Our education system, while it is changing, is a bit stuck; a lot of our schools are still teaching by rote and meanwhile the world is changing so rapidly,” continues Jindal Shete, who spent 18 months visiting and researching museums around the world. “Children need to learn how to think critically, to pivot and be passionate about what they learn. That’s what pushed me to create this because in India we don’t really have spaces for families to learn and have fun at the same time.”
Although Jindal Shete intended visitors to enjoy a hands-on experience, she didn’t want the museum to be technologyheavy. “The equipment is there, but it’s very much in the background,” she says. “Kapil’s team at Munro Acoustics really were a godsend to us because they helped us put everything that we wanted together and solve these issues, and they were open to whatever kind of experience we wanted to create. They gave us options at different price
ranges, recommending we choose the most efficient rather than the most expensive product that we weren’t going to need. They also advised us on acoustic materials that would suit our designs from an aesthetic perspective.” While the exhibits, such as those of the water-themed Discover Lab, are well-researched and presented, they are not intended to be permanent, with plans to change the content over time. “The challenge that we posed to Munro
and the other design teams was that we wanted it created in such a way that the equipment doesn’t necessarily change, but we can vary the content quite easily,” explains Jindal Shete. “We also wanted to bring in some technology that is not readily used in India, like auto-triggered sound domes and showerhead earphones.”
In a world where water is a rare and precious commodity for many, it’s fitting that this is the inaugural theme of Discover Lab. “We wanted to explain that water is not finite, and is crucial to our lives, but to present it in a way that was interesting and fun for the children, and easy to understand and connect with,” she emphasises.
Although Munro Acoustics is largely known for its design work, the company also increasingly handles systems integration, with Utkarsh Naidu and Johan Pais sourcing and installing the audio equipment for MuSo. Although Naidu was planning to design a networked AV system with a centralised server, it was ultimately decided that each exhibit should be standalone to simplify day-to-day operation for the museum staff. “As all the exhibits were localised, we prepared everything in our workshop before we installed it,”
Tightly focused audio was required in most areas so that sound wouldn’t bleed into the surroundings. Instead of using headphones for some of the video displays, SoundTube FP6030-II sound domes with motion detector modules have been installed, allowing up to three listeners to stand beneath them. “We had to EQ the recordings themselves as there’s no DSP on the sound domes, and we needed to cut out some of the low frequencies so they didn’t bleed out,” continues Naidu. “We focused on the mid and high frequencies and did some gain staging.” In other areas, auto-triggered Blackbox-av MKII ACC-100
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headphones, Blackbox-av single cup earphones and Waves System directional speakers provide the audio.
Visitors to the eighth floor start off in the Connect Zone, which aims to educate and inspire, teaching kids how water gets into their taps and tracking their individual water footprints. “We wanted to give the children a narrative journey to water, but also give them a sense of actionable change, emphasising that it’s not just about turning on the tap,” explains Nameeta Premkumar, MuSo’s director: exhibits and content. “The children are learning this in their school curriculum, so teachers are finding it very useful as a visual guide.”
An interactive wall allows visitors to track the journey of water into the city, with sounds accompanying it as it travels along rivers and pipes to emerge from taps. “We installed very focused unidirectional speakers from Wave Systems,” says Naidu. “The remarkable feature of this speaker is that it’s like a laser beam. As the wall is open and exposed, we opted to install a unidirectional speaker, so the sound becomes inaudible as you move away.”
The Connect Zone’s interactive exhibits also underline Mumbai’s ancient connection to the sea as a coastal city with a long-established fishing industry rooted in its Koli community. Here, visitors can watch a short video explaining how the fishing industry operates today, with audio split between three Audio-Technica ATH-M20x headphones via a Behringer HA400 headphone amplifier. Other exhibits raise awareness about ponds, lakes and wetlands that have dried up, suffered destruction or been used as dumping grounds due to increasing urbanisation, examining what is being done to address this. Two of the sound domes are used for short videos in this section, while Pais customised a third by removing the actual dome and making a custom horn
from laser-cut acrylic to enlarge the listening area in front of an introductory projection screen.
Next is the Immersive Zone, where a theatre shows an eight-minute documentary created inhouse, tracing the journey of a sea turtle and emphasising the beauty of the oceans and their treasures before bringing in associated problems such as pollution, overfishing, water shortages and floods, gently raising awareness and setting out possible solutions. A spatial audio system utilises content playback from Blackmagic’s DaVinci Resolve system, with the multichannel mixed audio played through a MOTU 16A Thunderbolt audio interface with Fairlight engine on a 5.2 speaker system. “The speaker and subwoofer are positioned to create an immersive experience via a 5.2 setup of three Kali Audio LP-8 and eight LP-6 nearfield studio reference monitors,” says Naidu. Low frequencies are delivered by two Genelec 5041A in-wall subwoofers, with DSP via a Pulz Electronics DSS1616 processor for in-room speaker calibration.
In the Empathy Zone, one of the most poignant interactive exhibits gives urban children the experience of collecting water from a well, a task usually performed by girls from rural villages who balance a pot of water on their heads while also carrying a pot in each hand. Here, Munro has installed Blackbox-av battery-powered audio players into a number of earthenware pots which are also equipped with Audio-Technica ATH-M20x headphones. Balancing the pot on their heads, the children are encouraged to walk along some footsteps on uneven ground, navigating obstacles while the headphones relay the experience of the village children, in either Hindi or English. “We’ve actually had children in tears at this exhibit, saying they didn’t know what girls have to go through just to get water,” says Premkumar.
Adds Naidu: “We considered providing wireless transmission to individual headphones but the museum wanted their team to be able to operate it, so we needed to keep it simple, installing small battery-operated media players from Blackbox-av inside the pots, which staff just have to charge each day.”
Another exhibit demonstrates the effort involved in obtaining water via a hand pump. A motion sensor triggers the audio once visitors are standing beneath a SoundTube sound dome and begin working the pump handle. “We wanted to create a tension, a heaviness, to the pump to show how difficult it is to get water up; again, this is part of the story about the girl in the village getting water from the ground,” says Naidu. “The story is very dynamic
in terms of volume, so we carried out gain staging on the amplifiers, which are installed on the ceiling.”
There are also sections on soil and sand erosion and how waste disposal and pollution is affecting rivers and seas, impacting the lives of the Koli fishermen as well as indigenous animals and wildlife. These are installed with Blackbox-av MKII ACC-100 headphones and single cup earphones which are activated when picked up.
The Curiosity Cabinet, a wall of screens, drawers and display cases, presents an array of puzzles and problems to be solved. A centralised media player relays audio automatically when headphones are picked up or taken out of drawers, with content available in English and Hindi.
As well as designing and integrating AV equipment, Munro also solved a few acoustic issues throughout the building. A large, net-covered Luckey Climber frame connects three floors where children can climb and explore; however, it wasn’t anticipated how much noise this would generate at busy times. Munro covered the surrounding reflective surfaces with recycled PET fibreboard to absorb the vocal frequencies and reduce ambient noise, printing it with designs to blend with the décor and completing it just 10 days before the museum opened.
Back down at the entrance, the Commons auditorium provides seating for 200 for occasional events such as music concerts, when it can be closed off from the public way by sliding partitions and a stage wheeled in. When not being used as a venue, it provides a communal space for people to sit and plan or reflect on their visit.
Acoustic design was handled by Munro’s team, with Naidu overseeing the electroacoustics and integration.
Four JBL VRX932 12-inch two-way line array speakers and two JBL VRX918S subwoofers powered by Crown XTi 6002 amplifiers have been installed, with a PreSonus 32-channel Studiolive 32SC digital mixer and a PreSonus NSB 16.8 stagebox with iPad control for smaller events, together with a selection of AKG microphones and a
Unilumin LED screen. Munro’s in-house architect, Rachel Jacob, worked closely with the museum’s architectural team on equipment placement as well as designing an acoustically treated, perforated ceiling to control the RT and absorb the sound energy so it doesn’t travel to the
A portable LD Systems Maui 5 PA and monitor system with inbuilt four-channel mixer can be used around the building where required, while other portable equipment sourced by Munro includes a Shure PG48 microphone, a Lewitt LCT 440 Pure condenser microphone, Sennheiser HD180 headphones and a Behringer HA400 headphone
Visiting MuSo, it’s apparent that it’s a living, breathing entity rather than a static, traditional museum. Ongoing plans include installing a sound-activated system on the staircase to relay visitor information as well as creating a small studio where children can record music and podcasts. It seems certain to keep evolving as current issues, plus the technology available to highlight them, change over time.
As MuSo reaches its first anniversary, Jindal Shete looks back over the year. “We’ve been having a lot of school visits, from private schools to kids from underprivileged communities, and also families walking in off the street to find out what we’re offering,” she says. “In India, this is still a very new concept, and I don’t think people have any real expectation of what they’ll find when they come to MuSo. It’s an educational journey which, so far, is going
So far so good for MuSo, which has fulfilled its brief of producing a blueprint for educating Mumbai’s younger generation beyond formal school learning, connecting them to their environment and engendering a sense of responsibility and belonging.
www.munro.co.uk
Richard Lawn goes to the beach, five floors up in the centre of Bangkok, to visit the Thai capital’s latest mall attraction
WHEN THE WRAPS WERE REMOVED FROM BANGKOK’S EmSphere shopping mall in December 2023, Tribe Beach Club could be found five levels above the Sukmumvit Road traffic. Rather than being guided by their ears, curious guests are being drawn by favourable reviews and word of mouth endorsements. Sensitive to its neighbours, a d&b audiotechnik loudspeaker system is playing a leading role in Tribe’s early success.
Together with Emporium and EmQuartiers, EmSphere is the third mall of the EM District complex. Developed under the concept of “Future Retail” which aims to encompass the latest trends, immersive experiences and futuristic lifestyles, the opening was delayed by two years owing to the pandemic. Operated by the Mall Group, 15 billion baht (US$400 million) was invested in the development of EmSphere. Tribe vies for attention alongside Thailand’s first downtown Ikea and the 6,000-seat EM Live arena sponsored by UOB and managed by AEG, in addition to numerous shops and restaurants. Offering a combination of champagne elegance, Ibiza vibes and poolside relaxation under palm trees, Tribe Beach Club offers a taste of the seafront from mid-morning until 1am in the heart of the Thai capital. With world-class music and cuisine and a soothing ambience, and a tagline of “nature juxtaposedaesthetic” to highlight its reconstruction of the beach in the midst of the city, the chilled ambience of today belies the club’s construction phase.
Familiar with d&b audiotechnik loudspeakers since deploying a J-Series for a 2016 festival in his native South Africa, operations manager Anton Schutte was adamant about what he wanted. “The group has been specifying d&b audiotechnik loudspeakers for seven years here in Thailand,” he explains. “Tribe was a massive challenge, however. Owing to Covid, the works had been pushed back so, by the time I was drafted in late 2023, we only had three weeks to transform a concrete shell into a shopping mall and venue.”
In addition to the ticking clock, Schutte and an army of contractors whose paths would increasingly cross during the
21 days had to ensure the entertainment technology did not distract from Tribe’s tasteful interior design. Fortunately, in the Mall Group chairperson, they had an ally. “Group owner and chairperson Supaluck Umpujh does not necessarily specify expensive, but she does demand best-in-class products, and audio remains a priority consideration for the group,” continues Schutte. “We have specified d&b audiotechnik speaker systems for several clubs in our portfolio before including Escape, so we wanted d&b audiotechnik at the outset.”
The investments in sound, lighting and LED technology have made a dramatic impression on Tribe’s guests, as Schutte explains: “The customer experience starts from the entrance where security and hostesses greet guests, all the way through the venue. When a guest walks through Tribe from the reception
past the long bar to the poolside, DJ zone and finally to the Glass Room restaurant, there is a uniform distribution of audio despite some variances in SPLs such as on the dancefloor.”
Ten Years After Audio was contracted to fulfil the design, supply and installation of the extensive d&b audiotechnik loudspeaker system within the compressed September to December 2023 schedule. Adding further pressure leading to the 1 December opening night deadline, the d&b components were only received in early November.
“Ten employees worked 24-hour shifts for 20 consecutive days without air conditioning,” commented Ten Years After Audio managing director Vittawat Sae-Tang. “A scissor lift was used to install the cabling and the loudspeaker custom brackets at a time when the electrical, visual and LED lighting technicians were also hastily trying to fulfil their own contracts.”
The full-range audio experienced by guests begins at reception where four 24S full-range cabinets are supplemented by two 18S 18-inch omnidirectional subwoofers. This consistency continues
produce 138dB SPL. The lower frequencies are augmented down to 37Hz (–5dB) by a further five 18S subwoofers. Located 50m away from the fifth-level, open-air club, an adjacent hotel and residential tower demand constant respect. “We work closely with the community and went to great lengths to minimise
audio pollution owing to the open-air nature of the venue,” continues Schutte. “To keep the low-frequency emissions onsite, the subwoofers are run in cardioid mode and our DJs respect that the critical 96dB limit is never exceeded. Ten Years After Audio applied NoizCalc software and installed microphones in the neighbouring buildings so we can constantly monitor the SPL
DJs are served by twin Pioneer CDJ-2000NX2 DJ multiplayers and a DJM-900NXS2 mixer. Sound reinforcement is provided by three 24S loudspeakers and an 18S combined with 21S subwoofers, with further 12S speakers and a single 18S subwoofer for monitoring. All enclosures are constructed from marine plywood and offer IP54 and IP55 water-resistant ratings for operation in the changeable weather conditions.
The indoor Glass Room restaurant is a smaller, intimate space that demands a specific audio fulfilment for its diners, as well as a sympathetic nod to the delicate interior design work of chairperson, Umpujh. Six compact 8S 8-inch coaxial loudspeakers are supplemented by four floor-mounted Bi8-SUB dual 6.5-inch
Schutte is suitably impressed by the floor-standing subwoofers mounted flush against the wall, which measure just 170mm x 436mm x 580mm yet extend the frequency response down to 43Hz. “I’m not big on subwoofers and oversized wall-mounted speakers, so these discreet enclosures make an impact, yet they’re barely noticeable,” he says. The consistency in audio continues in the restrooms where a further four loudspeakers are
For smaller events, a Yamaha DM3 16-channel digital mixer and Shure SLX-D wireless microphones are available. Outside DJ hours, however, a dedicated Tribe BGM source is operated. Zone controls and loudspeaker management presets have been configured and applied within the settings of a Yamaha MRX7-D processor. Connected to two Yamaha SWR2100P hub switches, 64 channels of Dante network connectivity have been established to the racked d&b audiotechnik amplifiers, including seven 30D and three 10D units.
The restaurant, bar, pool and DJ zones are all equipped with Yamaha wall-mounted DCP1V4S volume controllers. “With zone control management, Ten Years After Audio have made it simple and smooth for us to operate,” says Schutte. “You can monitor and configure the parameters, sources and levels remotely, but
the four fixed points allow the managers to control the audio locally when required.”
From the street-level bars off the Sukhumvit Road to the loftiest sky bars, competition among entertainment outlets in the Thai capital remains fierce. Likewise, the suppliers and systems integrators challenge one another to gain residency and bragging rights within these premium sites, as Schutte testifies: “There are many good audio companies in Bangkok, but the Thai d&b audiotechnik team specified the right speakers for our bespoke, multi-zoned requirements.”
www.dbaudio.com
www.emsphere.co.th
www.tenyearsafteraudio.com
The three function rooms can host a variety of
Reflecting changing nighttime trends in the Thai capital, Richard Lawn visits a basement that’s been transformed from nightclub to sophisticated entertainment space
THE CONVERSION OF A CENTRAL BANGKOK BASEMENT nightclub into a flexible function room may be a sign of the times, but the hotel was reluctant to lose the bass and power of its predecessor. To accomplish this, the Novotel on Siam Square Bangkok called upon MI Engineering to design and install a highpowered audio system that would maximise room flexibility and versatility.
In its heyday, Vibrations won several accolades as Bangkok’s best live music and dance venue. However, today’s late-night revellers have generally migrated above street level to the Thai capital’s skybars and loftier premises, prompting the hotel management to convert the basement venue into separate function spaces for up to 400 people. Now more in keeping with the hotel’s conference and meeting facilities, Vibrations has been stripped of all traces of DJ and live equipment and was converted earlier this year into four separate spaces suited to weddings, training and corporate events. A significant refurbishment investment included provision for the installation of digital AV and lighting components.
Audio designer and project manager Attapol Praisri explains the main features behind MI Engineering’s successful tender bid: “The owner requested an audio system that can host multifunctional operations, including wedding ceremonies, corporate events, workshops and classes. This included a requirement for added subwoofers for private parties, so the infrastructure we proposed includes up to four subwoofers to be installed in the banquet room. In addition, we were tasked to provide enhanced ease-ofuse operations by including remote control monitoring.”
The three function rooms incorporate two ceiling-fixed JBL AM7215/95 bi-amplified speakers, and the larger banquet room is equipped with an additional two models as rear fills. Providing a 90° x 50° coverage pattern, the rotatable large-format waveguide saw the 15-inch two-way enclosures being orientated horizontally. All four rooms are augmented in the lower frequencies down to 34Hz (–3dB) by a pair of JBL ASB7118 18-inch subwoofers. The mid-high frequencies for all eight AM7815/95 models are powered by a single Powersoft T604A 6,000W amplifier, and
two floor-standing ASB7118 subwoofers. Should any of the four venues require an additional pair of subwoofers to be added, the spare T904 channel comes into play.
“Providing ample power and headroom, the Powersoft T Series amplifiers allow the technicians to power share when required,” explains Praisri. Initially designed to replace the industry-standard K Series in touring applications, the T Series is rapidly becoming
events on the same day
an underground success – pun intended – for small- and mediumsized live performance applications. “The T Series incorporates similar technology integrated into the proven Quattrocanali technology platform,” he continues. “The power sharing
capabilities of the T904 offers plenty of headroom for future expansion and can redirect unused power to channels requiring more power. One T904 powering the low frequencies for an entire room makes it an extremely efficient model.”
The audio cable infrastructure connects four Amphenol patch panels in each room to the 16- and 24-input Yamaha TF1 and TF3 digital consoles and T-904 and T-604A 1U amplifiers in the rear control room. Outside the four function rooms, 16 ceiling speakers in the pre-function area are managed by a dbx Venu 260 processor and powered by a half-rack, 1U Mezzo 324a amplifier.
The audio chain is completed with source players and 10 channels of Shure SLXD4 receivers paired to Beta 92 handheld wireless transmitters boosted by three UA844+SWB antennas.
The main audio parameters are remotely monitored and managed using Powersoft’s ArmoníaPlus system design software. By setting up a wireless access point, the MI Engineering team can remotely log into ArmoníaPlus to tune the system. Powersoft’s Luca Bertani was onsite following the commissioning of the audio system and offered further peace of mind. “Our power supplies operate from low voltages downwards to 94V, so they can withstand any oscillation in power supply going through to the amplifiers,” he explains. “The T Series amplifiers function normally during 210–230V oscillations and draw power of just seven amps without heating up.”
With the release of MyUniverso, Powersoft’s users can now benefit from the Italian manufacturer’s power source cloud. “The name refers to its ever-expanding nature and we will be able to add more functionalities to the cloud itself,” continues Bertani. “Users can monitor the system and regularly add firmware updates. The most interesting aspect is the fact we will be able to provide added functions and controls as more systems integrators retrofit their existing amplification networks.”
The 1⁄2U Verso gateway provides access to Powersoft’s MyUniverso cloud for a complete current line of amplifiers, including the Mezzo, T and X Series. “You can now add Verso into an installation with amplifiers that were installed within the last 10 years,” adds Bertani. “Therefore, a user can perform
the same tasks on our legacy amplifiers as the latest Unica Series. With remote access to ArmoníaPlus on a PC, you no longer need to be onsite to troubleshoot. If a problem arises, it’s normally a case of a wrongly touched button, which can be solved remotely.”
Sony Thailand installer SWS Group was commissioned to install the visual system including fixed LED screens in all four rooms. Each LED screen receives its transmission from a dedicated Blustream CMX44CS 4x4 4K HDMI 2.0 matrix in addition to Novastar VX1000, VX600 and H2 LED display video controllers. Laptops for hosting presentations, classes and unified collaboration conferencing in 4K resolution can be connected to any of the three HDMI inputs in the banquet room or the single HDMI inputs in the three function rooms. The addition of PTZ cameras enhances unified collaboration meetings on Zoom or Microsoft Teams online over the NDI network.
Novotel Bangkok on Siam Square AV technician Earn has been presiding over the controls of the new setup for several months. “Unlike most new systems, there have been no bugs or problems to date,” he testifies. “Rather than mixing on the actual Yamaha TF1 and TF3 control surfaces, I prefer to configure the ArmoníaPlus and Yamaha LiveMix Apps from my iPad, where I can monitor and control all the main audio parameters. Although the rooms were primarily converted for classroom and small event use, we like to offer nightclub audio capabilities with the additional subwoofers and high-SPL capabilities of the JBL three-way system.”
