Pro AVL Asia September-October 2018 by Blank Canvas Publishing Ltd

LIVE SOUND LIGHTING RECORDING INSTALLATION A/V BROADCAST POSTPRODUCTION September–October 2018

THOROUGHLY MODERN Budee equips Modern Sky’s Beijing studio

HANOI’S NATIONAL ECONOMICS UNIVERSITY CHINA’S 0760 CLUB CHOOSES APG Singapore: MICA (P) 034/06/2018 PPS 1604/05/2013(022953)

LOOKING FORWARD WITH STUDIOMASTER SPORTING CHANCE FOR SONY PICTURES NETWORKS INDIA

Perfecting the Art of Live Sound Ofﬁcial Yamaha Pro Audio Instagram Account

@yamaha_proaudio_ofﬁcial

www.yamaha.com/proaudio

CONTENTS

Volume 17 Issue Five September–October 2018

NEWS NEWS Harman targets counterfeiters, Management buyout of Martin Audio 4 EDUCATION Budee hosts master class, Adamson training in Jakarta

DISTRIBUTION E&E regains Harman, Martin Audio and Sama Sound

APPOINTMENTS Hills head of sales, Shure promotions

NEW PRODUCTS The industry’s most comprehensive product news

FEATURES RISING UP EAS brings sight and sound to SEA’s ﬁrst Andaz hotel

100

AIMING HIGH 0760 Plus dials TR Audio for an APG club install

102

ECONOMIC EXPANSION AICe enrols Bosch at NEU

104

TOWERING AMBITIONS A/V updates at Singapore’s Sheraton Towers

106

ASTRA GOES STELLA Ballroom A/V at Menara Astra

108

JOINING THE CLUB 1900 Le Theatre casts Funktion-One

110

COVER: REACH FOR THE SKY Inside Modern Sky’s new Beijing recording complex 112 A SPORTING CHANCE Sony expands production for sports channels

114

NEW BEGINNINGS A look at Studiomaster’s heritage and future

118

Editor’s note We pride ourselves on our covers at Pro AVL Asia. This one, however, gives me particular pleasure. Having cut my teeth in the ﬂourishing London studio scene of yesteryear, it’s heartening to see ‘proper’ recording studios making a reappearance, albeit a long way from the US/Euro-centric axis they occupied for so many years. Modern Sky is a huge success story, establishing itself over two decades as the biggest independent record company in China. Alongside the challenge of releasing music in today’s environment, Modern Sky has launched festivals, events and live music venues, providing artists with a career-boosting platform. Now, the company has created a state-of-the-art recording studio to nurture the talents and careers of its acts. Multiple studios allow simultaneous sessions to operate and bands and producer/engineers to mingle, facilitating a creative environment that, sadly, has become so rare in the West. The power of using the right studio is illustrated by a story about queen of soul Aretha Franklin, who passed away as we were going to press. In 1967 she signed to Atlantic Records, which sent her to Fame Studios in Muscle Shoals, Alabama, a legendary hotbed of musical talent. What happened at the studios is another story, but the resulting session gave Franklin her distinctive sound and ﬁrst major hits, proving that the right combination of artistic and technical talent can create magic. Which must surely be an inspiration to Modern Sky as it raises the recording bar in China.

BUSINESS LETTER FROM AMERICA Dan Daley calls for live sound credits

120

LETTER FROM EUROPE Phil Ward looks at Russia’s ﬁrst L-ISA

120

TECHNOLOGY Dennis Baxter sports some unconventional mic techniques

122

TECHNOLOGY DPA’s miniature mic production process

124

SHOW REVIEW BroadcastAsia returns to Suntec Singapore

126

R&D HK Audio’s new Cosmo integrative arrays

130

R&D Joan Amate discusses the Nítid line array system

132

BUSINESS The future of audio networking

134

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@ProAVLAsiaMagazine September–October September–October2018 2018PRO PROAVL AVLASIA ASIA 33

NEWS

Harman targets counterfeiters in New Delhi INDIA: Harman International has been working alongside the Economic Offences Wing of the Delhi Police to take action against the sale of counterfeit JBL Professional audio products in New Delhi. This led to successful raids on two sites that were being used for the manufacture and sale of counterfeit products under the JBL trademark. As well as seizing the counterfeit JBL Professional

speakers, along with packaging materials and fake brand stickers, the police placed the owners of each site under arrest. ‘Harman stands for highestquality standards and world-class audio technology,’ said Pradeep Chaudhry, country manager, Harman India. ‘To maintain trust with consumers and to protect our reputation and brand, we must be vigilant in the authenticity of

our products. This action by the Delhi Police is a big step towards safeguarding the interest of our customers and authorised dealers of JBL products.’ This is not the ﬁrst time that Harman has worked with local authorities in Asia to tackle piracy, as similar raids were carried out in Thailand last year. www.harman.com

Management buyout of Martin Audio backed

The Who play Hyde Park with a Martin Audio system WORLD: LDC, the private equity arm of Lloyds Banking Group, has backed the management buyout of Martin Audio from its parent company, Loud Audio. LDC has invested £12 million for a stake in the loudspeaker manufacturer, which will allow Martin Audio to continue to grow its business,

alongside investment from the current management team led by managing director, Dom Harter. This also marks the second brand to be removed from beneath the Loud Audio umbrella following the acquisition by Transom Capital Group in late 2017, as Ampeg was recently sold to Yamaha Guitar Group.

‘The next phase of our journey needs a growth-focused investment partner like LDC and the team has demonstrated a shared vision for the business from the outset,’ said Mr Harter. ‘Our focus is now on developing our product line even further, and ensuring we have a rock-solid infrastructure in place to extend our global reach and drive market share. Our success to date has been underpinned by providing equipment of the utmost quality to help deliver an unforgettable listening experience to people across the globe. Being a trusted brand and operating in a growing market means the time is right for us to fast-track the growth of the business.’ The deal will see LDC investment directors Troy Harris-Speid and Philip Weston join the board along with James Browning as a nonexecutive director. Mr Harris-Speid stated: ‘Martin Audio has been on a fascinating

growth journey since Dom joined. The business has a world-class brand, history of innovative products and a management team with the ambition to build on a solid foundation to accelerate its expansion. Our investment and support will provide a step change for the business, injecting capital into key growth areas and bringing on board additional expertise to help guide its strategy.’ Loud Audio, which will be working with Mar tin Audio over the course of several months to help with the transition for customers, dealers and distributors, has stated that the sale of Mar tin Audio will allow it to ‘narrow its focus and deliver the best possible products and experience to its pro audio customers’. ‘I’ve truly enjoyed being able to participate in the legacy of this much-lauded brand,’ said Mark Graham, CEO of Loud.

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4 PRO AVL ASIA September–October 2018

‘Bringing some of the technical and operational expertise of the Loud enterprise to Martin Audio and drawing on Martin’s fanatical passion around sound quality created a nice marriage of capabilities. While we are sad to see them go, we believe this change will beneﬁt both businesses by allowing for simplicity and focus. We wish the brand and all the Martin employees the very best of luck.’ James Oh, partner at Transom Capital Group, added: ‘Reducing the complexity of the Loud business and re-focusing on high-quality audio delivery from consumers to professionals has always been the focus of our thesis. We are very happy to have found a great owner for the Martin [Audio] business and wish everyone involved much success in their pursuits.’ www.martin-audio.com

Axient Digital defies limitations for both RF and audio excellence. With an industry-leading 2 ms of latency*, linear transient response, and wide dynamic range, nothing gets in the way of true, pure sound. Learn more at www.shureasia.com/go/axientdigital *From transducer to analog output, in standard transmission mode.

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NEWS

Tencent takes it outside CHINA: DMT has supplied and fitted out an outside broadcast truck for Tencent Video in Beijing. Owned by the multinational conglomerate Tencent Group, which specialises in internetrelated services, entertainment and technology, Tencent Video is responsible for both TV broadcasts and online streaming. The truck is the first OB unit that Tencent Video has operated. Yang Yang, head of Tencent’s audio department, can usually be found at the helm when it comes to recording and mixing sound for the broadcasts. The company quickly put the truck into action, and it has been deployed on numerous large events around the country, including concerts by Chinese superstar Faye Wong, live coverage of Riot Games’ League of Legends final from the Birds Nest Stadium in Beijing and the Air & Style snowboarding contest. ‘Previously in China, only government broadcasters could afford OB vans, but new media has developed very fast in recent years,’ explained DMT’s technical

Tencent’s head of audio, Yang Yang, at the SSL Live console in the OB truck director, Johnathan Wang, who has been working with OB van installations in China for 18 years for clients including CCTV and Zhejiang TV. ‘Internet content providers such as Tencent, LeTV and iQiyi have been expanding their production teams and ability. The essential elements for these

content providers are speed and ﬂexibility. In terms of the system architecture, it is certainly different from the traditional broadcasters. For example, the Tencent OB van uses IP architecture, both VoIP + AoIP. They don’t have the same worries that traditional broadcasts have; ﬂexibility and diversity are

what the customers like the best.’ DMT has supplied the Tencent OB van with an SSL Live L500 Plus and L300 expander console with a Yamaha QL1 for backup, and Digital Audio Denmark AX32 digital audio bridges. Also installed is a Genelec 8330 APM 5.1 surround monitoring system with 7350 APM subwoofer, Sonifex RM4C8 reference monitor, Avid S3 16-fader control sur face audio inter face, Pro Tools HDX Core, Waves 360° surround mixing tools, TC Electronic Music 6000 MKII effects processors, Universal Audio Apollo 16B audio inter face and UAD-2 Octo Ultimate 5 DSP processor, Studio Technologies 5202 Dante inter face, Sennheiser ew300 in-ear monitoring system, DPA d:ﬁne headset microphones and a DPA 4011A cardioid mic. ‘The big challenge is to help the customer simplify their operational procedure,’ Mr Wang continued. ‘It must be quick and simple to switch between different working scenes, which made us use our heads and think through the requirements and operational

habits thoroughly. Thanks to SSL Live’s power ful Tempest processing platform, DSP settings can be changed very quickly at any time during the work without losing the previous operational data, which is very helpful for users when changing their own scenes. It can also help them adapt to the complicated and ever-changing requirements of programming today.’ ‘This OB van showcases the potential of the technology now available,’ added Mr Yang. ‘Combining the SSL Live consoles and DAD AX32s, the system core increases the signal routing ﬂexibility, which meets Tencent’s different programming requirements. Should any problems occur, this ﬂexible signal routing offers faster solutions to sound engineers. DMT understands the user’s needs accurately, and has a strong technical background, which is important in solving key problems.’ www.dmtpro.com

.UDPHU RSHQV %DQJNRN RIÀFH Chauvet Mavericks shine the blues TASMANIA: The town of Forth may have a population of only 700, but thousands visit each year to attend the Forth Valley Blues Festival. During the latest edition, as blues artists such as Mark Seymour of Hunters & Collectors fame and Guitar Extravaganza featuring

The official ribbon-cutting THAILAND: Kramer Electronics Asia Pacific has opened a new office in Bangkok. The opening of the Kramer Thailand office, in addition to facilities in Taiwan and the Philippines as well as the regional headquarters in Singapore, is part of Kramer’s ongoing strategy to strengthen its position in APAC. The Bangkok office will provide pre- and post-sales support, system design and in-house training to the Thai A/V industry. An official opening ceremony was conducted, providing the nearly 100 A/V consultants and Kramer partners from across Thailand

with the opportunity to meet with the Kramer Asia Pacific team. ‘Kramer sees strategic importance in the entire APAC region and specifically in South East Asia as a priority market for the company,’ explained Sam Bonomo, VP of sales at Kramer. ‘Our new office in Bangkok will accelerate Kramer’s growth as well as answer the growing demand for local representation of a global pro A/V manufacturer with an extensive portfolio.’ With a requirement for somebody to manage the day-today operations at the Bangkok site, Kritsada Thaikruawan

has been hired as country manager for Kramer Thailand. He will lead a team comprising sales manager, Guntapong Boonyanupong, and technical support engineer, Sathaporn Phasathit. ‘Together with the recent official opening of the Kramer Thailand office, we have strong faith that Kritsada is capable of bringing the Kramer quality and services for our customers to the next level,’ commented Yair Levin, general manager of Kramer Asia Pacific. www.kramerav.com/asia

www.chauvetprofessional.com

Forth Valley Blues Festival

6 PRO AVL ASIA September–October 2018

Kevin Borich, Phil Emmanuel and Tim Gaze took to the stage, they were accompanied by a lighting rig designed by Michael Westcott and featuring Chauvet Maverick MK2 Spot fixtures supplied by Show Systems Australia. Mr Westcott flew eight Maverick MK2 Spots above the main stage – four on upstage truss, the other four on midstage truss. The fixtures were controlled via sACN and used to add depth to the stage by creating overlapping patterns. ‘Given that there are 14 bands performing on the main stage over a 48-hour period, it can be a challenge to keep each band looking fresh and unique without recycling the same looks and dynamics over and over again,’ said Mr Westcott. ‘Thankfully with the Maverick’s armament of features, we always had another trick up our sleeve. The wide zoom [13° to 37°] was particularly useful in helping us vary the looks we created. The intensity ensured that I could easily make an impact on stage. We turned up our lighting volume to match particularly powerful parts of the musical performances.’

www.showsystems.com.au

NEWS

$XGLRFHQWHU·V VHQVDWLRQDO ODXQFK THAILAND: Audiocenter recently worked alongside its Thai distributor, Gomy Electronics, to host an event dubbed Sensation Party at Centerpoint Studio in Bangkok. The event served the dual purpose of seminar and launch event for the manufacturer’s K-LA212-DSP line array speaker and SA3 active 2-way speaker. The acoustically treated venue featured a main stage and a DJ booth. The main stage was reinforced by 10 per side of the new K-LA212-DSP, while the DJ booth was rigged with a V-HLA12MKII system comprising three per side. More than 300 pro audio professionals, including live sound engineers, systems integrators, end users and rental company

representatives, attended the event. Following opening speeches and technical product overviews, attendees were treated to a concert with Thai bands Lady and the Tramp and Ohio King Pichet joined by Black Eye from Laos. Each band plays a different genre of music, allowing the audience

to experience the versatility of the K-LA212-DSP system. In addition to the K-LA212-DSPs, the main stage setup included K-LA218-DSP subwoofers and K-LA28-MA/SP front-ﬁlls and and side-ﬁlls. On the stage, EA5 Series cabinets served as monitors, while an EA5118 subwoofer ensured the

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drummers could hear what they were playing. Away from the live bands and DJ sets, those in attendance were able to roam an outdoor demo area featuring Audiocenter’s debuting SA3, as well as the EA5 and K-LA28-MA/SP systems. The SA3 was also making its debut in Thailand. Following the event, Mr Wei of Gomy Electronics expressed his gratitude towards all who participated and to Audiocenter for ensuring the launch was a success. Audiocenter chairman Tony Lee, APAC sales director Dena Tsui, product application engineer Roshan Malim and the manufacturer’s APAC marketing team were all on hand to offer support on the day. K-LA212-DSP

www.audiocenter.net

- QJHU ÀOHV IRU LQVROYHQF\ WORLD: Jünger Audio has ﬁled for insolvency and plans to use the process to reorganise the business. Stefan Ludwig from

offering them as platformindependent software in the relevant future markets,’ said Mr Schlockwerder.

Schultze & Braun has been appointed as the provisional insolvency administrator. ‘We are working to make the business model of Jünger Audio more future-oriented,’ stated managing director, Martin Schlockwerder. ‘In the future, along with our hardware, we also want to focus more on softwarebased solutions for audio technology in order to account for the major changes in the market. Ultimately, we were lacking the liquidity to bring the new concept to fruition.’ With the internal reorganisation efforts underway, the manufacturer is now looking to attract an investor that can equip it with the ﬁnancial resources needed to support its reorientation. ‘With fresh funds, we can present our worldrenowned development work in the form of innovative products,

Jünger reportedly launched the mergers and acquisitions process before the start of the provisional insolvency proceedings in order to target speciﬁc investors. ‘We are able to build on the extensive preliminary work that has already been done,’ said Mr Ludwig. ‘That’s very good, because we can continue the discussions with potential investors without losing too much time. Our goal is to successfully complete the search in a timely manner.’ The provisional administrator insists it will be business as usual at Jünger, stating that ‘all of the current orders will be fulﬁlled as promised’. At the time of the announcement, the 30 staff members’ jobs were safe thanks to the insolvency payment. www.junger-audio.com

NEWS

Astro Radio enters a virtual reality

MALAYSIA: Astro Radio has continued to evolve since its inception in 1996. When the radio station was 10 years old in 2006, it adopted a simpliﬁed studio workﬂow with the addition of a Lawo zirkon modular broadcast console and, now, obser ving the trends of vir tual working environments and touchscreen technology, Astro Radio has successfully installed Lawo Vir tual Consoles in its newsroom that run the Vistool-PC inter face.

‘This virtual console needed to be a radio broadcast console with all the features and functionalities of a professional broadcast console,’ explained Jude Isa Dawson, senior manager of broadcast operations at Astro Radio. ‘We wanted to build something extraordinary that encompassed the functionality of a typical broadcast console, upgradable and scalable.’ ‘The design called for a radical re-imagining of what an on-air studio could look like,’ added Bala Murali Subramaney, the radio station’s

chief technology officer. ‘There is very little time for training and familiarising on-air talent with the technology inside the studio. What it meant for our engineers was that the Virtual Console should be very simple and intuitive to use. It should also easily play back audio content from online sources such as websites, YouTube, WhatsApp and social media platforms, and should also be quick and responsive to execute commands while being highly configurable and secure.’ Other criteria put forth included the adherence to AES3 and AES10 EBU audio standards and maintaining the station’s in-house external 44.1kHz word clock synchronisation distribution. The system also needed to be compatible with Astro Radio’s existing Lawo routing infrastructure. ‘With a clear design ethos and criteria, we first tackled the most daunting challenge – how one replaces an entire Lawo zirkon with a touchscreen interface,’ said Mr Dawson. ‘We spent six months evaluating 15 different touchscreen products, refined our selection

criteria to device dimensions, screen size, display area, fan-less cooling, wide viewing angle, antiglare screen with high brightness, capacitive touch enabled and suitability for 24x7 operation, and eventually narrowed down our field of suitable devices to two. Then we hit a roadblock as we had decided early on that the virtual console must be mounted flush into the studio table. The issue with most touchscreens is the limited viewing angle – it had to be tilted at an angle for the screen to be able to be clearly seen.’ ‘The deciding criteria, which cleared the roadblock, was the screen brightness,’ explained Mr Subramaney. ‘Most touchscreens have a brightness of 500 nits or less. For our virtual console, a level of brightness greater than 500 nits was essential to overcome the viewing angle issue and we finally settled on a built-for-factory touchscreen device for the virtual console.’ A pair of touchscreens were integrated into the desk. If either of them should become damaged or fail, redundancy is provided by

PCs also running the Vistool-PC interface, which is capable of displaying all the faders and buttons from touchscreens. ‘This will give sufficient time for the engineer to replace the faulty touchscreen with a spare unit,’ said Mr Dawson. Although it was seen as a huge risk to replace a fully fledged audio console with a virtual setup, the reward has been worth it for Astro Radio. ‘The virtual console platform has allowed for a faster software development cycle,’ noted Mr Subramaney. ‘We are able to develop new features and functionality both for default and user-specific snapshots. We can easily customise the console layout or skins, redesign and resize fader and button shapes and colours, and incorporate macros and GPIO signalling. This flexibility gave us the freedom to explore new possibilities. For example, we added more channel faders per screen and moved monitoring level controls to a pop-up screen.’ www.astroradio.com.my www.lawo.com www.lawobroadcast.com

Crestron wins Microsoft award WORLD: Microsoft has recognised Crestron with its Global Partner of the Year Award for Internet of Things (IoT). The award was for the manufacturer’s XiO Cloud IoT-based provisioning and management solution which is built on the Microsoft Azure platform.

‘Crestron is honoured to be recognised by Microsoft for developing game-changing connected technologies that help propel digital transformation at Fortune 500 companies worldwide,’ said Ted Colton, vice president of uniﬁed communication strategies at Crestron. ‘Crestron

XiO Cloud reduces the complexities associated with deploying, tracking, managing and evolving the ecosystem of IoT-enabled devices that make communication and collaboration seamless.’ ‘Our ecosystem of partners is crucial to delivering transformative solutions, and this year’s winners

Gavriella Schuster, corporate vice president, One Commercial Partner, Microsoft Corp. ‘We are pleased to recognise Crestron for being selected as winner of the 2018 Microsoft IoT Partner of the Year Award.’ have proven to be some of the ﬁnest among their peers,’ added

www.crestron.com

ISE heads to Barcelona in 2021 WORLD: After months of speculation, ISE organiser Integrated Systems Events has announced plans for the show to move to Barcelona for the 2021 edition. The Gran Via, part of the Fira de Barcelona exhibition complex, will become ISE’s new permanent home. The RAI in Amsterdam has been the show’s home for the majority of its lifespan but, with more and more exhibitors joining the ranks each year, has outgrown what both the exhibitor centre and city itself can offer. Both the ISE 2019 and 2020 editions will take place at the RAI Amsterdam. ‘The RAI and Amsterdam have provided a fantastic location, been great partners and contributed to the success of the show,’ stated

Mike Blackman, managing director at Integrated Systems Events. ‘But demand from exhibitors and the continued increase in the numbers of attendees, showed us that limited ﬂoor space was in danger of putting a brake on the

10 PRO AVL ASIA September–October 2018

show’s development. In spite of all our best efforts, this was not an issue we felt could be solved by staying at the RAI Amsterdam.’ The Fira de Barcelona complex has two exhibition venues totalling over 400,000m2 of ﬂoor space

and 14 halls. ISE 2018 attracted 80,923 attendees, of which 22,000 were visiting the show for the first time, while 1,296 exhibitors filled 53,000m2 of floor space in 15 halls. ‘We conducted extensive exhibitor and attendee research and visited many major exhibition centres in Europe before making this important decision,’ continued Mr Blackman. ‘By announcing our move to one of Europe’s largest and most prestigious convention complexes, we can now continue to focus on creating a unique experience for everyone and confidently plan for long-term development.’ ISE’s co-owners Avixa and Cedia were keen to highlight the benefits of relocating.

‘Our thinking in coming to this decision has been driven by our desire to serve and deliver value for our members, attendees and exhibitors at ISE,’ commented David Labuskes, Avixa CEO. ‘We can better achieve these objectives in a venue that can evolve with us and continue to reﬂect the market we work in.’ Tabatha O’Connor, Cedia global president and CEO, added: ‘Not only is the new venue a stateof-the-art home for our show but the city of Barcelona is one of Europe’s most vibrant and exciting. It’s the per fect choice for an exhibition and growing industry that engenders creativity and commerce.’ www.iseurope.org

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NEWS

AV Integrated Systems Expo debuting in 2019 INDIA: The AV Integrated Systems Expo (AV-ISE) will be held for the ﬁrst time in 2019 in Mumbai. The trade show runs from 30 May to 1 June 2019, in parallel with the 2019 edition of Palm Expo, based in its own hall at the Bombay Exhibition Center.

‘We are determined to establish the AV Integrated Systems Expo, which the Indian A/V industr y has expressed an urgent need for. It will be a cost-effective, market-driven A/V platform, which will deliver new business,’ declared Manish Gandhi, COO of

show organisers ITE and ABEC. ‘Our per formance is proven with the tremendous contribution of the Palm Expo to the pro audio industr y. Our commitment and investment to connect A/V manufacturers and distributors with systems integrators and

edition in 2019.’ In addition to highlighting exhibitors on its show floor, AV-ISE will include the CAVS programme (Cer tified A/V Specialist education), the A/V tech tour and the A/V Project Buyer Connect Programme. Also featured will be the AV Summit, comprising a conference, seminar, workshop and training. A/V consultants provides a foundation for AV-ISE in its first

www.avintegratedsystems.in www.palmexpo.in

disguise hosts creative community event CHINA: Representatives from more than 40 companies within China’s creative industry recently attended a community event organised by disguise, showcasing how the manufacturer’s solutions can be used to support all phases of a production process. The event, held in conjunction with the Multimedia Industry Association (MIA), saw a series of visual designers and experts from various creative ﬁelds share their in-depth knowledge of workﬂows and projects from practical and theoretical standpoints.

Hu Zhibo, a freelance visual designer, shared his workﬂow knowledge gained during projects such as Marcopolo and the

Dongfeng s560 launch in which he utilised disguise solutions. Meanwhile, Totti Chen, founder of Shaghai-based studio Digital

Fun, discussed how disguise can integrate with other systems including BlackTrax and Notch, citing the Audi A8L launch show as a case study. He showed how dynamic-ﬂoating LEDs were programmed at that event using TouchDesigner and explained that the production was powered by four 4x4pros and a pair of gx 2 media servers. Another speaker was Yan Liuchao, outreach director of the Advanced Innovation Centre at Future Visual Entertainment (FVE), who shared his theoretical research on artistic

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12 PRO AVL ASIA September–October 2018

creation used for producing the opening ceremony of the Beijing Olympics. Attendees also had the opportunity to explore the disguise product catalogue up close, including the pro and gx ranges. The manufacturer’s CEO, Fernando Kufer, was also in attendance, introducing the r15 software release, featuring the OmniCal camera-based projector calibration tool. www.disguise.one www.smia.org.cn

NEWS

Walking for awareness INDIA: Bangalore-based rental company, J Davis Pro Sound and Lighting, has staged an event in the city for the inaugural Women Walk Together initiative, organised by the International #WomenWalkTogether (#WWT) community. The event, aimed at promoting awareness of jobs for women in the live production industry, was held simultaneously in India, South Africa, Brazil, Guinea and the UK on 18 July, Nelson Mandela Day. The date also marked the centenary of Nelson Mandela’s birth, as well as the Elders

J Davis’ Santana Davis

#WWT Bangalore

10th Anniversary Walk Together campaign, an independent group of global leaders working for international peace and human rights. J Davis CEO, Santana Davis, has taken a lead in supporting the cause in India. ‘I took on the responsibility to hold this event in Bangalore and build the Women’s Community in India,’ explained Mr Davis, who represents #WWT in India and is also the initiator for the Indian chapter of #WWT. Working in conjunction with event management company, Distinct Communication, Mr Davis and his team handled all aspects of the event, from conceptualisation and programming through to the smooth running of the day. Held at the Opus Performance Club, installed with a QSC Wide-Line 10 line array system, K12 monitors and a DiGiCo S31 console, Mr Davis supplemented the venue’s sound and lighting system with a Sennheiser ew 300 G4 wireless microphone system with Shure UR4D receivers, and Elation Platinum Beam, Platinum Beam 5R, LED Molefays and LED PAR lights.

A series of talks by industry stalwarts examined the role of women in the production industry, while networking opportunities encouraged further discussion. The audience, comprised of Bangalore’s events and production companies and nominated female staff, was also entertained with musical performances by female artists.

Vocalist Soundarya Jayachandran performing at #WWT Each event worldwide was led by female production teams. Calcutta-based Monisha Das was sound engineer for the Bangalore event, while stage tech duties were handled by Karuna Sahu, who ensured smooth changeovers between speakers, panellists and artists. ‘As a woman in the event

production industry, I can safely say that the work is really a breeze,’ said Bangalore event production manager, Shipra Venkatesh. ‘There is an opportunity in this industry to earn respect and support because of your work. It is unfortunately an industry that is not well-known enough, especially to women, as a career prospect. Being a part of #WomenWalkTogether, I look forward to meeting and interacting with likeminded women across the globe. And, more importantly, to educating young women around India on what a great job this can be.’ ‘Shipra is a well-travelled event production manager, specialising in sound engineering and lighting design,’ added Mr Davis. ‘She has engaged in live music productions across extensive regions of India, and is developing the ﬁrst ever onsite training crews to support the new generation to gain experience in the production industry. Shipra will be leading the ﬁrst all-female technical crew that has ever operated in India as part of the #WWT global showcase.’ www.jdavisprosound.com www.womenwalktogether.org

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Kling & Freitag GmbH | www.kling-freitag.com

July–August 2017 PRO AUDIO 25 May–June 2018 11 July–August 37 January–February 35 March–April 2018 95 November–December 2017 PRO AVL ASIA 11

NEWS

TOA adds audio spice to Cinnamon

The two inner HX-7 speaker systems combine FB-150B subwoofers above their arrays SINGAPORE: Located in NUS University Town, Cinnamon College is a 600-room residential campus attracting USP students who wish

to call it their home for a 2-year period. These students develop a sense of communal spirit through living and learning together, while

taking classes, playing sports and socialising. Two large dining halls lie at the heart of the USP community where, in addition to sharing meals, they can host thoughtful discussions and relax with musical entertainment. Cinnamon College called upon the services of AV Media Pte Ltd to upgrade its existing TOA HX-5 loudspeaker system. Here, the 28m-wide rooms can be partitioned into two individual 14m-wide rooms. The additional speakers were required to promote even stereo coverage across each individual dining area. In the seven intervening years following the original installation, TOA added the HX-7 system to its catalogue. Building on the same design

features of the HX-5 model, the dual 5-inch HX-7 is a larger, more powerful conﬁguration providing higher output and power handling, while enhancing intelligibility within the vocal range. As such, TOA Electronics’ project engineerin-charge, Andrew Lim, created a design that utilises four HX-7 speakers in each hall. Four HX-7 speakers are suspended from upper ceilingmounted brackets, for which the two inner hangs also incorporate FB-150B 15-inch subwoofers above them to further extend the lower

frequencies. Powered by three DA-550F 4-channel ampliﬁers, DSP settings for speech and music have been stored in a DPSP3 digital speaker processor. Four channels of Audio-Technica ATW-R2100 wireless microphones allow speakers to debate topics using either handheld or clip-on models. A rack-mounted Yamaha MG166 analogue console provides more simple mixing options, while a TF-1 digital console is preferred when hosting live events. Up to 16 microphone inputs can be interfaced to the TIO1608-D Dante I/O rack for musicians performing on a temporary stage via the Cat-5 network. When unoccupied, the 4m-high rooms may appear soulless, but dim the lights, add students, food and drink, microphones and music, and Cinnamon is transformed into a spice with a social kick. www.toa.com.sg www.usp.nus.edu.sg

Avoca Blue brings Blackmagic Stage Tec Nexus becomes compatible to the Symphony Orchestra with Yamaha WORLD: Users of Yamaha consoles are now able to access Stage Tec’s Nexus system over IP in conjunction with the Dante inter face. This provides Yamaha consoles with the ability to control the Nexus TrueMatch microphone inputs and allows for the use of Nexus conver ters. The licence for Nexus remote control via a Yamaha mixing

console can be acquired directly from Stage Tec. TrueMatch input parameters such as phantom power, low cut and gain can be controlled using the XDIP Dante audio over IP inter face and the XACI control board. Up to four Dante boards can be used per miking console. www.stagetec.com www.yamahaproaudio.com

AUSTRALIA: Production company Avoca Blue used two Blackmagic Design Ursa Broadcast cameras, an Ursa Mini 4.6K EF and ﬁve Micro Studio Camera 4Ks to capture the

Melbourne Symphony Orchestra Gala in 4K. The cameras were fed to an Atem 1 M/E Production Studio 4K video live production switcher for live switching, used with Blackmagic

Design’s Talkback Converter and Mini Converter Optical Fiber 12G for converting from SDI to ﬁbre. ‘I loved the ability to have the Ursa Broadcasts used with our B4 lenses,’ commented Toby Parkinson, producer at Avoca Blue. ‘We had used cinema camera lenses before, but the zoom was always limiting. For a concert, you want to be able to quickly zoom in on ﬁngers and faces, and being able to use good zoom lenses was fantastic. Being able to do this makes the Ursa Broadcast perfect for these types of live shoots.’ www.blackmagicdesign.com

Calrec experiences Korean growth KOREA: Calrec Audio is reporting strong growth in the Korean broadcasting market. Several major broadcasters in the region have purchased from Calrec’s catalogue of audio consoles and AoIP interfaces within the last 12 months, including the Hyundai Home Shopping Network, MBC TV and Korean Broadcasting System (KBS). These installations were all handled by Calrec’s Korean distributor, Ingang Audio. The Hyundai Home Shopping Network is a T-commerce channel. It required a small-scale audio console and acquired the ﬁrst Brio console to make its way into Korea in the form of a Brio36. Meanwhile, terrestrial channel MBC TV, which already possessed

The Hyundai Home Shopping Network purchased Korea’s ﬁrst Brio36

a ﬂeet of 14 Calrec desks, has added to its inventory with a Brio console of its own. ‘The market in Korea is of huge importance to us, and we’re so

14 PRO AVL ASIA September–October 2018

pleased that the Brio is seeing such success there,’ said Anthony Harrison, Calrec’s international sales manager. ‘But this isn’t by accident, as we’re continually

working hard to innovate our consoles so that our customers always have the absolute best when it comes to audio technology. As an example, we recently boosted the channel count for our Brio consoles, adding even more versatility.’ KBS has also been a long-term Calrec customer, using the British brand’s mixers across its various TV and radio studios. The latest additions at KBS are a pair of Summa consoles: one used for live news and entertainment at KBS ChunCheon, the second initially purchased to cover the 2018 FIFA World Cup and now in use at KBS Mokpo. The national broadcaster also installed Calrec AES67 interfaces at its main facility,

connecting its existing consoles to an AoIP network. ‘We’ve been working with Calrec for many years, and we have complete faith in their brand,’ commented Joohong Chang, president of Ingang Audio. ‘Our customers often come to us with a demanding wish list – one that requires audio consoles at a competitive price that can handle the job of desks twice their size. We repeatedly suggest Calrec because their consoles are stable and powerful, with a large number of inputs and outputs and great networking capabilities. Plus, Calrec offers great local support.’ www.calrec.com www.ingangaudio.com

NEWS

Igniting with passion in Singapore SINGAPORE: For the 11th time, Singapore’s Republic Polytechnic (RP) held its annual Ignite! music festival. Entirely planned, managed and run by the school’s students as part of their learning experience, and with only supervision by teaching and technical staff, as in past years it culminated in a 2-day, admission-free- open-air festival. Several thousand of RP’s students and music lovers from all across the city state came ﬂocking to enjoy the lineup of 14 acts, ranging from solo artists to an 18-piece band on the main stage, plus the programme on the new, smaller Chill-Out Stage, also dubbed the DJ Stage. ‘Ignite! is probably the longest running music festival in Singapore,’ said festival director, Ganesh Kalyanam. ‘Our ambition is to remain open and free for everyone.’ That said, the production budget has always been tight. ‘We could do the festival with only our own gear by pulling it together from different venues on the campus,’ stated RP’s technical manager, Raﬁ Dean.

One half of the cardioid sub array with d&b J-Infra and V-Subs, plus V12 front ﬁll and Max2 stagemonitors

The main stage at Ignite! music festival ‘However, it wouldn’t be quite the same experience for students, artists and the audience.’ Instead, sponsors came up with additional audio and lighting equipment for the duration of the event as in previous years and much to Mr Kalyanam and his team’s gratefulness. This year, Clear-Com contributed a complete FreeSpeak II intercom system including a base station and 10 beltpacks with double- and single-ear headsets, and linked

Festival director Ganesh ‘Papa Bear’ Kalyanam with TPP’s Sheldon Gooi

it to the school’s walkie-talkie system. ‘ClearCom started out with rock ‘n’ roll,’ the manufacturer’s regional sales manager, Hans Chia, recalled before adding: ‘We want the students to use the latest technology while learning about production. Plus, a wireless intercom makes perfect sense here. With just a handful of antennas on stage and at the mix position, we’re covering the entire venue, even the production ofﬁce on the second ﬂoor of an adjacent building.’ Yamaha helped out again, this time with a CL5 console for FOH, a QL5 for monitors on the main stage and support personnel during set up and the event itself. The lion’s share, however, came from Singaporean rental house The Production People (TPP). ‘Over recent years we have been involved with Ignite! as suppliers of the LED videowall already,’ explained Sheldon Gooi, TPP owner and

Clear-Com’s FreeSpeak II at the heart of the wireless intercom system director. ‘Sharing the same passion for music as Ignite!’s organisers and crowd, this year we decided to step it up and pitch in with most of the lighting and all of the sound equipment.’ Robe collaborated and provided TPP with lighting fixtures, such as MegaPointes and pixelPatts, which TPP used alongside its own kit. All PA and monitor speaker systems were exclusively d&b audiotechnik from TPP’s inventory. While the Chill-Out Stage was outfitted with a compact Q-Series system, the main stage featured six V8s and two V12s per side, plus two V12s for front-fill positioned on top of a cardioid sub array built from V-Subs and J-Infras. Two V10Ps helped cover the outer areas of the wider-than-deep-shaped venue, and on stage numerous

Max2 handled monitor duties. Digital audio from the consoles in Dante format went all the way to the d&b D80 and D20 ampliﬁers via DS10 audio network bridges. d&b was also on site to help with system design and set up well in advance of the festival. ‘It was the ﬁrst time we were able to use our ArrayProcessing software at an outdoor venue in Singapore,’ reported d&b’s application engineer, Gareth Kelbrick. ‘It enabled us to optimise coverage of the entire venue and aim the sound downwards to avoid slapback from the buildings opposite the stage, while still maintaining optimal sound at the raised mix position.’

Video control ‘We are extremely thankful for all the support by our sponsors, especially TPP,’ stated Mr Dean. ‘In my personal opinion, with this year’s main stage and all the systems used, we were able to up the ante once again.’ www.clearcom.com www.dbaudio.com www.ignitemusicfest.com www.robe.cz www.tpp.com.sg sg.yamaha.com

TASCAM hosts 2018 APAC distributor meeting JAPAN: TASCAM recently rounded up its regional partners at the Keio Plaza Tama Hotel in Tokyo for its annual APAC Distributor Meeting. The event was attended by 13 of TASCAM’s APAC distributors, giving them the opportunity to better understand the manufacturer’s 2018 roadmap while demoing the latest TASCAM products. Distributors attending the 2-day event included: Advanced Communication Equipment (ACE) and Great Wall Audio/Musical Instrument Co from China; Cheng Seng Trading Co and Hi Pro Technology Corporation from Taiwan; CMI Music & Audio (CMI) from Australia; Danmon Asia and Viet Thuong Music Corp from Vietnam; ProPlugin and Vichai Trading from Thailand; Direct Imports from New Zealand; Electronics & Engineering (E&E)

from Singapore; PT.Promedia Innovative Solution from Indonesia; and Sun Broadcast Equipments from India. ‘It was a good opportunity to introduce TASCAM’s new product line to distributors and share some ideas for the future,’ explained TASCAM APAC sales

16 PRO AVL ASIA September–October 2018

manager, Yo Hosoi. ‘We enjoyed the event and the after party with them. I’m sure the attendees increased their knowledge of the TASCAM brand gear.’ The event saw China’s Great Wall named Best APAC Distributor of the Year and China’s ACE honoured as Best APAC Pro Audio

Distributor. Meanwhile, Australian distributor CMI was credited for its outstanding PR and marketing activities and Singapore’s E&E was presented with an award for ‘TASCAM Come Back Distributor of the Year’. ‘The meeting was wellorganised and it was such a

great get-together opportunity for TASCAM’s APAC partners, to learn and share the different experiences,’ commented Rico Fung, broadcast division VP, ACE. ‘The factory visit and product demo sessions enhanced the 2-day meeting, which showcased the comprehensive system capability of TASCAM. We are looking forward to the next DC meeting in Asia.’ ‘The information and presentations were interesting and also gave me a great insight into TASCAM that I had never seen before,’ added CMI Music & Audio sales and marketing director, Graeme Mitchell. ‘The new programmes look exciting and the [marketing tool] resource will be well used by our marketing team.’ www.tascam.com

7+( 1(: 5()(5(1&( 32,17

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NEWS

Introducing and connecting the SCO Summit CHINA: Qingdao recently hosted the 18th SCO (Shanghai Cooperation Organization) Summit. Ahead of the conference, an Absen A1099 ﬁxed, outdoor LED display was installed on the side of a building next to the crossing of Shenzhen Road and Liaoyang Road to promote Qingdao’s image and to display information from the nearby Qingdao Road Transport Bureau. ‘It is at one of the crossroads that people must pass by when entering or leaving the city and the size of this LED screen makes it eye-catching,’ said the director of Qingdao Municipal Transport Development Group Co. ‘It has been mainly used as a media channel to showcase the city image, playing content of Qingdao’s scenery and its culture, as well as public interest advertisements and the highlights of the 19th Congress and the 18th SCO Summit.’ The Absen A1099 was chosen due to its IP65 rating, as Qingdao is a coastal city with salty sea air and high humidity providing

The Absen A1099 screen

treacherous conditions for technology. ‘This site is only 2km to the coast and we must take its climate conditions into account when selecting a product,’ said Liu Hui, sales manager. ‘Salt particles and moisture cause corrosion, so we chose an IP65-rated product and used special coating materials on the frames and the panels to secure its reliability.’ Meanwhile, during the conference, Digired was tasked with installing and operating a ﬁbre optic signal

Sam Anning upgrades to Core by DPA

Sam Anning AUSTRALIA: Globally renowned bassist Sam Anning has upgraded his DPA Microphones d:vote 4099B Instrument Microphone with a new Core by DPA version. He has already been seen using the d:vote Core 4099B Instrument Microphone at various Australian jazz festivals. ‘I tried my new d:vote Core on my double bass for an Australian live-toair national radio show with Maceo Parker, Gretchen Parlato, Terri Lyne Carrington and Barney McAll and it sounded incredibly natural and

isolated – in a good way – from the other instruments,’ Mr Anning said. ‘I’m now looking forward to seeing how my old Martin guitar sounds when I use it with the d:vote Core 4099B on my songwriting projects.’ The bassist was ﬁrst introduced to DPA products when touring the European festival scene. His Core mic now holds a permanent place in his setup. ‘Recently, at the Melbourne Recital Centre where my band was supporting one of the

18 PRO AVL ASIA September–October 2018

international headliners, the engineers at the soundcheck were really impressed at how open and natural it sounded, while still delivering excellent separation from the drums,’ Mr Anning explained. So impressed is Mr Anning with his DPA mic that he opted to take part in DPA’s recent ‘World Tour’ event in Melbourne, which was held in conjunction with Australian distributor Amber Technology. There he played demo sessions with Chris Pickering on drums so that local musicians and recording professionals had a chance to hear various DPA products in use. ‘We tried different microphone positions on the bass to get different tonal colours and even tried putting the IMK inside the body of the instrument,’ Mr Anning recalled. ‘Listening back, it was incredible hearing how much detail these microphones captured, despite drums taking up so much acoustic space. It was a great experience for me and not only would I do it again, but next time I’ll be bringing my students and bass player friends because we can learn so much from working together.’ www.dpamicrophones.com

transport system connecting CCTV’s television studio, the Xinhua News Agency, Qingdao Television Studio, the International Conference Center, OB vans and the journalists’ global information desks. As the Chinese master distributor for Barnfind, Digired utilised the Norwegian manufacturer’s BarnOne fibre matrix. A total of 108 fibre optic links were installed in the master control room (MCR) with 96 used for communications. Joining the BarnOne matrix were Barnfind BarnMini-01 standalone bidirectional conversion modules and BarnStudio control software. BarnStudio was used to schedule signals and monitor the system, negating the need for manual routing. In preparation from the summit – which was attended by representatives from Russia, Kazakhstan, Kyrgyzstan, Tajikistan, Uzbekistan, India and Pakistan, and chaired by Chinese President Xi Jinping – the Barnfind system operated over a 3-month period, operating 24 hours a day.