Flexibility of use was a big consideration for these acoustically treated standalone rooms, but the MI Engineering design with Powersoft T Series amplification at its heart has made light work for Earn and his colleagues. “The portable ASB 7118 subwoofers can be easily relocated from one room to another and patched through to the Yamaha TF1 and TF3 consoles when required,” he says. “Other than that, we are simply fine-tuning the parameters for individual events.”
www.novotel.com
Richard Lawn visits Ian Schrager’s new venture, The Singapore Edition, which is currently the talk of the town
UPON ENTERING THE LOBBY OF THE SINGAPORE Edition, hotel guests will instantly know they have arrived. The property’s signature Black Tea fragrance, minimalist white décor and opulent furnishings combine to deliver a powerful statement, enhanced by the bespoke AV solutions throughout the hotel, provided by Electro-Acoustics Systems (EAS).
The Singapore Edition was conceived by Studio 54 cofounder Ian Schrager in partnership with Marriott International. Collaborating with interior design firm Cap Atelier, Schrager involved himself in every aspect of the hotel’s design. By marrying refined glamour with the energy of the equatorial tropics, guests are exposed to a level of comfort and service that sets it apart from other hotels in this highly competitive island state.
The systems integrated by EAS provide subtle BGM at reception, Fysh at Edition and corridors as well as more powerful decibels in the lobby bar, ballroom and basement micro-club, Wonder Room. Naturally, for a property boasting Christian Liaigre cream doe-leather chairs, Calacatta marble surfaces and an intriguing art collection including a large Johina Concheso hanging in the lift lobby, the sight of black boxes was required to be kept at a minimum.
Project manager Chester Tan adhered to the demands of the interior designer and architect by ensuring EAS matched the vibe of each individual room with tailored loudspeaker systems. A combination of slim column arrays, white-finished cabinets and out-of-sight high ceiling pendants deliver the required SPLs without catching the eye of the discerning guest. Customisation is a byword to an experienced systems integrator, and EAS ensured its solutions were precisely added to the blueprints at the design stage.
With construction interrupted between 2020–22, the grand opening was delayed until December 2023. The EAS engineering team was called to site in varying, limited phases, as and when rooms became available for their overdue fitouts. “The inevitable construction delays helped our coordination efforts, and we could spend longer looking into the design,” says Tan. “The longer lead times helped to ensure all the specified products on the bill of quantity arrived on time.”
At the lobby and reception area, a combination of Tannoy CMS 6- and 8-inch ceiling speakers deliver consistent BGM coverage. Powered by a QSC CXD multichannel amplifier, various speaker outputs are controlled from a Q-SYS TSC-55w control panel. A circular stairwell leading to the B-1 basement is adorned by pairs
of Atlas 5T passive line array speakers in the same white finish as the walls they are recessed within. Despite the harsh acoustic surroundings, the accurately positioned 5-inch enclosures create a surreal ambience to those journeying between levels.
With natural daylight percolating through the overhead glazing, the white-walled corridors interconnecting public rooms on the B-1 and ground-floor levels are characterised by floral arrangements and hanging ferns. Continuing the lobby’s theme, Tannoy CMS ceiling speakers provide a seamless room-to-room transition of carefully sourced music from the Marriott’s music server. A height threshold of 3.5m was applied to distinguish whether 6- or 8-inch CMS models were installed.
EAS was requested to install several speaker brands into varying interconnected zones. The main bar is furnished with Martin Audio CDD10 enclosures, while Fysh at Edition is equipped with Tannoy VLS15 steerable loudspeakers. Other ground-floor zones have Martin Audio CDD10 and CDD8 speakers together with Tannoy 5-inch ceiling speakers. The interior designer insisted on the discrete placement of the seven Tannoy VSX 15DR subwoofers.
“We had to compromise on some of the recommended placements marked out for speakers owing to a conflict with the hotel’s architectural features and interior design,” explains Tan. “Working closely with the AV consultant, Jan Luszczek from Clair Solutions, we made plots using the sound levels. The Edition expects to serve to premium crowds in their high-quality event spaces, so there is no cookie cutter design. Customisation was
common as the loudspeakers need to operate to their full potential in the various zones. Not only do the various speaker brands need to blend into the hotel design, they also need to match seamlessly as guests walk through various zones.”
The Singapore Edition vibe changes in the lower-level ballroom, its pre-function area and the adjacent garden. Bathed under diffused natural light from floor-to-ceiling windows, the 600m2 pillarless ballroom can be divided into three. The EAS team focused a large proportion of their work on the ballroom, reserved for fashion galas, corporate events and high-class weddings.
“Having adopted a site-wide Q-SYS backbone, Clair Solutions specified a standalone Crestron Control CP4 processor for the ballroom on account of the added functionality it provided at the time of procurement, including lighting, motorised projection screens and lifts,” explains Tan. Cresnet network connectivity provides support for lighting dimmers, sensors, thermostats, keypads and other IP-controllable AV peripherals connected to the rack-mounted Cisco SG350-28P POE Ethernet switch. A Crestron TSW-760 7-inch touchscreen provides simple control for all parameters.
For the ballroom’s 4K visuals, laptops and other inputs can be connected to eight wall plate receivers and transmitters over an HDBaseT network. The CP4 processor interfaces with a Crestron DM-MD16X16 CPU3 video switcher fitted with I/O cards which connects to a DM-RMX-4K-scaler. HDMI cabling ensures 4K connectivity to the three Christie DWU850 projectors fitted on customised lifts outputting onto Remaco TEN (XXL) projection screens. “Several AV connectivity panels have been added into the ballroom’s architecture,” continues Tan. “The vendor can set up a lectern, DJ booth or live stage in at least three locations, and these can be interlinked through audio, VGA and HDMI connectivity.”
loudspeaker system in the garden required some limiting,” says Tan. “When we were tuning the speakers, the manager commented that the SPLs were excessive. Working with the consultant, we made further adjustments to ensure that it does not disturb the hotel guests or residents, without compromising the guest experience.”
For The Singapore Edition’s director of culture and entertainment, Hasnor Sadik, the pièce de résistance is the Wonder Room, which has a distributed system of eight d&b 5S 5-inch nearfield speakers powered by 30D four-channel amplifiers For stage reinforcement, Clair Solutions opted for a d&b audiotechnik system of L-R dual Vi10P and single Vi7P speakers, and low frequencies are provided by five 21S subwoofers. Bidirectional audio is provided by a Q-SYS Core 510f integrated processor connected to a Q-SYS I/O-8 Flex expander, with four CIML4 mic input and COL4 mic output cards, together with a CDN64 Dante network bridge. “This is a useful feature during guest DJ evenings when the private room guests wish to receive the same input audio mix,” explains Sadik. Audio can be managed from the wall-mounted QSC TSC 5.5-inch control panel. Connected to an A6000 processor, a Leyard TVF 2.5G 6m x 3.4m (WxH) LED wall provides visuals in 2400x1360 dot resolution. “This is a special venue because it is a club space, and we are equipped with a top-tier loudspeaker system,” comments Sadik. Wonder Room connects to the adjoining Pink Room private bar, which is equipped with four d&b 12S 12-inch cabinets and one
Tannoy AMS-6DC cabinets provide ground-floor BGM
21S subwoofer. “With a d&b audiotechnik setup in this space, Wonder Room and the adjacent Pink Room are set to prosper. Brand positioning is important when I promote spaces to clients,” adds Sadik, previously a DJ at Zouk Singapore. “I fully appreciate the benefits of a good audio system. Many of the DJs I previously worked with suffer from hearing problems. Today, we need to consider the wellness perspective by limiting the SPLs and properly adjusting the EQ levels so that customers no longer need to shout to have a conversation.”
Like any modern-day ballroom, this needed to be a highly flexible space. However, the room’s aesthetics could not be compromised at the expense of AV technology. “At first glance, the guest cannot see the AV technology because the three projectors and screens are retractable and are hidden from view when stored in the ceiling and not in use,” he explains. “Although it took a lot of planning prior to installation, the ceiling speakers blend into the décor. The lighting fixtures are stored away and installed onto a Leviton/ETC Skyhook system when required.”
Each of the three divisible sections is catered for by six Tannoy CMS 1201DC 12-inch ceiling speakers. Powered by a QSC CXD8.8Q eight-channel amplifier, Dante audio network processing is performed through a Q-SYS Core 510f integrated processor fitted with six CIML4 mic input cards, a COL4 mic output card and
a CDN64 Dante network bridge. The pre-function space is installed with Tannoy CMS 8- and 5-inch ceiling speakers powered by a QSC CXD4.3Q four-channel amplifier. In-wall Samsung QB13R screens provide digital signage for incoming guests.
Outside the pre-function area, the leafy courtyard has also been outfitted with a distributed Tannoy system of AMS 6DC 6-inch utility speakers. “As the hotel is in a heavily populated area, the
The adjacent Punch Room has been installed with two Tannoy QFlex 16 self-powered speakers with Bi8-SUB dual 6-inch subwoofers powered by a D6 amplifier
Unlike the mix of brands fighting for attention on the ground level, the level-two gym and spa, together with the ninth-level rooftop bar and swimming pool, combine similar loudspeaker components. Tannoy AMS 5- and 6-inch cabinets, CMS ceiling speakers and VSX 15DR subwoofers are powered by QSC CX-Q multichannel amplifiers. Equipped with standalone Q-SYS Core 110f processors, these zones are again controlled using QSC TSC 5.5-inch control panels.
“The simplified Q-SYS panel control functionality is straightforward to use overall,” says Sadik. “There are a variety of set user levels so not all the personnel have access to the full range. The programming has been set at certain volumes including day and night modes throughout the hotel, but we don’t want to make too many manual adjustments. But when the ambience and acoustics change in the room when extra people enter, you must be present to make those manual adjustments.”
Requiring no further AV additions for the foreseeable future beyond software updates, The Singapore Edition leaves a strong impression on the aural and visual senses.
www.easpl.com.sg www.editionhotels.com/singapore
Richard Lawn visits a multipurpose
near Bangkok which has invested in AV technology for the future
AV SYSTEM DESIGN CAN HAVE A SIGNIFICANT IMPACT on sports venue incomes. No longer satisfied with an electronic scoreboard and a basic PA announcement system, fans expect to be entertained by multimedia solutions, digital signage, powerful audio systems, videowalls and LED displays. Meanwhile, operators are discovering that the appeal of their arenas can extend beyond sporadically staged sporting events. A high initial outlay perhaps, but AV systems enhance the fan experience, increase revenue and improve operational efficiencies.
The land surrounding a 6,000-capacity outdoor stadium in the metropolitan province of Nonthaburi, to the northwest of Bangkok, has been developed by the local government, adding two indoor arenas, one of which features an Olympic-sized pool. The adjacent Nonthaburi Gymnasium Stadium has been created to host a wide variety of activities including entertainment, live concerts and sporting events including futsal, a football-based game played on a hard court.
“In order to promote a varied programme of activities, the Nonthaburi Provincial Administrative Organisation demanded the best audiovisual and lighting systems for the budget available,” explains director of infrastructure development division, Waroon Yuprasert. “As well as supporting the artistic, cultural and
The integration of the AV technologies is crucial for outputting highquality content, including replays, to spectators during events. To provide a clear view of the action, a 10m x 5m (WxH) P3 LED screen is located behind a stage at one end of the stadium. Two smaller 3m x 3m displays at opposite corners function as scoreboards during competitions. A network of smaller LED screens provides monitoring as well as the transmissions of scores, highlights and advertisements to the private function and VIP rooms. Increasing the reach of an event in real time beyond the physical settings, sporting and non-sporting events can be livestreamed for remote viewing. Operating over the LAN, a Cat6 cabling infrastructure is routed to a control room rack, hosting a Blustream 8x8 HDMI AV matrix, HDBaseT extenders and splitters. Connected to a Vaddio AV Bridge MatrixMIX switcher, the video operator can control two Vaddio RoboSHOT 30E HDBT cameras from a Vaddio PCC MatrixMIX live production surface. The HDMI-over-IP transmission solution routes PC, Mac, DVD and Vaddio RoboSHOT 30E HDBT camera inputs to Blustream encoders for output. From a D-Link DGS-1008P switch, the digital signal is emitted to Blustream decoders before being
Stage lighting used for concerts and other events in front of the main LED screen is managed from a LightShark LS1 surface. Featuring four encoder wheels and 10 playback faders, the hybrid web browser-based lighting control console can be operated from any tablet, smartphone or PC.
In addition to enhancing the fan experience, ease-of-use and futureproofing were the underlying design parameters for Seedokbuab and his team. “In offline mode, the technicians
can manage and control all the audio and lighting parameters via downloaded software,” he explains. “From here, the video operator can access the HDR matrix or PCC MatrixMIX controller switch for the main scoreboard. Because the stadium exceeds over 100m distance, an HDBaseT system was deemed best as it can operate up to 150m via Blustream connection.”
Synchronised, the audio signal is transferred to a racked Symetrix Prism 8x8 processor for managing the DSP throughout the entire space. Like the SymNet processing software, the LEA Professional amplifiers can also be managed and configured from either a PC or a wireless touchscreen when connected over the amplifier’s Wi-Fi access point or existing Wi-Fi network. “The amplifier parameters and status, including heat and inputs, can be checked, and the amplifiers can be turned on remotely over Wi-Fi when online or accessed through our network in offline mode,” adds Seedokbuab.
Installed with the most appropriate AV equipment for its current and future requirements, the stadium’s AV systems integration contract includes regular maintenance and updates. Training conducted by FFE has enabled staff technicians to understand and use the AV system independently. As personnel changes over the years to come, remote management and ease-of-use capabilities will ensure continuing smooth operation.
“We don’t need to be qualified audio professionals, because the Fuzion sales team has fully supported us,” explains Yuprasert. “Our technicians have been trained how to use the equipment and maximise its potential. However, the digital parameters are easy to operate, and troubleshooting can be conducted offsite. We now understand the positive impacts a quality sound system can have when hosting our varied activities. Next, Fuzion Far East have been invited to assist us with the new swimming pool stadium.”
Having eliminated the competition in Nonthaburi, FFE continues to pioneer a trail of AV excellence throughout Thailand.
www.fuzion.co.th
NASHVILLE HAS BECOME A LOT OF THINGS TO A LOT of people, a tax haven for disgruntled coastal elites and a destination for boisterous bachelorettes among others. Most recently, the hoary reality show Survivor is back and recently held a casting session in the city.
In Nashville, there is enough money now to buy the damn island they keep trying to vote you off of, but not everyone is sharing in that largesse. In fact, the very people who have made the city so desirable are lately unable to afford to live in it. The Greater Nashville Music Census, which revealed its findings in September, is one of more than 20 US cities that surveyed their so-called Music Ecosystems, a rubric that comprises creatives, industry and venues/presenters categories. And like the outcomes of Survivor for many participants, it’s not pretty.
Nearly half of respondents (46%) work jobs outside of music, and nearly three-quarters of them make most, if not all, their income from those other jobs. Fully a third report that their housing costs have increased in a city where housing is increasingly unaffordable, and 17% indicate that their current housing costs exceed their budget. The increasing cost of living is cited by half as their highest concern, while 38% are troubled by stagnant pay rates and 26% are worried about the lack of music work.
That’s the overhead view. On the ground, the issues may seem quotidian but for many of the musicians scrambling for gigs in the city’s nightclub district they’re existential. Parking –something many take for granted – is almost as much a premium as rent in Nashville, and musicians working for tips on the Lower Broadway strip find they cannot afford to park the cars they need to transport their gear every night. And they’ll walk back to their autos at 2am carrying whatever they earned that night in cash. The local thugs know this and plan accordingly.
It’s not much better on the technical side. Many of those same musicians are also their own engineer/producer, blurring that once-clear line and diminishing work for engineers and mixers as DIY becomes the norm. Automated programmes that assure compliance with Spotify’s and Apple’s format specs get many releases most of the way to online distribution, and AI being applied to existing automated mixing and mastering functions will only accelerate that process. Besides, many of the conventional recording studios the city was so famous for have fallen, either to construction of new flats (that musicians can’t afford to rent or buy) or to universities, such as the acquisitions of Ocean Way Nashville and RCA Studios A and B by Belmont University, for their production degree programmes.
The music ecosystem that existed in Nashville for so long is now almost completely rebalanced, and not in favour of the musicians. It’s a dynamic that’s global now but, when it happens in a place that fancies itself “Music City”, it takes on a particular ominousness.
Cities and even some states and countries are finally recognising the dangers to their creative classes. For instance, the Living Wage for Musicians Act, which proposes establishing a new royalty fund to pay artists directly, bypassing labels and other intermediaries, is before the US Congress. The state of Tennessee, of which Nashville is the capital city, is sponsoring its own legislation aimed to boost artists’ streaming royalties by way of a similar fund. Likewise, a UK parliamentary committee is calling on its government to introduce new laws that would make it illegal for AI developers to use copyrighted music for training purposes without consent.
The tourists who toss tips into the bucket at downtown Nashville juke joints contribute to the $10.7 billion annual spending there, says the state’s Department of Tourist Development. Unfortunately, those tips are all many get. As one musician told The Guardian recently, a “career” in music has become “a hobby that just about pays for itself” if they’re lucky. Breaking even is something fewer and fewer musicians manage to achieve. Or worse, even aspire to.
THIS
the farthest reaches of the European countryside, you will find Christmas bursting out of the gloom, no matter how remote. Every rural community has its traditions, although they seldom wander far from the basic formula of glitz, Gospel and Glühwein . Over time, local councils and entrepreneurs alike have expanded the repertoire, and even the simple function of switching on the festive lights has matured into an event that requires the presence of at least one celebrity that no one has heard of, usually referred to where I live as this year’s Star of Bethlehem. Of course, it’s good news for the AV industry. I well remember, in the crisp English town of Salisbury, the year when the black sky was bedazzled by the flick of a switch from minor celebrity, Keith Chegwin. More importantly, it was the debut of a new MIDI-to-fireworks interface, no kidding, so that the tympani climax to Greg Lake’s I Believe in Father Christmas could explode visually with the inchperfect accuracy of timecode. People were impressed. But not nearly as impressed as the loyal audiences that flock to a farm in Norfolk every Christmas to see the
Thursford Christmas Spectacular, an unlikely venue for a production that outstrips most West End and Broadway shows for technical ambition: more inputs, more channels, more everything than you will find in the average Edwardian theatres of either London or New York. Ten years ago, for example, there were already 64 channels of Shure UHF-R wireless and 148 input channels for the Yamaha PM5D. Last year, this count had risen to 82 wireless channels, 240 inputs to the Quantum SD7T and 915 cues in the QLab show file, which seems a lot for a show that retains such humble details as a monolithic Wurlitzer organ and a novelty cycling act.
There is more to it than that, naturally. The orchestra is 30-strong, there are 48 singers, several comedians and monologues and, everyone, I mean everyone, is individually mic’d and monitored. Furthermore, the stage is 40m wide – it used to be a cowshed – and to wrestle with the growing dislocation between proscenium vista and audio sources, sound designer Mark Rogers has turned to d&b Soundscape. Two of them. And TiMax. And Flamingo Software’s Atlas GUI. In fact, there are 10 outboard
screens to keep tabs on everything at the FOH position as well as the three in the console.
It’s all a far cry and another measure of how far we’ve come, from around 20 years ago when the ever-buoyant Christian Stumpp, when he was still at HK Audio, took me for some glitz, Gospel but, mostly, Glühwein at the local Christmas & Medieval Market in St Wendel, Germany. It’s only 40km to the French border and couldn’t possibly feel more European, with a vintage carousel, Nativity trail and Medieval Mummers prancing about in painted masks. Somewhere though, dotted around Schlossplatz, were a dozen or so HK Audio boxes, probably from the Lucas or Premium ranges, or possibly even the Move series. I doubt if they were as old as the Actor or Classic lines, but I’m afraid to say I can’t quite remember. If I’m honest, I couldn’t quite remember the next day. But that was it: no digital audio network, no Quantum SD7 or PM5D, no in-ear monitoring for the Mummers. There was, I’m sure, a bit of Greg Lake from a CD player, in between the carols and the Schlager , but no synchronised fireworks. That’s all we needed, back then.
Visual cues like body language, eye contact, spatial distance and tone of voice are still best perceived when people meet in person. This also includes person-to-person experiences such as socializing and networking, therefore in-person meetings are still crucial.
In parallel, the need for remote meeting participation is rapidly increasing as a highly efficient option for conferences moving ahead. It brings many positive effects such as increased workplace flexibility, reduced travel costs and a smaller carbon footprint. Invented for life
Providing equal participation with all professional functions that are needed for conferencing is key in this environment. Therefore, Bosch is evolving from standalone conference systems to end-toend hybrid solutions, creating a flexible meeting environment to maximize efficiency and effectiveness.
Taking place for the second time at the Jio World Convention
Centre, has the show already
outgrown its new premises? Caroline Moss reports from Mumbai
THE INDIAN ECONOMIC BOOM CONTINUES APACE, greatly benefitting the AV industry which matures from year to year, and AVIXA, with the platform and educational initiatives it offers, has played a great part in that development. According to the organisation’s 2024 Industry Outlook and Trends Analysis, India is the fastest-growing pro AV market globally, with annual revenue projected to reach US$11.8 billion in 2029. While InfoComm India reflects the country’s dominance in the global AV market, attracting a largely domestic attendance, this year saw 10,876 business visitors attend from 15 countries of whom, according to AVIXA’s data, nearly 30% were technology end users – a 5% growth over 2023 – with around half holding managerial or higher roles. Exhibitors and brands numbered 250, including 30 first-time participants. Meanwhile, a packed summit schedule offered sessions led by 98 industry leaders and attracting 2,159 delegates, tackling topical issues such as smart cities, AI, projection technology in education and experiential events, content production and streaming.