A total of 108 fibre optic links were installed ‘The Barnfind optical transmission system performed flawlessly,’ stated Chen Can, Digired CEO. ‘It proved to be flexible and reliable, and we are pleased to announce that all the clients were satisfied beyond their expectations.’ www.absen.com www.barnfind.no

Meyer Sound Bluehorn granted patent WORLD: Meyer Sound has been awarded a US patent for the digital technologies in its Bluehorn studio monitor system. Patent number 9,992,573 B1 is formally titled, Phase inversion ﬁlter for correcting low-frequency phase distortion in a loudspeaker system.

correction algorithms hosted by the processor were developed by analysing all physical and electrical non-linearities throughout the entire system, from 25Hz to 20kHz. ‘This patent award covers the unique digital technology at the heart of the Bluehorn system, and

The award document outlines the digital signal processing techniques involved in cancelling out the phase anomalies inherent in all loudspeaker systems due to the physical mass of the loudspeaker drivers and resonance of the loudspeaker enclosures. The patented technology restores the original phase relationships by applying an inverted phase response. The patented ﬁlter algorithms are hosted in a dedicated hardware processor placed in front of both the 2-way, mid-high loudspeaker and the separate low-frequency loudspeaker. The system-speciﬁc

underscores why it has become such an important tool for audio professionals,’ said Meyer Sound CEO, John Meyer. ‘Some studio monitors may ﬂatter the programme content with potentially pleasing colourations generated in part by phase anomalies, but that is only misleading to the mixing engineer. The Bluehorn system is absolutely true to the input signal, and it retains the same precise phase linearity from a delicate whisper up to the highest listening levels that would be prudent for even shortterm monitoring.’ www.meyersound.com

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NEWS

Vera36 goes Above & Beyond

VIETNAM: British EDM trio Above & Beyond headlined this year’s Nex Music Festival in Hanoi at Ecopark. The event organiser, Zeit Media, had successfully implemented a TW Audio rig at its record-breaking Armin Van Buuren show in Ho Chi Minh City earlier this year, and so chose to deploy a Vera36 system once again. ‘Nex Music Festival took place in a purpose-cleared outdoors arena, so acoustics were not so much of an issue, but the rain certainly was,’ recalled Augustine Edward, TW Audio’s technical support manager for Asia. ‘The

main problem was that the entire set up for the gig took place in tropical conditions that were really very difﬁcult. We experienced very heavy rain that caused delays for the set up and also because the

equipment was coming from Ho Chi Minh City, where our partner Phuc Thinh is based. When the system was flown it had to go up quickly – the TW Audio hardware and easy rigging was invaluable. We worked overnight getting soaked in the rain and covered in mud but, when we were finished, the system sounded fantastic.’ The main left and right FOH hangs comprised 15 Vera36 cabinets per side, while an additional 12 per side served as out-fills. The far field was covered by six Vera10s and a pair of L24 enclosures per side. Front-fills were a combination of four M15, four M12 and eight C15 speakers. Meanwhile, the VIP section was reinforced by a delay tower hosting 24 T24N and T24P enclosures as well as 10 B18 and eight B30 subwoofers. A total of 28 BSX and 20 S33 subwoofers delivered the low end. ‘The system sounded outstanding with wonder ful clarity and muscle in the low-end – always a must-have for EDM,’ confirmed Mr Edward.

Chosun chooses Barco backdrops KOREA: Chosun Broadcasting Company has installed Barco OVL715 15x2 LED videowall panels as the backdrop for TV Chosun’s main news studio. The OVL-715 offers a redundant video input and LED illumination, while Studio B has been equipped with a Barco UniSee 2x2 LCD videowall. The displays are controlled by the manufacturer’s E2, EC-50 and ECU-200 controllers. ‘The OVL-715 LED videowall

www.twaudio.de

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www.xilica.com 20 PRO AVL ASIA September–October 2018

delivers a crystal-clear news backdrop that gives our viewers the ﬁrst-class images they deserve,’ reasoned Dongmin Shin, deputy director at TV Chosun. ‘With this upgrade, TV Chosun is cementing its public image as the most professional and reliable broadcaster in the business. Our viewers are enthralled by the results!’ www.barco.com

NEWS

Bosch introduces Praesensa to the Singaporean market SINGAPORE: Following its official launch earlier in 2018, Bosch Security has formally introduced the Praesensa public address and voice alarm system to its grass roots customers in Singapore. The audience was initially made aware that the platform fully conforms to the official Singapore Standards (SS) 546 emergency voice communication systems code of practice in addition to the EN-54 worldwide standard. Systems integrators, consultants and other guests received a product overview and technical briefing of the new Internet Protocol Public Address (IPPA) system at the

Katong Village Hotel. Using speaker simulation software, Praesensa was then exempliﬁed in various design considerations including today’s smart buildings where integrated security, energy saving, air quality tracking, automation,

asset condition monitoring and electric vehicle charging are playing increasing roles. The manufacturer has been committed to creating a new public address and voice alarm system with IP ﬁrmly in mind. Like its digital

predecessor, Praesensa is set to become an industry standard. Ensuring flexibility and scalability, the delegates were made aware that system components are united over the Dante audio network path. The advantages of IP audio control were highlighted in addition to low latency, synchronicity and no delays. All components of the system, including the user-centric call station, are networked for which the Bosch facilitators exemplified the flexibility and scalability of the system from small centralised to large de-centralised systems. In addition, the audience was also enlightened to the fact that the

Astro Spatial Audio launches new website WORLD: Astro Spatial Audio (ASA) has activated a new website to offer visitors an insight into the technologies that underpin objectbased 3D sound in addition to a raft of downloadable resources. Described by ASA as ‘an easyto-digest knowledge hub’, the

Bosch Omneo IP architecture supports Dante audio networking, AES67 and AES70 protocols. Before practical demonstrations, in-depth overviews were provided on the multichannel ampliﬁer architecture. The new electronics provide intelligent power allocation across all outputs and the integrated spare channel, thus improving the effective use of available power, regardless of the loudspeaker load in each zone. With fewer ampliﬁers required, savings on space, energy and backup battery power were demonstrated. www.boschsecurity.com

every console – and our website has been designed to reﬂect that freedom of choice,’ commented Bjorn Van Munster, ASA director. ‘We have worked hard to create a website that offers useful information and helps visitors to understand what separates our solution and makes it special. We look forward to welcoming the many people who want to explore the potential of object-based 3D sound.’

new website will be updated with relevant articles and application case studies to help make objectbased audio easier to understand and apply. ‘Astro Spatial Audio is unique in not being tied to one brand – we work with every loudspeaker and

www.astroaudio.eu

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September–October 2018 PRO AVL ASIA 21

NEWS

Usquare cooks up a treat for Pizza Hut INDIA: LD Systems is continuing to expand its presence in the Indian retail market with its systems being installed into 38 Pizza Hut restaurants across the country, including venues in Mumbai, Pune, Chennai, Hyderabad, Bangalore, Ahmedabad, Kerala and New Delhi. The venue management team at the global chain was seeking a simple audio solution that not

only provided great audio quality but matched the image that the brand was trying to convey to its customers. The projects were carried out by Usquare Electronics & Electricals with support from local LD Systems distributor, KEI HiFi. Having been involved with the client for nearly 15 years, Usquare was able to convince the brand’s

management that selecting a relatively unheard of brand in the local market was a valuable investment. ‘I’d been working with Pizza Hut since 2003/2004,’ explained Usquare A/V consultant, Uday Bhat. ‘They already trusted me, but my job was to convince them of the beneﬁts of LD – that it’s a brand that meets their expectations in terms of both the visual and audio impression it conveys.’ Pizza Hut had been exploring a shift to smaller-format stores in recent years, which feature a very simple interior design. ‘They were looking for a wall-mounted speaker that offered good sound and they didn’t want any of the subwoofers to be down on the ﬂoor,’ continued Mr Bhat. ‘At the same time, they wanted something that was not too punchy, yet there is often quite a young crowd that expects a good quality music system. It’s

a big international brand and, if the sound is not good, it doesn’t reflect well on the business. All of the installations we’ve carried out for Pizza Hut have been of a similar format, with the only difference being the number of speakers installed at each place.’ Usquare ultimately chose to specify LD Systems’ CWMS52B Contractor Series speakers for all of the outlets, powered by Denon amplifiers. There are six LD box speakers inside each of the bigger stores and four for each of the smaller outlets. Meanwhile, the Pizza Hut projects have enabled Usquare and KEI to form a new, mutually beneficial relationship. ‘KEI has come into the market on a professional level very fast and has been very responsive,’ commented Mr Bhat. ‘There were initial concerns from the customer regarding after-sales support, but I have teams spread

throughout the country and those fears were unfounded. ‘The client now understands that LD is a brand that is going to support us fully at Usquare, and Usquare will support Pizza Hut as it has done for the last 10 years,’ he concluded. ‘They’re really happy with the systems we’ve installed and I’m really happy with the strong presence LD is establishing across India as a result.’ www.keihiﬁ.com www.ld-systems.com www.usquare.co.in

Yamaha UC partner programme announced WORLD: Yamaha Uniﬁed Communications has announced details of a channel partner programme across North America, Europe, the Middle East, Africa and Asia. Partners will gain access to tools, resources and knowledge designed to increase business for the Yamaha UC brand. ‘Yamaha is one of the most trusted leaders in audio, bringing

decades of experience to solving customers’ communication and collaboration needs, which is vital as the UC market continues to ﬂourish,’ said Ashley Nguyen, global channel marketing manager at Yamaha UC. ‘With this new programme available to our UC partners, they will be able to leverage the Yamaha name to differentiate their business from

the competition while tapping into the best tools and resources that will help build their knowledge, grow their business quickly and fast-track their ROI in the growing UC ﬁeld.’

The Yamaha UC partner programme contains three levels of membership: basic, emerging and prime. Each level provides the beneﬁts of dealer registration, demo programmes, discounts,

a welcome kit, product training and post-sales technical support. Those in emerging and prime partnerships, which Yamaha dubs ‘Club Partners’, are also given volume incentive rebates and additional marketing support to assist in increasing their customer base. uc.yamaha.com

Mandylights relies on Christie for Vivid Sydney 2018 AUSTRALIA: This year’s Vivid Sydney once again featured key elements powered by Christie technology. The manufacturer’s Australian partner, Mandylights, transformed Wulugul Walk in Sydney’s Barangaroo precinct into a magical bushland ﬁlled with dramatic lighting and mesmerising puppetry. A pair of Christie Pandoras Box Widget Designers, as well as 350 internal LED lights that were wirelessly controlled and triggered from both an on-site iPad and an external lighting control system, were deployed. Known as The Liminal Hour, the multimedia experience was designed by the artists at Mandylights, Erth Visual & Physical Inc, Jacob Nash and James Brown. It featured a walking, 6m-high illuminated puppet named Marri Dyin wandering the site and interacting with spectators. In addition, there were moments that incorporated the precinct’s tower lighting and audio features with

cast members. We had therefore chosen the Widget Designer as it enabled me to customise a front-end inter face that gave the puppeteers from Erth everything they needed.’

integrated elements within the puppet to create a large-format spectacle. ‘For this show, it was essential that both lighting and audio appeared organic and ﬂuid, and transitions between cues and tracks had to be seamless regardless of where we were coming from or going to,’ explained Clint Dulieu, technical designer at Mandylights. ‘This meant that we needed much more than canned show replay, and to have a nice front-end for the

22 PRO AVL ASIA September–October 2018

The ﬁrst Widget Designer was used for the main control engine within the puppet itself and was installed on board in a custom system built into a waterproof case. The second Widget Designer

was deployed in the main control room and served as a bridge taking in cue commands from QLab show control and outputting to a grandMA2 lighting control system via Telnet. ‘Widget Designer enabled us to achieve a control solution that not only ﬁlled all of our speciﬁc requirements from the technical side but, while doing so, did not in any way limit the artistic needs of our puppeteers which is quite the challenge,’ noted Mr Dulieu. ‘We’re extremely happy with the outcome of this project. We have delivered an entire precinct to great response from the audiences each night with all technical elements working perfectly for us each and every night. We also had a great response from all stakeholders on the project and, more importantly, the amazing feedback we’ve had from both the public and press speaks for itself.’ www.christiedigital.com www.mandylights.com

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NEWS

CSA Indonesia begins partnerships with Artotel Group INDONESIA: The Artotel Group recently struck a partnership with CSA Indonesia to supply and install new audio systems at its hotels in Jakarta, Yogyakarta and Bali. As Indonesia’s distributor for the Harman Professional brands,

CSA selected systems from the JBL, Crown, BSS, AKG, dbx and Soundcraft catalogues to meet Artotel’s need for ‘cost-efﬁcient’ sound solutions capable of delivering ‘good-quality’ audio 24 hours a day.

At each of the hotels, the CSA team set up separate zones for the audio systems in the lobbies, bars, restaurants and clubs. The installations included both indoor and outdoor areas, with the systems integrator choosing the most suitable systems for each area. The project included speakers from JBL’s Eon, Control, AllWeather and JRX200 ranges, as well as 8128 ceiling speakers, SB2210 subwoofers, C50Pack subwoofer-satellite loudspeaker systems and CSA280Z commercial series ampliﬁers. Crown ampliﬁcation was also provided in the form of CDi 1000, CDi 2000, CDi 1002, CDi 2002, XTi 1002 and XTi 2002 systems. Soundcraft Si

Bolero joins Artist at The House of Dancing Water MACAU: Produced by the Franco Dragone Entertainment Group, The House of Dancing Water has been dazzling audiences at Macau’s City of Dreams entertainment complex since 2010. In 2014, the Dancing Water Theatre was equipped with a Riedel Artist digital matrix intercom system and this was recently provided with integrated wireless capabilities thanks to the addition of the manufacturer’s Bolero wireless intercom solution. ‘A show as complex as The House of Dancing Water would simply not be possible without reliable, stable and ﬂexible

Expression 16 desks offer control along with EPM6 multi-format mixers, while zoning is handled by a variety of dbx systems. Processing is provided by solutions from the BSS portfolio. With the project deemed a success, it would seem that the partnership between Artotel and CSA will be extended. ‘The JBL

communications between and among our cast and crew members,’ noted Nicolas Hammond, head of sound for Dragone Macau Limited. ‘We’re already sold on the quality and ﬂexibility of Riedel’s Artist, so it was only natural to choose Bolero for our upgrade to wireless comms.’ The new Bolero system extends the existing Riedel setup, which comprises pairs of Artist 64 and Artist 32 frames. The setup is the result of a collaborative effort by Mr Hammond and his assistant head of sound, David Sharrock. In addition to facilitating wireless communications, Bolero will enable system customisation to meet the various needs of different departments and team members. The Riedel Director software allows the sound department to conﬁgure,

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24 PRO AVL ASIA September–October 2018

audio systems provided by CSA are reliable and sound great,’ commented Eduard Rudolf Pangkerego, Artotel Group COO. ‘We look forward to continuing this partnership in the near future.’ www.csa-indonesia.com www.csa-projects.com

manage and monitor the system in real time. ‘Remote monitoring and fewer moving parts means we can operate and maintain the system much more efﬁciently, giving us more time to work actively on solutions for users,’ said Mr Hammond. ‘And the outstanding build quality of the Bolero beltpacks means our consumables and service/repair costs will go down dramatically. Also, we can’t speak highly enough about the fantastic service we’ve received from Riedel. The personal connections we’ve built with the Riedel team and their outgoing and professional manner have made working with Riedel a pleasure, and we know that support is always just a message away.’ www.riedel.net

NEWS

Stagetec Asia engineers become Dante trainers MALAYSIA: Two of Stagetec Asia’s engineers, Leong Tong Sing and Yap Wei Keong, have become the first Certified Dante Trainers in Malaysia. Audinate’s technical training manager, Danu Vino, certified the pair in recognition of their admirable credentials and extensive experience with

Dante and audio networking in the broadcasting and A/V industry. ‘Leong and Yap are qualiﬁed as they are experienced audio professionals who have had signiﬁcant experience with Dante and audio networking,’ commented Mr Vino. ‘They are sure to add much value to the local A/V

industry in Malaysia by sharing their knowledge of Dante networking. The recognition enables them to conduct Dante training to any AoIP users that are looking into

Dante Certiﬁcation training or AoIP technology training. ‘We understand that Dante has been widely integrated by manufacturers, thus it is essential

for us to educate our future and existing clients about the technology, in order for them to apply audio over IP workﬂow into their systems,’ said Mr Sing. The distributor also sees the Dante certiﬁcation as being a vital knowledge-sharing component of its training academy, the Stagetec Media Academy. ‘Stagetec Asia has always been the front runner in audio technology and, by having this recognition, we will absolutely pass on this knowledge through Stagetec Media Academy in the near future.’ www.audinate.com www.stagetecasia.com

Lawo becomes a hit in Nepal NEPAL: A Lawo crystal radio broadcast console has been installed at Nepal’s HITS FM 91.2 radio station. The new desk is the ﬁrst of its kind to ﬁnd a home in Nepal and was installed as part of an upgrade project as the old console no longer met the broadcaster’s evolving requirements.

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NEWS SOUNDBITES VERITY ATTENDS SCHOOL KOREA: Song Shin Senior High School’s indoor sports hall serves as a venue for student productions and performances as well as PE lessons. Therefore, a new sound system was recently installed comprising four Verity Audio IWAC210 line arrays and a Sub 115T subwoofer on each side of the stage to offer reinforcement.

‘It sounds very clean, natural and dynamic, with transparent, full mid-frequency,’ said a school spokesperson. ‘It fulﬁlls our need for speech reinforcement and background music playback.’ www.verityaudio.fr

SONY AT NON PRODUCTION

A consistent build at Legoland Japan JAPAN: The latest addition to Merlin Entertainments’ portfolio of Legoland theme parks is Legoland Japan. Tejix, a technical and media design company that specialises in theme park engineering, was retained for the design and installation of all audio, video and lighting equipment both indoors and out, which included BGM, dynamic signage and even the Wi-Fi across the Nagoyabased park. The audio system output throughout the entire park is fed from a single, site-wide network and built on a variety of loudspeakers from the Peavey Commercial Audio catalogue. ‘We started from a blank page with the idea of providing exceptional performance in a straightforward design,’ recalled Akio Takeda, sound designer at Tejix. ‘To achieve consistency throughout, we used just seven speaker models across the board – from theatres, dark rides, outdoor areas and Lego models to shops, restaurants and bars – all from Peavey, and just one

Although there were constraints due to Japanese building regulations and a language barrier between Tejix and the local crew, the installation went well. ‘In Japan, you can’t just attach a speaker to a wall, it has to be attached to the primary structure of the building,’ said Mr Corrado. This meant that

ampliﬁer model. Even in areas where different speaker models are used concurrently, the sound is admirably consistent.’ IP56-rated, weather-resistant loudspeakers from Peavey’s Elements Series form a large part of the installation, with the Elements 108C serving as the principal loudspeaker of choice. More than 550 Elements enclosures can be found across the outdoor areas of the park,

THAILAND: Non Production has expanded its rental inventory of broadcast equipment with the addition of Sony’s HDC-4300 multi-format system camera. This has been paired with the manufacturer’s PWS-4500 live server system.

The rental company specialises in supplying equipment for the broadcast of live sporting events as well as providing outside broadcast support. It already has a wide range of equipment in its inventory, with a large amount coming from Sony. ‘We were impressed with the HDC-4300’s outstanding image quality and amazing super slowmotion capabilities,’ said Senee Plainthap of Non Production. ‘It helps that the HDC-4300 is also fully compatible with our wide range of existing Sony products and workﬂow, large lens adaptors and camera control units. The PWS-4500 gives us the ﬂexibility of simultaneous 4K and HD recordings and its large internal recording capacity is a big draw especially for major sports events coverage.’ pro.sony.com

complemented by almost 300 Impulse 6 loudspeakers. ‘The Elements 108C is the main outdoor speaker for large spaces and they cover the area very well,’ said Henry Corrado, founder and managing director at Tejix. ‘Impulse Series speakers do a great job in the smaller areas. They are also weather-resistant so they can be used inside or outside, and they are extremely good value for money.’ Covering the indoor zones are 72 arrayable SSE 15s and SSE 12s from the manufacturer’s Sanctuary Series, 200 PHR 630 ceiling speakers in the restaurants and retail areas, and a Versarray line array system in the main theatre. Tejix calibrated the system using Rational Acoustics Smaart software with digital wireless microphones and, due to the single-network setup, all of the settings were conﬁgured over Wi-Fi.

custom brackets were produced for each surface-mounted loudspeaker. As for the crew, a colour-coding system was devised to enable the crew to see what needed to be installed where. ‘When there are 1,200 loudspeakers to install, the scope for error is quite considerable,’ added Mr Corrado. ‘I’m pleased to say that it worked pretty well in the end.’ www.peavey.com www.tejix.com

Jay Productions adopts Green Hippos AUSTRALIA: Jay Productions and Events has added a pair of Green Hippo Karst media servers to its inventory to meet the need for more complex media across a variety of LED panels and ﬁxtures at events. The servers were acquired by Green Hippo’s Australian distributor, Lexair. ‘We are increasingly incorporating complex lighting with mapping to LED screens and projection mapping,’ explained Jason Ghazal, owner of Jay Productions. ‘We needed a media server that is versatile and easy to use. We got advice from everybody we knew that does specialised work with media servers, and they all agreed that Green Hippo was the best.’ The two Karst servers have been equipped with the DVI and DP output card option, including

26 PRO AVL ASIA September–October 2018

(Image courtesy of Jay Productions)

Green Hippo’s PixelMapper, Shape 3D projection mapping tool set and Hippotizer V4’s multipurpose pre-visualisation tool.

‘I’ve found mapping screens really easy,’ said Mr Ghazal. ‘The workﬂow is great, and it integrates beautifully with our MA Lighting grandMA. We’ve been running

shows with integrated lighting all controlled by timecode triggers, and the Karsts have been rock-solid.’ Having taken delivery of the Karsts, Jay Productions has already put the servers to use for several events, such as American Express’s activation at the Overseas Passenger Terminal for Vivid Sydney. ‘That was running our Martin Sceptron rig and our content,’ Mr Ghazal noted. ‘We’ve also been doing custom maps on circular LED screens, and lots of other unconventional screens and shapes. When we are on the gig and ﬁnd that the measurements of the rig on stage don’t match the original info, changing the canvas size on the ﬂy in Hippotizer is easy, which is a huge relief.’ www.jayproductions.com.au www.lexair.com.au

NEWS

Music On Stage invests in Metrix AUSTRALIA: Music On Stage, a production rental partner based in Sydney, has acquired an Adamson Metrix compact line array system through local distributor, CMI Audio. The company has provided its services to Hilton Hotels, Four Seasons Hotel, Eastern Suburbs Leagues Club and at the Sydney Olympic Park in the past. It plans to debut the new system to thousands of Sydney revellers at Oktoberfest this year, as well as being deployed at various corporate events including NYE at the Showgrounds. The Metrix system purchase includes eight 2-way line source array enclosures and four dual

15-inch Metrix subs, powered by a pair of Adamson PLM1244 ampliﬁers. ‘Music On Stage’s vision is to sonically create a

clear point of difference for our clients’ events,’ explained Music On Stage managing director, Leonard David. ‘Adamson distinctively outperformed other major brands with effortless mid-low reproduction and their signature low frequency. The Kevlar sub cones create so much impulse, the bass is phenomenal. This is just the beginning for our association with Adamson as we’re already planning to acquire an S-Series system in time for New Years, to complement our Metrix system.’

INDIA: Agent Jacks Bar recently opened in Mumbai’s Andheri West district. Patrons enjoy food and drink after work in a setting that features television screens showing live sports and the space to dance to music pumping out

deliver uniform coverage with clarity and enough impact when necessary. A dbx DriveRack 260 loudspeaker management system has been employed to control the setup, while an NX Audio MPC5000 CD/USB player, BXP8U 8-channel mixer and

from the NX Audio and Audiocenter sound setup installed by Narain Audio & Lighting LLP. A pair of NX Audio’s Z10 ampliﬁers power two Audiocenter PF8+ loudspeakers and a single PL3218 subwoofer, which form the house system. When DJs perform at the venue, Audiocenter K-LA28 line array speakers are switched on. The speakers were placed strategically around the bar to

wireless PV97 microphones serve as the sound sources. ‘We realised that having the right audio system in place would only make Agent Jacks even more fantastic,’ said a member of the bar’s management team. ‘It has truly transformed it into a party hub for Mumbai. The crowds are having an absolutely wonderful time.’

www.cmi.com.au www.musiconstage.com.au

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28 PRO AVL ASIA September–October 2018

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Ultimate Warranty for Smarty Hybrid WORLD: Elation Professional has introduced a new 2-year ‘Ultimate Warranty’ for its Smarty Hybrid CMY colour-mixing discharge lamp moving head. The warranty covers whichever comes first: the first two years of use, or up to 6,000 hours of operation, based on regular maintenance for the fixture and lamp. The warranty for a 2-year period covers the material and workmanship of the fixture, which includes the Philips Platinum Flex 200 lamp at its core. ‘Our aim in offering this comprehensive warranty is to help rental companies manage the cost of ownership by keeping costs down and ROI high,’ stated Toby Velazquez, president of Elation Lighting. ‘With regular

The Smarty Hybrid maintenance, owners will get two years or 6,000 hours of operation with no lamp worries. This is the ultimate warranty. We’re that conﬁdent in this product.’ www.elationlighting.com

NEWS

RoboSpots debut in Taiwan for GMAs TAIWAN: Robe’s RoboSpot remote follow spotting system has been used for the ﬁrst time in Taiwan at the 29th Golden Melody Awards (GMA). Organised by Taiwan’s Ministry of Culture, the GMAs recognise outstanding singing achievements in Mandarin, Taiwanese, Hakka and Formosan languages and attract viewers throughout South East Asia. This year’s event took place at the 15,000-seat Taipei Arena, while the RoboSpots were a recent investment by local company, Aurora Lighting. Hong Kong-based lighting

was yet to see the RoboSpot system in action. ‘We were keen to break new ground,’ he stated. ‘This is a high-proﬁle show and it’s important to push the envelope when it comes to technology.’ ‘The front follow spot positions in the arena are not the best so, unless we cut into the seating areas, we have to ﬂy a “bridge” to accommodate both hardware and the operators – with all the issues that this brings,’ explained Scotty Chen from Aurora. ‘The RoboSpots effectively eliminated all of that.’

The 2018 GMAs designer, Stanley Szeto, lit the show, working for Artesian

Engineering. Mr Szeto is a longtime user of Robe products but

PVS turns 35 WORLD: PVS, the parent company behind the Audac, Procab and Caymon brands, is celebrating its 35th anniversary. The company was founded by Patrick Van de Sande at the age of 26 and what started as a local repair shop eventually developed into

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Audi rides the BlackTrax to China CHINA: Car manufacturer Audi recently staged a launch event to introduce its A8L saloon to the Chinese market. The technical production company employed

for the event, Redline, utilised a BlackTrax real-time motion tracking system for the show. The cars used in the show were each ﬁtted with BTBeacons that

transmitted the exact position of the vehicles as they moved to a series of BTCams. This information was then relayed to the lighting console, allowing for automatic lighting cues that followed the cars on the stage, regardless of speed or direction. ‘The cars were the stars of the show – so it was vital that they were accurately highlighted by the supporting audiovisual technology,’ said Andrew Gordon, director of business development at BlackTrax. ‘BlackTrax is unique in its ability to automate the tracking of moving objects by projectors, spotlights and so on.’ Another technological aspect of the show was the use of projection mapping that appeared

to interact with the cars. For this, 30 Panasonic PT-SRZ31KC projectors and 72 Acme lighting features were used by Redline for the ﬁrst time, receiving content from two disguise gx 2 and four 4x4pro media servers and motion graphics from Notch. ‘For this show, BlackTrax was invaluable because we did not have the opportunity to have a rehearsal with the cars,’ noted Jack Sun, CEO at Redline. ‘We just set it up and got precisely the effect we were looking for. We’d also like to thank William McDaniel from BlackTrax for his excellent support during the project design, which contributed greatly to an amazing event.’

a Belgian distributor and then a manufacturer. The Audac, Procab and Caymon brands were formed in 1992 to meet the need for new innovations that were not yet available. Audac produces a full range of pro audio equipment, including speakers and ampliﬁers, while Procab manufactures video, audio and data cables, and Caymon is known for racks, ﬂightcases and modular connections.

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NEWS

3URĂ&#x20AC;WV GRZQ EXW WXUQRYHU LQFUHDVHV IRU 7KH 6HQQKHLVHU *URXS WORLD: Sennheiser has released its annual ďŹ scal report, which highlights a boost in sales throughout Asia and the Americas, but a slowdown in Europe and the Middle East markets. In terms of headline ďŹ gures, the group generated a turnover of â&#x201A;Ź667.7 million in ďŹ scal year 2017, which is â&#x201A;Ź9.3 million, or 1.4%, more than in 2016. However, this was lower than the company forecast for 2017 and has been attributed to â&#x20AC;&#x2DC;numerous and rapid changesâ&#x20AC;&#x2122; in the market environment. Sennheiser is highlighting its Ambeo 3D technology as a good, future, long-term growth area. Earnings before taxes also declined to a loss of â&#x201A;Ź4.5 million compared to a gain of â&#x201A;Ź34.9 million in the previous year, despite â&#x20AC;&#x2DC;moderateâ&#x20AC;&#x2122; increases in turnover in both Sennheiserâ&#x20AC;&#x2122;s

Professional and Consumer divisions. However, the company increased its investments in research and development by 6.2% compared to the previous year to â&#x201A;Ź57.8 million, to counteract the decline in earnings and focus on â&#x20AC;&#x2DC;long-term proďŹ table growthâ&#x20AC;&#x2122;. â&#x20AC;&#x2DC;We have comprehensively aligned our organisational structure to adapt to these developments,â&#x20AC;&#x2122; commented Dr Andreas Sennheiser, co-CEO of Sennheiser. â&#x20AC;&#x2DC;With this new focused lineup, we have made a successful start into the 2018 ďŹ nancial year.â&#x20AC;&#x2122; In the professional market, the company also aims to further strengthen areas such as wireless microphone technology for the future which, with the introduction of the Digital 6000 wireless microphone system and the XS Wireless 1 and 2 microphone

series, has strengthened this division. An important component of both its divisional strategies remains its Ambeo 3D audio technology. â&#x20AC;&#x2DC;In order to live up to our aspiration to shape the future of audio, we continue to drive forward our research and development work,â&#x20AC;&#x2122; said Dr Andreas Sennheiser. â&#x20AC;&#x2DC;Ambeo remains a strategic focus topic. It opens up new and diverse business ďŹ elds, whether itâ&#x20AC;&#x2122;s sports broadcasts, professional 3D recording or a sound experience within your own four walls.â&#x20AC;&#x2122; Geographically, turnover in the APAC region amounted to â&#x201A;Ź141.5 million, and was â&#x201A;Ź10.1 million or 7.7%, more than in the previous year and was mainly driven by the consumer segment. Turnover increased by 3.4% in the Americas region to â&#x201A;Ź174.5 million, while the company

Sennheiser HQ explains that the signiďŹ cant dollar depreciation against the euro over the course of the year had a limiting effect. Turnover in the EMEA region fell by 1.8% to â&#x201A;Ź351.7 million. This was particularly relevant in Germany, where intensiďŹ ed competition was felt. â&#x20AC;&#x2DC;In addition to our own research and development work, we rely on

targeted investments and strategic partnerships, especially in the areas of augmented reality and virtual reality,â&#x20AC;&#x2122; Daniel Sennheiser concluded. â&#x20AC;&#x2DC;In this way, we can better take advantage of exciting opportunities for both our company and for our customers.â&#x20AC;&#x2122; www.sennheiser.com

Nur Islam 93.3 FM goes digital BRUNEI: Mahajak Trio has installed a Studer OnAir 1500 digital mixer at Nur Islam 93.3 FM, a state-funded radio station that offers largely religious programming. The station broadcasts over the airwaves and online, and, to keep up

system for both audio network and talk-back functions,â&#x20AC;&#x2122; conďŹ rmed Ms Ruzana, audio engineer at Nur Islam FM. â&#x20AC;&#x2DC;In a self-operated studio such as ours, an efďŹ cient workďŹ&#x201A;ow is critical to maintaining high production standards. We love the new Studer OnAir 1500.

with increasing global broadcast standards, Nur Islam 93.3 FM decided that it was time to upgrade to a digital mixing solution. The project speciďŹ cation called for the new console to be fully integrated into the studioâ&#x20AC;&#x2122;s existing MCR audio and control network, including the talk-back function between the Master Control Room (MCR) and radio studio. â&#x20AC;&#x2DC;We required a reliable and ďŹ&#x201A;exible mixing solution that could interface with our MCR router

The Touch â&#x20AC;&#x2DC;nâ&#x20AC;&#x2122; Action interface and intelligent control system are extremely intuitive, making it that much quicker to dial in a professional mix. We thank the Mahajak Trio team for offering a hands-on training session and educating our team on the OnAir 1500â&#x20AC;&#x2122;s more advanced features, giving our engineers the conďŹ dence to handle any situation.â&#x20AC;&#x2122;

&RPPXQLW\ DW 0RUSKHWWYLOOH 5DFHFRXUVH AUSTRALIA: The South Australian Jockey Club (SAJC) recently hired Horder Communication Solutions (HCS) to update both the indoor and outdoor sound systems at the Morphettville Racecourse in Adelaide. While a network of Media Matrix Nion controllers and the largely Lab.gruppen ampliďŹ cation system were retained at the multipurpose venue, a new solution based on Community loudspeakers was installed. SAJC initially issued an expression of interest in upgrading its audio system. The venue includes 22 function rooms and hosts a range of events up to seven days a week. HCS responded with its design, incorporating 338 D Series ceiling and pendant loudspeakers with 12 D Series subwoofers for the indoor

areas, and 44 R Series outdoor speakers. When HCSâ&#x20AC;&#x2122; bid was accepted, Communityâ&#x20AC;&#x2122;s Australian distributor, Hills AV, carried out EASE modelling of the venue in collaboration with the systems integrator. A combination of D4, D5 and D6 ceiling loudspeakers were installed across the indoor open areas. DP6 pendant loudspeakers and D10SUB ceiling subwoofers serve the large conference and exhibition pavilions, the lower levels of which are also equipped with D4 ceiling speakers, arranged into grid blocks. R.15Coax speakers cover the narrow breakout balcony areas. Seating areas are also covered by R.15Coax speakers, speciďŹ cally R.35-3896 and R.25-94TZ units throughout the Diva Bar and Mounting Yard areas. R.15Coax

30 PRO AVL ASIA Septemberâ&#x20AC;&#x201C;October 2018

and R.25-94TZ systems, meanwhile, deliver coverage to the Heritage Stands. The Lawn Areas are served by R1-66Z units. â&#x20AC;&#x2DC;I wanted to achieve a warm bath of clear audio,â&#x20AC;&#x2122; explained John Horder from HCS. â&#x20AC;&#x2DC;The combination of Community and Hillsâ&#x20AC;&#x2122; technical services was the perfect toolkit to achieve this and exceed the clientâ&#x20AC;&#x2122;s expectations.â&#x20AC;&#x2122; â&#x20AC;&#x2DC;The system proved itself on race day,â&#x20AC;&#x2122; conďŹ rmed Blake Kirby of Hills AV. â&#x20AC;&#x2DC;With thousands of racegoers in attendance, it was possible to walk from any location to another within the complex and be subjected to the same uniform, outstanding sound quality.â&#x20AC;&#x2122; www.communitypro.com www.hills.com.au www.hordercomms.com.au

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NEWS

Funktion-One in Bloom AUSTRALIA: Bloom is the latest nightclub to open under the ownership of Ayman Muhor and John Kennedy, working alongside Aaron Cashion, Luke Jeantou and Adam Metwally. Their main goal was to provide partygoers in Geelong with a world-class club with one of the best sound systems in Australia. To achieve this, Mr Cashion approached Full Throttle Entertainment to design and install the audio setup, which ultimately comprises Funktion-One speakers.

‘When Aaron came to Full Throttle, he was pretty speciﬁc about his requirements for the project,’ recalled Full Throttle’s Adam Ward. ‘The venue needed to raise the bar for the local area in terms of production value with a speciﬁc focus on the quality of the audio system.’ Full Throttle is extremely familiar with Funktion-One, having acquired

a Vero sound system for its rental arm to supply bigger shows and meet the needs of a wider range of clients late last year. The Victoriabased company also serves as an authorised dealer and reseller for the British manufacturer, as well as an installer. Mr Ward visited the site to draw up his plans as architectural drawings were not yet available when Full Throttle took on the project. The venue, formerly a McDonald’s restaurant, is located underground and includes several small spaces interconnected to the main, large area. ‘It wasn’t hard to design the system, as the space seemed to tell you what each area needed to be,’ said Mr Ward. ‘The client was on board with all of our suggestions and approved the budget straight away.’ The bar has been equipped with four Funktion-One F101 loudspeakers, located one in each corner of the room, supported by two MB212 (Mini Bass) subs, deployed in the centre at each

end. The VIP room and side room each feature a pair of F101s, with four F81s also installed in the side room’s sunken lounge area with an MB212. Covering the dancefloor are pairs of Evo 6 and BR221 bass reflex enclosures, while PSM18 speakers provide monitoring for the DJ alongside two BR118s. Ti-series and S-Series amplifiers from MC2 Audio power the systems, and Full Throttle installed a BSS Blu-160, a trio of Blu-Bob2 and a Blu-USB for control and processing. ‘Every step of the way the client was happy to take our lead and listen to and execute our suggestions,’ added Mr Ward. ‘The client took on board the importance of the acoustics and was happy to come to the table with the funds to deliver the necessary treatment. The space sounds like a studio. Not only is it already getting strong local support, the venue really has the potential to be a destination space.’ www.fullthrottleentertainment.com.au www.funktion-one.com

Sony Professional Bravia and Exterity join forces APAC: Sony’s Professional Bravia business unit has partnered with Exterity in Asia Paciﬁc to provide IP video and digital signage solutions for various verticals. ‘Asia Paciﬁc is a fast-growing market and, as the AV/IT convergence gains momentum, buyers require the best solutions to communicate, educate and entertain a wide range of audiences,’ explained Colin Farquhar, CEO at Exterity. ‘With a team on the ground, partners across the region and the assurance that our IP-based solutions are integrated into the most advanced professional displays from Sony, we are totally

committed to the region. We look forward to working more closely with Sony to guarantee that APAC consumers continue to get the best IP video and digital signage experiences whether in the ofﬁce, in hotels or at school and in stadia.’ Jamie Hind, regional director for APAC at Exterity, elaborated: ‘Across the region, we are seeing a tremendous growth in the calibre of A/V over IP,’ he said. ‘This is partly due to APAC consumers being used to, and expecting, high-quality video everywhere they go, particularly in hospitality. Consumers don’t want to compromise on this, and we

32 PRO AVL ASIA September–October 2018

are proud to work with companies like Sony to deliver IPTV and digital signage across the region, offering a better-than-home experience to our customers and their guests.’ ‘We are extremely pleased to work with Exterity as one of our solution partners,’ commented Sony’s Tadahiro Fukumoto, marketing, professional solutions. ‘Sony’s Professional Bravia remains ﬁercely committed to the development of immersive and interactive environments with allrounded digital solutions.’ www.exterity.com www.sony.com

Extron publishes collaboration systems design guide WORLD: Extron has released a guide on designing collaboration systems. The Extron Collaboration Systems Design Guide details how the manufacturer’s technology can be used to create modern and collaborative workspaces and meeting rooms. ‘With the rise in collaborative environments, A/V integrators are facing new challenges and opportunities integrating properly designed and equipped collaborative systems,’ said Casey Hall, VP of sales and marketing for Extron. ‘Our new Collaboration Systems Design Guide is a comprehensive resource that shows how technology can harness the power of collaboration for successful and effective collaborative meeting spaces.’ Inside the guide is in-depth technical information about room scheduling and A/V resource management tools, as

well as wired and wireless A/V platforms. Each guide provides an understanding of Extron’s products as well as roles they play with their respective applications. The guide is free to download from the manufacturer’s new website, which was recently redesigned to offer faster navigation with larger pictures and a more thorough search capability. According to the manufacturer, the engine that drives the website has been rebuilt and optimised from the ground up to dramatically improve user experience. www.extron.com

Logitech announces plans to acquire Blue WORLD: Logitech has unveiled its plans to acquire studio and consumer microphone manufacturer Blue Microphones. This will see Blue ultimately join Logitech’s brand portfolio, which includes Logitech, Logitech G, Ultimate Ears, Jaybird and Astro Gaming.

product portfolio. Logitech has design at its heart, tech know-how and global reach. Together we can do amazing things!’ Bracken Darrell, CEO at Logitech, commented: ‘Logitech’s acquisition of Blue Microphones will accelerate our entry into a growing market,

‘With Logitech’s vast resources and incredible reach, Blue will be on a much bigger stage from the beginning,’ said Blue CEO, John Maier. ‘Blue and Logitech have a lot in common. Both companies work at being small, fast and hungry, crafting great products with cutting-edge design and technology. We’re an established leader in the broadcasting space with a strong

and offers another way for us to help bring people’s passions – from music to blogging – to life. Joining with Blue is an adjacent opportunity for us – a new way to grow – with additional synergies related to our existing gaming, PC webcam and audio categories.’ www.bluedesigns.com www.logitech.com

• Now available in white! • Clean, compact design – built to blend in • Easy transport and setup • Professional PA performance with wide, even coverage and clarity • High-quality Bluetooth®* audio streaming and wireless control and monitoring via the EV QuickSmart Mobile app • QuickSmart DSP via EV’s signature single-knob user interface with LCD

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*Bluetooth® is available in select countries. The Bluetooth® word mark and logos are registered trademarks owned by Bluetooth SIG, Inc. and any use of such marks by Bosch Security Systems, Inc. is under license. Other trademarks and trade names are those of their respective owners. EV QuickSmart Mobile available in select countries. ©2018 Bosch Security Systems, Inc.

NEWS

Adamson charges Electric Daisy CHINA: The first Chinese edition of the Electric Daisy Carnival EDM festival was recently held at the Shanghai International Music Park, featuring an Adamson Systems PA and monitoring setups supplied by distributor Real Music on all four stages. The main stage, dubbed kineticField, was reinforced by 15 E15 line arrays and three E12s per side. Smaller side arrays were formed from 12 E15s and three E12s. For low end, six E218 subwoofers were flown each side, while 36 E219s and 12 T21s were ground stacked at the front of the stage. Meanwhile, Adamson S-Series cabinets were deployed for front-fills and in the VIP area. Serving as monitors for the DJs were three S10s stacked atop a pair of S119 subs per side. The circuitGrounds stage was served by 12 E15s per side and left and right out-fill arrays of six E12s each. Bass was brought by eight flown E119s per side as well as 36 E219s on the ground. S10s provided front-fill and were installed

in the DJ booth along with S119 subs. The bassPOD and Boombox stages each featured S-Series setups. The 2-day festival was headlined by EDM stars such as deadmau5,

TSL forms OEM pact with DNF Controls

Hardwell, Disclosure and Martin Garrix. Stephan Themps, FOH engineer for Martin Garrix, explained why he prefers to mix Adamson’s E-Series solutions. ‘Adamson delivers maximum impact every time – crystal clear with punchy bass and plenty of headroom, which is precisely what we want,’ he said. ‘Our last experience with Adamson and Real Music at the ISY Festival was ﬂawless and, this time, they knew exactly what we needed for a great show.’