There’s no doubting the excellent facilities of the Jio World Convention Centre in the burgeoning Bandra Kurla Complex (BKC) district of Mumbai. Jio’s international-level exhibition and conferencing facilities were the talk of last year’s show as participants revelled in their glistening new surroundings. This year, the stands on the main show floor in Pavilions 1–3 had reached even higher levels of professionality as leading AV manufacturers and distributors jostled for space. However, with the ground floor already full in its first year, an overflow area had been created for 2024 in the Jasmine Hall on level 3.
AVIXA had certainly strived to provide continuity with the halls three floors below, but the ergonomics weren’t ideal, with visitors having to leave the ground-floor halls at the very furthest exit, travel up three sets of disconnected escalators and loop all the way back to an entrance at the other end of the concourse. But clearly this is no fault of AVIXA, which once again put on a busy and vibrant show drawing positive feedback from exhibitors and visitors alike.
that is very different this time around. All of my customers and channel partners from across India are here, it’s not only limited to Mumbai or the western regions. I’ve also seen a lot of people coming from the north as well as from down south. Visitors from across India are coming to Mumbai, and that’s what makes this show a big success.”
Exhibitors could frequently be seen hurrying up to the priority rebooking room on level 3, eager to secure their stand space for next year. Meanwhile, rumours abounded about the progress of the new exhibition hall at NESCO, which will offer a bigger footprint. One thing is certain: InfoComm India will doubtless continue expanding to fill any extra space available as the industry goes from strength to strength.
From a Pro AVL Asia perspective, we were delighted for the opportunity to partner with AVIXA, Meyer Sound, DiGiCo and Sennheiser to bring back our Pro AVL Connect networking event which has been mothballed since the pandemic. It was a wonderful platform to meet friends, colleagues and new
2024 Dates: 3 – 5 September
2025 Dates: 9 – 11 September
Venue: Jio World Convention Centre, Mumbai
Total exhibitors: 250
Attendance: 10,876
Contact: www.infocomm-india.com
Gopal Krishna, Barco: “The show has been amazing. At the last InfoComm India it was mainly systems integrators, partners and resellers, but this year we are seeing more new customers. That’s exciting for us, because showcasing directly to end users helps us to get direct feedback. This time we decided to go with two different distributors, so Barco ClickShare here is with one of the distributors and Barco Projection is here with another. But for next year we have already booked a single 200m2 booth for both. Jio is much better than the previous venue, it’s of an international standard.”
Shailesh Awasthi, Pink Noise Professionals: many platforms for this industry, and building personal relationships is so important. This is the only place where, in two or three days, you meet everybody from the industry. A lot of existing customers come, but we are seeing new customers too as systems integrators start new ventures and they come to see the products that are
Annkita Karrva, BenQ: “We are seeing a lot of new customers as well as end users from the education, government and corporate sectors, they are coming here seeking solutions. People are coming in from all over India and neighbouring countries such as Nepal and Bangladesh. InfoComm is the show where they will get to meet all the brands together. We’ve been coming to InfoComm throughout the years, and the installation market is huge and growing well in India.”
Niko Walraven, Neat: “The show has been amazing and the vibrancy of Mumbai is visible. The quality and quantity of the visitors have both been tremendous for us. We’ve seen a very nice balance of partners and customers, which has given
WHEN THE DOORS FINALLY CLOSED FOLLOWING four hectic days, the metrics supported the claim that IBC2024 was continuing its upward trajectory. The 1,350 exhibitors represented an increase of 100 from 2023 and the 45,085 visitors from 170 countries were up by 4%.
Having successfully drawn the global media, entertainment and technology communities to its 15 exhibition halls, IBC is more than just a showcase for innovations as it continues to confront pressing industry challenges while stimulating new opportunities.
“We witnessed a tremendous turnout across the entire IBC community as people gathered in Amsterdam to explore the technological advances and market dynamics redefining our industry,” commented IBC’s chief executive officer, Michael Crimp. “In a year marked by major events such as the Olympics and national elections, there was an extremely positive buzz at IBC2024. This year’s show addressed soaring interest in trends such as AI’s leap from theory to real-world applications, how the industry is fighting disinformation in news and the need to foster talent and diversity across media, entertainment and technology.”
Across a bustling show floor and packed theatres, IBC2024 addressed critical trends and issues driving change across the media landscape, such as combatting false information and fake news, while offering new show features including the AI Tech Zone and IBC Talent Programme. Other themes included sustainability, 5G, cloud, esports, immersive experiences, over-the-top (OTT) and streaming, adtech, metaverse, edge computing and connected technologies. Many of these were addressed during the three-day IBC Conference in the RAI Auditorium Complex in addition to show floor theatres.
4K, 6K and 8K cameras and monitor formats were previewed on booths including ARRI, Blackmagic, Canon, Grass Valley, Panasonic, Sony and Ikegami – showing the HDK-X500 3-CMOS HD portable camera and OCP-500 camera control unit. Ross Video required a larger footprint for technologies including immersive experiences with extended reality (XR), AI, robotic camera systems, enhanced cloud production and hyperconverged infrastructure, migrating to the traditional audio hall. The brand also unveiled its Carbonite Ultra Solo compact UHD production switcher.
SAME – Smart Audio & Mixing Engine – audio processing software suite.
Sennheiser hosted Neumann, Dear Reality and Merging Technologies immersive production workflows in addition to audio capture, monitoring and processing solutions, an immersive presentation zone, the AMBEO immersive zone, the Pro Audio Workbench hosting camera-mount EW-DP mics and racked Digital 6000 and EW-DX wireless systems and the Neumann/Merging broadcast suite with its replica OB van setup. Additionally, the German brand has finally delivered product to justify its 10-year investment in Wireless Multichannel Audio Systems (WMAS), as a compact, central exhibit proved by drawing the crowds across the four days. Comprising a bodypack that sends and receives mic/IEM signals, a 1U 32 channel-base station receiver and a new DAD antenna system all managed by the newly designed Linkdesk software, the Spectera ecosystem heralds a new dawn for large event producers.
The AI Tech Zone was a new initiative highlighting practical applications from automated video editing and music-audio separation to content provenance tracking and fast and secure cloud storage. The Zone stage hosted AI pioneers sharing
compact control surface and the latest ImpulseV and True Control V2.0 software. Depicting a collaborative TV news team setting, Wheatstone paired the fixed Strata 32 control surface with a portable Remote Strata virtual mixer.
Lawo highlighted the latest additions to its HOME apps serverbased processing platform, including the official launch of the HOME mc² DSP app, including Dante control, management and media signal integration. Solid State Logic lifted the wraps off the S400 System T console and introduced a v4.1 update for FX and immersive capabilities plus the facilitation of automated cloud deployment for the same audio production platform. Demonstrating the feel of a dedicated 32-fader console, Dual Channel View mode was presented in the Tempest Control App (TCA) from a PC-based setup. Stage Tec showed its fully IP-based Avatus E console, the portable Nexus Compact and its Stagenet IP signal management control software.
DPA, Lectrosonics, Microtech Gefell, Schoeps, Sennheiser, Shure and Wisycom attracted new and traditional broadcasters seeking microphone technologies while Clear-Com (Arcadia), Altair (IPCom), Pliant (CrewCom), Riedel (Bolero), RTS (Omneo IP) and AEQ (Xpeak and X_core) showcased their latest IP comms. Riedel also premiered the
it is already transforming media in terms of discoverability, news verification and creating immersive experiences.
IBC2024 welcomed 150 new exhibitors, including Robe and Yamaha. “IBC has gone from strength to strength, with exhibitors continuing to find more ways to make the most of the show as we add new features and grow its scope and reach,” commented IBC director Steve Connolly. “The feedback we get is incredibly positive, with many seeing IBC evolving as an increasingly important incubator of media tech innovation, as well as maintaining our status as an essential networking destination and source of intelligence on new industry trends and developments.”
2024 Dates: 13 – 16 September
2025 Dates: 12 – 15 September
Venue: RAI Amsterdam
Total exhibitors: 1,350
Attendance: 45,085
Contact: www.ibc.org
Marina Prak, ROE Visual: “With AI and immersive technologies being increasingly adopted, ROE Visual is showcasing the future of broadcasting in collaboration with industry partners – our ecosystem of companies. This is because an LED screen or a camera, on its own, doesn’t give you a solution. It must come together to result in a bespoke showcase like an election studio or sports centre. By visualising these showcases during our daily demonstrations, visitors can conceptualise how they can utilise this technology for their own broadcast productions. IBC is stepping forwards and losing its static broadcast identity. With a transition towards the next generation of television viewers, immersive storytelling is being adopted to gain the interest of younger viewers. By showing broadcasters what is possible with new technology, we can help them.”
G-C10DA broadcast distribution amp, OpenGear ColorBox and a low-latency Virtual Kona cloud I/O, IBC Amsterdam is one of our most exciting shows. For added convenience, we are transitioning our converter products into the OpenGear form factor. We are also listening, because every conversation leads to some new concept, such as an entire new feature set or product line. The broadcast industry is growing, but it is also very dynamic. When I first came to IBC 15 years ago, it was a pure analogue video exhibition with some postproduction. Today, the lines are blurred with storage solutions, hybrid cloud services and
Tan Boon Siong, Lawo: “We have made several new announcements including the addition of audio gain and phase inversion parameters into the .edge platform. Broadcasters don’t want to do much conversion, so our vision is to make sure that Lawo is compatible in any format and different formats can operate within our platform. IBC welcomes the most relevant Asian customers, so I need to be here and hold discussions on ST 2110 and AVoIP. In terms of actual implementation for AI and cloud adoption, many factors need to be considered, including costs, reliability and support. If broadcasters do not understand the technology and its benefits, they will not create a budget or prepare for a new infrastructure, but it will come.”
Thomas Riedel, Riedel Communications: “We are always striving to create a more sustainable world. We all need to move from optimising in quantity to quality. For example, our IBC booth fits into two containers rather than four and we have extended this into our latest products, which automate and provide remote working practices. The new intelligent SAME Smart Audio & Mixing Engine platform has been designed to do more with less because AV and broadcast applications continue to streamline their operations. We welcome a broad customer base at IBC. Riedel wants to help transform the broadcast industry, but we also meet visitors from various AV sectors, which is a much bigger market, and also people beyond AV and broadcast.”
to Barcelona may have influenced this, of customers attending from northern Europe, including Scandinavia, Germany and Benelux, because it’s more convenient for them to attend the show in Amsterdam as opposed to Barcelona. Broadcast and AV technology is merging all the time and there is an increasing amount of convergence. Our live sound comms can also be used in broadcast applications.”
Henry Goodman, Calrec: “Calrec has launched the Argo M compact console and the virtualised ImpulseV software that can be run from an AWS account, in addition to True Control V2.0 software that allows DSP to be remotely controlled from a host console. We are celebrating our 60th anniversary this year. I am starting to witness the IP transition which is enabling things like virtualisation. The main discussions now centre around the utilisation of resources, because broadcasters want to increase the amount of content including events and live sports that were previously not economically viable. Using resources in the cloud is enabling them to do that. Many broadcasters have not yet made the IP transition because of budget or disruption, so the aim is to gradually replace their resources over a period. In the interim, Calrec is helping these customers operate in a hybrid environment between baseband and IP.”
Christophe Van Den Berghe, Sennheiser: “We launched our Spectera multichannel digital wideband ecosystem and WMAS platform here because it is the perfect match. IBC attracts a stable broadcast audience, but we also meet new content creators. A big launch always draws an additional audience and, with Spectera, we are happy to report that our expectations have been met from the positive feedback we have received. Broadcast is one of our five main verticals and the one we have been very active in since we made our Microport wireless microphone system in 1957.”
The world’s first bidirectional wideband wireless ecosystem
1 Rack Unit = Up to 64 Channels of Digital Wireless
Richard Lawn talks to the Sennheiser team behind the launch of its new WMAS technology, launched to great acclaim at IBC2024
25
YEARS ON SINCE THE LAUNCH OF ITS EVOLUTION microphone series, Sennheiser has unwittingly signalled a revolution in digital wireless audio. Heralding the dawn of Wireless Multichannel Audio Systems (WMAS) technology, Spectera shines as a newly designed ecosystem. Over 10 years in the making, the journey has only just begun for the developer of the world’s first bidirectional wideband solution. In 2013, Dr Andreas Sennheiser had only just assumed joint CEO responsibilities with his brother Daniel when two respected engineers proposed the development of WMAS. “Coming directly from our research laboratory, the project caught my attention,” confesses Dr Sennheiser. “I have always been inspired by my grandfather, Fritz, who wanted to liberate users from the limitations of current technology. Together with his fellow researchers, he was challenged by a German national TV station to create a microphone without a cable. While their very first wireless microphone transmitter in 1957 still used a valve and was the size of a pocket book, the first transistor wireless microphone was born one year later in 1958 – at half the size.”
Intrigued by the interconnected relationship of technology and creativity, Dr Sennheiser insists that technology enables creativity: “Sometimes, the need for a higher degree of creativity challenges technological engineers, and WMAS was one of those instances. Despite having spawned six decades of innovations, all our analogue and digital wireless, to date, was based on a single, narrowband transmission carrier.” Despite not initially being planned in a structured way, an 11-year journey commenced. Following two years of basic research on wideband algorithms and a behaviour study of wideband physics, Dr Sennheiser appointed a team that would pursue the adaptation of broadband technology to the special requirements of professional wireless audio applications. “But before we could develop any software or hardware, we had to work with frequency regulatory authorities in Europe, Asia and the Americas to attain changes in the respective national frequency regulations, and this took years,” he recalls.
Sebastian’s and my own backgrounds are in signal processing
(European Conference of Postal and Telecommunications Administrations) removing its bandwidth limits for wireless microphones in 2018; and FCC (Federal Communications Commission) changing its rules in February 2024. The CEPT decision in 2018 combined with positive feedback from global regulators delivered the green light moment; the Sennheiser management team then selected a wider team of 30 professionals, including but not limited to software engineers, electronics engineers and specialists in mechanical
construction, system testing and production testing. “When we realised the potential, it was easy to commit and add the resources that would let the team develop it,” explains Dr Sennheiser.
With their research into wideband, Georgi and Watermann had initially wanted to combat fading that occurs with narrowband signals. “Even with two antennas, you cannot completely rule out dropouts at a distance of 10m due to failing frequency-selective scenarios,” explains Watermann. “A wideband signal would solve this, so we started to closely investigate the behaviour of the RF channel. It was vital to avoid inserting a single audio channel that would consume
most of the frequency resources, so we looked at dividing this into a multichannel system.”
As the inventors of Sennheiser’s specific approach to WMAS, Georgi and Watermann had been developing a proprietary variant of OFDM (Orthogonal Frequency Division Multiplexing) and TDMA (Time Division Multiple Access) techniques. Specifically tailored to reliable multichannel, bidirectional, low-latency communication, Georgi compares the wideband approach to standard narrowband technology. “Instead of channelling individual 200kHz narrowband RF carrier frequencies, we use a single wideband RF channel for audio transmission, which is a bidirectional transmission of audio and control. Depending on local regulations, our wideband RF channel is a TV channel of 6 or 8MHz. The WMAS system organises its audio links within this
Every audio link is assigned specific time slots for transmitting audio information, so the devices need to know when they can transmit or receive. This foundation led to the development of full remote control, as well as wireless word clock synchronisation to ensure that bidirectional transmissions are time zoned. It marks the first time that both IEMs and mics can be transmitted in the same TV channel instead of two channels separated by a guard band.
“All the audio links use the full width of the RF channel when it’s ‘their turn’, and this has greatly reduced the impact of RF fading,” continues Georgi. “In frequency-selective scenarios,
it corresponds to a 40-fold diversity for an 8MHz RF channel and a 30-fold diversity for a 6MHz TV channel, which is more typical in the US. In addition, the low spectral density makes it easier to reuse frequencies, for example on a larger festival ground, between neighbouring theatres or in a broadcasting complex.”
Eleven Audio Link Modes facilitate selectable control of audio quality, latency, channel count and operating range for each audio link throughout a production. The operator can always use the RF channel to the maximum, either by giving fewer audio links a high quality or by allowing more links and reducing the quality accordingly. Regardless of which Audio Link Mode is selected, Spectera offers audio clarity with ultra-low latency down to 0.7ms. Furthermore, dual mono transmission ensures a clean separation of the in-ear channels.
Having adopted an agile process during the development phase, the 30 appointed engineers were set specific tasks over a two-year time span. “Every three weeks, we had a sprint change where each department reported their progress,” explains Watermann. “This allowed us to reevaluate and align before agreeing on a consensus. For example, a production test may require a software feature to be designed and tested for the hardware. During the building
The first iteration includes an SEK bodypack transmitter, a base station, a digital DAD antenna and LinkDesk software. “Because we want to add new functionality for workflows, we created an ecosystem,” explains Dr Sennheiser. “Combined, these represent a commitment to really change the rules of the industry and that requires resources and commitment. We identified three important priorities for our customers: the hardware had to be easy to configure and use, it had to be ultra reliable and the system should coexist with our existing narrowband wireless technologies. As such, customers can expect more hardware components and more software features as we continue to develop.”
configure the audio quality, latency, possible audio links and range within the 11 Audio Link Modes. The introduction of assistive behaviours into LinkDesk has greatly enhanced system management. With the ability to save and store productions, operators can quickly recall system configurations.
The LinkDesk software also handles the activation of the base station via single node-based licences. By entering the specific local licence code, the software ensures that the system operates within the local regulatory requirements for frequencies, RF channel bandwidth and transmission power, putting operators on the safe side regarding compliance.
The extensive WMAS research, technological development and spectrum policy work has been transformed into a digital wireless multichannel ecosystem. Suited for large productions, the future for Spectera appears assured. “Spectera will evolve over time with continuous hardware, software, feature and service enhancements,” asserts Dr Sennheiser. “The SKM handheld transmitter will be added and the SMPTE ST 2110 family of standards will be implemented. Thanks to its synchronised word clock for all audio over RF, Spectera will be the first solution to capture phase-coherent wireless audio for immersive recording and reproduction.”
Replacing a traditional rack of wireless microphone receivers and IEM transmitters, a single 1U base station lies at the heart of the Spectera ecosystem. Managing up to 64 audio links with 32 inputs and 32 outputs, the base station accommodates up to two RF wideband channels. Frequency-agnostic, the authorised ranges are automatically loaded when the local licence for the base station is activated. Redundant features include two PSUs, primary and secondary Dante connections, two slots for optional redundant MADI connections and four antenna ports, which can also extend the synchronised antenna zone coverage or provide a higher system capacity.
receiver and microphone or instrument transmitter. Offering continuous two-way communication, the performance is flexibly determined by the sound engineer during a show. Featuring a three-pin connector and a 3.5mm headphone jack, the SEK is fitted with a persistent display, with device information retained on the display even when a unit has been powered down. Driven by an Evolution Wireless Digital BA 70 rechargeable battery that can operate for up to seven hours, the bodypack is available as UHF and 1G4 frequency variants.
The IP54-protected DAD antenna is a transceiving antenna that manages mic/line signals, IEM signals and control data simultaneously. The antenna carries the RF components of the system, eliminating the need for boosters, splitters and combiners. Because the RF is digitised, the PoE DAD antenna connects to the base station via an RJ45 connector and Cat5e cable.
Crucial to operations, the LinkDesk software is a desktop application that turns a Mac or PC into a control
Since entering the realm of WMAS in 2013, Dr Sennheiser claims it has been an exciting journey for the company. Georgi is admirable of the co-CEO’s resilience and determination that allowed the team to see the project through Covid-stricken 2020 and 2021. “Sennheiser is a family-owned business, and the investment in a dedicated WMAS development unit came at a delicate time, when the live audio business was down,” he says.
Like his grandfather, Dr Sennheiser would not accept the limitations of the market standard. “Most innovations are created by genius people who are rarely aware of the multitude of problems that lie ahead,” he muses. “My grandfather commented 10 years after the birth of the business that if he’d known how difficult it was to build a company, he wouldn’t have started. That statement rings true for WMAS, because we had no idea how difficult it would be to complete this project at the outset.”
As a believer in the values of ingenuity and technology, Dr Sennheiser believes that Fritz Sennheiser would be very proud of Spectera. Created to unleash the creativity of its future users, one senses that the Spectera journey has really only just begun.
www.sennheiser.com
Yorkshire has been home to Calrec for the past 60 years, spawning a resilient company travels to Hebden Bridge to meet
In 2014, Calrec was acquired by the newly formed Audiotonix Group, accelerating sales of its traditional large-format digital consoles to global broadcasters. Shoulder to shoulder with DiGiCo, Allen & Heath, Solid State Logic, KLANG:technologies, Sound Devices, Slate Digital, Harrison, Fourier Audio and sonible, Calrec has played an integral role within the Audiotonix group of console companies for the past decade. Benefitting from mutual support and expertise across the group, Calrec’s management team has been able to adopt more ambitious growth strategies.