WORLD: TSL Products has formed a strategic OEM partnership with DNF Controls that will enable TSL to use DNF’s products as standalone hardware and peripheral solutions that complement its TallyMan broadcast control system. DNF’s customisable hardware control panels will allow TallyMan users to add an individual panel that connects directly to a speciﬁc function without requiring a dedicated control system server or system architecture. In addition, certain aspects of TallyMan will also be made available for DNF to enhance its own product offerings. DNF will use TSL’s technology to expand user inter face functionality for its virtual panels. ‘DNF’s extensive control capabilities and wealth of knowledge and experience will allow us to add expanded functionality to our control

www.adamsonsystems.com

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34 PRO AVL ASIA September–October 2018

systems, especially for simple, standalone applications,’ said Dan Bailey, product manager – control systems at TSL Products. ‘We have worked with DNF previously and are familiar with the company’s expertise and products. This partnership allows us to make these solutions available to our customers and expand into areas that we less commonly operate, such as transmission of playout.’ ‘We’re excited to partner with TSL Products to offer a fuller range of products and resources to our customers,’ added Dan Fogel, CTO of DNF. ‘We’ve worked together in the past and our products complement each other, so it just makes sense for DNF and TSL to strategically work together in this mutually beneﬁcial partnership.’ www.dnfcontrols.com www.tslproducts.com

NEWS

Davide Carbone works with ADAM

Vitec creates new production facility

AUSTRALIA: Australian producer, DJ and composer Davide Carbone has added a new set of ADAM Audio S3H monitors to his studio setup. Having used the manufacturer’s speakers throughout his career, Mr Carbone recently spoke of his experiences with monitors and ADAM Audio systems. ‘I think monitoring is the most important thing,’ Mr Cabone said. ‘Everyone looks at plug-ins and DAWs, but if you can’t hear it you can’t make it and music is all about what you can hear. Always WORLD: The Vitec Group has opened a new facility for its production solutions division. The site spans more than 6,100m2 in the English town of Bury St Edmunds and will employ approximately 200 people to design products for the company’s teleprompting and broadcast camera support brands, such as Autocue, Autoscript, OConnor, Sachtler and Vinten. ‘After a 54-year presence in Bury

St Edmunds, the investment in this new, purpose-built site reﬂects the success of our premium brands in the global marketplace,’ commented Stephen Bird, Vitec CEO. ‘We’re very proud of the outstanding accomplishments of our people and our products and the industry leadership they have built in key areas of the broadcast market.’ ‘Our new divisional headquarters has been designed to reﬂect

invest in a good pair of monitors because generally they’ll hang around for ﬁve to 10 years. Invest in something that’s clear and that you love working with.’ Discussing the S3H monitor system, Mr Carbone added: ‘ADAM Audio has found that per fect balance between professional monitoring and emotive listening. It’s so detailed and so clear and so full that you can just listen at a really low volume.’ www.adam-audio.com

our people-centric approach, with workspaces focused on communication and collaboration,’ added Alan Hollis, divisional CEO of Vitec Production Solutions. ‘I would like to congratulate the crossfunctional team that has made the move a success, all of the fantastic people of Vitec Production Solutions and the broader Bury St Edmunds community.’ www.vitecgroup.com

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September–October 2018 PRO AVL ASIA 35

NEWS

Getting the Rugby Sevens and Tens in gear AUSTRALIA: Gearhouse Broadcast took part in the recent Rugby Sevens and Rugby Tens tournaments in Sydney and Brisbane, equipping 40 referees with wireless communication systems. Audio was distributed to the broadcasters and team coaches and sent back to the referees’ in-ear monitors. Shure Axient Digital wireless and Clear-Com matrices provided this function, obtained by the manufacturers’ Australian distributor, Jands. ‘The Rugby Sevens at Sydney’s Allianz Stadium were 79 games across three days, and the Rugby Tens at Brisbane’s Suncorp Stadium were 40 games in two days,’ explained Gearhouse Broadcast’s OB supervisor, Andrew Henderson. ‘At the Sevens, we had 40 referees that had to be wired for comms. Each ref had a Shure PSM 1000 receiver for listening and a Shure Axient Digital AD1 bodypack transmitter ﬁtted in their vests. Each game saw six refs on the ﬁeld, with the main ref mic always open.

The two assistant and two goal refs and the sideline manager all had push-to-talk buttons. The coaches had Clear-Com talkback panels so they could speak to the referees if they thought they needed to review a decision.’ The locations – central Sydney and Brisbane – provided a challenge in the form of busy RF environments. ‘There was a lot of background RF, and a lot of

Bosch Plena served with fries

CHINA: Bosch Plena mixer amplifiers are at the heart of the sound setups at the new McDonald’s ‘flagship’ restaurants. These feed LC6100S-L ceiling-mount speaker systems, which consist of 8-inch subwoofer modules and a crossover network to support four 2-inch satellite speakers, delivering BGM. Bosch designed a configuration of its commercial sound speakers especially for each flagship restaurant using EASE Address. ‘With the acoustic analysis, we customised the sound system for each individual restaurant, to provide nothing but the best sound in each location,’ said one of the designers. The projects were awarded to

Bosch after the manufacturer presented a series of relevant case studies of previous restaurant installations to McDonald’s. Key McDonald’s decision-makers were also invited to the Bosch experience centre to hear the products in action. ‘McDonald’s has invested a lot in background music, because we know that it gives customers a good experience and brings more business,’ said Ma Lijie, director of the development department for McDonald’s China. ‘McDonald’s needs a good music system and Bosch’s wide product range meets our needs very well.’ www.boschbuildingtechnologies.com

36 PRO AVL ASIA September–October 2018

RF on site,’ said Mr Henderson. ‘But Axient Digital frequency management is really good; Shure’s Wireless Workbench software scans the area and does the hard work for you. I changed one frequency before we started and that was it for the duration. We couldn’t allow everyone to have their own frequency, so we ran two groups managed out of Wireless Workbench. For each game, we loaded a new ﬁle and pushed it to the receivers. There was about one minute between each game, so we were restricted with time and turnarounds. We had 12 frequencies live at any time, with all of the in-ear-monitors on the same frequency.’ Incoming audio was routed through a DSP unit, which automatically mixed the wireless mics before sending the signal on to a Clear-Com Eclipse PiCo 36 port matrix. It was then distributed to the referees’ in-ear-monitors, the TV broadcast and to ClearCom V-Series Lever Panels in the

coaches’ boxes. The mics from the Clear-Com Lever Panels were then fed to the Eclipse PiCo into the DSP and back out to the coaches. Gearhouse Broadcast recently transitioned to Shure’s Axient Digital wireless system and Mr Henderson is impressed. ‘Last season, we were using Shure’s topof-the-line analogue UHF-R system,’

he said. ‘As soon as we swapped over, I could immediately hear the difference. And the way Axient Digital manages its frequencies, I’m getting a lot less interference.’ www.clearcom.com www.gearhousebroadcast.com www.jands.com.au www.shure.com

Avixa unveils recommended networked A/V security practices WORLD: Avixa has published Recommended Practices for Security in Networked A/V Systems as guidance about the current best practices for securing networked A/V systems of all sizes. Alongside the industry association’s Standards Steering Committee, the recommended practices were developed by a task group of security experts and technology managers from Aecom, BAE Systems, Cornell University Ithaca, Crestron Electronics, European Centre for Medium-Range Weather Forecasts, Harman, International Criminal Court, Meyer Sound, Sound Control Technologies and PITM Consulting. ‘We have a responsibility to the enterprise whose networks we’re on to make sure our A/V systems are not enabling intrusions;

that we’ve done everything we can to understand what’s at stake and take steps to mitigate the risk for the entire enterprise,’ said Ann Brigida, Avixa’s senior director of standards. ‘There are many standards and practices that have been put in place through the years to lock down the opportunities for hackers and prevent breaches, and many cyber-security ﬁrms provide 24/7 intrusion detection. But most of the standards and guidance deal with the network itself and not the systems being put on the network. That’s why Avixa worked with subject matter experts to develop a set of best practices to keep the network safe while placing A/V systems on it.’

The best practices include identifying vulnerabilities and potential threats created by the network integration of A/V systems, assessing risk (identify, analyse and evaluate), developing a plan to mitigate and respond to identiﬁed (and unidentiﬁed) risks and deploying controls to continuously address and manage security risks in A/V systems. The full report is free to Avixa members and can be purchased through the association’s website. www.avixa.org

BROADCAST MICROPHONES

RADIO NEEDS CHARACTERS The Neumann BCM Series: Dedicated broadcast microphones for radio announcers and DJs. The entire construction is functionally optimized to convey emotion with technical perfection. Internal shock mount and pop filter minimize extraneous noises. Available with cardioid condenser capule (BCM 104) and with hypercardioid dynamic capsule (BCM 705).

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NEWS

670 6HULHV KLWV &KLQDÂˇV FOXE VFHQH CHINA: Top Plot International has installed Nexoâ&#x20AC;&#x2122;s STM Series modular line array system at three new nightclubs in China. The systems were designed and supplied by Guangzhou-based Hertz Audio, the key dealer and systems integrator for Top Plot International. The installations all comprise sets of M46 mains and B112 bass modules, as well as S118 subs and a secondary system formed from PS10 and PS15 speakers. NXAMP4x4 ampliďŹ er racks power the setups.

The One Club in Guangzhou has a main danceďŹ&#x201A;oor with three sets of M46 and B112 STM modules per side, complemented by six S118s. Distributed around the venue are 28 PS Series loudspeakers and 20 LS18 subs, while out on the clubâ&#x20AC;&#x2122;s patio are further PS Series cabinets. Meanwhile, in Jilin Province at D.Park, Top Plot installed a 6-set STM system made up of M46 and B112 clusters to the right and left of the DJ booth, while six S118 subs have been ground stacked along the front of the booth. In

place around the rest of club are 34 PS10-R2 and PS15-R2 point source speakers. The third club is in Ordos, Inner Mongolia. This club features the same STM format, but has been supplemented with PS10-R2 and Geo S12 line array modules. www.nexo-sa.com www.topplot.com.cn

)DQH FHOHEUDWHV \HDUV ODXQFKHV SUR DXGLR VLWH thinking and multi-generational approach with one founded in the values that makes Fane great: a labour of love as well as of professionalism and expertise,â&#x20AC;&#x2122; said Mark Barnes, managing director. â&#x20AC;&#x2DC;With direct business-owner-tobusiness-owner communications

WORLD: Fane International recently celebrated its 60th anniversary having been ofďŹ cially registered as Fane Acoustics by Arthur Falkus and Dennis Newbold on 11 June 1958. The name, Fane, takes the ďŹ rst two letters from each of its foundersâ&#x20AC;&#x2122; surnames.

and commitment to world-class standards and professional excellence, we welcome working with business partners around the world to forge a strong and successful future together.â&#x20AC;&#x2122; Looking to the future, Fane has launched a new website for

For the past decade, the Fane brand has been owned by the Barnes family, providing a link to the companyâ&#x20AC;&#x2122;s early days. â&#x20AC;&#x2DC;Under family ownership, management and direction, we are faithful to our heritage and look forward with optimism to the future, bringing the advantages of a genuinely forward-

its Pro Audio brand to highlight its complete sound systems. The website has been designed to provide easy access to information about Fane Pro Audio solutions whether the user is browsing on a PC, tablet or smartphone. Additionally, the new site features multilingual translation functionality, a system selection tool allowing visitors to input a range of criteria to narrow down product options, product ďŹ ltering and comparison options, virtual product models, case studies, news and a blog, as well as the ability to ďŹ nd distributors and dealers. www.fane-international.com www.faneproaudio.com

0DKDMDN HTXLSV 6ULVDZDG KHDG RIĂ&#x20AC;FH THAILAND: Mahajak has supplied and installed the A/V equipment at the new head ofďŹ ce of ďŹ nancial services company, Srisawad Corp in Bangkok. Following the system design put together by Atkrist Co, Mahajak installed a variety of Harmanbranded systems along with Shure mics, Panasonic projectors and Razr motorised screens.

â&#x20AC;&#x2DC;The 6-storey building was constructed to be the companyâ&#x20AC;&#x2122;s head ofďŹ ce building,â&#x20AC;&#x2122; explained Supachai Sakulchoo, project sales engineer at Mahajak. â&#x20AC;&#x2DC;There are ofďŹ ce zones, public areas and meeting rooms. The customer required the audio system on the ground ďŹ&#x201A;oor support background music as well as other activities and events. In addition, the customer required an

The seminar room audiovisual and control system for the seminar and boardroom.â&#x20AC;&#x2122; The ground ďŹ&#x201A;oor has been equipped with three JBL Control 25-1 speakers and four Control16C/T ceiling speakers with power provided by a Crown CDi 4|300 ampliďŹ er. A BSS Blu-3 wall controller and Blu-50 processor are joined by a Soundcraft Signature 16 audio console, while a pair of Shure SM58LC microphones can capture audio during speeches

38 PRO AVL ASIA Septemberâ&#x20AC;&#x201C;October 2018

and presentations thanks to the BLX24R/SM58 handheld wireless microphone systems. The third-ďŹ&#x201A;oor seminar space is ďŹ tted with a pair of JBL CBT70J-1 plus 70JE-1 column speakers and two Control 19CS in-ceiling subwoofers powered by a Crown XLi 1500 ampliďŹ er. Zone control is offered by a dbx ZonePro 1260m equipped with a ZC-Fire dedicated ďŹ re safety interface. A Soundcraft Signature 22 mixer and a pair of

Shure BLX24RA/SM58-R12 mic systems are included with Shure MX418D gooseneck mics and JBL LSR305 PA systems serving as monitors. On the visual side, Panasonic PT-EW650E projectors beam images to a Razr EMW-A150 motorised screen, while AMX solutions including the NX2200 and PSR5.4 offer control. The boardroom features a Panasonic PT-VW540 projector with a Razr EMW-A150 screen, JBL Control 25-1 speakers and a Crown XLi 800 ampliďŹ er with an AMX MCP-108 video control system. â&#x20AC;&#x2DC;We installed wall-mount and ceiling speakers to deliver the background music and support public announcements and events,â&#x20AC;&#x2122; conďŹ rmed Mr Sakulchoo. â&#x20AC;&#x2DC;As for the seminar room, we installed L-R loudspeakers on the stage and subwoofers in the ceiling. The control equipment was installed in a separate control room, on the wall.â&#x20AC;&#x2122; www.mahajak.com

Ƹ8LI EGGYVEG] [EW XLI ǻVWX XLMRK . noticed. I pulled up a session that I knew needed some work in one particular area. Right out of the gate I heard it. I’ve never had that happen with a PA at the scale of the al-12. And output was equally impressive. Whatever level I wanted, I got, and with room to spare.” Kyle Hamilton FOH Engineer, Kendrick Lamar Neversleep Productions

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RTI offers control at RSL Club AUSTRALIA: The Brighton Le Sands RSL (Returned and Services League) Club in Sydney recently underwent a refurbishment that included a raft of A/V installations conducted by the WED Group. Managing the new solutions and designed to offer intuitive control for staff is an RTI touchscreen setup. ‘I know the club industry well and had complete conﬁdence that RTI control solutions could handle this extensive project and deliver a better ﬁnal product for our client,’ said Matthew Joyce, WED Group

services and integration manager. ‘The simplicity of RTI’s Integration Designer software allowed us to complete our programming work inhouse instead of having to deal with a third-party programmer, which is much more efﬁcient and enables quick response times in the event of an issue.’ The RSL Club provides dining and entertainment for those who have been in the Australian Defence Force. Its new A/V equipment includes an audio system consisting of JBL and Sonance

ceiling speakers, Crown ampliﬁers and four Sennheiser wireless microphones. Visual content is displayed via ﬁve Foxtel HD set-top boxes and two Hitachi CWX8650 projectors on Grandview motorised projector screens, as well as 40 Samsung 4K screens. A pair of Biamp TesiraForté AVB AI digital audio signal processors, ZeeVee and Resi-linx modulators and HDBaseT matrix switchers are also in use. An RTI XP-8s control processor, four PCM-4 port control modules and eight ECB-5 IR emitterconnecting blocks form the control and automation system with four

KX10 10-inch in-wall touchpanels. The processor controls the Foxtel set-top boxes, Samsung displays and Hitachi projectors via IR, and 2-way IP drivers integrate the system with a C-Bus lighting solution, the Biamp TesiraFortés and the HDBaseT switcher. Builtin relay control capabilities are used for raising and lowering the Grandview projector lifts. The RTI KX10 touchpanels are located throughout the club and allow staff to adjust the lighting and volume levels, select audio inputs and television channels, adjust control displays and projectors, and also provide the ability to combine

the multitude of A/V equipment in separate rooms to work as one. The KX10 in the function room, which hosts business meetings and weddings among other events, is also used by club patrons to control a Hitachi projector, four displays, the audio playback and a pair of HDMI wall plates facilitating the connection of laptops. An RTI CX7 7-inch countertop touchpanel has also been installed in the club’s boardroom, for controlling its display, audio settings and laptop connections for meetings. ‘This was a very complex installation and RTI really tied all the elements together for the club,’ concluded Mr Joyce. ‘Taking advantage of the XP-8s’ advanced functionality and the Integration Designer programming software, we were able to deliver exactly what our client was looking for: high-end technology that practically runs itself and that anyone can use with little, if any, training. The manager and staff couldn’t be happier.’ www.rticorp.com www.wedgroup.com.au

Alcons brings intimacy to Fun Home SINGAPORE: Alcons Audio RR12 point source array modules and VR12 mid-sized monitors, supplied by Creator’s Solutions, were employed during the recent production of Tony Award-winning musical Fun Home by Singaporean theatre company Pangdemonium! at the Drama Centre Theatre. Jeffrey Yue of audio design company Ctrl Fre@k was responsible for the sound design, while The Production People handled the technical production.

Mr Yue chose four RR12s as a centre vocal cluster with four VR12s per side, covering the venue’s two circles. ‘Accurate reinforcement of voices and instrumentation was crucial,’ he explained. ‘The RR12 vocal centre cluster provided the best performance in terms of accurate horizontal coverage, thanks to the asymmetric vertical horn which meant there were less potential ceiling reﬂections. With the approach to the style and design

of the musical, it was also a great opportunity to showcase the proribbon technology of the VR12 point

source loudspeakers.’ Eugene Tay of Creator’s Solutions added, ‘The RR12s and VR12s both have exceptional clarity and natural vocal reproduction, with the pro-ribbon technology allowing for very precise coverage patterns. It meant that the audience could really feel the intimacy of the production and the stage.’ Feedback from Pangdemonium! indicates that the desired effect was achieved. ‘The producers commented that Fun Home was

one of the best sounding shows that their sound department has delivered,’ conﬁrmed Mr Yue. ‘The accurate imaging of vocals and transparent reinforcement of the musical instruments, delivered through the Alcons system, helped to tell a great story and provide a wonderful musical experience for all.’ www.alconsaudio.com www.creatorssolutions.com www.tpp.com.sg

“Truth is ever to be 1/4 PAGE found in the simplicity” Isaac Newton quested.com | info@quested.com 40 PRO AVL ASIA September–October 2018

NEWS

Boulder rolls into Australia with BABEs AUSTRALIA: The first Unity Audio Boulder MKIII 3-way active monitors have been installed in Australia at the studio of producer Benjamin Stanford, better known as Dub FX. The pair of Boulder MKIII units form par t a studio upgrade and are accompanied by two BABEs (Boulder Active Bass Extenders).

GDS offers new service for end users

Mr Stanford is known for creating music with live looping and effects pedals. He reportedly chose the Boulder MKIII as he was looking for a solution that would enable him to work faster and more accurately. â&#x20AC;&#x2DC;Unlike with my previous monitors, Iâ&#x20AC;&#x2122;ve found that these speakers have made my job as a producer much easier in terms of speed

and performance,â&#x20AC;&#x2122; he commented. â&#x20AC;&#x2DC;Over the last 15 years as a producer, Iâ&#x20AC;&#x2122;ve had the pleasure of working with and getting to know seven different pairs of studio monitors. This year I ďŹ nally found the system I will use till Iâ&#x20AC;&#x2122;m old and grey. The Unity Boulders with the BABEs are absolutely next level!â&#x20AC;&#x2122; www.unityaudioproducts.co.uk

Ben Stanford

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WORLD: GDS has established a new ser vice depar tment for its specialist LED installed lighting products. The British manufacturer is offering bespoke ser vice contracts to end users of its installed

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products in an effor t to ensure that systems run smoothly and reliably and that potential problems are pre-empted by its on-site engineering team. Ser vice contracts ser ve as an extension of existing product warranties, providing on-site ďŹ xes, emergency cover and replacement par ts. Suppor t will also be provided in the form of help and advice regarding other existing systems as well as consultation in regards to upgrades and new LED installations. www.gds.uk.com

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Septemberâ&#x20AC;&#x201C;October 2018 PRO AVL ASIA 41

NEWS

Munro takes Harman to the Flea Bazaar Café INDIA: Munro Acoustics has installed an end-to-end Harman solution, comprising JBL speakers, Crown amplifiers and dbx digital signal processors, at the Flea Bazaar Café in Mumbai’s Lower Parel district. Owned and operated by Impresario Group, the café is described as a ‘first-of-its-kind dining and entertainment concept’. The 650m2 venue features 13 separate restaurants, a marketplace and a bar, as well as a community performance venue that hosts stand-up comedy, plays, live music and DJs. Munro Acoustics was hired by Impresario Group to design a state-of-the-art audio setup to cover this complex space. ‘Integrating the system in a highly morphable space such as Flea Bazaar Café was quite challenging,’ confirmed Kapil Thirwani, partner at Munro

Acoustics. ‘We worked with the architects to make the subwoofers an integral part of the stage. The DJ plays through a van and we created a plug-and-play provision to disconnect the DJ van when not in use to free up the space for gigs.

The venue was highly reverberant, and we faced some initial hiccups due to the complexity of the system design.’ The sound system designed and installed includes six JBL VRX 932LA-1 line array speakers,

paired with four JBL VRX 918S subwoofers, which are flown from the ceiling. An additional pair of VRX 918S subwoofers provide coverage in the flea stall, kitchen garden and pan stall areas along with six SCS 8 (Spatially Cued Surround) loudspeakers, which are commonly used for cinema applications. A further four SCS 8s are used for side-fills in the main performance area. The system is powered by Crown XTi 6002, MA 5000i and XLi 1500 amplifiers. ‘The combination of the JBL VRX line array system and the SCS loudspeakers worked well for this requirement,’ noted Mr Thirwani. ‘We chose Harman for its wide range of JBL Professional loudspeakers, end-to-end solution

offerings and extensive service support network.’ ‘Although the installation was complex, the Harman Professional and Munro teams worked together to create a versatile audio experience,’ added Prashant Govindan, senior director, India and SAARC at Harman Professional. ‘One of the things that I admire about Kapil is his creativity and innovation. By combining JBL cinema surround loudspeakers with a JBL line array solution, his team was able to create a unique and immersive sound experience for guests.’ www.harman.in www.munro.co.uk

Clair weaves dreams across Australia AUSTRALIA: Dreamweavers, an event production company based in Queensland and serving greater Australia, has added a range of Clair Brothers solutions to its inventory, including a kiTCurve system.

would be the ‘perfect ﬁt’ for Dreamweavers. ‘Wayne took the opportunity to demo several Clair Brothers systems for us as points of reference,’ continued Mr Pomana. ‘They all sounded incredible, but

The Dreamweavers team ‘We were invited by Wayne Grosser, Clair Brothers’ rep here in Australia, to take a listen to a full range of Clair Brothers systems,’ recalled Sam Pomana, general manager of Dreamweavers. Mr Grosser reportedly felt that the manufacturer’s kiTCurve system

Wayne was right – the kiTCurve boxes really stood out. Many of the events we produce are held in hotel ballrooms where rigging is limited. So, our ability to rig this system in tight spaces with minimal weight loading is huge. Another bonus is that our truck space and crew requirements are

42 PRO AVL ASIA September–October 2018

cut in half. That’s cost savings we pass along to our clients. For me the big picture value has come from Wayne’s commitment to the Clair Brothers brand and service. His continued support has been nothing short of outstanding. His knowledge and ability to mix live sound is some of the best I’ve seen anywhere.’ Having taken delivery of the kiTCurves, Dreamweavers put its new roster of loudspeakers to use on the Gold Coast at a cirque-themed cocktail event that was held inside a ballroom and featured performances by two bands and three acrobatic troupes. ‘The Clair Brothers system we used for this show was comprised of four kiTCurves with four kiTSub-minis,’ said Kyle Hodges, Dreamweavers’ audio engineer and producer. ‘It did the job beautifully and the sound was enormous.’ Dreamweavers uses the kiTCurve system in conjunction with a Yamaha CL5 console on a Dante network with a Lake LM44 processor. A single Cat-5e cable from the CL5 provides access to a 32-channel Rio rack, eight channels of Shure digital wireless mics and four channels of I/O that the Lake LM44 converts to analogue before sending the signal to the kiTCurve system. www.clairbrothers.com www.dreamweavers.com.au

Lawo’s Ruby 16F Vistool

Lawo adopts television standard for radio consoles WORLD: Lawo has adopted the SMPTE 2022-7 standard for its radio consoles. The standard, developed by the Society of Motion Picture and Television Engineers, is intended for television transmission and Lawo is the ﬁrst manufacturer to implement it for radio mixers. ‘Radio requires reliability,’ explained Michael Dosch, senior product manager, radio onair at Lawo. ‘AoIP has revolutionised radio, making network reliability a key success factor. If the network fails, you’re out of business. That’s why Lawo is taking the lead, implementing the SMPTE 2022-7 standard for seamless protection switching into its family of radio mixing consoles, as it has already done for its mc² production consoles.’ Seamless protection switching, also referred to as hitless merge, allows for the simultaneous AoIP transmission of dual, identical

audio streams via independent network paths. This means that should a primary link be interrupted, switching to a backup would be undetectable to audiences. ‘Television broadcasters have been pushing hard for network redundancy, and the SMPTE standard provides an excellent solution,’ furthered Mr Dosch. ‘But redundant networking isn’t useful only for TV; it’s crucial for radio broadcasters, too. Network reliability is job one for live radio – so we’ve added seamless protection switching to our consoles to help ensure that unexpected network problems don’t result in dead air.’ The ﬁrst Lawo radio consoles to incorporate the standard will be the Ruby and Power Core desks as part of the manufacturer’s Radio Software v6.0. www.lawo.com

EDUCATION Budee hosts master class at CUC and to know his or her character and tastes will help the decisionmaking process in mixing.’ The second day concluded with mixing/mastering engineer and pro audio educator Luca Pretolesi sharing his experience in electronic music mixing and mastering.

CHINA: Budee recently held a master class at the Communication University of China (CUC) spanning three days and covering topics such as music recording and creativity. In addition to the presentations and lectures, there were also several workshops exploring how to create sound. KC Porter On the ﬁrst day, CUC’s 400-seat auditorium was ﬁlled to capacity. ‘A music producer must be able Professors from the school of to handle not only the relationship music and recording arts at CUC between art and technique, but delivered a welcome speech and also him or herself and the artist,’ thanked Budee for sponsoring the said Mr Porter. ‘The equipment in event. Renowned music producer China is already very advanced, KC Porter then delivered a seminar, but you need to work with as many discussing how he began using different recording studios around API products from the mid-1980s the world as possible to challenge and his thoughts on AMS Neve yourself and widen your perspective consoles. He also shared some and ability.’ of his experiences as an engineer Grammy-winner Lu Xiaoxin led with a multi-cultural background and the second seminar, looking at the years in music production, as well large-scale performance of Shaolin as introducing the sound creation Zen Music Ritual as a case study to process in terms of culture, society, display various techniques of music philosophy and point of view. recording and sound design.

Day two of the master class was held in a smaller hall at CUC, which was fully booked. Recording and mixing engineer Li Jun delivered a speech titled Choices and Decisions in Mixing. ‘As a mixing engineer, you have to pay high importance to the relationship with artists,’ said Mr Li. ‘Sound mixing is not completed by one person. A piece of music is the work of the artists and the producers ﬁrst, then the mixing engineer. The job of the engineer is to help the artists or producers to realise their ideas. To maintain a good relationship with the artists

Mr Lu Xiaoxing

Mr Yangjie, Mr Ji Xiang, Mr Luca Pretolesi and Mr Zhang Yilong

Adamson training in Jakarta INDONESIA: Adamson Applied Certiﬁcation training was held in Jakarta for the ﬁrst time recently. The 2-day workshop was hosted by the manufacturer’s Indonesian distributor, Big Knob Audio, whose staff had received the relevant training prior to the event. Attendees received hands-on training for system design, deployment and control of Adamson E-Series solutions.

Mr Pretolesi returned on the third and final day, using the song Run Up by Major Lazer as an example to demonstrate his work process. The workshops saw five sound engineers selected before the master class to bring their work to the event. They were able to discuss their work with Mr Pretolesi and were awarded certificates by CUC. The entire event was translated by CUC professors Mr Yang Jie, Ji Xiang, Zhang Yilong and Ms Liu Xiaofei. It was broadcast online and reportedly attracted an audience of 200,000 people.

‘With Adamson’s globally standardised educational programme, light is shed on system fundamentals, as well as providing practical tips in designing the system using the Blueprint AV simulation software and the deployment of Adamson speakers,’ said Pongky Prasetyo, Big Knob director.

www.budee.com

www.adamsonsystems.com www.bigknob.id

Yamaha-Nexo hold HOW Technologies Conference

Mr Hashimoto provided examples of applied Yamaha AFC technology SINGAPORE: More than 130 delegates, mostly sound engineers, technical personnel and leaders from local worship facilities and congregations, followed an invitation by Yamaha Music (Asia) to attend its House of Worship Technologies Conference at Singapore’s RiverLife Church. Aimed at providing a better understanding and knowledge of acoustics, sound integration and digital audio networking and signal processing in worship, the conference had three presenters ﬂown in.

In the opening session, Dai Hashimoto, acoustician at Yamaha headquarters, introduced the crowd to his work in the research, development and design of Active Field Control (AFC), Yamaha’s acoustic enhancement system. Using a church design example as well as referencing a number of other AFC installations around the world including one of four currently in Singapore, Mr Hashimoto was able to explain the beneﬁts of ﬂexibly and cost-effectively improving room acoustics by means

44 PRO AVL ASIA September–October 2018

of DSP rather than by altering a room mechanically. Though not home to an AFC system, RiverLife Church proved to be the ideal location for the event since its Worship Centre, the main auditorium, had undergone a major upgrade of its sound system only a few months before, with a Yamaha Rivage PM10 console and a Nexo Geo M10 system, including LS18 subs as main components. ‘Having recently completed the project, showcasing it to other worship technicians seemed a good idea,’ stated Lawrence Tan, assistant general manager of Yamaha Music (Asia). ‘We were lucky that the church not only allowed this but is also happy to help with education and advice for other religious organisations.’ ‘Our church is happy to help other churches, and this event lets others beneﬁt from our good experience,’ agreed Jerry Chua, RiverLife’s sound engineer. ‘Our worship leaders are very happy with the recent upgrade to Yamaha and Nexo, and so is the congregation.

Mr Chua in his work space at RiverLife Church We don’t need to go loud, yet intelligibility is great and musical performances sound both sweet and punchy.’ After a quick but entertaining run through Yamaha’s mixer history dating back to the early 1970s, Andy Cooper, pro audio manager of application engineering from Yamaha’s R&D centre in London, used an additional PM7 to explain the UI and features of the Rivage digital mixing system, including demonstrating plug-ins such as Rupert Neve ﬁlters and compressors by playing sound samples. Mr Cooper then went on to elaborate on the digital audio and control networking capabilities of the PM range based on Dante and Yamaha’s proprietary TWINLANe ﬁbre ring topology.

For the third presentation, Nexo’s training manager, Nicolas Poitrenaud, had come to Singapore. Following his overview of the manufacturer’s history and manufacturing facilities, Mr Poitrenaud continued describing Nexo technology and products as well as loudspeaker system design speciﬁcs relevant for worship environments. The conference drew to a close with a 30-minute live musical performance of RiverLife Church’s worship leader and a full band. For more AVL news from the house of worship market, subscribe to our sister magazine, Worship AVL, at proavl-central.com. sg.yamaha.com www.nexo-sa.com

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NEWS: EDUCATION

Sun Infonet presents Meyer Sound training

Dante Level 3 training goes online

INDIA: Meyer Sound recently conducted back-to-back Portable System Deployment training seminars in Mumbai and Bangalore, supported by its Indian distributor, Sun Infonet. Each session attracted an attendance of approximately 50 participants who were led through the entire process of sound system deployment by Meyer Sound senior seminar instructor, Mauricio Ramirez. The seminars covered initial design theory and application using the manufacturer’s MAPP XT system design tool, ﬁnal system optimisation with the SIM 3 audio analyser and everything in-between. ‘The talent pool of the pro

WORLD: Audinate has made its Advanced Dante Networking Level 3 Certification training available online. The certification was launched last year and, until now, only inperson training was available. The online version of the training was developed to accommodate growing demand and to answer numerous requests. Level 3 Certification is aimed at Dante users that wish to gain more insight in setting up and managing larger Dante-enabled networking systems. The online version of the certification has been developed to allow participants to complete

audio industry in India has grown exponentially and, going by the sheer number of registration requests that we received, we will definitely be conducting more seminars in the region,’ confirmed Sandeep Braganza, sales manager, SAARC at Meyer Sound. ‘We were very excited to see the turnout at these training sessions,’ added Neeraj Chandra, Sun Infonet director. ‘This has given us immense confidence that the decision to add Meyer Sound to our product portfolio was in the right direction. Our focus on training and education for the industry will continue.’

Mumbai trainees

www.meyersound.com

The Bangalore class

www.suninfonet.net

it over the course of multiple short modules. Users are already able to partake in Level 1 and 2 training online. ‘We are thrilled with the popularity of the Dante certiﬁcation programme, with over 25,000 people having enrolled in one of the courses to date,’ said Joshua Rush, senior vice president of marketing for Audinate. ‘We are pleased to introduce our Level 3 Certiﬁcation course online to give the requisite networking knowledge for more advanced A/V networks.’ www.audinate.com/cert-info

Concept Audio hosts 6FLHQWLÀF $FRXVWLFV EULQJV Nexo workshop ($6( WUDLQLQJ WR &DQEHUUD

MALAYSIA: Concept Audio recently hosted a 2-day Nexo training session at its Experience Centre in Kuala Lumpur. The seminar was conducted by Nicolas Poitrenaud and Leo Ho from the manufacturer and attended by 24 junior audio technicians and engineers. Topics covered on the ﬁrst day included acoustic fundamentals, such as sound fundamentals, perception, source radiation and

line source radiation, and audio network fundamentals with a look at digital audio versus analogue and network technology, as well as Dante fundamentals and Nexo’s NS-1 software. The second day explored Nexo’s NXAMP and DTD controllers, ran through guidelines for system design and provided the opportunity for attendees to get hands-on with some of the manufacturer’s systems. This included the Geo M620 and M6B, the LS18, NUAR power ampliﬁer racks, the ID24-I12060 speaker and IDS110-E subwoofer. www.conceptaudio.com.my www.nexo-sa.com

AUSTRALIA: Scientiﬁc Acoustics recently hosted its annual EASE training event in Canberra. The intensive 3-day course covered AFMG’s EASE software and attracted attendees from across Australia and Malaysia to the Eastlake Football Club. The workshop’s daytime sessions, led by Tim Kuschel,

acoustic consultant at Guz Box design + audio, and Peter Patrick of Scientiﬁc Acoustics, covered EASE’s Ray Tracing, Aura and Auralization modules, among others. An evening session concentrated on loudspeaker interaction and measurement, with demonstrations providing insight into the interference

between loudspeakers, acoustic coupling, windowed and nonwindowed measurements, the effects of rooms on microphones, room modes and a number of other behaviours exhibited by loudspeakers. The course continued for an optional fourth day, which gave attendees the opportunity to tour a local church project to see how AFMG products were used in the design and the installation of audio systems in an acoustically challenging environment. www.afmg.eu www.guzbox.com.au www.scientiﬁc-acoustics.com.au

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46 PRO AVL ASIA September–October 2018

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DISTRIBUTION Harman returns to E&E SINGAPORE: Harman has consolidated the distribution of its BSS, Crown, dbx, Digitech, Lexicon, JBL Professional, Soundcraft and Studer brands in Singapore under Electronics & Engineering Pte Ltd (E&E). E&E will expand its portfolio to include Harman Professional’s integration, installation and retail audio product suite, while all other partnerships in Singapore for Karaoke Solutions, Cinema Solutions, AKG Professional, AMX video and controls and Martin Lighting solutions remain unchanged. The announcement

sees the two companies re-partner after a 7-year hiatus. ‘In line with our overall business strategy aimed at simplifying our distribution and enhancing customer touchpoints across brands, solutions and verticals

that we serve, we are happy to appoint E&E as our distribution partner in Singapore,’ said Ramesh Jayaraman, VP and GM, Harman Professional Solutions, APAC. ‘The new distribution model leverages our brand strengths and E&E’s strong distribution capabilities in providing innovative technology solutions to our Singapore customers. Delivering on this strategy also creates the opportunity for further investment and expansion by Harman Professional Solutions in the Singapore market, as E&E extends its capabilities across the entire Harman Professional audio range.’ ‘Harman Professional audio brands and solutions are well

established for their technological superiority and world-class quality and E&E, with more than 65 years of professional audio solutions know-how, is known for our broad scope of services,’ commented Gary Goh, deputy managing director, Electronics & Engineering Pte Ltd. ‘We understand our customers’ need for solutions and support, and, with our hands-on experience in the Singapore market, we are thrilled to bring Harman Professional Audio products to our customers and elevate their experiences.’ www.enepl.com.sg www.harman.com

Martin Audio and Sama Sound join forces KOREA: British manufacturer Martin Audio and Korean distributor Sama Sound were both looking for ‘new opportunities to expand their business with different partners’ when they opted to sign a new distribution agreement. As a result, Martin Audio’s products have joined the Sama Sound portfolio, which has included several major pro audio brands since the company’s inception in 1969. ‘Sama Sound has enjoyed great success over many years in the Korean market, both in rental/ touring and the wider installation market,’ commented Martin Audio’s APAC account manager, Andy Dufﬁeld. ‘With Martin Audio’s proactive product strategy generating above industry growth in APAC both in 2017 and year-to-date, we felt

The Sama Sound team the time was right for a change in our distribution to ensure success across all vertical markets.’ ‘From our perspective, developing a premium speaker portfolio was part of a strategic plan we had in place for a while,’

said Jason Inn, president of Sama Sound. ‘We agreed to begin this exciting new journey having recognised that Martin Audio is a premium brand in the market, with a reputation built up over many decades.

‘MLA is obviously the system that the majority of people know, but Martin Audio has an excellent all-round product range, from Blackline X upwards. We also believe the Wavefront Precision series has strong potential.’

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48 PRO AVL ASIA September–October 2018

Mr Inn noted that the rental, theatre and house of worship markets were the primary vertical markets being targeted. ‘There really is no limitation in other vertical markets we can penetrate,’ he added. ‘Since Martin Audio’s product range has been well planned and thought out.’ The distributor plans to host an array of marketing events to highlight the Martin Audio brand. This began on 21 August with a launch event titled Experiencing Martin Audio. ‘Since there have not been many opportunities for people in the region to listen to music via MLA, we strongly believe it is going to surprise a lot of people,’ said Mr Inn. www.martin-audio.com

NEWS: DISTRIBUTION

TAC System adds Jands portfolio swells with Visionary Solutions Bosch pro audio brands JAPAN: TAC System Inc has been appointed as the new distributor for Visionary Solutions in Japan. The distribution company was established by Takahiko Yamamoto more than 20 years ago and has been responsible for introducing brands such as Avid, Fairlight, SSL and Studer to the Japanese market. ‘Our policy has always been to introduce new technologies and implement them into the market,’ conﬁrmed Jun Yamazaki, director of TAC System. ‘Products like Visionary Solutions’ PacketAV enable us to create UHD 4K video networks using standard

Ethernet switches. We’re looking forward to introducing these innovative products integrators and clients.’ Scott Freshman, Visionary Solutions COO, is conﬁdent of a mutually beneﬁcial relationship. ‘TAC System has a well-deserved reputation as one of Japan’s most innovative pro audio sources,’ he said. ‘They are the ideal company to represent Visionary Solutions and introduce our new technologies to integrators and professionals in the Japanese market.’ www.tacsystem.com www.vsicam.com

AUSTRALIA: Jands has taken on Electro-Voice and Dynacord. The Bosch brands join L-Acoustics and QSC, which were added to the Jands distribution portfolio at the start of 2018. ‘Following Jands’ resignation late last year of several audio lines, I am pleased to once again be in a position to provide contracting style loudspeakers and ampliﬁers to our customers,’ said Paul Mulholland, managing director of Jands. ‘As Jands restructured our product offering, around our strengths in corporate, government and education, our contracting customers made it clear they wanted to be able to source a complete solution from

us. When we saw the new product offering from EV and Dynacord at InfoComm, we quickly realised Bosch represented the perfect partner.’ Jands will offer sales and support for a range of Dynacord and Electro-Voice pro audio products, including the IPX multichannel installation DSP power ampliﬁers,

Evid and EVC Series loudspeakers, as well as EV Innovations. ‘By entering into partnership with a strategic national distributor like Jands, who have the expertise to support the needs of the customer, we will continue to provide the quality products and services that people expect when they buy Dynacord and ElectroVoice,’ commented Chris Dellenty, general manager – Oceania at Bosch Security and Safety Systems. ‘Our pro sound team are excited by this alliance, and we look forward to a prosperous long term relationship.’ www.boschsecurity.com.au www.jands.com.au

Hong Seo Ahn of BLS and TASCAM’s Yo Hosoi

TASCAM selects Best Leading Solutions for Korea KOREA: Best Leading Solutions (BLS) has become TASCAM’s new distributor for South Korea and will add the manufacturer’s MI and pro audio products to its catalogue. ‘BLS has extensive knowledge and experience in both the distribution and systems integration of audio products,’ said Yo Hosoi, TASCAM’s APAC sales manager. ‘We had worked with our previous distributor for more than 40 years. It was a very comfortable working relationship, but we made the decision to challenge BLS to enhance our sales channels in the country. BLS’ familiarity with our product lines will make for a smooth transition and future growth in Korea.’

Hong Seo Ahn, president of BLS, said that he was honoured to represent TASCAM. ‘We have been doing business in the rapidly changing Korean market for more than 25 years,’ he said. ‘Through marketing and innovation, we are conﬁdent that we will be able to successfully drive the Korean A/V market with our expertise and knowhow.’ Kick-starting the new distribution agreement, BLS was invited to TASCAM’s recent distributor summit, where its staff received product training and were brought up to speed on the manufacturer’s latest product and marketing information.

1/2 PAGE Island

www.blskorea.com www.tascam.com

September–October 2018 PRO AVL ASIA 49

NEWS: DISTRIBUTION

Madison looks Sharp

AUSTRALIA: Madison Technologies has added to its distribution portfolio with the inclusion of Sharp’s commercial display panels and interactive touch displays. This will see the distributor offer the manufacturer’s full catalogue of display solutions including videowall displays and whiteboards across Australia to all vertical markets via its integration channel.

‘We are really looking forward to this partnership, and the opportunity to bring this major brand into the channel,’ said Ken Kyle, general manager of broadcast and A/V at Madison Technologies. ‘Sharp has revealed a really exciting product roadmap to us, and the opportunity to represent them going forward is a great complementary ﬁt with

Stage Tec swims ZLWK 6\QFÀVK

many of our existing solutions,’ he added. Stuart Baker, head of IDP/IWB products for Sharp Corporation of Australia, is equally pleased. ‘We are very excited to announce our distribution partnership with Madison and believe this further strengthens Sharp Corporation Australia’s commitment to our business partners and the Australian market,’ he commented. ‘One of the key reasons for selecting Madison as a distribution partner was their extensive experience in the Australian audio visual market; we are looking forward to a very proﬁtable partnership in the future.’

KOREA: Stage Tec has expanded its Asian sales network with the appointment of Syncﬁsh as its South Korean distributor. Founded in 2001 by Insu Hwang, Syncﬁsh specialises in the sale

Alex Nemes, head of sales at Stage Tec, with Insu Hwang of Syncﬁsh

www.madisontech.com.au

of pro audio equipment and provides consultancy services to recording studios, radio stations, postproduction suites and concert halls. ‘Stage Tec is renowned in Korea for its quality and reliability, and ﬁts in perfectly with our portfolio,’ said Mr Hwang. ‘At Koba, I noticed just how interested visitors were in Aurus and Nexus. Flexible AoIP is currently a major topic in Korea and Stage Tec is very well positioned in this regard. I look forward to working together.’ www.stagetec.com www.syncﬁsh.com

www.sharp.net.au

BlackTrax leading to South East Asia SOUTH EAST ASIA: Cast’s BlackTrax real-time motion tracking system will now be distributed across South East Asia by Acoustic & Lighting System (A&L). With headquarters in Malaysia, A&L is a distributor and systems integrator that also serves Indonesia, Singapore and Thailand with a

network of nine ofﬁces across the region and more than 200 members of staff. Existing brands in the A&L distribution portfolio include Avolites, Claypaky, disguise and Luminex. ‘BlackTrax has already executed over 9,000 events around the world, but we continue to look for

strategic opportunities to grow the business, and the South East Asia market represents a considerable market potential,’ explained Andrew Gordon, director of business development for BlackTrax. ‘We are excited by this announcement, as A&L is the ideal team to help us establish a strong presence

in the region. Their extensive experience, technical expertise and commitment to customer support represent what we strive for.’ A&L has taken delivery of its BlackTrax demonstration equipment and its team has undergone training from BlackTrax’ local support staff.