The 2016 launch of the smaller-format Brio 36 console deviated from the tried-and-tested Calrec business model. The rapid success that the 36-fader control surface enjoyed translated to an increasing amount of business going through a broadening sales channel. In a drive to further diversify its product offering in 2018, the launch of the Type R console
General manager Sid Stanley
demanded a general manager with broader channel and commercial experience to help take Calrec to the next level of growth.
To coincide with the NAB launch, Sid Stanley was drafted into the newly created GM role to help develop emerging sales channels for Calrec’s broadening range of smaller form factor consoles. Heralding from a county with similar geological characteristics, Stanley entered Nutclough Mill having served for over two decades with larger Japanese corporations including Sony Professional and Sharp, where he specialised in European business and channel management.
“My experience in these key areas was required to add further rigour and structure to Calrec’s already
solid foundations,” he relates. “Having diversified our product range with our smaller consoles, we were looking to broaden our business and growth. Calrec’s key focus was to attract local representation to support existing and new customers, and to expand into new markets.”
The added challenge, Stanley maintains, is to ensure that a solution stays current for the broadcaster’s future workflow requirements. “Over the life of a console, we can maintain a product wherever the broadcaster wants to take it. To satisfy their viewers with decreasing budgets, broadcasters are rightly demanding more from their suppliers by investing in technology for life. By maintaining the hardware and updating the software both today and in the future, we prefer to classify ourselves as a partner for life rather than a supplier. This is what sets Calrec apart and makes us successful. As a partnership-based company, we will continue to ask our customers how we can best help them.”
With a headcount of 115 employees, Calrec is the largest company focusing exclusively on broadcast audio solutions. This makes it an ideal partnership choice because the company has the resources to stay with the technology wherever customers take it. “I believe that businesses are as much about people as they are about products,” he continues. “We want to create an environment where we don’t restrict engineers, giving them the space to innovate and develop new ideas ensuring that our products work as best as they possibly can for our customers’ needs. In terms of specialist audio mixing desks, I believe that we are the most wellresourced, standing out in the market as a trusted advisor
Despite having worked for large Japanese corporations, Stanley continues to respect the amount of intellectual property within the four millstone grit walls. “In addition to the size of our R&D team, we are a unique entity within the broadcast world,” he asserts. “Most of our experienced team
based solutions, we can serve the current requirements of the broadcasters and help them through the lifespan of their products.”
The agility demonstrated by the R&D engineers is mirrored on the assembly floor,
to go up to six testing bays rather than four or perform more module assembly, then we have the flexibility to very quickly do that.”
Stanley emphasises that Calrec’s mission is to keep solving broadcasters’ problems, whether that’s creating innovative new products and solutions or adapting to rapidly changing workflows. The introduction of the compact award-winning Argo M console, ImPulseV cloud audio mixing solution and True Control 2.0 at IBC2024 is testament to this. Delivering the ultimate in flexibility to broadcasters wherever they are located, this trio of new products continues to keep the broadcast industry connected.
The company’s business foundations are as solid as the carboniferous rock that houses its globally respected team. “Calrec will continue to work hard to be a trusted channel and customer partner,” he concludes. “By staying with our customers throughout each product’s lifecycle, we’re able to continually innovate, ensuring the highest quality sound that’s synonymous with Calrec.”
Calrec may only be 60 years young, but the company is firmly embedded in a resilient landscape built on true grit.
www.calrec.com
JBL SRX900 Series professional sound systems bring 75 years of legendary solutions. The range, which includes loudspeakers and subwoofers, delivers the performance you’ve come to expect from JBL line arrays, with builtcompanies, installations and musicians seeking the ultimate combination of performance and portability. Explore the JBL SRX900 Series at jblpro.com.
Versatile rigging system provides mount, ground SRX900 Series.
Calrec adds a trio of new products in celebration of its 60th anniversary
THE ARGO M incorporates the same feature set and operational familiarity as the larger Argo Q and Argo S consoles. Designed for small and medium applications, the Argo M is a plug-andplay SMPTE 2110 native console that is available in 24- or 36-fader variants. With DSP processing on board, the Argo M interfaces with analogue and digital audio I/O, including GPIO, three modular I/O slots for further expansion and a MADI I/O port. The work surface has been created for engineers demanding more flexible workflows, including built-in monitoring and metering tools. Requiring no networking or PTP sync for independent operation, the Argo M’s cores and surfaces cater for a variety of workflows, including remote working. Interoperable networking and stagebox interfaces are connected over 1G or 10G by AES67/ ST 2110-30 with ST 2022-7 dual networks. The Argo M supports several immersive paths for input channels, busses, metering and monitoring as standard.
Available with 304 or 356 internal DSP processing paths, the external ImPulse and ImPulse1 processing cores can expand processing capacity to 432 DSP paths. Up to four Argo surfaces can access a pair of redundant ImPulse cores. Operating in a cloudnative AWS environment with ImPulseV, the Argo M can access cloud-based DSP packs with cloud-native DSP processing core and control software on demand. Built on x86 CPU optimal core processing (OCP) technology, the ImpulseV bypasses the need for added control architecture by adopting the same Calrec interfaces and supports direct surface connections from the Argo Q, Argo S and Argo M in addition to Calrec Assist web UI. True Control 2.0 can also be used to control an ImpulseV from any True Control 2.0-enabled console. The standard 128 DSP pack provides up to 128 channels, 16 groups, eight mains, 32 tracks, 32 auxes, 64 direct outputs, 128 inserts and path delay on all channels, groups, mains, tracks and auxes. The ImpulseV supports stereo,
5.1.4 or 7.1.4, for immersive productions and
Created to provide expanded levels of control in two key areas, Calrec’s True Control 2.0 builds on the RP1 True Control implementation. Offering greater levels of remote control without the limitations of mirroring or parallel controlling, the expanded feature set includes EQ, dynamics, routing, direct outputs and delay. Providing broadcasters with the agility and flexibility to scale remote productions by expanding the number of products it requires, True Control 2.0 is available on Type R, ImPulseV, Argo M, Argo Q and Argo S surfaces. Any of these products can be remotely controlled by any other True Control 2.0-enabled product. Any of the controller consoles can access up to five other consoles simultaneously. True Control 2.0 enables users to control multiple consoles across different venues and extends control to Calrec’s Assist for accessing core functionality when no physical faders are available.
www.calrec.com
BOASTING THE same power and versatility as DiGiCo’s Quantum338 console, the Quantum326 aims to extend the company’s Quantum experience to smaller performance spaces and touring productions with tighter logistics constraints.
Retaining all the features of the Quantum338, the 326 is a more compact two-screen model based on DiGiCo’s latest seventh-generation FPGAs. It offers 128 input channels with 64 busses and a 24x24 matrix, all with full channel processing. Twenty-six 100mm touchsensitive faders are laid out in two blocks of 12 fader banks, plus two dedicated user-
assignable faders, each complete with high-resolution metering. The desk also features a pair of 17-inch, 1,000-nit high-brightness multi-touch screens, plus 58 individual TFT channel displays. Other amenities include “Ultimate Stadius” 32-bit ADC and DAC conversion, six single MADI connections and dual DMI slots.
The Quantum326 may also be upgraded with DiGiCo’s Pulse software update,
WITH
A rapidly growing number of broadcasters embracing virtual mixing solutions for their on-air suites, Lawo has created the crystal Clear console, a virtual control solution designed to transform how radio content is created, whether in the studio or remotely.
The crystal Clear Virtual OnAir Control Interface replaces complex hardware with a touchscreen-operated control surface that can be integrated seamlessly with existing workflows. It offers a self-op view designed for radio hosts with minimal technical
they can choose among the following Power Core licences: Console Compact (console sizes of 2–14 faders for small self-op studios, talk studios, remote production and OB vans); and Console MAX (up to four typically sized, independent radio consoles, for as many operators). To extend or distribute local I/O, such as microphones and headphones, the Lawo Audio I/O Extender (AIOX) is the most suitable companion. Elsewhere, important additions to the audio and video capabilities of Lawo’s .edge have been introduced, which include two new
background, and a Broadcast Engineer view for those requiring advanced functionality and control. It allows users to combine playout systems, web sources, audio control and social media tools into a single, unified and streamlined interface, allowing presenters to focus on content without being distracted by multiple displays and controls. Designed to work straight out of the box, the interface’s assistive technologies also leverage features such as automatic mic input gain, fade in/out and AutoMix groups for hands-free mixing, Lawo says that crystal Clear is the perfect control interface for its Power Core Modular I/O and DSP device. Depending on the number of studios and channels users require,
built-in parameters – Audio Gain and Phase
Inversion – as well as the optional possibility to leverage an 8,192-input x 4,096-output audio matrix per .edge processing blade. Video colour correction is also available as an optional licence. Operators can now adjust the levels of audio channels embedded in incoming SDI signals for up to 32 SDI inputs (@1080p), each carrying up to 32 audio signals. Each input has a dedicated Audio Gain control (–30dB to +18dB). The same applies to SDI outputs: in this case, changes to the gain are applied after the standard Audio Shuffler and Embedder.
www.lawo.com
providing mix-minus functionality and increasing the console’s number of standard input channels to 156, busses to 72, Mustard Processors to 48 and Nodal Processors to 72. A Quantum326T version equipped with a theatrespecific software package comes with the Pulse upgrade already installed as standard, further supplying the user with a generous 36x36 matrix.
A NEW flagship in its Model Recording Console Series, Tascam has launched the Model 2400, which like other models in the series combines an analogue mixing console with a multitrack recorder and an audio interface with DAW control. With a “considerably” more extensive feature set, however, the Model 2400 is aimed as much at professional recording studios and larger-scale live sound reinforcement as it is home recording and band-rehearsal applications.
The Model 2400 has 12 mono and five stereo inputs (including one via Bluetooth), four stereo subgroups, five aux sends and an effects processor with 16 adjustable presets. MIDI input and output with MIDI timecode, song position pointer and a click output features benefit artists and producers with electronic instruments and sound generators.
Each of the 12 mono channels has a simple one-knob compressor, a three-band EQ with sweepable mids and an insert. Phantom power can be switched in groups of four. A compressor (with five rotary controls on the top) and a parametric four-band EQ can be applied to the main stereo signal. A meter bridge with large level indicators can be displayed on a computer via USB if required.
The manufacturer has also introduced the DA-3000SD, a two-channel DSD/PCM master
recorder and AD/DA converter that builds upon the success of the original DA-3000. Designed for recording, mastering, archiving and monitoring, the DA-3000SD can capture audio at 192kHz for PCM as well as 2.8MHz and 5.6MHz for DSD, the highest-quality recording format commercially available. Multiple units can be synchronised for both recording and playback, creating a DSD multitrack environment. By cascading eight DA-3000SDs, users can record up to 16 tracks simultaneously.
The DA-3000SD also facilitates precise monitoring with dedicated volume control. When used as an AD/DA converter, users benefit from two galvanically isolated BurrBrown converters on the input stage and a dual monaural configuration with two high-quality circuits on the outputs, ensuring minimum interference between channels.
In addition, all stages of the audio circuitry are balanced to minimise noise on both the input and output paths. Thanks to a TCXO (Temperature Compensated Crystal Oscillator), the DA-3000SD’s clock generator provides ±1ppm accuracy for digital audio processing with no jitter.
www.tascam.eu
THE AML Azalea eight-channel console is the latest release to come out of Wheatstone’s collaboration with its sister brand Audioarts Engineering. Designed for voiceover booths, remote trucks or on-air studios, the console includes a USB port and is engineered with Wheatstone features such as Super Quiet mic
preamps to bring out the best in vocals and an external power supply to protect critical components and add to the life of the console. The unit has an eight input faders x two stereo bus configuration and comes with two mic channels, a differential input on a Phoenix-style connector and variable gain.
EXTENDING ITS flagship Reference Series of point source loudspeakers, EM Acoustics’ R6 sits between the ultra-compact R5 and the versatile R8, which the British manufacturer says is a logical next step in the expansion of the loudspeaker family. The two-way passive speaker has been developed to give integrators the ability to create complete Reference ecosystems. Characterised by its low-profile design, the Reference Series is a family of full-range loudspeakers that boast flat frequency and phase responses, and what EM Acoustics describes as “unparalleled headroom and exquisite musicality”.
The R6 retains the same DNA as its siblings and has been developed for use as a front-fill or delay in theatres or
as speech reinforcement in a corporate or AV setting, and is equally suited for deployment in houses of worship. The speaker is also capable of discreet front-ofhouse reinforcement in smaller live music settings.
The slim enclosure houses a pair of bespoke 2-inch voice coil 6.5-inch neodymium LF/MF drive units and a 2.5-inch voice coil annular HF compression drive unit. The use of an annular diaphragm retains the ultra-low harmonic distortion levels for which the Reference Series is known. These drive units are fed via a twoway crossover topology, minimising off-axis parallax and lobing effects while retaining consistency of sonic character right across the operating range.
The Blade 4, the manufacturer’s fourthgeneration WheatNet IP I/O unit, has been enhanced with the addition of Reliable Internet Stream Transport (RIST), an opensource transport protocol developed for reliable transmission of video and audio in real time. The Blade 4 now comes with enhanced network security and reliability as well as lower latency, and higherquality audio streaming across the public internet, where links are less reliable and distance adds more delay. This fourth-generation Blade is fully AES67-compliant for interoperability with a wide range of AES67 devices and supports
Finally, the manufacturer’s entry-level AoIP console system is taking plug-and-play one step further with a new control plugin for existing playback and automation systems. The DMX console system, which is marketed under its Audioarts value brand, now includes the WheatNet IP automation control protocol (ACI), making it plugin-ready for full control of major playout and automation systems. With this, DMX studios now have full playout and automation control directly from the DMX console and can add touchscreen panels using WheatNet IP ScreenBuilder. Available in an 8- or 16-fader frame, the console surface has full EQ and dynamics functions with OLED display on every channel.
FOLLOWING THE launch of the multichannel V Series amplifiers, Dynacord has followed up with the introduction of the U Series line-up of compact, single-channel mixer and power amplifiers. Ideally suited for background music and paging applications without life safety compliances, complex networking or higher SPL levels, the U Series is described as a cost-effective alternative to Dynacord’s other commercial amplifier lines. With versatile power output options, the U Series delivers Class-D amplification for single zones in high-impedance installations in smaller commercial spaces. The series consists of six models offering a variety of power options to ensure optimal performance across different settings: four mixer amplifiers with 30W, 60W, 120W and 240W, and two power amplifiers with 120W and 240W. The U Series can be deployed in standalone applications or can be seamlessly integrated into existing installations.
The U Series mixer amplifiers sport front access for main gain, channel levels and tone adjustments. Two mic/line and two aux inputs are available to connect external devices such as microphones, a paging station or music players. The models can drive Hi-Z or Lo-Z speaker lines, feature phantom power for the microphone inputs and a switchable high-pass filter at 120Hz. Other features include an emergency override input for integration with a PA/VA system, a chime when used with a paging station and VOX ducking. The configuration is performed with DIP switches located on the rear of the devices. Designed to prevent unintended changes, the controls for the two models are located on the rear of the chassis. Measuring a single rack
www.wheatstone.com
In keeping with the other Reference Series models, the R6 is supplied with two bespoke waveguide options – 80° x 50° and 110° x 50° – to provide flexibility and return on investment for rental users and installation applications alike. In common with the rest of the series, the installed waveguide type and orientation are visible without removing the front grille. The use of bracing means the R6 retains the longevity and sonic advantages of a genuine plywood enclosure, whilst keeping weight remarkably low. The Birch plywood enclosure is coated in an impact and weatherresistant polyurethane finish which enables the R6 to stand up to harsh conditions and tough touring regimes.
www.emacoustics.co.uk
DESIGNED FOR daily use on live stages as well as for long-lasting fixed installations, the Contour X 210 LT from HK Audio adds a passive point source loudspeaker to the company’s Contour X series. It can be used not only as a front PA system, but also for side-, front- and out-fill in larger systems.
Enabling horizontal arrays to be set up with ease, HK Audio says large events can be covered by the Contour X 210 LT costeffectively and with little effort.
The 210 represents the speaker’s two 10-inch mid/high drivers, which form a homogeneous and powerful foundation.
ADDING TO its Thump loudspeaker family, US manufacturer Mackie has introduced two compact additions in the Thump210 and Thump210XT. Featuring a 10-inch woofer design and 1,400W Class-D amplification, the rugged speakers are designed for portability which Mackie says makes them ideal for mobile DJs, touring bands and small venues.
The speakers join the Thump212 and 212XT, Thump215 and 215XT, and Thump 115S and 118S subwoofers. The whole
MODELLED ON the ic6 6.5-inch in-ceiling loudspeaker, Theory Professional has introduced the ic6-Bollard landscape enclosure. Following careful processing and computeroptimised tuned ports, the ic6 combines a low-frequency bandwidth and a wide dispersion resolution.
Based on Theory’s ic6 Acoustic Core platform,
series underwent a total redesign in 2022, gaining upgraded heavy-duty drivers and
1,400W amplifiers, Mackie’s Feedback Eliminator and a Music Ducking mode, while their versatile I/O and built-in twochannel mixer is said to make them easy to integrate. The enhanced “XT” models add four application-specific voicing modes, while indoor and outdoor modes adapt instantly to the setting. Additional XT features include system EQ, levels and mutes, all accessible with the Thump Connect 2 app.
www.mackie.com
360° of uniform coverage. For large, distributed installs, hundreds of ic6-Bollard loudspeakers can be networked courtesy of a switch-selectable 70V/100V transformer that can be driven direct by Theory’s DLC-250.4d four-channel loudspeaker controller. The half-rack DLC-250.4d can drive up to 16 Theory 16Ω loudspeakers in Lo-Z mode or up to 64 in Hi-Z mode.
Its large 60° x 25° horn can be rotated for cluster operation, while its 1.4-inch driver with 3-inch voice coil and MCT (Multicell Transformer) delivers precise dispersion and even and defined coverage. Made from highstrength birch multiplex with a hard-wearing PU coating, the CX 210 LT also features HK Audio’s Integrated Cluster and Flyware (ICF) mechanism built into the housing. Designed to simplify handling, ICF means no additional cluster or flyware is required, enabling cluster setups to be created quickly and easily.
For Lab Gruppen and Powersoft amplifiers, pre-configured FIR filters with linearised phase response are available for all HK Audio Concert Sound models and IIR filters for latency-critical applications. Another practical detail is the inclusion of NL 4 sockets with pin selector switch allowing two separate speaker groups to be connected with just one NL 4 cable.
www.hkaudio.com
and the iws12-9 architectural subwoofer. When the iws12-SPKR is mounted inside the latest iws12-Bollard housing, high performance can be extended outdoors.
The Californian brand has also released a series of commercial-centric loudspeakers for installed and portable installations. Currently comprising five multipurpose models, added flexibility of use is provided with the addition of integral ergonomic handles, multiple fly points, mounting points and pole cups. Optional Pro SplitYoke multipurpose brackets can be used for wall, ceiling, floor and other mounting. The Pro SplitYoke Brack Kit works without the need for multiple accessories and the Pro Caster Kit provides portability in the form of added wheels for the CF-212.3 full-range speaker and CLF-212
The CF-46.2 is a quad 6-inch, two-way, multi-use loudspeaker providing 120° conical coverage. Both the CF-28.2 dual 8-inch and CF-112.2 single 12-inch enclosures integrate an 80° x 60° elliptical horn. Comprising dual 12and dual 8-inch woofers, the CF-212.3 model is a 250mm-deep, three-way design with a built-in subwoofer. Sonically matched to the CF-46.2, CF-28.2 and CF-112.2, low-frequency extension is available in the form of the CLF-212 highoutput, compact, dual 12-inch bass-reflex
www.theoryprofessional.com
as under banquette seating, mounted on walls or ceilings, or flown using integral M8 inserts. Featuring a 6-inch driver with a large lowfrequency port to minimise air noise, the Sub 6 delivers 250W (AES) of power with a peak SPL of 118dB.
Horizontal or vertical orientation is possible by way of low-profile rubber feet which can be fitted on two surfaces, while installation is made as discreet as possible via recessed cable channels. An impact-resistant perforated steel grille protects a durable MDF enclosure, which is available in black or white textured paint. With Optimal Audio SmartAmp providing amplification, EQ settings and limiters, the driver is protected when operating at higher sound levels. The unit can be driven by a pair of bridged channels on any powered Optimal Audio Zone controller, while the onboard WebApp ensures system setup and end user control is straightforward.
COMPLETING CLAIR Global brand Cohesion’s CF Series of fill speakers, the CF28 and CF14 models join the CF24 and CF10 to create a family of versatile speakers in four efficient form factors. Engineered with an emphasis on application flexibility, all four speakers are passive and require a single amplifier channel.
Despite its touring lineage, Cohesion says its CF Series speakers are designed to supplement sound reinforcement for a wide range of live sound applications, such as large-scale productions and corporate keynotes, as well as permanent installations in venues including theatres, performing arts centres and HOWs.
The lightweight and visually discreet CF24 is the smallest product in the series, and can be
tucked in and around trusses, railings and stair and a central, rotatable MF/HF
EXPANDING THE installed sound portfolio with three passive column loudspeakers, Electro-Voice has launched the Line Radiator Column (LRC) Series. Based around purpose-built 2.5-inch drivers and proprietary PaSS dispersion control technology, the 580mm-high LRC-1060 and the 950mm-high LRC-1100 and LRC-2100 columns provide controlled vertical dispersion and a smooth frequency response.
LRC driver and waveguide configurations are optimised for full-bandwidth clarity and coverage in large or reverberant areas, with key features that allow output to be tailored to the space. Maximising intelligibility, PaSS technology features custom-designed phase plugs that extend lobe-free, high-frequency outputs beyond the range of human speech. Promoting their use for musical applications, unique passive radiators integrated into the LRC-1060 and LRC-1100 models can extend the low-frequency output below 100Hz.
Adopting a two-way design with dual 6.5-inch woofers to extend LF response, the higheroutput LRC-2100 extends down to 45Hz. Focusing acoustic energy on the audience without physically tilting the loudspeaker, both
The CF14 and the CF10 both parallel the sonic signature of Cohesion’s
directivity with a rotatable horn. Integrated mounting solutions provide quick and reliable wall or pole attachment, along with yoke or U-bracket options. The highfrequency component of both speakers is identical, delivering consistent voicing when using these speakers and other Cohesion products.
www.cohesionaudio.com
the LRC-1100 and LRC-2100 columns include switchable wide/narrow vertical coverage control settings and a passive acoustic down-tilt.
The two transformer-equipped models feature EV’s Automatic Saturation Compensation (ASC) technology, which preserves low-frequency response while protecting system electronics
and outputs, front-panel monitor switching and
mute control, S/PDIF and ADAT connectivity, additional headphone outputs and a built-in talkback mic on the Scarlett 18i20.
The models feature a 122dB dynamic range, using the flagship RedNet converters and remote-controlled preamps with 69dB of gain for studio sound from any mic. They pair Focusrite Control 2 for desktop with Focusrite’s new mobile app, reportedly providing full wireless control over inputs and monitoring mixes, allowing the adjustment of settings without being tethered by cables. A re-engineered Air mode with Presence and the new Harmonic Drive are said to add rich harmonics to recordings by emulating the characteristics of vintage preamps. New Auto Gain and Clip Safe modes can handle up to eight microphones at a time, while redesigned Dynamic Gain Halos now come with output as well as input metering.
Professional studio features include A/B speaker switching, built-in talkback mic on the 18i20, MIDI in/out plus S/PDIF and ADAT in/out, a refreshed Easy Start tool, along with Ableton
from unstable loads when the transformer is engaged. This promotes the LRC-1060 and LRC-1100 in applications where both music playback and EN54-24 certified performance are required, or any scenario requiring both linear performance and Hi-Z deployments. Avoiding the complexity of external Hi-Z adapters or active steerable systems, the passive designs incorporate 70V/100V + Lo-Z transformers (LRC-1060 and LRC-1100).
Flexible and adaptable installation options are enhanced by the included SwifTilt System hardware. The compact flush/pan/tilt bracket enables the LRC models to be mounted as flush to the wall as possible, while keeping cables and hardware out of sight. Each model supports inverted mounting and up-tilt and is equipped with multiple rear fly points for suspension. Designed to provide an optimal combination of audio performance and aesthetic refinement, the white or black paintable enclosures blend into the surrounding décor, in both indoor and outdoor settings. The LRC-1060 and LRC-1100 are certified to IP56c and EN54-24 type B; the LRC-2100 is certified to IP55.
www.electrovoice.com
Live Lite, Pro Tools Artist for three months and FL Studio Producer Edition for six months. Customers also benefit from a bundle of plugin instruments and effects, including Antares Auto Tune, Marshall Amp Modelling, synths, keys, drums, EQ, compression and reverb. The Scarlett 18i20 is a rack-mountable USB audio interface featuring 18 inputs, including eight advanced fourth-generation Scarlett preamps, and 20 outputs. Eight channels of LED bar metering can be assigned to inputs or outputs as well as master output metering. The Scarlett 18i16 is a desktop-format USB audio interface with 18 inputs, including four fourth-generation Scarlett preamps and 16 outputs, while the Scarlett 16i16 is a desktopformat USB audio interface which shares the same feature set as the 18i16 but is slightly more compact, with 16 inputs, including two fourth-generation Scarlett preamps, and 16 outputs. www.focusrite.com
THE LATEST addition from Glensound is the Greater Divine intelligent network audio monitor. Following the launch of Divine in 2019, the Greater Divine is a larger two-way speaker unit incorporating several innovations. Glensound describes it as “an extremely versatile” self-powered monitor delivering 30W and is designed to be powered by PoE+ with the audio connected to a Dante network. Additionally, a local DC input and an analogue audio input supplement the eight customisable Dante input channels. Unusually, a headphone socket is also provided, and the package features an integral carry handle. The enclosure is robust and free-standing with various mounting options provided, while setup and the monitor’s features can be accessed remotely by the GlenController app.
Additionally, the company has also introduced the NSA16 network signal adjuster with 16 Dante inputs and 16 Dante outputs with a level control on each channel pair for stereo, or single channels for eight mono. The final channel can optionally be set as a group mix control of the other seven channels.
Specifically designed for live tournament esports on mobile devices, the GTM Mobile audio interface adds a direct hardwired connection to a phone, enabling two-way data
All the features of the standard GTM are present, including direct connection for the gamers’ headsets with twin multi-assignable headphone amplifiers, generation and sharing of the team talk mix and multiple sources for the game audio.
www.glensound.co.uk
LECTROSONICS HAS announced that its DCHT digital stereo miniature transmitter and DCHR portable digital stereo receiver are now available in the B1C1 frequency range. The DCHT and DCHR are designed for use in film, TV, corporate and sports productions. They can be employed as both a wireless audio link from a bag or cart system to cameras, and as
DESCRIBED AS its most extensive feature update yet for the Director Mini, Magewell has reportedly added more than 50 enhancements in the version 3.0 firmware upgrade for the all-
use NDI High Bandwidth sources with alpha channel as motion overlays in the Director Mini’s graphics engine.
and 20mW to conform to regulations. It accepts two channels of mic or line level analogue signals or an AES digital signal from a mixer, and transmits to a receiver in a pure digital format.
Meanwhile, the DCHR offers analogue or digital outputs from a locking TA5 jack, and includes a headphone jack for signal monitoring. The
The Director Mini combines multi-input switching, graphics, streaming, recording and monitoring in one compact device. Version 3.0 enhancements to its production toolset, remote control capabilities and input flexibility include new scene presets – including picture in-picture, side-by-side and quad-splits – and more versatile remote control options. The free Director Utility mobile app now incorporates live programme video and audio monitoring, multi-step shortcut creation and editing, instant replay control and replay event sharing. The update also includes a new plugin for Elgato’s Stream Deck family of tactile control surfaces.
The manufacturer has also expanded its USB capture product line with the USB Capture HDMI 4K Pro, a plug-and-play 4K/60fps model that captures video sources up to 4K resolution. The company’s range of compact USB Capture devices enables computers to capture high-quality AV signals through a USB interface, with no requirement for an additional power source. Leveraging 20Gbps USB transfer performance on compatible host systems, the USB Capture HDMI 4K Pro enables the capture of 4K video at higher frame rates and colour precision, and is capable of capturing HDMI inputs up to 4096x2160 (including 3840x2160 Ultra HD) at 60fps with 4:4:4 chroma fidelity. It is also compatible with USB 3.2, USB 3.1 and USB 3.0 interfaces for capturing lower video signals; capture capabilities are dependent on the host USB connectivity and operating system.
The Director Mini’s input flexibility – which already included HDMI, USB, NDI, SRT, RTMP and mobile camera inputs – has been further expanded with support for RTSP streams and HTML webpage sources. Version 3.0 can also
Both the DCHT and DCHR can be powered
TSL HAS announced the introduction of its PAM2-12G audio monitoring unit and PD14MiD intelligent power distribution units.
provide reliability and efficiency in broadcast environments. The units are equipped with 14 individually fused outputs, dual inputs
The PAM2-12G unit is designed for UHD audio monitoring, supporting a wide range of signals, including AES, analogue, UHD, HD-SDI and IP sources like AES67/Dante and SMPTE 2110. The 2U unit aims to offer broadcasters the flexibility they need to handle diverse audio and video signals. The PD14MiD power distribution units, also in a compact 1U form factor, are designed to
with automatic changeover plus features like sequential start and programmable delayed start. Additionally, TSL announced the latest update to its DCIM software, “Insite”, which aims to further enhance operational security and efficiency with advanced browser capabilities and heightened security.
www.tslproducts.com
GERMAN INTERCOM manufacturer RTS
has completed the global launch of its NEO intercom management platform, its next-generation software ecosystem for configuring OMNEO-based intercom systems. NEO supports ADAM, ADAM-M and ODIN matrices, as well as OMS from the RTS Digital Partyline family.
The NEO intercom management Suite is an interface that reportedly puts every aspect of intercom system orchestration in front of the user. It works in tandem with the existing AZedit software platform for RTS matrix systems, enhancing the AZedit feature set and user experience. A range of new tools enable professionals to optimise their communications workflows for efficiency and effectiveness, no matter how complex the system. These include an intercom manager, properties manager, intercom resource search engine, user-configurable keypanel editor, multiple keypanel editor sessions and setup page manager.
The manufacturer has also announced the launch of the PH+ series, a line of ultra-lightweight passive noise reduction headsets designed specifically for broadcast professionals. As the latest addition to the LH and PH headset family, the PH+ series is said to be the ideal choice for those seeking superior comfort, durability and acoustic performance.
Inspired by the Telex Airman headsets, the PH+ models are designed for directors, floor managers and cameramen who require a headset that can keep up with the demands of a live broadcast environment, and reportedly stand out for their passive noise reduction capabilities. Larger ear cushions provide an acoustic seal, ensuring
that ambient noise is minimised while conversations and critical sounds remain audible.
The models also feature larger head and ear cushions, inwardly angled glider arms and earcup rotation stabilisation for a secure and comfortable fit, while the headband and dual-axis pivot points are crafted from stainless steel, ensuring long-term durability. The boommounted microphone can be positioned on either side of the headset and is equipped with an amplified electret microphone capsule featuring noise-cancelling technology.
www.rtsintercoms.com
E-IPA-HX is an AoIP interface card that provides multiple IP connection types for Eclipse HX Matrix intercom systems, including support for AES67 and SMPTE ST 2110 audio and up to 64 Clear-Com intercom devices. The interface card can be used with the Eclipse HX-Delta Lite, HX-Delta, HX-Median and HX-Omega matrix frames. Eclipse HX (EHX) Configuration Software configures each port for its intended application and provides a dedicated IP Manager screen to monitor connections and add users.
STUDIO TECHNOLOGIES has launched its upgraded Model 207A eSports Console which builds on the strengths of its Model 207. The Model 207A maintains the look, feel and functionality of the original version but adds additional features catered specifically to the gaming and eSports market.
The new model has been designed to support a player’s complete audio and intercom needs by means of a compact, PoE-powered unit. It is aimed at enhancing eSports events with supported features that allow production personnel, team coaches and fans to hear what the players are hearing, including their discussions during game play. An audio masking solution provides the added benefit of preventing teams from hearing their competitors or the event commentators.
For audio masking needs, the Model 207A adds a second two-channel (stereo) headphone output. Located on the unit’s back panel, the new headphone output utilises a three-conductor 3.5mm TRS jack which allows wired earbuds to be directly connected. The manufacturer’s STcontroller software application has also been revised to make the audio source selection associated with the headset output more flexible as well as adding support for the new headphone output. The Model 207A incorporates an internal source of masking audio as well as allowing an external source to be utilised. The internal source of masking audio can help minimise the chance that players will hear live audio that’s present in a game venue. The new headphone output, containing the player’s desired audio source material, is connected
The E-IPA-HX card connects to FreeSpeak II beltpacks (1.9 or 2.4) in E1 mode via fibre to the FSII-SPL for the FSII-TCVR-24 or FSII-TCVR-19-XX transceivers. This allows up to 50 beltpacks and 10 transceivers per card. The card also connects FreeSpeak II or FreeSpeak Edge devices via AES67 protocol to EHX frames. A single E-IPA card can connect up to 64 FSII-TCVRIP-19 or FSE-TCVR-50-IP transceivers in any combination, supporting up to 64 FreeSpeak II or FreeSpeak Edge beltpacks. Each FreeSpeak beltpack uses one card port and each IP transceiver supports a maximum of 10 beltpacks. Multiple E-IPA-HX cards can support larger wireless systems if required.
All V-Series user keypanels can connect to an EHX host matrix by means of either an Ethernet or analogue-based connection. With the E-IPA-HX card, V-Series Iris panels can be configured to connect using a low-latency AES67 audio channel or the I.V. Core G.722 voice codec. Ethernet connectivity allows a diverse range infrastructure to be used, including local LANs/VLANs, microwave links or cellular networks. Furthermore, the card supports licensed connection of up to 64 smartphones or tablets running the Agent-IC Mobile App. Audio is encrypted to AES128 and silence suppression is an available option to reduce data usage. Agent-IC clients are typically connected over Wi-Fi, 3G, 4G, 5G or LTE networks. Also supported is connection to the manufacturer’s Station-IC Virtual Desktop Client and LQ Series.
to earbuds. These earbuds are placed in the player’s ear, under the headphone earpads associated with the headset.
In addition, the Model 207A’s circuitry has been updated to improve the unit’s overall audio performance. The revised Model 207A offers small improvements to the Model 207 in several areas, including a lower noise floor and increased flexibility.
www.studio-tech.com
The E-IPA-HX card supports N+1 card redundancy, allowing primary cards to have one or more backups. It can also be licensed to support redundant IP networks. Both of these redundant features support either IVC or AES67-type connections.
www.clearcom.com
WHARFEDALE PRO has launched dolly boards and dolly frames for its WLA series loudspeakers. The portfolio includes a total of five dolly boards and two common dolly frames designed to streamline product transportation, especially critical for live event and touring applications.
Dolly boards specifically designed for the WLA 1, WLA 2 and WLA 312X line array units are included in the new range, including those to fit the WLA 1 and WLA 2 subwoofers. All five dolly boards are crafted from high-quality birch plywood and come with castors and metal accessories, allowing the loudspeakers to be transported in a vertical arrangement. Furthermore, all are finished with Wharfedale Pro’s characteristic Tough-Tone paint.
To complement the dolly board launch, two common dolly frames are also available. Suitable for use with WLA 2 loudspeakers and subwoofers, the dolly frames offer an additional option for easy transportation, while also facilitating safe and secure ground stacking or flying of line arrays.
www.wharfedalepro.com
EXTRON HAS announced the availability of the EDID 111H 4K PLUS, a problem-solving emulator for EDID communication challenges between source and display.
It features the manufacturer’s exclusive EDID Minder Plus technology that provides automatic and continuous EDID management for reliable display of advanced 4K, select 5K and 21:9 aspect ratio video content. The emulator supports EDID and DisplayID files structured with up to four data blocks which enables higher pixel counts, unique aspect ratios and expanded HDR parameters. More memory blocks also support increased luminance levels featured in advanced HDMI displays. For convenient operation, the emulator offers selectable pre-stored, captured and user-defined EDID information. Furthermore, the EDID 111H 4K PLUS can be utilised for new and upgraded installations, facilitating enhanced displays.
The solution is HDCP 2.3-compliant and supports signals up to 4K/60 with 4:4:4 chroma sampling at data rates up to 18Gbps. It also offers integration-friendly features, including automatic input cable equalisation, automatic colour bit depth management, LED status indicators, user-selectable HDCP authorisation and visual HDCP confirmation when encrypted content is sent to a noncompliant display.
It comes with an energy-efficient external universal Extron Everlast power supply and configuration is facilitated with Extron PCS software. Housed in a 1-inch high, ¼-rack wide metal enclosure, the EDID 111H 4K PLUS has been designed for convenient, discreet installation in professional locations, from the boardroom to the lecture hall.
www.extron.com
A SOLUTION intended for professional-level sound capture on anything from broadcast studios and ENG applications to theatres, event venues and houses of worship, DPA Microphones’ 2061 lavalier is described as an easy-to-use solution for any live or recording application. In contrast to some of DPA’s higher-
capsule construction targeting the 50Hz–16kHz frequency range, with 128dB peak SPL. The manufacturer also claims the model offers best-in-class speech intelligibility as well as a robust mechanical construction for long-lasting performance.
With an omnidirectional pickup pattern, the
THE STEREO MS Cyclone Kit 18 (XLR), the Stereo MS Cyclone Kit 17 (MZL) and the Stereo DMS Cyclone Kit 5 (MZL) are the latest Rycote Stereo Cyclone kits, all optimised for the new Sennheiser MKH 8030 with MKH 8040 and MKH 8050 microphone combinations. Each kit features a compact Z-lock basket design with 3D-Tex material and dedicated mic connections to provide
acoustic transparency and wind suppression (up to –50dB). The Kit 18 features XLR mic connections (two XLR3F to one XLR5M,) while the Kit 17 and Kit 5 feature MZL connections (two MZL to one XLR5M on the Kit 17 and three MZL to one XLR7M on the Kit 5).
The kits are designed for popular stereo techniques, such as X/Y, Mid-Side and Double Mid-Side, as well as models designed for
WISYCOM HAS unveiled the integrated RF scanner for its MRK16 multichannel receiver system. To complement the functionalities of the MRK16, the RF scanner offers the ability to manage up to 16 true diversity, multiband channels in a 19-inch 1U rack. Now, the MRK16 can be daisy-chained up to four times, for 64 channels of audio.
In addition, the MRK16 accepts up to four MCR54 receivers, providing antenna distribution, RF filtering and advanced audio routing. The dual-zone matrix function allows users to select and combine two diversity zones
using an antenna booster and smart remote control of the Wisycom LFA/ ADFA/BFA. The new RF scanner enables users to monitor RF activity and optimise frequency deployment without sacrificing an MCR54 to do so.
Operating from 470–1,260MHz, the ultra-wideband receiver system is equipped with 10 automatically selected band-pass filters. The RF-over-fibre functionality of the MRK16 has been designed to enable pristine reception without distance limits or heavy signal loss, while the optional EXP3 fibre module and BFLT1 transmitter make it possible to place coaxial cables and antennas miles away.
single mic and Ambisonic mic applications. The Cyclones are suitable for location sound, production sound, broadcast, audio for gaming or wildlife recording to create directionality, perspective, space, atmosphere and realism.
Meanwhile, the MTH610 handheld wireless microphone transmitter is the latest addition to the brand’s Symphony line of products.
Designed for professional wireless microphone applications, the handheld features dual-band capability in the 470–1,260MHz range, which is essential for global events that cover a wide range of locations and frequency spectrums based on specific country regulations. The transmitter is suited to any live sound production, including broadcast, theatre, concert and house of worship applications. The remote-control function of the MTH610 reportedly provides complete access to the device, enabling quick adjustments without needing to have the unit in-hand. In addition to the on-unit control, the system’s dedicated docking and charging station provides PC and Wisycom Manager connectivity. A proprietary waterproof, magnetic five-pin connector provides USB high-speed connection, power, battery charging and linear timecode (LTC) sync. www.wisycom.com
WITH FIVE different product iterations, the C128 microphone cable from Tasker has a nominal section of 2x0.35mm² with red and tinned OFC copper formation, a cotton filler to avoid distortions and an OFC tinned copper braid shielding covering 90%. This is all made possible by keeping an outer diameter of 6.3mm, with a soft PVC sheath available in different colours.
In addition to the original, the C128 LSZH with low smoke and zero halogen sheath is available with or without homologation for low (Eca Class) and medium (Cca Class) fire resistance defined by CPR EU305/2011
normative and tested by an independent international authority. The C128 PE, with a polyethylene outer sheath, is water resistant and has been specifically designed for outdoor and underground applications. The C128 PUR has a polyurethane outer sheath, which makes it flame-retardant, halogen-free and resistant to friction, treading, atmospheric agents, UV rays and to cold or heat. It has an operative temperature of –40°C/+80°C, making it suitable for outdoor mobile use. Finally, the C128 AR has a special steel armour sheath for underground installation, even with the
FOLLOWING THE release of the OPTIMOD 5750 audio processor earlier this year, Orban has unveiled an HD version with independent processing for HD2 channels. The 1U hardware unit offers processing for FM analogue as well as DAB+ and streaming, along with HD1 and HD2. FM/HD1 channels can be blended or independent, and HD2 can also be managed independently.
THE POWERLINK LV from KLOTZ AIS is a five-channel rigg&floor power distribution box for stage use. It is described as a robust and easy-to-use power distribution system that has been specially developed for use in harsh stage
Four processing structures are available in the OPTIMOD 5750: Five-Band, Low-
rate of 48Gbps and is suitable for image transmission with a maximum resolution of 7680x4320 pixels in 8K/60p or for 4K/120p applications, including 3D, Full HD, Blu-ray, HDR and uncompressed HiRes image formats
environments. Equipped with one powerCON TRUE1 input and five powerCON TRUE1 outputs, the LV-NM5F box offers a current carrying capacity of up to 16A at 250V. The connector is characterised by its convenient and proven locking system and can be safely plugged in and unplugged even under load. Despite its lightweight design, the 1.5mm-thick aluminium housing can reportedly withstand even the highest mechanical loads. A matte black powder coating provides reliable protection against external hazards and is also easy to clean. In addition to the M10 thread in the bottom of the housing, the PowerLink LV is also equipped with eight holes for secure attachment to the rig via a securing rope. The non-slip rubber feet also guarantee a firm stand, even onstage.