‘BlackTrax will be a very valuable complement to what we can offer our customers, helping us provide them with a more complete solution,’ commented Eugene Yeo, general manager of A&L. www.acousticlighting.com www.blacktrax.ca

Vichai Group to distribute Da-Lite in Thailand THAILAND: Legrand AV has announced the appointment of the Vichai Group as its master distributor in Thailand for Da-Lite products. The Vichai Group’s Sound and Communications (SC) division will distribute the products. ‘We have been working with Da-Lite for over a decade and appreciate this gesture to further

deepen our partnership,’ stated Thitikorn Sopchokchai from the Vichai Group. ‘Da-Lite provides one of the best projection screens on the market and we ﬁnd their team

to be professional and genuinely working hard to promote their products in the Asia Paciﬁc region.’ Starting in 1983 as Vichai Trading, the Thai company has grown from a small AVL systems integrator to an all-encompassing group that provides services from product distribution and systems integration, to maintenance and

service contracts that cover all business verticals. ‘The commercial A/V brands of Legrand are leading providers of innovative mounting, racks

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50 PRO AVL ASIA September–October 2018

and display solutions for various audiovisual technologies,’ said a spokesperson from Legrand AV. ‘We are pleased to have this new partnership to create new opportunities for A/V professionals in the region.’ www.legrandav.com www.vichai1983.co.th

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APPOINTMENTS Hills hires head of sales for ANZ ANZ: Roger Edgar has joined Hills as its head of sales, security, surveillance, IT and ATV across Australia and New Zealand. With more than 30 years of sales and management experience, he will lead the company’s security, surveillance, IT, antenna and communication sales teams, and is tasked with improving customer service throughout Hills’ branches. Mr Edgar has held senior positions within the wholesale electrical

distribution industry in Australia and New Zealand, as well as the USA. He recently spent more than three years as general manager at CNW Electrical. ‘I want to build a team that can operate in an agile way and think “customer ﬁrst”,’ he commented. ‘Delivering ongoing beneﬁts to the customer and seeing the differences you make is highly rewarding and motivating for everyone.’

‘Roger will be play a key role as we look to increase the accessibility of Hills’ offering across the region and continue to accelerate our sales momentum with our key brands,’ explained David Lenz, CEO and managing director of Hills. ‘The consolidation of the antenna business under Roger’s leadership acknowledges his considerable experience in the electrical distribution space and aligns will Hills’ strategy to offer

and proven leadership abilities to Hills and will be invaluable as we build our sales team across ANZ.’ In other news, Andy Hall has taken on the new job title of head of health solutions. Based in Melbourne, Mr Hall’s new role encompasses the entire ANZ region (Australia and New Zealand) and involves developing the growth strategy for the company’s health division while optimising the sales process. Mr Hall joined Hills in February 2017 as general manager of health sales.

Roger Edgar integrated technology solutions. He brings extensive industry expertise

A pair of promotions at Shure WORLD: Shure has promoted two of its executives into new roles. Brian Woodland has been named vice president of business development, while Pat Knoll has been promoted to associate vice president of global facilities. Mr Woodland joined the manufacturer in 2002 and has held positions of increasing responsibility in strategic planning and in global business development. He was responsible for several of the company’s

acquisitions and manages Shure’s partnerships in joint business ventures. Ms Knoll, meanwhile, joined Shure in 2005 and leads an international team responsible for all acquisition, leasing, construction, maintenance, disposition and activities associated with company ofﬁces, manufacturing plants, warehouses and other facilities worldwide. Additionally, she has led other major undertakings, including the

Brian Woodland

Pat Knoll design and construction of the SN Shure Theater and the Great Hall history exhibit in Shure’s corporate headquarters.

www.hills.com.au

‘I want to congratulate Brian and Pat on these well-deserved promotions,’ said Chris Schyvinck, Shure president and CEO. ‘Brian’s expertise in developing strategic relationships with outside companies is invaluable to Shure, and Pat has been instrumental in helping guide major facilities projects in support of our growing global business. We are fortunate to have these two leaders on the executive team, as they both will continue to be an integral part of our company’s long-term success.’ www.shure.com

Thomas Vestergaard joins TW Audio WORLD: Thomas Vestergaard has been appointed senior education and training specialist at TW Audio as part of the German manufacturer’s customer service, industry education and partner training initiatives and ongoing global expansion. He brings more than two decades of experience, having worked as a sound engineer, technical sales manager and senior application engineer for international brands such as Adamson Systems Engineering.

‘TW Audio continues to grow and I am proud to say that we are attracting the best and the brightest to come and join us,’ commented Marco Deinl, the manufacturer’s general manager. ‘Thomas is an extremely well-liked and very respected member of the industry, and we are certain that he will quickly become a valued and important member of our team. The two things that matter most at TW Audio are achieving the very best audio quality in our

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Thomas Vestergaard

loudspeakers and making sure that our customers get the best-possible service. Thomas will help us to continue realising those goals.’ Across the Atlantic, Mick Whelan has been assigned the role of business development director for TW Audio Americas Inc. Responsibilities include gathering market intelligence and identifying key business opportunities. ‘Mick not only has a good technical background, but brings also a wealth of industry experience,’

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commented Bernhard Wüstner, managing director of TW Audio. ‘His expertise makes him an ideal candidate to identify new business opportunities.’ ‘I have observed TW Audio as an organisation that considers each and every aspect of the user’s interface with its products and services – how could I not work with leadership that cares that much?’ Mr Whelan said. www.twaudio.de

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52 PRO AVL ASIA September–October 2018

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NEWS: APPOINTMENTS

Bill Collis, chairman in disguise WORLD: Bill Collis has been named chairman of the board at disguise. He brings an extensive background in the ﬁlm and video industry to the role and previously served as CEO and president of The Foundry for 10 years, growing it from a Londonbased visual effects software company to a global media postproduction tools and product design technology developer. He also currently sits on the boards of Cubic Motion and Exocad, and serves as chairman of Random42.

Bill Collis

‘After experiencing a remarkable period of growth and acceptance of our products worldwide, we’re looking forward to having Bill help us take disguise to the next level, and we’re really excited about what we’re going to build together,’ commented Fernando Kufer, CEO of disguise. Mr Collis won an Ernst & Young Entrepreneur of the Year award in 2012. He also holds a PhD in signal processing as well as several patents, a major feature

film credit and a Scientific and Technical Award from the Academy of Motion Picture Arts and Sciences for his technology contributions to film. ‘We’re pinching ourselves with delight at having the chance to work with Bill, as he has an amazing combination of technical, business and investment experience,’ said Ash Nehru, founder of disguise. ‘Few people have the industry credentials and reputation that Bill has earned over the years.’

‘I’m thrilled to be joining Ash and the rest of the disguise team,’ said Mr Collis. ‘disguise is the clear market leader for creative software and media servers in the concert touring and live events space, and it is fast expanding into the ﬁlm and broadcast markets. This has fuelled phenomenal growth over the last year, and I hope to help the team continue on the trajectory over the coming years.’ www.disguise.one

Steven Christensen enters API engineering department WORLD: Steven Christensen has joined API as the newest member of its engineering department where he will specialise in digital technology. With more than 30 years of pro audio industry experience, he was part of the

INSIDE3/4 THEPAGE WORLD’S MOST NOW ADVANCED SHIPPING

Steven Christensen original Pro Tools development team, inventing and implementing the TDM system architecture. Mr Christensen’s career began as a high-capacity telecom chip designer and also includes a role at Telex where he developed the ADAM digital matrix intercom system before going on to start his own digital audio companies. As an in-house member of the team at API, he is described as a ‘digital guy in an analogue world’. ‘Working at API is a breath of fresh air,’ Mr Christensen commented. ‘Larry Droppa does a great job leading the company and everybody is following in his footsteps. I love it here, and have a lot to learn.’

COMPACT LINE ARRAY BOX

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September–October 2018 PRO AVL ASIA 53

NEWS: APPOINTMENTS

Jands brings in national sales manager years, necessitated we ﬁnd a national sales manager who has the experience and knowhow to take the company to the next level,’ explained Paul Mulholland, Jands managing director. ‘We now have a very strong and skilled sales force and Phil will bring the strategy and leadership necessary to complete the team.’ ‘It is an exciting time to be joining Jands with the passionate team building strong momentum for

Phil Muffet our market-leading professional audio, lighting and staging brands,’ Mr Muffet commented. ‘I look forward to working with the Jands community and helping to continue the strong growth and mutually rewarding results with our partners.’ www.jands.com.au

Ted White returns to Focusrite Pro

expertise with Focusrite and the RedNet product line, as well as his industry experience with other manufacturers, he will be in a great position to represent the brand both internally and externally – communicating clearly the Focusrite brand and maintaining strong relations with key media partners, associated manufacturers and inﬂuential clients.’ In addition to his past experience at Focusrite, Mr White has spent time working for Harman International and Solid State Logic, among other reputable pro audio brands.

Sushant Sharma Mr Sharma joins the international systems architect and media/ broadcasting consultancy ﬁrm from Swedish Media technology group Accedo, where he served as head of consulting services overseeing the APAC region. In his new position, he will manage Qvest Media’s local operations, business

Don McConnell, director of Audio Brands. ‘It will be great to again be working on the same team. The addition of Meyer Sound to our portfolio earlier this year has seen our company and the Meyer brand grow into many new markets. It quickly became obvious that a

Damien Juhasz

www.audiobrands.com.au

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54 PRO AVL ASIA September–October 2018

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Mr Juhasz possesses extensive loudspeaker, system design, DSP and general audio experience. He joins Audio Brands from Hills. ‘I have known Damien for many years, initially as a customer, then a work colleague and more recently as a competitor,’ commented

specialist focused on Meyer Sound would be required and we’re pleased to have Damien ﬁll this important role.’ ‘I’m very excited about this new opportunity, both working with Meyer Sound and the great team at Audio Brands Australia,’ added Mr Juhasz. ‘I’m really looking forward to getting out in the market and promoting Meyer’s fantastic range of products.’

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pro.focusrite.com

Audio Brands applies Meyer sound focus with new hire AUSTRALIA: Damien Juhasz is starting a new role at Audio Brands Australia in technical sales and business development for the Meyer Sound brand. Audio Brands Australia was named the Australian distributor for Meyer Sound at the start of the year.

development and commercial objectives in the APAC region, while developing and executing the growth strategy for the region. Meanwhile, Mr Knauf will now be involved in the further development of Qvest Media’s consulting model, the optimisation of standards and processes and the company’s systematic alignment with the challenges of digital transformation as part of his newly created director of consulting position. He will be based primarily in Qvest Media’s German headquarters. ‘The two changes once more underline our stronger positioning as a leading technology consultant in the ﬁeld of the digital media supply chain,’ stated Peter Nöthen, Qvest Media CEO. ‘Sushant’s outstanding knowledge of the online video and cloud business also underscores our new business activities in this area, which recently gained momentum through the acquisition of HMS Media Solutions.’

Network

WORLD: Ted White has returned to Focusrite Pro as global marketing manager. He last worked for the manufacturer between 2012 and 2016 as a senior technical sales and product specialist for the RedNet range. In his new role, Mr White will help grow the Focusrite Pro division, formed in 2017. ‘We welcome Ted back to the Focusrite team,’ said Rich Nevens, Focusrite Pro’s VP of global sales. ‘Considering Ted’s deep domain

SINGAPORE: Qvest Media’s APAC ofﬁce has grown as Sushant Sharma joins as managing director of Qvest Singapore. Konstantin Knauf, who previously served in that role, will remain with the company as a member of the board of directors and to lead the consulting division as director of consulting.

Electronics

AUSTRALIA: Phil Muffet has joined Jands from Fuji Xerox, bringing extensive experience in sales, business development and strategy to ﬁll the role of national sales manager. He has also previously held management roles with electronics companies such as Avnet and Dell. ‘The recent changes in Jands’ product portfolio, together with the signiﬁcant growth the company has been experiencing in recent

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NEWS: APPOINTMENTS

$[RQ DSSRLQWV &(2 3KLO :DJQHU EHFRPHV $SRJHH SUHVLGHQW WORLD: Axon Digital Design has hired Michiel Van Duijvendijk, the co-founder of NEP The Netherlands, as its new chief executive ofﬁcer. Mr Van Duijvendijk brings more than 20 years of broadcast industry experience to the role and will work alongside Axon’s recently appointed chief commercial ofﬁcer, Karel van der Flier, who also joined from NEP The Netherlands. ‘We are really excited to have both Michiel and Karel on board at this pivotal stage in Axon’s development,’ commented Axon’s CTO, Peter Schut. ‘Their experience, particularly of live sports production, will help us to strengthen our focus on providing solutions upon which our customers can rely as audience expectations become more demanding.’ Mr Van Duijvendijk succeeds Jan Eveleens as Axon’s CEO and has immediately outlined his strategy for the company to become ‘much closer’ to

Michiel Van Duijvendijk clients over the next 12 months. ‘Axon’s reputation for reliability and customer focus is second to none,’ Mr Van Duijvendijk said. ‘The team has some phenomenal talent, providing cutting-edge solutions that deliver real competitive advantage to our clients. I’m thrilled to lead the company as it helps broadcasters and media companies to evolve their services, especially in the adoption of IP infrastructure.’

WORLD: Pro audio veteran, Phil Wagner, has been named as Apogee Electronics’ new president. Mr Wagner has a long history in the pro audio industry. Most recently, he served as president of Focusrite Novation and, prior to that, he held the same role at Solid State Logic. The announcement was made by Betty Bennett, Apogee CEO and cofounder, who shares a long history with Mr Wagner, beginning with his early career as a recording engineer at Soundworks in New York. ‘Straight out of the studio, I met Betty at the 1984 summer NAMM show at Chicago’s McCormick Center,’ recalled Mr Wagner. ‘Betty hired me for my ﬁrst position in pro audio while she was president of Phil

Phil Wagner Dudderidge’s Soundcraft USA. We worked alongside each other where I learned the Bennett method of “making stuff happen” as we established Soundcraft New York. I’ve been fortunate to maintain a relationship with Betty throughout

the years; it gives me great pleasure to join her in guiding Apogee into the next phase of its strategic business plan. We have many great ideas and are planning for solid growth in our core markets.’ ‘I’ve watched Phil grow professionally over many years with the various roles and positions he has had in our industry,’ added Ms Bennett. ‘His wife Cathy was part of the Apogee family for 15 years and, as a result, Phil and I have stayed close. I’m pleased that Phil is ﬁnally coming home to Apogee. His energy, skill and tenacity are all without equal. I know he is the right person to ensure our long-term growth.’ www.apogeedigital.com

www.axon.tv

Tom Pavicic to EXLOG 9LWHF·V $1= SDUWQHUVKLSV

Tom Pavicic ANZ: Tom Pavicic has joined the Vitec Group as regional sales manager in Australia and New Zealand for the company’s Production Solutions division. Mr Pavicic will build and manage strategic channel partnerships and further develop the sales organisation in the region from his base in Sydney. Mr Pavicic moves to Vitec from Quinto Communications, a company he joined in 1997 as general manager, rising up the ranks to become CEO in 2012. At Quinto, he managed company

operations in ANZ across three ofﬁces in Sydney, Melbourne and Auckland, in addition to taking the technical, operations and commercial lead on all of Quinto’s external systems integration projects. Prior to joining Quinto, he served as general manager of FP Focusing Pty, a division of Fuji-Photo Optical in Japan. He was also previously a technical sales executive for Inteltech. ‘The ANZ region has tremendous growth potential for the Vitec Group, and it’s essential that we position our company to effectively capitalise on market opportunities,’ commented Audrey Chang, channel and customer marketing director, Asia Paciﬁc, Vitec Production Solutions. ‘For two decades, Tom has held leadership roles at Quinto Communications, one of our key ANZ channel partners. That background gives him a valuable perspective as he works to reinforce our position in ANZ and ensure we have a strong, committed network of resellers targeting all market sectors.’

1/2 PAGE Island

www.vitecgroup.com

September–October 2018 PRO AVL ASIA 55

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NEWPRODUCTS

INSTALLATION • A/V • LIVE SOUND • BROADCAST • POSTPRODUCTION • RECORDING • LIGHTING A-ZCONTENTS

The SQ-7

Allen & Heath’s SQ range reaches the lucky number The SQ-7 features the same FPGA engine as its SQ-5 and SQ-6 predecessors THE SQ-7 from Allen & Heath takes the same XCVI 96kHz FPGA engine found in its predecessors, the SQ-5 and SQ-6, while offering extended control and I/O with 33 faders, 32 onboard preamps, 16 custom soft keys and eight user-deﬁnable soft rotary controls. The new 48-channel console is fully compatible with a variety of remote I/O expanders, including the portable DX168 96kHz stageboxes. Inputs and mixes can be individually assigned to the SQ-7’s 192 fader strips across six layers, while soft keys and rotary controls allow for workﬂow customisation. The scope for system integration and expansion, as well as FOH/monitor splits and recording, is further increased with the addition of Dante, Waves and SLink audio networking cards. Optional DEEP processing plug-ins, meanwhile, provide access to compressor and preamp emulations that can be embedded directly within all input and mix channels without adding system latency. The SQ-7’s SQ-Drive functionality is designed to simplify the act of capturing high-resolution 96kHz stereo and multitrack recordings directly to a USB drive. The console can also be

connected to a PC or Mac via a USB to serve as a plug-and-play, Core Audio or ASIO compliant 32x32 audio inter face

with MIDI and DAW control capabilities. A pair of independent, assignable automatic mic mixers can be combined as a single, 48-channel automatic mic mixer. The SQ-7 is also supported by an array of remote I/O expanders, audio networking cards and ME personal mixers, as well as mixing and personal monitoring apps. Speaking of apps, the Audiotonix brand has also launched the SQ4You app for Android and iOS. Up to eight phones or tablets can be connected at the same time, offering level controls over four groups, a master level and mute. Each group provides more in-depth control, such as individual channel metering, send levels and stereo pan.

The SQ4You app for Android and iOS

www.allen-heath.com

AJA HDR Image Analyzer/IPR-10G-HDMI Alcons Audio VR5 Allen & Heath SQ-7/SQ4You Amadeus C Series Antelope Audio Verge/Edge mics ArKaos An-Ki Audinate Dante ﬁrmware 4.1 for Ultimo UXT Audio Precision APx500 update/APx v4.6 Audio-Technica ATW-T6002x/ATH-M60x Audix Allen & Heath ProFactory mic presets Avid S6L-48D/S6L-24C/S6L-16C/E6L-112/Stage 32 Avolites Titan V11 Biamp SageVue/Tesira EX-UBT Blackmagic Design Pocket Cinema Camera 4K Bose CSP-1248/CSP-428/ESP-1240/ESP-880 Boyoho Smart One Cadac CDC I/O 4016/CDC MC Optical-4 and Optical-1 Chauvet Strike P38/BTAir Christie DHD635-GS/DWU635-GS/FHD493-XE Clair Brothers 10Spot Claypaky Zac-Eye Clear-Com 800 Series/FreeSpeak II IP Transceiver Crest Audio Versarray Pro/Tactus.Control Crestron AirMedia 2.0/MPC3-201-B/XiO Cloud Danley Sound Labs OS-12CX DiGiCo DMI-AMM/S-Series V2.2/32-bit DAC DirectOut EARS/globcon for ExBox.MD disguise OmniCal/Solo/HDMI 2.0 VFC card EAW UX Series/RSX212L/RSX18F/Resolution 2.5 Elation Seven Batten Series/Seven PAR IP Series Electro-Voice EVC series EM Acoustics EMS-41 ETC ColorSource Pearl/Irideon WLZ/Element 2 Fane Pro Audio Nüwa/SA series/SV-6 FBT Shadow series updates/Vaie 7500 series Focusrite RedNet X2P/Red 16Line Genelec 7050C High End Systems SolaFrame Theatre/SolaFrame 750 Hitachi CU-HD1300F-S1/SK-UHD4000 HK Audio Contour X Ikegami HDK-73/UHK-430 JBL VTX A8 and B18 Kramer Network 2.0/Maestro V1.5/VS-88UT/VS-622DT Lavoce MAN062.00/WAF123.02/SAF214.50 Lawo smartDASH/smartSCOPE/vm_dmv64-4 Lectrosonics PDR V2.0 Litepanels Gemini upgrade LSC Lighting Unity/DIN-Rail Magewell Ultra Stream HDMI Martin Audio TH Series/V.Series Meyer Sound UP-4slim/Precision Toolset additions Middle Atlantic L7 Series/FlexView IFPs NewTek LiveGraphics/Viz Mosart NUGEN Audio SigMod Outline Superﬂy/Newton v0.76/Dashboard v1.6 Panasonic AW-HE38 Peavey MDM32/nTouch 380HD/Elements C update Picturall (Analog Way) Software V2.4.0 Powersoft M-Force 301P01/M-Force 01 and 02 PR Lighting Aqua 480 and 350 BWS QSC Premium Business Music Solutions/MP-M Series RCF HD 15-A/HD 35-A/HDP 45-A/E Max series Robe Tarrantula Røde SoundField by Røde NT-SF1 Roe Visual Europe Diamond 2.6 (DM2.6)/Vanish 18 Roland V-60HD version 1.1 Ross Video OGX/Carbonite Mosaic Sennheiser Essential series/ew 500-p system Shure MXCW and MXC/Designer 3.1 Signum Audio Bute Loudness Suite Solid State Logic L100/Remote Tile V4.7/Native v6 Sony BRC-X1000/BRC-H800/Vision Exchange V1.1 Soundcraft Notepad 1.09/Ui24R 2.0 SoundTube OS-440/LA830i Sovico PLA-65/PLA115S/S-series/D-series/DNL-15P Studer Vista 5 Black Edition Symetrix Visionary Solutions combines Dante with Composer DSP TASCAM BO-series/202mkVII Tasker Fluo series Telestream Lightspeed Live Stream/Vantage v7.1 TSL FlashBoard/TallyMan Virtual Panel V1.3 TVU Networks TVU Producer Pro Universal Audio Neve Preamp plug-in/UAD-2 Live Rack Vaddio DocCAM 20 HDBT/OneLINK Codec Kits Vue Audiotechnik hm-115 Waves Bass Slapper/Brauer Motion/PRS SuperModels Williams AV Pointmaker Presenter Work Pro LS-Wing/LS-Nodes/WNS-8P WyreStorm EX-SW-0301-H2/EX-SW-0401-H2-PRO Yamaha CXS-XLF series/CZR series/SWR2311P-10G