The manufacturer has also released its HDMI 2.1 ultra-high-speed cable for maximum picture and sound quality. It features gold-plated HDMI-A plugs, is sheathed with high-quality nylon braiding and is supplied complete with a cable tie. The EMC shielding reportedly guarantees interference-free transmission up to 10m.
The H21-AAG1 cable transmits highresolution UHD video formats with a data
such as Apple ProRes or Blackmagic RAW. The H21-AAG1 also transmits digital audio formats such as Dolby Digital or DTS. Finally, the USB 2.0 cable supports data transfers of up to 480Mbit/s and a stable power supply with 500mA current. The robust yet flexible PVC outer jacket and double shielding offer protection against external interference, such as power cables laid in parallel, and reportedly ensure interferencefree data transmission, even under adverse conditions.
www.klotz-ais.com
provides intelligent two-band, window-gated automatic gain control (AGC), RDS/RBDS generation, remote control/monitoring via HTML5 web browser, diversity delay, silence detection and Orban’s proprietary Less-More control along with multiple factory presets.
www.orban.com
COMPLETING ITS Evolution Wireless Digital EW-DX microphone system, Sennheiser’s EW-DX EM 4 Dante receiver is a network-ready, four-channel receiver in a 1U rack space. The receiver offers connectivity via Dante (including AES67 support) for AoIP, XLR-3 audio outputs and unbalanced ¼-inch jacks. With no intermodulation, frequencies can be placed at 600kHz intervals, or 300kHz intervals in Link Density (LD) Mode, making frequency management easier, while the switching bandwidth of 88MHz leaves room to manoeuvre in a congested spectrum and can accommodate up to 146 channels in standard mode or up to 293 channels in LD mode. The receiver is also fitted with an integrated antenna splitter with antenna power and signal loop-through, which means up to 16 channels can be daisy-chained directly without the need for any additional devices.
For network-based systems, the receiver’s four network ports allow for flexible configuration modes. Once the receivers have been set up, a frequency scan can be initiated via one EW-DX EM 4 Dante unit and the receiver will auto-deploy free frequencies across all connected receivers, including EW-DX EM 2 and EW-DX EM 2 Dante receivers. Custom frequency lists can also be loaded into the receiver. Meanwhile, transmitters are sync’ed via BLE from a distance of up to 20m with parameters determined via the receiver menu. The EW-DX receiver also gives users the option to perform a walk test to check signal integrity across the stage or performance area.
The manufacturer has also announced the release of its new Q-SYS control plugin for the TeamConnect Ceiling Medium (TCC M). As part of the Q-SYS Ecosystem, software and hardware manufacturers collaborate with Q-SYS to create solutions that integrate with its cloud-manageable audio, video and control platform. The Sennheiser TCC M plugin integration has been fully vetted and endorsed by Q-SYS with a Q-SYS Certified badge.
Finally, Sennheiser has released Spectera, said to be the world’s first wideband, bidirectional, low-latency digital wireless ecosystem. For a full report, visit page 74.
www.sennheiser.com
DESIGNED TO integrate with the wider Hollyland Pyro Series, the Pyro 7 is a wireless video monitor that combines TX, RX and a 7-inch monitor screen in one compact device. Its Auto Dual-Band Hopping (ADH) technology not only resists interference and supports a long operational range of up to 400m, but also enables Pyro to operate on both 2.4GHz and 5GHz bands. Featuring SDI/HDMI loopout and RTMP streaming, it has a latency of 60ms to deliver smooth and responsive video monitoring. Joining the company’s Pyro S and Pyro H transmitter units, the Pyro 7 can connect one transmitter to four receivers, allowing all crew members to monitor live video simultaneously. Meanwhile, its customisable shortcut keys provide the convenience of dual-camera monitoring. Hollyland’s upgraded HollyOS offers enhanced image analysis capabilities and allows for bulk video file export via SD card.
Designed exclusively for streamers who need quick deployment for platforms like X, Shopee, Tokopedia, Instagram and Facebook, the VenusLiv V2 is a livestreaming camera that
PunQtum introduces next-gen headset
TWO NEW headsets have been launched by partyline developer PunQtum with the aim of reinventing the current product line. The PunQtum Q915 and Q925 are both described as delivering lightweight and comfortable wear combined with advanced audio technology.
end user. Coupled with an adjustable boom that’s wearable on either side of the device, the Q915 and Q925 are flexible headsets designed to deliver seamless communication. The Q915 is a one-ear headset, while the Q925 is its dual-ear counterpart. Both come with a four-pin XLR connector cable.
of the System 20 PRO, a self-managing, plugand-play, 2.4GHz digital wireless system that is scalable to 20 channels and has been designed to deliver “dependable, high-quality audio”, regardless of location. Designed for hassle-free deployment, the system is said to overcome the challenges of conventional wireless microphones, such as TV station interference and frequency coordination, complex intermodulation calculations and remote antenna cabling. Capable of receiving up to four transmitters, the system features the ATW-R1440 which can remain docked in the half-rack chassis or, adding versatility, be mounted remotely (up to 100m away) and connected via Ethernet-standard cabling. Up to five chasses can be linked using included RJ12 cables, creating a stable, multichannel system with the simultaneous use of up to 20 channels. The user can also choose the most effective
quick adjustment to deliver more natural-looking images for faces, objects and backgrounds. Its built-in face recognition system automatically captures facial images and brightens up complexion.
installed livestreaming apps include an image overlay and green screen functionality which allow streamers to remove the background and switch to virtual scenes whenever necessary. Preset lighting modes (auto, 2-point, 3-point)
Meanwhile, connectivity is simple: an embedded capture card and a UVC-supported USB-C port enables streaming directly with a single cable, and its built-in sound card supports adjustments to high-, medium- and low-grade reverberation and other sound effects. It supports 3.5mm and HDMI, as well as other audio/video transmission ports, and has an Ethernet port in addition to Wi-Fi connectivity. The camera uses a high-quality 4K lens featuring 12MP effective pixels, an f/1.2 aperture (equivalent to f/6.3 on a full-frame camera), an 80° field of view, a minimum focus distance of 0.5m and less than 1% edge distortion.
Devices’ A20-SuperNexus receiver expands the company’s Astral wireless product family with more channels, flexibility and versatility in a single wireless receiver. Designed for large productions, live events, international tours and festivals, it boasts a base 16 channels that is expandable up to 32 channels of clean RF in a 1U 19-inch rack enclosure. The A20-SuperNexus receiver is operable worldwide due to its 169–1,525MHz global tuning range and has built-in HexVersity (two- to six-antenna
Sound Devices’ RF Mirror Mode for full redundant operation.
Meanwhile, the A20-Outpost-NL system allows for remote-mounting NexLink antennas via Ethernet, and the A20-Opto expansion box adds native Optocore audio I/O to the A20-SuperNexus receiver for DiGiCo console interconnectivity. Sound Devices has started integration work with DiGiCo to put RF control directly into the workflow of audio engineers.
www.sounddevices.com
HD mode (20 channels) to maximise channel count. Audio can be submixed within each receiver for situations with limited mixer input channels. Chassis displays show system ID,
Seamless setup and management are controlled via Audio-Technica’s Wireless Manager software, which is capable of managing multiple UHF, 2.4GHz and DECT wireless systems from a single
screen. In addition, AES128 encryption comes standard for security. The transmitters included in each system are paired and ready to use out of the box, and offer all-day operation on a full charge. Each receiver channel can be paired with up to four transmitters, allowing users to instantly switch between different transmitter configurations.
The System 20 PRO transmitters are available in bodypack and handheld microphone configurations for performance and presentation. Both have two antennas built into the transmitters, OLED displays and slide-to-mute switches. The bodypack transmitters are fitted with water- and sweatresistant cW-style locking four-pin connectors for use with a variety of Audio-Technica microphones. In brief, a white version of the ATH-M20x is now available to enable users to match their go-to headphones with their creative environment.
www.audio-technica.com
ATND 1061 Bea mfor min g Ce i lin g Array M icrophon e
The ATND1061 Beamforming Ceiling Arrary Microphone is a state-of-the-art, professional conferencing solution for meetings of any size - from boardrooms to classrooms. Up to 6 output channels and 32 user-defined pickup zones capture every person speaking in a room with clear natural audio that reduces distracting environmental sounds.
L-ACOUSTICS HAS turned its attention to making great audio match the importance of the visual aesthetics by creating more immersive and “emotionally resonant” environments. As a result, the French manufacturer has unveiled HYRISS, the Hyperreal Immersive Sound Space, which is suited for a wide range of applications, from
FORMING AN integral part of firmware update 10.3, DHD.audio has announced the DHD Control API, providing a secure interface between the company’s range of audio production systems and third-party devices and software. The version 10.3 firmware will be available across DHD’s entire range of production equipment. According to the manufacturer, DHD Control API enables modern and secure communication within media networks, advancing integration and control to a high level of security. It also extends operational versatility beyond existing APIs by providing access to the entire core audio and logic system. This allows integration “at a whole new level”, adding many new possibilities that customers can utilise. The DHD Control API is built upon standard web technologies such as WebSocket for realtime communication and HTTPS/REST, both formatted in JSON. It supports certificatebased transport layer security encryption (TLS) for all traffic as well as token-based access control. The API’s documentation will be made publicly available to encourage industry-wide adoption, with example integrations and code samples also provided.
Meanwhile, the RM1 has been designed to bridge the gap between podcast and broadcast. Featuring integrated audio processing capability, the mobile audio mixer and multichannel interface is an all-in-one audio solution housed in a compact, lightweight desktop unit capable of operating from a wall outlet or USB linked power source. Developed for easy configuration in varying styles of content creation, it aims to provide users with high signal quality and versatility for creative activity such as podcasting, web radio, livestreaming and remote or onsite broadcast contribution. To make vocals stand out, presets can be tailored for every voice and style. Features include an audio equaliser, compressor, limiter, multitrack recorder and on-air tally. The AutoMix feature automatically balances all incoming audio channels, managing background music and unwanted distractions for a cleaner mix. The RM1 also brings other automation features such as automatic gain levelling and control. To enable the user to focus on content creation and not be distracted by the technology, the RM1 delivers a signal ready for distribution.
dhd.audio
WITH THE addition of a dedicated MADI version to its established Dante-compatible unit, the SuperRack LiveBox from Waves gives users the ability to access a wide
range of audio formats, from mono to Dolby Atmos soundscapes and beyond.
HYRISS leverages three core L-Acoustics technologies: L-ISA positions instruments in space, mimicking live concert settings; Ambiance uses state-of-the-art sensing microphones and the L-ISA Processor II to transform room acoustics; and Anima utilises
luxurious residences and yachts to high-end hospitality and corporate settings. The HYRISS system combines discreet in-wall speakers, high-power amplification and advanced spatial audio processing to create adaptable, high-quality sound environments –anything from serene atmospheres for relaxation to dynamic entertainment venues. It therefore eliminates the need for dedicated media rooms by allowing a single space to effortlessly become a concert hall, sports stadium or cinema. It also supports a wide
SIGNIFICANTLY INCREASING
advanced algorithms and machine learning to localise, spatialise, separate and immerse audio content beyond its original design. Each HYRISS installation will be crafted by certified experts. The manufacturer collaborates with qualified systems integrators and end users to define desired experiences, operational condition and budget, ensuring a personalised solution optimised for each unique space.
www.l-acoustics.com
range of studio-grade VST3 plugins running natively in a robust turnkey environment. The 2U SuperRack LiveBox MADI supports up to 128 low-latency channels (64 coaxial and 64 optical at 48kHz; 32 optical and 32 coaxial at 96kHz).
Aiming to be quick and easy to set up in any live or broadcast setting, LiveBox’s combination of hardware and software is optimised to run plugins efficiently and reliably. The addition of dedicated MADI connectivity reportedly ensures use in all popular live console setups. Optional dual power supply provides power redundancy for extra reliability in any setting. Each SuperRack LiveBox MADI unit ships with the Waves Live bundle as well as the Waves SuperRack Performer plugin host.
www.waves.com
channel count from 24 to 64 channels for all 12 binaural mixes, the :vokal+ software upgrade for KLANG:technologies’ :vokal immersive in-ear monitor (IEM) mixing setup forms part of KLANG’s updated KOS 5.6 operating system. It brings the same rootintensity EQs found in KLANG’s :vokal system to DiGiCo console worksurfaces via the DMIKLANG card and is the result of a redesign and optimisation of the FPGA immersive audio core. The company says the launch of KOS 5.6 and the :vokal+ software upgrade delivers the same input channel count on both systems with the original mix count of each product. With the increased channel count on :vokal+, KOS 5.6 also introduces Group Spill on its :kontroller to provide users with easy access to all channels in a group through :kontroller’s channel banks. To make this easier for the user, KOS 5.6 also introduces several Quick Setup Wizards, such as the Setup and IP Wizards. Housed in a compact 1U chassis, the KLANG:vokal (and :vokal+) allows up to 12 musicians to pick up to 24 mono or stereo channels out of 64 Dante and MADI inputs. Based on KLANG’s ultra-low latency FPGA core, KLANG:vokal offers 12 mixes of 24 mono or stereo inputs at 48kHz and 96kHz.
as a free update for all KLANG immersive processors from the company’s website.
www.klang.com
AN ALL-NEW audio processing software suite that the company says will “redefine the broadcast audio landscape with unparalleled workflow automation and flexibility”, the SAME Smart Audio & Mixing Engine has been unveiled by Riedel. SAME is based on the latest commercial off-the-shelf (COTS) server cluster technology to deliver
processing capabilities that scale with production needs.
With a suite of over 30 audio processing tools and mixers, the solution caters to a wide range of applications such as voiceover, automated mixing, audio monitoring or in-line process insertion. In combination with the universal inputs of Riedel’s range of Network Stream Adapters (NSA), users will be able to create a fully automated signal path from mic to ear.
SAME’s Audio Pilot is intended to give a “big picture” of all running productions, offering a view of multilocation productions for centralised monitoring and management. The Audio Pilot also introduces a process- and mixer-independent audio monitoring system with fully automated monitoring path switching. The company’s new management platform, Riedel STAGE, is said to simplify the mixing and matching of devices, roles and personnel without the need for protocol or IP knowledge, streamlining operations and reducing setup and training times.
Beyond SAME, the German brand has also launched the new Virtual SmartPanel (VSP), a
APEX HAS released version 1.3.4 firmware for its CloudPower installation range. The update introduces several new and refined features for all four-channel CloudPower amplifier models and for the 16-channel CP716D, alongside upgrades to the IntelliCloud control software.
To speed up amplifier setup and loudspeaker
now be copied and pasted between amplifier channels. To prevent unwanted hands-on access, CloudPower’s front panel rotary encoder can now be locked from the IntelliCloud WebUI.
V1.3.4 also adds a Locate function, helping the end user to match up an amplifier being controlled in IntelliCloud with the corresponding physical unit in a rack full of CloudPowers.
DESCRIBED AS an agile recording solution developed by live sound engineers for live sound engineers, LiveTrax from Harrison Audio is the company’s latest software offering for modern studio and stage settings. It is a multitrack recording and virtual soundcheck software that integrates with Allen & Heath live consoles. LiveTrax is designed for capturing live performances ranging from small, intimate events to large-scale concerts and productions. It focuses on the essential tools required for capturing live recordings quickly and efficiently without complication. Its user-friendly interface is simple to use for podcasting, soloists, band rehearsals and large orchestras. LiveTrax reportedly eliminates the unnecessary features of a fully featured DAW in a live environment, allowing users to easily capture any performance with confidence.
The software allows users to refine any mix before a live show begins, promoting
software solution enabling users to leverage their mobile devices for remote intercom connections. The VSP introduces a virtual hybrid infrastructure that seamlessly integrates with the Artist-1024 platform and is characterised by a user-centric design that is as functional as it is intuitive. The VSP also leverages the Riedel STAGE management platform. Lastly, the company has announced two new additions to its NSA series: the NSA-003A and NSA-006A. The interfaces are designed to advance IP-based audio and intercom workflows, offering flexibility, reliability and seamless integration for professionals in broadcast, live events and studio environments. The NSA-006A is designed specifically for audio workplace environments, offering a set of features tailored to modern IPcentric workflows. The NSA-003A, on the other hand, is a two-wire analogue intercom adapter that combines a compact design with advanced functionality.
www.riedel.net
D&B HAS announced the latest update to its cloud-based sustainability management software for the live event industry, SustainSymphony. The update now aligns the platform with the 17 Sustainable Development Goals (SDG) set by the United Nations to address a wide range of global sustainability and equality issues.
Also, the Relay, General Purpose Input (GPI) and Standby connectors on CloudPower’s rear panel are all enabled in the new firmware, permitting fault indication and muting of all channels to fulfil EN54 VACIE fire alarm requirements and allowing amplifiers to be placed in an energy-saving standby mode via IntelliCloud or UDP command.
www.apex-audio.be
The integration of the SDGs into SustainSymphony includes a new feature that highlights SDG-related actions within the user interface to make it easier for event organisers and users to monitor and track their contributions and sustainability.
Event activities and data collection related to the 17 SDGs are clearly marked in the platform’s interface. This is aimed at simplifying the process for users integrating sustainability goals into their event planning. Furthermore, an SDG matrix has been added to the event
reports, providing organisers with a detailed overview of how their event activities align with
now to all users of SustainSymphony at no additional cost.
www.db.group
greater predictability. When paired with an Allen & Heath console, LiveTrax becomes a fully fledged mixing tool. It can create a
marker when recalling a mixer scene, jump to follow scenes during virtual soundcheck, synchronise tracks names and follow
transport commands from the connected console.
LiveTrax also displays input level meters before track creation, providing full visibility of the user’s input signals prior to recording. The tool allows for effortless switching between “Multi Out” (consecutive multitrack playback) and “Stereo Out” modes for swift virtual sound checking.
LiveTrax also functions as a digital “tape recorder” for capturing live productions of any kind, including band rehearsals and even podcast sessions. The tool’s marker function facilitates straightforward mapping of setlists, song structures or memory locations that can easily be “drag-and-drop” rearranged for later convenience. After the show, sessions can be imported into Harrison’s Mixbus DAW for advanced editing, mixing and mastering.
www.harrisonaudio.com
SHURE HAS announced the release of ShureCloud, designed to provide unified control and management of Shure Microflex Ecosystem devices and IntelliMix Room DSP software licences from a single user interface. The cloud-enabled centralised management platform brings “intuitive workflows” that IT managers and AV integrators will be familiar with, while real-time remote management access allows users to manage, monitor,
optimal operation. Users can also push updates to ensure all devices are running on the latest firmware and will receive instant alerts of issues, enabling quick resolutions with minimal downtime. The Shure Wireless Workbench Scan Library application is also now accessible within ShureCloud.
The platform’s interface is described as simple and familiar, especially for customers who regularly work in a variety of cloud platforms.
government or higher education. Additional features, including self-registration and an expanded monitored device portfolio, will be introduced in the coming months.
ShureCloud combines an off-premises platform to remotely monitor, update and manage Shure hardware and software products across a broad spectrum of applications and industries. According to the manufacturer, the foremost advantage of ShureCloud is the ability to manage all Shure devices from one, easy-to-use platform. Device monitoring enables users to view device status and performance in real time to ensure
THE LATEST V4.1 update for SSL’s System T introduces tools for automated cloud deployment and a “Dual Channel View” mode in the Tempest Control App (TCA). It also includes additional immersive audio production features, with channel paths and busses available in formats up to 9.1.6 and additional FX for the built-in FX Rack providing parallel compression on every channel path. Available across all System T consoles and DSP engines, including virtual, the V4.1 update delivers immersive 9.1.2, 9.1.4 and 9.1.6 channel paths and busses, in addition to existing 9.1.2, 9.1.4 and 9.1.6 monitoring capabilities. These join advanced immersive panning tools, a range of multichannel FX including the SSL Bus Compressor, multiband compression, dynamic EQ, delays and a “Link Bus” architecture for dynamics processing across objects and beds. Additional effects have been added to the System T FX rack, including SSL’s Blitzer “vibe” compressor and Sourcerer isolator. Parallel compression on every audio path is also now available, with each channel dynamics section now featuring a wet/dry
introduces a new graphical interface for designing user experiences, enabling them to stream live and on-demand content, create and manage digital signage and distribute TV and in-house content over existing networks. The platform is designed to complement VITEC’s 4K-enabled EP6 endpoint.
A user management application within the platform lets customers invite, manage and control internal access to specific parts of the ShureCloud platform. Each individual user can customise the site layout and tailor the interface to meet their specific needs, highlighting key metrics and controls. ShureCloud provides a suite of security features using accepted standards such as GDPR, TLS 1.2 MQTT and HTTPS. Data encryption ensures secure communication between devices.
www.shure.com
With updated elements for designing dynamic digital signage and interactive portals, as well as a redesigned canvas with expanded functionality, the ArtioCreate content creation interface reportedly makes creating content on the Avedia Platform quicker and easier. Also new to the Avedia Platform is the Avedia Wayfinding solution, a licensable option enabling the creation of touch-interactive wayfinding maps, allowing visitors to navigate multi-floor buildings or multi-building campuses. When users draw paths to various points of interest, the Avedia Platform algorithm will determine the quickest route from the point of origin. A toggleable accessible routes feature ensures that visitors with impaired mobility are also catered for by the Wayfinding solution. Release 7 of PRISM is now available, featuring adaptive bitrate HLS, low-latency
control. V4.1 software also adds “automated deployment” tools for System T Cloud, allowing scriptable deployment for unattended installation. Licence delivery has also been automated, enhancing System T’s agility in distributed production models.
Meanwhile, SSL has partnered with sonible to create a new series of production-focused plugin bundles. The first bundle features SSL’s Bus Compressor 2 with sonible’s
encryption. PRISM is a real-time IP video transcoding system that enables content to be adapted to an optimal format for efficient delivery to any device. Its adaptive bit rate and HLS output ensures compatibility with a wide range of devices and platforms, whilst its ability to create different quality levels provides a seamless and uninterrupted viewing experience. Its integration with Akamai CDN further ensures interoperability, whilst a host of security enhancements, including encryption to UDP TS transcoding channels, provides robust security. Meanwhile, the MGW Diamond-H is a compact and energy-efficient encoder able to handle multiple 4K video signals allowing users to take video from various sources, encode and send it on the network for a smoother workflow and enhanced connectivity. It also supports PoE+ and HDMI loop-through to streamline installations and reduce the need for additional power sources. The MGW Diamond-H encodes up to four channels from two sources at HD resolution, or one at 4K and offers one 12G-SDI and two HDMI 2.0 inputs.
www.vitec.com
combination is said to bring instant cohesion and clarity to any mix without the need for
extensive manual fine-tuning.
Finally, the manufacturer has also introduced GateVerb, the latest addition to its growing lineup of FX pedal-style plugins, and a new range of System T fader tiles and Tempest
www.solidstatelogic.com www.sonible.com
AIMING TO boost both speed and efficiency, Bose Professional has expanded its ControlSpace ecosystem with two featurepacked add-ons. Providing networked control, mixing and monitoring of Dante-enabled audio systems for commercial spaces, ControlSpace now boasts the CS Accelerator, a software tool that automates and reportedly speeds up audio system design by up to five times, and CS Cloud, a cloud-based monitoring service. Both features are designed to make system design more accurate, as well as
processes and increasing consistency by automating much of the signal path and processing design.
Meanwhile, CS Cloud brings scalable management, monitored performance and greater insight and reliability to networks with ControlSpace processors by enabling installers to anticipate issues and troubleshoot systems remotely. It provides system monitoring, troubleshooting and instant notifications through email, Teams, Slack and other popular platforms. ControlSpace Cloud is fully scalable
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Emma knows and loves the live event technology industry. She cultivates great customer relationships to develop and strengthen your brand.
We work with world-leading Audio, Video and Lighting brands and suppliers to help find top talent for their business and engineering teams in the UK, EMEA, North America and APAC.
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FOHHN AUDIO has announced its Fohhn Gallery platform for immersive audio applications. In addition to Fohhn loudspeaker systems, at the heart of the solution is the company’s new processor which handles rendering and signal management. The system has been designed to enable the realisation of threedimensional sound worlds and complex multichannel projects.
The software installed on the 19-inch processor server can be operated without a separate PC and enables the control, placement and movement of audio objects and live inputs in the room. In addition, the
use of various input and output formats from binaural headphone playback, 5.1, Dolby Atmos, IMAX 3D to full dome environments with 128 channels is possible. For connection with Fohhn amplifiers, the device is equipped with a Dante interface and supports the OSC and EMBER+ remote control protocols.
Fohhn Gallery is the result of a collaboration with Tom Ammermann from New Audio Technology. The German company develops software and hardware for the production and playback of immersive audio content.
www.fohhn.com
DESIGNED TO supercharge the device’s multiple-client functionality, Fourier Audio has released its free v1.2 transform.engine software update which enables VST3 plugin states to be stored and recalled during live productions. It allows users to easily recall Cues over a MIDI connection from either a mixing console or show control software. The update also enables different engineers who are sharing a single transform.engine to operate unique Cuelists targeting different chains at the same time. This support allows multiple users to control plugin states in different chains – or even the same ones – on a single server.
As part of Fourier Audio’s DiGiCo integration, a specific mode responding to MIDI Controller Change messages on Controller Numbers 16–19 is also available. For other applications, Cues (contained in Cuelists) on the transform.engine
AUSTRALIAN VIDEO specialist Atomos has unveiled a trio of enhancements,
can also be triggered via a direct MIDI cable connection transmitting MIDI Note On, Program Change or NRPN messages.
www.fourieraudio.com
and Adobe to enhance camera to cloud workflows. The free-of-charge firmware update equips monitor-recorders with cloud-based tools and services to enable faster turnarounds and remote collaboration for creative video projects, and means any connected Ninja or Shogun can send footage directly to Frame.io V4 without uploading through Atomos Cloud Studio. Ninja Phone can already upload footage directly to the platform using the iPhone app, and Atomos says a free firmware upgrade for C2C connectivity will be available soon.
Meanwhile, the Ninja Phone has been given a series of additional upgrades, including 4K and 4K DCI Apple ProRes recording, monitoring, 10-bit H.265 streaming and playback, as well as support for Apple’s iPad Pro series. The Ninja Phone connects professional cameras and lenses via HDMI to an iPhone 15/16 Pro or Pro Max – and now an iPad Pro – and records directly to 10-bit ProRes or H.265 10-bit. The update means Ninja Phone users can also record and playback 4Kp 24/25/30 and 4K DCI
THE AMP-260-DNT from WyreStorm is a two- or four-channel network amplifier designed to cater to the advanced audiovisual needs of professional environments such as medium or large meeting rooms and university lecture halls. The unit integrates both local line level and Dante audio inputs, ensuring flexible connectivity and superior audio distribution tailored to the acoustics of the space. It comes with a dual power supply capability,
for modern conference rooms and to simplify and enhance the user experience. The 4x2 switcher integrates video, audio, USB, control and Ethernet functionalities and comes with dual USB-C and dual HDMI inputs, automatic switching capabilities and advanced USB 3.2 ports. Each input port supports cable lock connections, providing secure and stable connections for presentation devices. The switcher reportedly ensures seamless
24/25/30. An optional extension bracket for Ninja Phone can also now be fitted to the 11- and 13-inch iPad models, transforming them into high-spec, on-camera, industryleading P3 1,600-nit reference monitors. Finally, updates to the company’s Shinobi II photo/ video monitor provide touch auto focus as well as photo and video control for Sony, Canon, Panasonic, Fujifilm and Nikon. In what Atomos describes as a “world first”, the update adds on-monitor touch auto focus and focus subject tracking in both photo and video camera modes. The first camera models to be supported are from Sony (A7 MkIV), Canon (R6 Mark II),
327; LED status indicators for operational monitoring; line level audio loop-out for amplifier daisy-chaining; five-band EQ, up to 200ms delay and other DSP features; versatile installation options for rack or ceiling mounting; front panel buttons for intuitive volume control; and comprehensive control methods including RESTful API over HTTP/S.
The MX-0402-MST conference presentation switcher from WyreStorm has been designed
FOLLOWING ON from the introduction of Prism Player and Prism Zero, Avolites has announced the latest version of Prism.
Named Prism One, it’s a development the manufacturer describes as an important milestone for the application suite. Prism is Avolites’ software application suite for video previewing, adjusting and encoding for the manufacturer’s Ai platform.
Created predominantly for lighting designers, key features include an added preview window, cross fade on a layer, hardware
functionality to nearly the entire product line. The SW-540-TX-W has also been replaced with the more advanced SW-640L-TX-W, enhancing performance and capabilities. Lastly, the NHD-510-TX integrates HDMI and USB-C inputs and supports 4K60 4:4:4 video resolution, providing crystal-clear image quality across all applications.
www.wyrestorm.com
decode acceleration for H.264/H.265 and control over multiple banks and layers, in addition to live input and NDI input, and virtual return and region of interest on outputs. Together with Synergy, the company has added control to surface and layers, NDI previews, cross fade duration and speed control, as well as updates to improve playback performance on AiM, NotchLC and HAP media.
www.avolites.com
AIMING TO deliver conferencing bars and cameras for bigger conference room spaces, Biamp has unveiled the Parlé VBC 2800 Conferencing Bar and Vidi 280 compact ePTZ conference room camera. Both models feature dual 4K UHD ePTZ camera systems with AI auto framing that automatically switch between cameras for the best shot. This dual camera system boasts a 120° horizontal field of view and up to 16x digital zoom with a 50-megapixel image sensor to capture meeting attendees further down the table in larger meeting rooms. With integrated acoustic echo cancellation and AI noise reduction that Biamp says suppress distracting sounds, the Parlé VBC 2800 uses a 27-microphone array, while its Biamp Beamtracking technology tracks and mixes conversations from around the room. Biamp’s one-touch AI-powered Biamp Launch means the bar can easily be set up and optimised for any room’s unique specifications. Alternatively, the Vidi 280 is a small, standalone camera that is easy to mount around a display
and connect to room experience systems, including unified communication platforms such as Microsoft Teams or Zoom, as well as BYOM systems such as Biamp MAX Connect. It uses a five-element microphone array and can also be paired with the Parlé ABC 2500a conferencing audio bar for a higher performance AV meeting
Biamp has also introduced updates to its Evoko Workplace and Naso room scheduling panels. The update unifies desk and room scheduling solutions into a single cloud-based platform to integrate with the company’s revamped Evoko Naso room scheduling panels and Evoko Kleeo desk booking devices. This eliminates double bookings and provides real-time visibility into room and desk availability. Rooms or desks can be booked from a single mobile app or web portal, with interactive floorplans displaying occupancy status.
Extending these capabilities, the company has also launched the Biamp Workplace which consolidates the Evoko Workplace and SageVue into a single ecosystem for centralised AV
WOHLER TECHNOLOGIES’ OPT-RMOC-12G module provides the ability to migrate a 3G-SDI capable monitor to a 12G-SDI (4K) capable monitor. It includes a single BNC as well as an SFP cage for a 12G-SDI or ST 2110 (@1080p) input and works with most 1U and 2U iSeries inrack monitors. Installed in the option card slot, the OPT-RMOC-12G is capable of monitoring
monitoring, management and optimisation across Biamp’s entire portfolio. Key capabilities include comprehensive Evoko room and desk scheduling and real-time device monitoring, system alerts, remote management for firmware updates, usage analytics and centralised administration. The launch version features management and monitoring support for Tesira DSP, Devio SCX conferencing hubs, Tesira and Voltera amplifiers, TesiraLUX video encoders and decoders, and Evoko scheduling panels.
www.biamp.com
16 channels of audio (iAM & iVAM Series), plus a single video input on the iVAM Series. Both audio and video are selectable from a choice of sources connected directly to the card, or
DATAPATH’S VSN V3 videowall processor is now available with Intel’s Xeon CPU processor to meet the demand for high-resolution, high-demand control room applications. The VSN systems are already available with Core i9 or i7 processing power and the addition of a Xeon processor now gives the VSN V3 a further CPU option, with a clock speed of 4.8GHz and a 16MB cache. In addition, memory options are the highest in the manufacturer’s range – up to 128GB – with USB 3.0 included to support high transfer speeds and connectivity to the latest devices. Each VSN V3 can be preconfigured with Datapath Image graphics, Vision capture and SQX IP decode cards for specific project requirements of various sizes. For efficiency, the VSN V3 chassis has been designed to optimise airflow to improve
heat management and reduce noise. This design, along with a new platinumrated redundant power supply, makes it reportedly the most efficient VSN to date. Datapath engineers have designed the latest VSN backplanes to ensure stability and cool operating temperatures.
The chassis also includes unique hot-swappable fan technology for uninterrupted 24/7 use and maintenance in critical installations.
www.datapath.co.uk
inputs connected to the in-rack monitor. The module also adds Remote Monitoring capability for use with Wohler’s MAVRIC cloud-based monitoring service. MAVRIC enables users to
look at video, listen to audio, see audio bars, levels and loudness via a web browser, and is accompanied by a Mobile Application for Apple/ Android. Wohler says it unifies teams by centrally providing alerts and communications inside MAVRIC.
www.wohler.com
BARCO HAS its OverView range of tiled LCD videowalls with the introduction of the OverView LVD-5521D and OverView KVD-5521D 55-inch 500-nit units, part of the ENB 1.8mm and UNB 3.5mm bezel generation respectively. Featuring automatic colour and brightness calibration and noiseless operation, the panels have been designed to complement the manufacturer’s UniSee platform. The new additions reportedly offer significant advancements in seam width reduction and uniformity enhancements, and make sure that the intermodular seams are minimised for a smooth visual experience. Barco’s Sense X algorithm is said to ensure that a perfectly balanced image is consistently produced across the entire wall for “superior visual uniformity and performance”.
The OverView LVD-5521D and KVD-5521D use the Video wall Manager software to make it
to feed four displays in loop-through with 4K@60Hz content, reportedly results in easy connection with a limited number of cables. Both products are ecolabeled with a Barco ecoscore A. Compared to the previous model, the KVD-5521D consumes 20% less energy, representing a significant improvement in energy efficiency.
www.barco.com
OPTICAL PRODUCT specialist Lumens has introduced PTZ cameras at opposite ends of the spectrum – one is the world’s first dual camera speaker tracking PTZ with picture-in-picture output, the other a nocompromise, entry-level model.
Designed for meeting rooms, radio studios and vlogging applications, Lumens’ VC-TR60A automates the entire production process to deliver framed shots for use in video conferences, presentations, interviews or training. Featuring integrated speaker tracking, its directional sound sensors can detect the location of active human voices, enabling the camera head to shoot the current speaker and re-frame as other voices enter the discussion. Its AI audio tracking also enables the camera to differentiate between sounds made by human and non-human sources. Capable of outputting dual stream video, the VC-TR60A features a panoramic camera in its base unit, with a main 12x zoom camera attached to
its robotic arm. Its two imagers can also produce a composite picture-in-picture effect in-camera with output over HDMI and USB, incorporating both the wide-angle view and the tight shot.
Meanwhile, the company’s VC-R31 HD PTZ is an entry-level model designed to deliver the same stability, performance and durability associated with Lumens’ other cameras. Based around a highsensitivity Sony sensor, it boasts a 12x zoom, simultaneous HDMI, and USB and IP outputs, and can be powered using the supplied adapter or over PoE. Its 72.5° horizontal field of view makes it suitable for installation in spaces requiring a wideangle lens, and it is also compatible with Lumens’ CamConnect Pro voice tracking system, making it ideal for automated multi-camera meeting rooms and video studios.
www.mylumens.com
GRASS VALLEY has been keeping busy with the launch of three switcher products tailored for low- to mid-tier productions, two entry-level cameras and two additions to its Densité Modular Platform.
The three switcher products comprise the K-Frame VXP video processing frame, Karrera V2 switcher control panel and the Sport Producer X. The K-Frame VXP is the latest addition to GV’s K-Frame XP family, offering enterprise-grade production switcher capabilities in a 5U chassis, and is suited for venues, stadiums, houses of worship, fly packs and smaller OB vans. It supports UHD 4K 2160p, HD and 1080p 3G formats for consistent, high-quality production across all resolutions.
The Karrera V2 is a user-friendly interface, available as either a two- or three-stripe surface. Karrera V2 panels are designed to
drive any of the K-Frame video processing frames, offering a familiar user experience at a more accessible price point. The Sport Producer X, meanwhile, is the latest AMPP application solution that combines production switching, replay, graphics, audio production and multiviewers into a single interface.
Building on the success of the LDX 90 series, two entry-level cameras have also been released: the LDX 110 and compact LDX C110 version. Both are native UHD cameras suitable for a wide range of applications including sports, studio and entertainment productions. They offer a native UHD 2⁄3-inch CMOS-Imager equipped with Global Shutter technology to ensure image capture in every operational mode, and both support native HDR and WCG (Wide Colour Gamut) operation
(PQ, HLG, S-Log3), with onboard custom LUT processing within the camera head for precise HDR-to-SDR conversion. The LDX C110 also comes with XCU connectivity, a feature only previously found on higher-end models.
Finally, the company has launched the ACE-3901 next-generation 12G modular agile computing engine and the XIP3911-GRID firmware for its XIP modular processing platform. Designed to meet the growing demand for high-density IP gateway solutions, the ACE-3901 offers up to 400Gb IP bandwidth per module and up to 256 12G-SDI or 384 3G-SDI gateways within a single 4U Densité frame. This reportedly provides up to a tenfold increase in density and a fivefold reduction in cost per channel.
www.grassvalley.com
DESIGNED TO deliver professional switching in a cost-effective package that means smaller operators can still create
Video has launched the Carbonite Ultra Solo. The device is a compact UHD production switcher available in two versions: an all-in-
control surface electronics within a compact unit, and a 1U frame that can be controlled by separate hardware or a software-based control panel. It reportedly brings all of the performance and ease of use of the Carbonite mid-sized production switcher to the small switcher market.
Key features of Carbonite Ultra Solo include full support for HD and UHD operations, with input, output, ME and MiniME count identical regardless of the switcher format. The full ME provides six keyers, while the MiniMEs, with two independent keyers each, support the feeding of on-set monitors or IMAG displays. An internal RAVE audio mixer is integrated, delivering a professional toolset for audio processing, mixing and routing, while the Production Sequencer tool assists operators with repeatable elements within live production. In addition to Memory or Custom Control macro operations, the sequencer allows operators to link a series of
tasks, events or device controls together for repeatable playback.
In addition to the compact switcher, Ross has also announced the launch of the Ultricore Tally, a tally control and management solution for coordinating complex live productions. As a software application that is installed on Ultricore BCS, the Ultricore Tally can be used either as a standalone tally solution or in conjunction with other functionality from Ultricore to deliver a comprehensive control experience. It is said to go beyond the basic functionality of tracing on-air signals from origin to monitoring point and offers a range of interoperability, scalability and configuration flexibility. This includes direct support for an extensive collection of industry-standard communication protocols to interface in real time with Ross equipment and third-party devices.
www.rossvideo.com
From concert stages to TV studios and EDM festivals to opera houses, the new MAC Viper XIP covers any application
THE LATEST addition to Ikegami’s range of full, broadcast-quality production equipment, the IPX-100 extension unit is a fully featured, IP-oriented mini base station. Designed to operate as a self-contained unit, the IPX-100 includes an integral signal generator which allows system configuration before cameras or other sources are connected. Prior to the event, ST 2110 connectivity can be set up independently by IT specialists. On the day of the event, the cameras can then be connected to the IPX-100 by a conventional SMPTE-hybrid fibre cable with up to 3.5km cable extension. The IPX-100 powers the camera head. Serving as a gateway to IP, the IPX-100 converts the broadcast signals to ST 2110-compliant signals. It is also available with an optional 3G/HD-SDI input/output to serve as an external SDI-to-IP or IP-to-SDI converter. To allow direct connection of a field monitor to the IPX-100 to control the related video signals on location, there is an HD-SDI video monitoring output.
To enable camera control on location, users can connect an Ikegami OCP-300/-500 via Ethernet to the IPX-100, even if an IP connection to the wider ST 2110 infrastructure is not yet established. A PC
running Ikegami XE Web View software can simultaneously be coupled to the network hub, enabling system supervision via an optional Protocol Gateway. Automated setup can be performed using an NMOS IS-04/IS-05
feed from the IPX-100 to a local or remote central automation system.
The supported video formats provided as standard include UHD (2160p59.94/50), HD (1080p59.94/50, 1080i 59.94/50) and HD-HFR in 1080i/p (2x/3x/4x speed) and 720p59.94/50. Additional supported standards include SMPTE ST 2022-7 redundancy, ST 2110-10/-20/-21/-22/-30/-40 and ST 2059-1/2 PTP synchronisation and a range of control protocols such as NMOS IS-04/IS-05.
Furthermore, the IPX-100 can optionally output JPEG-XS signal streaming data (software option) at selectable rates of high (1/6), medium (1/8), low (1/16) and minimum (1/32). Other options include a 3D-LUT output for HD simulcasting (compatible with 33x33x33 or 65x65x65 .cube files created using DaVinci Resolve), HD to 4K-UHD upscaling or a data trunk output.
www.ikegami.co.jp/en
CANON EUROPE has added to its EOS R system with the EOS R1 and EOS R5 Mark II, designed to “take professional photography and videography to new levels”. Both offer a streamlined workflow process and intuitive user experience, with assistive technologies powered by a new Accelerated Capture imaging platform that has been added to support the processing of large volumes of data. Along with Deep Learning technologies, the cameras can reportedly unlock higher performance and new features in several areas,
creative project. Both cameras feature the latest version of Dual Pixel CMOS – Dual Pixel Intelligent AF. This includes multiple enhancements including the ability to more accurately track subjects, by identifying the face and upper bodies of players and avoiding obstacles or other players.
to capture the headline shot every time, while the EOS R5 Mark II is
for a wide range of hybrid professionals to tackle any
range.
www.canon-europe.com THE PTZ3 Plus and PTZ3 UHD Plus when talent turns away from the shot, with an auto 0.5–10s timeout/reset if the presenter leaves the presentation area, and the camera never tracks off-set or breaks a green screen effect thanks to edge limitation. Blackboard detection locks the camera in place when it identifies a presentation area for a more enjoyable viewer experience. To simplify setup and use of camera tracking data for AR or Extended Reality (XR) system setups, the cameras embed the open FreeD tracking data protocol in the NDI|HX stream itself, adding camera position, rotation and lens data metadata into every frame. This reportedly removes the need for additional
and further the mini XLR port, any microphone or audio source can be connected to ingest audio in the same NDI|HX stream, powering +48V microphones with no amplifier needed. Two-step confirmation prevents accidentally powering non-powered microphones. This reduces setup complexity for AV deployments and remote production needs, and offers easier integration with various workflows and less equipment needed.
In brief, the manufacturer has also released Viz Libero Free, a free edition of its flagship sports analysis software, Viz Libero.
www.vizrt.com
AVAILABLE IN 24TB and 48TB compact models, and including a 12-card RAID 0
The manufacturer has also released an end-to-end workflow for producing cinematic
Capable of handling up to 12K Blackmagic RAW digital film files, the fast flash-based memory core is designed for multiple users sharing large media files between editors, colourists, audio engineers and VFX artists. Complete with a status monitor output, the broadcast replay system can connect multiple HyperDeck recorders and DaVinci Resolve 19, which includes a new media player, news cutting and replay features. Featuring large parallel flash memory cores for media files, the Blackmagic Cloud Store models can input 12 M.2 flash memory
range, so cinematographers can shoot 90fps stereoscopic 3D immersive cinema content to a single file. The custom lens system is designed specifically for URSA Cine’s largeformat image sensor with accurate positional data that’s read and stored at the time of manufacture. This immersive lens data –which is mapped, calibrated and stored per eye – then travels through postproduction in the Blackmagic RAW file itself. Finally, the Blackmagic Camera for Android adds digital film features and controls to Samsung Galaxy and Google Pixel phones,
SEVERAL NEW added to AJA’s catalogue, including to the company’s next-gen KONA IP25 video and audio I/O card featuring bidirectional SMPTE ST 2110 support, the OG-ColorBox colour management and nversion device for live production, a feature-packed v3.0 ColorBox update and an OG-C10DA openGear distribution amplifier card.
The KONA IP25 IP video and audio I/O card boasts 10/25GbE SFP connectivity, multichannel UltraHD support and other features that match the demands of full and hybrid SMPTE ST 2110 ecosystems. Designed for broadcast, TV/film, truck, venue, studio, school, HOW, greenfield station and post environments, as well as AJA Developer Partner solutions, the eightlane PCIe Gen 4.0 card adopts the latest IP standards. It provides uncompressed bidirectional SMPTE ST 2110 support and is compatible with many third-party creative and
REPORTEDLY THE world’s first open standards-based, IPMX/ST 2110 IP KVM extender, Matrox Video has launched Avio 2. The latest addition to the manufacturer’s IP KVM product line, the Avio 2 HDMI IP KVM extender is said to provide unparalleled video quality and performance, with support for up to 4K60 4:4:4 resolution, delivering real-time remote performance.
The Avio 2 integrates with existing infrastructure and scales efficiently for installations of any size. Enabling secure, realtime KVM-over-IP extension and switching over 1GbE and supporting true uncompressed 4K 4:4:4 over 10GbE networks, the Avio 2 IP KVM extender is described as suitable for the most
demanding applications, such as handling of detailed content that requires high colour fidelity and image quality.
A versatile IP KVM technology with multiple codec options, including support for JPEG XS, the Avio 2 “raises the bar” for performance and reportedly enhances both productivity and operational efficiency in mission-critical environments. As part of the IPMX standard, the Avio 2 supports NMOS, an open API for device discovery and connection management, facilitating signal routing and control via thirdparty systems in broadcast and live events workflows.
www.matrox.com
Vision Preview mode, ARRI Alexa 35 LogC4 Wide Gamut 4 WVO support in Live Mode via the Colorfront licence, a configurable ACES AMF pipeline, support for .CLF and .CTF files and the ability to configure the SDI and HDMI outputs for colour space and bit depth. A hot-swappable openGear distribution amplifier card for analogue signals, the OG-C10DA features eight BNC outputs, plus one BNC output with an option for loop out or
Designing ColorBox’s colour management and conversion toolset into an openGear form factor, the OG-ColorBox delivers ultra-low latency, high-density 4K/UltraHD high dynamic range (HDR) wide colour gamut (WCG) video processing, extensive HDR/WCG conversion options, colour correction and custom LUT processing for live production. It supports “nearly any live production colour needs”, from colour correcting specialty cameras to processing camera Log and real-time SDR/
video, bi-level and tri-level video reference, AES3-id digital unbalanced audio and LTC signal-type distribution. Built-in compatibility with Ross DashBoard software assists remote OG-C10DA configuration and control, so production teams can distribute multiple copies of a signal and extend the composite video content with gain adjustment for long cable runs.
www.aja.com
DESCRIBED AS a series that promises exceptional performance without a premium price tag, the Jazz Series of 1DLP projectors from Christie has debuted with two models: the DWU2400-JS and DWU1800-JS. Both feature WUXGA resolution in a light and compact form factor, delivering 23,750 lumens and 17,800 lumens, respectively.
The Jazz Series features include advanced electronics, including Texas Instruments’ 0.8-inch HEP (High Efficiency Pixel) DMD for improved colour and contrast, and a more efficient cooling system design. Weighing
WUXGA projectors in the same brightness class that use a 0.96-inch DMD.
The DWU1800-JS and DWU2400-JS include active 3D support, and built-in warping and blending with Christie Twist. Complementary Christie Mystique Lite software works with an inexpensive camera to warp and blend up to three Christie projectors in a single horizontal array with the click of a button. The new projectors are compatible with seven of the HS Series lenses, as well as two new Jazz Series lenses, including an ultra-short throw option.
SHARP NEC
Sharp-branded laser projectors. The Sharp X141Q and Sharp X171Q professional installation projectors offer 4K+ shifting technology and are said to also benefit from improved DLP contrast and a great blending performance with improved fill factor as well as “perfect” border black level. As such, they are suited for use in higher education and corporate scenarios, as well as museums and immersive rooms.
The use of the laser light source within the new models is said to deliver an excellent colour performance with vivid reds. The models are equipped with new high-efficiency pixel (HEP) DLP for improved DLP contrast and better compatibility with WUXGA infrastructure. RB laser technology is highly efficient in producing the most intensely natural tones, minimising power consumption
Long-lasting imaging performance is safeguarded against dust contamination with an IP6X-rated sealed light engine, also minimising maintenance requirements. All of this means the X141Q and X171Q models reportedly promise long-life performance at a low total cost of ownership.
www.sharpnecdisplays.eu
PROVIDING ELEGANT control of any Bluesound Professional sound system on a single interface, the low-profile CP300 control panel is a wall-mounted, PoE+ powered 8-inch colour touchscreen that uses the pre-installed Bluesound Controller Android app to provide total functionality for commercial spaces. The dynamic touchscreen allows users to select playlists and control volume levels, and provides access to a Bluesound Professional partner
No rival
music service of their choice such as SoundMachine, Custom Channels, Sirius XM for Business and Qsic. The Android 13-based tablet comes with an easy-to-install wallmount bracket and a right-angled Ethernet cable; all that is required is a network connection to get started. Meanwhile, the device can be locked via a personalised PIN for added security.
www.bluesoundprofessional.com
AYRTON HAS launched its IP65-rated Rivale Wash, the first wash luminaire in the brand’s new Ultimate range. Forming part of the IP65 3 Series, the Rivale Wash has been developed especially for mixed indoor and outdoor use, including in salt-laden environments. The unit has been designed to emphasise volume and create depth. The 170mm Fresnel lens providing a 4° beam has been specially
ASTERA HAS expanded the potential of its LunaBulb with the LunaBulb Accessory Kit which incorporates a range of blockers, diffusors, reflectors and lenses within a single, lightweight portable case. The kit has been designed to further extend the ways in which the LunaBulb luminaire can be used on-set or during an event. Each LunaBulb Accessory Kit
includes four LunaShades, two Blocker and two Diffusor shades. The shades have a quick snapon fitting and can be applied to the traditional LunaBulb to change the directionality of the light or create a more diffuse appearance. The kit also features four LunaReflectors which fit the slimline format of the luminaire to increase its light output by reflecting it forward and
created for use with framing shutters, while also facilitating the use of geometric gobos or ovalisation lenses. The new Fresnel lens is said to significantly improve colour mixing and deliver 10% more light compared with a conventional Fresnel lens. The Rivale Wash’s proprietary 12-lens optical system offers a zoom ratio of 14:1 and a range from 4–57°.
The Rivale Wash is equipped with a new 430W high-efficiency, sealed, monoblock LED module calibrated at 6,500K, offering a luminous flux of 28,000 lumens with optimum positioning on the black body to achieve “perfect light neutrality”. A system of four individually positionable barn doors reportedly allows precise shaping capability over the full 100% surface area, regardless of lantern position.
The luminaire adopts a new, high-definition, progressive CMY colour mixing system that delivers colour reproduction as soon as the filter is inserted, regardless of the colour combination selected. An extended progressive CTO enables precise adjustment of colour temperature from 2,700K to 6,500K, and a seven-position colour wheel with special filters completes the palette of tools dedicated to colour creation. For greater flexibility of use, the Rivale Wash offers subtle adjustment of the colour rendering index from 70 to 88.
An indexable, rotating gobo wheel with seven adjustable-speed rotating gobos (in both directions), a CMY and RGB graphic effects wheel, a 15 blade iris, a 0–100% variable linear frost and a dimmer/strobe complete the effects package.
www.ayrton.eu
Also included are four snap-on dome LunaDiffusors for the LunaReflector which not only diffuse light but maintain the same look and diffusion density as the upper part of the existing Astera NYX Bulb. As such, when a LunaReflector and LunaDiffusor are combined, the LunaBulb emulates the appearance of Astera’s existing NYX Bulb, meaning that both products can be combined in a single production. Four snap-on optical LunaLens devices also come in the set. These are a slight diffusion that is added to the LunaReflector and imitate the front look of a PAR16 bulb. The devices blend colours while offering only a slight reduction in the output of the LunaReflector. Lastly, the kit boasts four White Snoots which can be screwed onto the LunaReflector to avoid glare and they are fully compatible with the snap-on LunaDiffusor and LunaLens.
SUITABLE FOR a range of outdoor and indoor fixed installations, Martin’s Exterior Dot Pro family of outdoor-rated RGBW LED dots is designed for both indirect and direct view creative video applications and includes three string-based dots: Exterior Dot-1 Pro, Exterior Dot-4 Pro and Exterior Dot-9 Pro. Each model offers full configurability in dot count, distance between dots and lead-in cable length. Additionally, the family features the connector-based Exterior Dot-HP Pro. Equipped with efficient RGBW LEDs, Martin says the range delivers high-intensity and “exceptional” lumen
and mood. Boasting versatile mounting and integration options, its open control interface
output, while its integrated colour boost technology enhances output for mixed and saturated colours. All models are fully gamut colour-calibrated, and calibrated dots feature a dedicated colour temperature channel to allow easy adjustments to create ambience
Exterior Dot Pro family as well as other upcoming
high-speed, high-capacity video processing to simplify fixture deployment. They require no local setup, support long cable distances and allow more fixtures per daisy-chain.
www.martin.com
JOINING THE LightShark range – which comprises the LS-1 hardware console with assignable faders and rotary controls, the more affordable LS-Core, the LS-Wing Open Sound Control (OSC) hardware controller and three multiprotocol DMX streaming devices collectively referred to as LS-NODE – is the LS W1 remote control. It completes LightShark systems by providing a wall-mount touch device with eight programmable buttons to control scenes and trigger any other action from the console. With this device, which is configurable from the console, end users don’t have to access the software interface to execute common scenes and commands.
LightShark’s latest software upgrade (version 1.5.25) has also been released, which applies to all products in the range. Among the improvements are a Responsive
UI that automatically rearranges to fit any screen regardless of its shape or size, plus
new functions such as “HighLight/LowLight” and Fixture Grouping. There are also new time-saving features such as Record Merge and Record Remove, which make it possible for programmers to include or remove their information in the selected Cue – or in all the Cues of a playback – without having to use the EDIT+UPDATE function.
Other key features include the implementation of ArtNet v4, the inclusion of Digital Patch, the introduction of Unicast and the inclusion of a WEB user manual within LightShark, which gives users access to step-by-step video tutorials and screen recordings so that they can learn new
A FOLLOW-UP to its smaller brother, the Opus X Profile, the Opus X4 Profile has been released by Cameo and features a 1,400W LED white-light engine which generates a light output of 50,000 lumens and provides powerful spot and gobo projections.
The combination of the 1,400W LED engine, 193mm front lens and particularly large 5–55° zoom range enables equally flexible use as a spot
and a profile moving head. The Opus X4 Profile is only slightly larger and heavier than the Opus X Profile, despite its large leap in performance, and is still just as flexible to handle. Thanks to its two rotating gobo wheels, a rotating animation wheel, iris and the four-way aperture-slider system, each with ±60° rotatable framing blades, the Opus X4 Profile features nearly all effects options. With saturated
ETC’S TWO- and four-port (non-DIN) models of Response Mk2 DMX Gateways now support NFC configuration. A tap from a mobile device running the Set Light app (v1.9 or later) allows users to retrieve a Gateway’s configuration, edit it in the app, then update the gateway with another tap, even while the gateway is powered off.
This latest update to Response Mk2 DMX Gateways also adds Port Labels on the Gateways’ LCD screen. Users no longer need
to think about what’s plugged into a port and can also view and edit port information in
colours – especially its intense red hues – the spot profile moving head offers infinitely variable CMY colour mixing and two additional colour wheels. A linear CTO filter and two frost filters with 1–5° are also available. Furthermore, the fixture is compatible with all market-relevant control and transmission protocols.
www.cameolight.com
the latest version of ETC’s Concert network configuration software (v4.5.1) and in the
ROBE HAS added to its growing inventory with the PAINTE Fresnel, the SVOPATT and the SVB1. The PAINTE Fresnel is a quiet wash solution for short- and mediumthrow applications in theatrical, television, installation, live or corporate settings. Its colour palettes use an advanced CMY colour mixing system, and the unit is equipped with a wheel with nine dichroic colours, variable CTO and Robe’s ChromaTint patented ±green. The unit has been designed for noise-sensitive environments with multiple fan controls and a choice of a TE 310W HP (High Performance) white LED engine for maximised output or TE 310W HCF (High Colour Fidelity) engine for optimal colour rendition with an inherent CRI of 96.
The SVOPATT features a contemporary housing with nine individual modules, each containing seven 40W RGBW multichips and a centre pixel also containing a 200W white LED strobe. An RLCT lens coating helps maintain high performance and protects against scratches and
scuffs while also preventing particle adhesion. Multiple modes and protocols include Art-Net and sACN for easy pixel mapping. Features
include a choice of RGB or CMY colour mixing modes, a variable CCT range, an onboard DataSwatch colour library with 66 preset colours and tungsten lamp emulation. Each individual module contains a noise-dampened motorised zoom, while the 3.8–50° zoom range enables the creation of tight beams or wide washes from each individual module.
The SVB1 is a multifunctional effect, beam and wash luminaire that delivers high-output and
available for existing Response Mk2 DMX Gateways. Users can activate features in the field with a simple upgrade to software version 2.1.0 or 3.1.0 via UpdaterAtor. For the security-conscious, NFC configuration can also be disabled using Concert on a per device basis, ensuring devices in publicly accessible areas cannot be reconfigured by unauthorised users.
www.etcconnect.com
rotation. With seven individual 40W RGBW LED cells plus a central pixel with both RGBW and a 200W white strobe LED module, the SVB1 offers full pixel mapping. The motorised zoom range offers precise 3.8° beams, up to expansive 50° washes, and the rapid speed and wide coverage are further enhanced by 360° continuous pan and rotation.
www.robe.cz
Brad Hintze, executive vice president, global marketing for Crestron, outlines suggestions for successful hybrid meetings based on the manufacturer’s research and contributions from specialist authors
THE RIGHT TECHNOLOGY AND MINDSET ARE CRITICAL to the success of hybrid meetings with a mix of remote and inperson attendees. Suddenly Hybrid: Managing the Modern Meeting by Karin M Reed and Joseph R Allen, PhD looks at the current state of workplace collaboration. From conversations with the authors and our own research report, Tackling the Modern Workplace by the Numbers (www.crestron.com/Inbound/Modern-Work-ResearchReport), here are some tips for successful hybrid meetings:
Understand (and adhere to) the concept of “meeting equity”
Crestron has been developing the technological framework for meeting equity with solutions such as the Sightline Experience, understanding the concept and the behaviours that buttress it. As noted on the Crestron blog: “Equity involves distributing resources based on the needs of the recipients.” Reed advocates having remote attendees speak first when opening the discussion; a great reminder that remote attendees are in the loop and their input is valuable. “The biggest pitfall that can develop in hybrid meetings is establishing a two-tiered system due to proximity bias where those who are in the office have greater access to information and opportunity,” she says. “In a hybrid meeting, you want to ensure all of the collaboration tools you use are connected. For example, use a virtual whiteboard rather than a physical whiteboard that can only be written on by those in the conference room.”
on training that are taught to students studying organisational psychology and management,” he says. “Any good training will likely follow the guidance provided in these courses, and this is true of a good hybrid meeting training protocol.”
Ensure the right technology is available for both in-person and remote workers
“I was leading a meeting from within a conference room, but the only technology available was an extra laptop which was situated on the table,” relates Reed. “There was no monitor to allow the in-room attendees to see the online attendees and vice versa. There was no way for them to interact at all. Everyone needs to be seen and heard in a hybrid meeting by all their fellow attendees. That means high-quality audio and video for both the in-room and remote attendees. While in-room attendees can usually see their remote counterparts’ faces well, sometimes it’s hard for virtual attendees to see the faces of the in-room attendees. Technology that supplements the broad picture of the meeting room with individual shots of those seated around the table allows the remote attendees to better read nonverbals that might be hidden by the simple ‘bowling alley view’ of the conference room.” This is achieved automatically with intelligent video solutions, with a suite of products including multiple monitors at the office location, which improves the meeting experience for in-person attendees, too. Having every participant in every other attendee’s line of sight as various collaborators speak actually makes the hybrid experience better than an all-in-person event.
Create an effective training programme for your hybrid staff
The best technological solutions for hybrid collaboration are those that require minimal training. However, according to Allen, it’s
Understand the responsibilities of both leaders and attendees in hybrid meetings
“The success of a meeting is shared by both the meeting leader and meeting attendees,” says Reed. The negative effects of tardiness, multi-tasking and hijacking the agenda can be amplified in a hybrid scenario. “Codifying rules like video use, turn-taking procedures and sharing out meeting minutes and action items in an accessible way can make everyone accountable,” adds Reed. “Sometimes, lead a meeting from within the conference room. Sometimes, lead a meeting as a virtual attendee. It sends a strong signal to your team that it doesn’t matter how you join a meeting. Everyone’s contributions are equally valued regardless of their location. Don’t click ‘end meeting’ until everyone has left, especially those in the conference room; the virtual attendees can see everyone walk out and know they aren’t being excluded from the conversation after the official meeting adjourns.”
Treat every meeting as a “high-value” meeting
Small spaces can now host big presentations that were usually reserved for large conference rooms. Every space needs to have the proper connectivity and presentation tech and, from a behavioural aspect, every meeting must be imbued with the same level of engagement and respect. “First, acknowledge remote attendees,” says Reed. This makes them feel that they are part of the team. “Get people talking. Sometimes, conversation can be stunted or stilted because it can be difficult to know when it’s your turn to talk,” she continues. “Cold calling with good intentions
Attendees should, however, be given the chance to simply pass on the opportunity to speak up. Turn-taking policies, establishing signals such as hand-raising or utilising a platform’s chat function, can drive engagement. Technologies that allow everyone – both inperson and remote – the ability to clearly perceive nonverbal cues through intelligent video solutions are extraordinarily helpful.
Use the “five Ws” to establish proper ground rules
The five Ws make a checklist to ensure that a meeting is efficient and even necessary.
Who: Too many participants make a meeting unwieldy.
What: Every meeting should be driven by an agenda that’s shared in advance.
Where: Organisers should opt for more in-person collaboration as topics grow more complex.
When: Meeting leaders should always consider time zone challenges for all the participants.
Why: “Not expressly stating a desired outcome for a meeting is like setting off on a trip without a destination in mind,” says Reed.
Use checklists to follow the methodology outlined above
“It takes the right hardware, software and skillware for a successful hybrid meeting,” says Reed. Adds Allen: “Establish policies that are remote-first. For example: create a culture where there are in-room allies – people within the conference room who are advocating for the voices of their remote colleagues to be heard. It requires a total mindset shift by all involved.”
www.crestron.com
www.crestron.com/Inbound/Modern-Work-Research-Report