90 58 57 62 82 95 82 86 78 81 74 98 78 92 76 72 76 94 90 62 94 70 68 72 61 81 84 78 67 95 58 66 95 58 62 78 70 96 94 57 92 68 86 70 86 84 96 98 88 61 62 98 89 84 70 92 66 90 71 96 71 58 96 80 96 90 90 80 74 85 75 92 84 67 68 75 72 76 76 88 85 89 82 92 60 82 72 98 74 60

1HZ ÁDJVKLS SRLQW VRXUFH IURP +. HK AUDIO’S newest line of ﬂagship point source speakers is seeking to push the performance boundaries of compact cabinets by employing high-performance woofers claiming to offer an ‘impressive’ bass response. The Contour X series includes the 8-inch CX 8, 12-inch CX 12 and 15-inch CX 15, offering 1,200W, 2,000W and 2,4000W of peak power handling, respectively. The CX 8 also promises a frequency response from 76Hz to 19kHz,

which extends at the low end down to 79Hz for the CX 15. The cabinets have been engineered for life on the road and, as such, include a hard-wearing PU exterior ﬁnish and a solid birch multiplex construction. Additional features include rotatable horns, four NL4 speakON ports with Pin Assignment switches, two different monitor angles, and various rigging and mounting options. Ready-to-go tuning is

described as another ‘no-muss, no-fuss’ time-saving feature. The German manufacturer has also debuted the ﬁrst component in its new Cosmo line array system – a family intended to provide measurably higher SPL in the HF range while requiring fewer components to cover FOH requirements for most users. For an in-depth look at the Cosmo’s R&D procedure, turn to page 128. www.hkaudio.com

September–October 2018 PRO AVL ASIA 57

PRODUCTS

Full power, compact size ELECTRO-VOICE HAS debuted a new 5-member family of loudspeakers for installation in small- and medium-sized venues. The EVC series includes three (8-inch, 12-inch and 15-inch) 2-way trapezoidal models that can be used in a wide variety of applications where wide bandwidth, vertical and horizontal directivity control and high efﬁciency are required in a small enclosure package. Two coverage patterns are available for each size, while their waveguides are rotatable. The 12-inch speaker also has a Variable Intensity (EVC-1122/VI)

model that includes a 12-inch, 2-way design with a unique compound waveguide. The manufacturer describes this as being able to ‘evenly cover a deﬁned rectangular audience area with almost no variation in sound quality and minimal change in level’. An 18-inch subwoofer completes the line-up for use with any of the full-range systems. While all ﬁve cabinets are covered with EV’s ‘super-durable’ EV Coat in either black or white, weather-resistant PI versions are also available that have stainless

steel grilles, hydrophobic cloth and a dual gland nut cover for the input panel. Installation is via the multiple M10 suspension points or attachment points for an optional U-bracket or OmniMountstyle pan/tilt wall mount.

Far from the end of D-Line for RCF INSPIRED DIRECTLY by the pedigree of its portable and TT+ touring products, RCF has created three new speaker systems as part of the manufacturer’s D-Line HD composite series. Both the HD 15-A and HD 35-A models incorporate 15-inch LF woofers with HF compression drivers together with Class-D ampliﬁers delivering 700W and 1,000W RMS power, respectively. Combining a 15-inch neodymium woofer with a 4-inch voice coil neodymium compression driver, the HDP 45-A point source speaker is capable of producing an SPL of 133dB. Further equipped with the same 1,100W RMS ampliﬁer that is integrated within the TT 25-A, the HDP 45-A can also be connected to the

HD 15-A RDNet network management. DSP parameters for all three models include crossover, equalisation, FiRPHASE processing, soft limiting and speaker protection.

In addition, the Italian manufacturer has also unveiled the E Max series of 2-way speakers for delivering foreground audio in nearﬁeld or short-throw applications. Equipped with a 10-inch woofer and 1-inch compression driver, the E Max 3110 is a 300W-rated speaker capable of delivering 128dB maximum SPL within a 60Hz to 20kHz frequency range. The 12-inch E Max 3112 speaker can deliver a maximum SPL of 129dB over a frequency range of 55Hz to 20kHz with a total power handling of 350W. Both models are equipped with 90° x 70° rotatable horns and are housed in birch plywood cabinets coated with black textured epoxy. www.rcf.it

For 70V/100V operation, the input panel has an internal landing pad for mounting the manufacturer’s TK150 audio transformer which, when installed, engages EV’s Automatic Saturation Compensation (ASC)

paint. Flexibility has been enhanced with the addition of two Neutrik speakON NL4 connectors, mounting points with internal metal brackets and a 35mm pole mount adapter. While the Nüwa-10 can output up to 120dB continuous SPL, the 12- (300W) and 15-inch (600W) versions can produce 122dB and 126dB SPL, respectively. Celebrating its 60th anniversary this year, the UK developer has also launched the SA series of loudspeaker systems. Comprising 10- and 12-inch passive 2-way models, the SA series has also been optimised for vocal sound

58 PRO AVL ASIA September–October 2018

The Nüwa series reinforcement in smaller venues. Featuring customised Fane 10and 12-inch woofers with a 1-inch polymer diaphragm compression driver mounted to an elliptic 80° x 60° low-resonance horn,

www.electrovoice.com

Mini and versatile ALCONS AUDIO’S VR5 is described by the manufacturer as a 2-way mini versatile loudspeaker designed for nearﬁeld applications requiring wide horizontal and vertical coverage. It is also the ﬁrst pro audio system to feature Alcons’ patentpending waveguide technology. The ‘revolvable’ waveguide is what allows for 90° horizontal and 60° vertical dispersion. The Dutch manufacturer has built the VR5 for both portable and permanent applications, claiming that the compact cabinet ‘brings the typical clear, dynamic and ultra-low distortion Alcons signature sound of the larger systems’. Inside the cabinet, which is of asymmetric multi-angle design, is an RBN202 pro-ribbon driver for HF and a 5-inch mid-bass driver to offer LF reinforcement. The HF section has a peak power input of 400W for a

Nüwa extends its appeal beyond KTV AVAILABLE IN 10-, 12- and 15-inch versions, Fane Pro Audio’s Nüwa series of 2-way, passive loudspeakers has been designed and optimised for vocal reproduction in KTV and live music venues. Constructed from 15mm void-free birch plywood, the Nüwa-10 incorporates a 10inch woofer and a 1-inch titanium diaphragm HF compression driver mounted to an elliptic 80° x 60° low-resonance ﬁbre glass horn. The 300W RMS-rated speaker is assembled with tongue-and-groove joints and ﬁnished in a proprietary StoneTex scratch-resistant black

and aims to preserve lowfrequency performance while presenting a stable load to the ampliﬁer.

the SA series speakers provide effective vocal projection across their 50Hz to 18kHz bandwidths. Like the Nüwa series, both cabinets are ﬁnished in StoneTex scratch-resistant black paint and are equipped with twin Neutrik speakON NL4 connectors,

1:16 dynamic range. The pro-ribbon transducer technology, meanwhile, provides the VR5 with a fully linear response at any SPL, which is said to deliver a 1:1 input/output performance. In addition to its asymmetric, angular build, the VR5 also promises to keep a low proﬁle with ACO colour options and features ﬁve M10 mounting points to enable swivel bracket, shoulder eye bolt or mic-stand deployment. www.alconsaudio.com

mounting points with internal metal brackets and 35mm pole mount adapters. Suitable for both portable and ﬁxed installation applications, the SV-6 is a passive 6-inch loudspeaker. Weighing 7.1kg and measuring 320mm x 210mm x 230mm, the compact 150W-rated 2-way speaker operates within a 70Hz to 19kHz frequency range and is capable of producing 91dB continuous SPL output. The smallest model to be added to the SV family, the SV-6 incorporates a 6.5-inch diameter neodymium transducer and a 1-inch titanium diaphragm compression driver coupled to an 80° x 60° lowresonance horn. www.faneproaudio.com

THEY HEARD,

“BAD NEWS, THE BUSINESS IS IN TROUBLE.” But you said, “Big news, our business has doubled!” With Devio, the message is always clear thanks to an 8-element, voice-tracking microphone for crystal clear sound in any conference or huddle space. Quickly transition ideas from your laptop to a collaborative work session, adding displays, speakers, a web camera, and microphones with a single USB connection. Communicate better with Devio the conferencing tool that works the way you work.

biamp.com/devio

PRODUCTS

Vue adds to hm-Class SLOTTING BETWEEN the hm-112 and hm-212 in both output and physical size, the hm-115 is the latest addition to Vue’s hm-Class series of high-deﬁnition

stage monitoring systems. The hm-115 incorporates a neodymium HF compression driver with a 4-inch voice coil and a Truextent beryllium diaphragm for high-frequency ouput. The integrated electro-

acoustic system with rackmount V4 Systems Engine reportedly provides specially conﬁgured DSP and ‘massive power output for a quick set up and zero performance compromises’. Full network monitoring and control

via SystemVue software is also included. The monitor is enclosed in low-proﬁle birch ply hardwood and is ﬁnished in a 12-layer DuraCoat coating. www.vueaudio.com

Yamaha goes low YAMAHA HAS created two new series of loudspeakers designed for both live performance and installed environments. The CXS-XLF series can extend down to 29Hz. Comprising the CXS18-XLF (18-inch) and CXS15XLF (15-inch) units (which have respective peak SPLs of 133dB and 131dB), multiple CXS-XLF subwoofers can be used in cardioid mode for enhanced rear bass rejection and front projection, provided the processor has the necessary dedicated DSP settings. They both include a 35mm pole socket and an M20 threaded socket to support a fullrange cabinet. The CZR series features three 2-way models: the CZR15 (15-inch cone), CZR12 (12-inch cone) and CZR10 (10-inch cone). All models incorporate transducers with die-cast aluminium frames and a 3-inch voice coil, combined with a neodymium magnet to add punch to the bass frequencies. They also feature a rotatable constant directivity horn design

(50° for the CZR15; 90° x 60° for the CZR12 and CZR10) to offer ﬂexibility for horizontal or vertical mounting. In passive mode, the CZR15 and CZR12 have a power rating of 800W, with a peak SPL of 129dB and 128dB, respectively. The CZR10 has a power rating of 700W, with a peak SPL of 126dB. Launched alongside the new VXL1-16P (see the July/August issue for further details), the SWR2311P-10G is an L2 switch that allows Dante settings to

CXS18-XLF

SWR2311P-10G be made on the VXL1-16P via LLDP, which passes system management data between

neighbouring devices. Featuring eight PoE-compliant LAN ports and two combo LAN/SFP ports, the SWR2311P-10G can supply a maximum of 30W PoE for all ports simultaneously. An optional RK-SWR rackmount accessory can be used to install the SWR2311P-10G in a 19-inch rack, while the WK-SWR wall mount accessory can be used to mount the unit on a wall, ceiling or other sur face. Turning to the conference sector, Yamaha has debuted its YVC200 portable USB + Bluetooth speakerphone for mobile workers. The device ﬁts in the palm of the user’s hand and features

7(., 1/3 1/3 PAGE PAGE

60 PRO AVL ASIA September–October 2018

microphones that reportedly deliver full-duplex conversation without sound dropouts, even when multiple people are speaking at once. The YVC-200 can connect to a PC, smartphone or tablet, while the rechargeable battery provides up to 10 hours of operation. Finally, the manufacturer has added two audio interface cards for the Rivage PM digital mixing system: the HY144-D-SRC and the HY128-MD. The former supports 144 inputs and 144 outputs via Dante audio networking. It provides onboard sample rate conversion for when devices running at different sample rates need to be interconnected. The latter is a 128-in/128-out card that supports the MADI audio protocol. It can be used to convert the output of a Rivage PM10 system to MADI, for transmission to an OB truck or to connect to a MADI-based mixing console. www.yamahaproaudio.com

PRODUCTS

Horizontal and vertical coverage DESIGNED TO complement the styling of its CDD and BlacklineX Series, Martin Audio has released its TH Series comprising two high-performance, all-horn, 3-way systems. THH is conﬁgured in a horizontal format while THV is its vertical counterpart. The driver complement in both systems has been engineered for ‘exemplary’ performance in all bands. The Hybrid LF section comprises a hornloaded 15-inch/4-inch voice coil driver that is reﬂex loaded to extend the LF output to below the natural horn cut-off point. The LF driver features a water-resistant cone and triple roll surround for increased excursion.

The mid-horn has a phase-ball loading device that maintains the constant directivity characteristics of the horn at the upper end of its range. It is driven by a 10-inch midrange driver with an aluminium demodulating ring. The 70° x 40° HF section features a neodymium 1-inch exit compression driver with a Kapton diaphragm. The internal mid/high passive crossover allows these 3-way systems to be driven in a biamp conﬁguration. The Martin

TH Series Audio iK42 is the recommended ampliﬁer partner, while the DX range of controllers is also compatible. Elsewhere, the manufacturer has announced the arrival of its

Danley goes wide outdoors DANLEY SOUND Labs has expanded its outdoor range with a wide coverage option. The OS-12CX offers a 90° coverage pattern and is aimed at smalland mid-sized sports venues, water parks and cruise ships, as well as for larger distributed outdoor installations or as a ﬁll for end-ﬁred systems. The speaker itself offers a frequency response that is reportedly ±3dB from 69Hz to 21.7kHz using a single 12-inch coaxial driver. It is rated at 400W continuous and 1,600W peak, and is capable of delivering 121dB SPL continuous and 127dB SPL peak. As with its weatherised siblings, the OS-12CX uses the manufacturer’s Synergy crossover design, Sentinel limiter protection circuitry and stainless steel mounting hardware. It measures 760mm (H) x 260mm (W) x 280mm (D) and weighs 18kg.

V.Series, designed speciﬁcally for the KTV market and bars in Asia. The passive 2-way V.10, V.12 and V.15 are full-range loudspeakers for small- and medium-sized entertainment installations. Each

enclosure features a userrotatable horn for vertical or horizontal orientation, and multiple M8 threaded inserts for ease of installation. The trapezoid enclosures are braced internally to reduce panel resonance and improve sonic performance, and are ﬁnished in a textured black paint, with drivers protected by a perforated steel grille. www.martin-audio.com

....with the integrated realtime steering array microphone and sound bar

3/4 PAGE AM-CF1

Integrated Audio Collaboration System The AM-CF1 is the perfect all-in-one audio conferencing solution for small to medium size conference spaces with great return on investment. Built-in AEC (Acoustic Echo Cancellation), NC (Noise Cancellation), and EQ maximize performance making collaboration between remote sites a very natural experience. The AM-CF1 is easily installed with included hardware and intuitively programmed via browser.

We supply sound, not equipment. www.toa.com.sg I

TOAasiapaciﬁc

www.danleysoundlabs.com

September–October 2018 PRO AVL ASIA 61

PRODUCTS

FBT heads for the exit THE ALL-WEATHER characteristics of FBT’s Shadow series have been further engineered for use in emergency and evacuation applications. The cabinets now offer full EN54-24 certification as well as a new roto-moulded enclosure in polypropylene with 5VB flame resistance classification. Originally launched to provide IP55-rated water and particle resistance in both point source and line array formats, the upgraded range can now be customised for weather-resistant sound reinforcement and voice alarm/ evacuation functions. Equipped with ceramic terminal blocks, thermal fuses and flame-retardant cabling adhering to EN50200 standards, the Shadow enclosures have been designed to operate during a fire. Upgraded models include the 5-inch Shadow 105T that provides

100° x 70° dispersion and operates within a frequency response of 100Hz to 18kHz. Displaying 90° conical dispersion characteristics, the 8-inch 108CT model operates within a 94Hz to 20kHz frequency response. The multipurpose coax 112CT model comes with a 1-inch compression driver paired to an HF horn offering 80° conical coverage within a 68Hz to 20kHz range. Designed for medium- and long-throw applications, the 112HC is another 12-inch coaxial horn operating between 98Hz to 19kHz and providing 80° x 50° dispersion. An arrayable version is available in the form of the Shadow 142L that operates within a much tighter 80° x 15° coverage. With the exception of the 112HC and 142L models, all of the enclosures are equipped with a standard 100V line transformer.

Shadow 108CT The Vaie 7500 is a range of wallmountable, mission critical voice evacuation systems for up to six zones. Comprising three models ensuring compliance with EN 5416:2008/EN 54-4 standards, up to six systems can be connected via a double redundant link to serve a maximum of 36 zones, each with its own audio. Each zone is driven by an individual ampliﬁer with a maximum limit of 250W per single zone and an overall rated output of 500W freely distributable among the zones.

Amadeus performs for Chaillot

AMADEUS HAS named its C Series speaker systems as a tribute to the Théâtre National de Chaillot. The new high-deﬁnition series of point source speaker systems was initially designed and

manufactured for the prestigious Paris-based theatre and launches with two models: the C12, based on a 2-way point source transducer featuring a 12-inch woofer and a 1.75-inch driver;

and the C15, built around a 3-way point source transducer featuring a 15-inch woofer. Both models feature a diffraction horn optimised for a vertical dispersion of 60° and a horizontal dispersion of 90°. These dispersions can also be inverted by rotating the system 90°. The C15 also includes a pair of neodymium diaphragm compression HF drivers, which are coaxially mounted with a single acoustical output and coupled to an individual waveguide. www.amadeusaudio.fr

Hybrid theory CLAIR BROTHERS has combined its Curved Array Technology together with its One Series coaxial horn technology to create the 10Spot hybrid loudspeaker. The US manufacturer describes the result as ‘a unique form factor loudspeaker that occupies little visual space while covering listening areas more coherently than your average conventional point sources’. The speaker’s coaxial horn arrangement reportedly provides constant curvature in the vertical plane with progressive divergence in the horizontal plane, resulting in a directivity pattern of 90° at the top and 135° at the bottom,

10Spot on display at PL+S across a 45° vertical coverage angle. The 10-inch woofer as well as the compression driver both load into a combination of two overlaid horns. This reportedly solves the problem of horn shadowing. The high-mid frequencies of the 10-inch woofer join with the high-frequency horn as it extends towards the mouth. Low-frequency ports ﬂank the

62 PRO AVL ASIA September–October 2018

horn on both sides. 10Spot has a frequency response of 90Hz to 20kHz and four integral mounting points. The manufacturer believes its form factor and dispersion characteristics make the speaker particularly well-suited for installation near ceiling-to-wall intersections. www.clairbrothers.com

The Vaie 7502 can divide 500W between two zones, while the Vaie 7504 will split 500W between up to four zones and the Vaie 7506 will split 500W across a maximum of six zones. Up to seven controlled inputs for connection to a centralised fire-fighting system can recall up to eight pre-recorded messages (two emergency messages for alert and evacuation and six that can be classified as emergency, evacuation or broadcast). A single music input is also available, together

with three configurable relays and an auxiliary configurable input. A handheld fireman’s microphone is integrated into the design, although each Vaie system can be set as the main broadcasting microphone station to which up to 16 microphone stations can be connected in total. Front-panel control is enhanced with a backlit 4.3-inch touchscreen. Programmable for different authorisation levels, the touchscreen can be used for setting alerts and evacuation zones in addition to volume levels and system configuration settings. A protected local button with dedicated LED puts the system into an emergency state, while a dedicated button resets an active alarm signal. www.fbt.it

Meyer Sound slims down THE UP-4SLIM ‘ultra-compact’ installation loudspeaker from Meyer Sound is the first cabinet made entirely of aluminium to house the manufacturer’s IntelligentDC technology, developed to combine the sonic advantages of self-powered loudspeakers and the ease of installation of low-voltage systems. It measures 404mm (H) x 109mm (W) x 145mm (D) and weighs 5.9kg, with install options including U-bracket, mounting yoke or pole mount. A 3-way system comprising a pair of 4-inch cone drivers, a 1-inch metal dome tweeter, a 3-channel amplifier and dedicated signal processing, UP-4slim has an operating frequency range from 65Hz to 18kHz and has a peak acoustic SPL output of 110dB. The two cone drivers work at lower frequencies, one rolling off in the midrange to prevent combfiltering effects, while the highfrequency driver is mounted on a conical waveguide for a consistently wide 100° dispersion pattern. The 3-channel amplifier produces 500W of output power. ‘When sur face mounted, its understated appearance blends discreetly with any room décor and, where soffit mounting is preferred, it will slide into tight spaces,’ noted Pablo Espinosa, Meyer Sound’s vice president of R&D.

UP-4slim In other news, Meyer Sound has added to its Precision Toolset, which accompanies the Leo line array family. The new toolset enhances amplitude and phase compatibility within the family and beam-steering arrays. The EQ Starting Points feature allows the different models of speakers to power up with the same target frequency response curve, while Delay Integration performs the same function in the phase domain, meaning users can bypass the task of phase response optimisation. www.meyersound.com

There are no better monitors of this size, itâ&#x20AC;&#x2122;s as simple as that Andy Jones - Music Tech

genelec.com/theones

PRODUCTS

Nion breaks into the Dante network THE INTRODUCTION of the MDM32 Dante network audio module now allows MediaMatrix Nion devices to interface with the Dante network. Serving as a replacement for the Dante DLM module, the CM format of the MDM32 also allows legacy CobraNet systems to be updated to Dante systems. Previously existing CM1 and CM2 modules in MediaMatrix Nion and CAB4n frames can now be replaced with MDM32 Dante network modules. Compatible with all MediaMatrix Nion DSP devices as well as CAB4 conﬁgurable audio I/O bridges, the MDM32 supports 32x32 digital audio inputs and outputs, while delivering ultra-low latency Dante audio streaming over a Gigabit Ethernet network with redundancy. Staying with MediaMatrix, the manufacturer has unveiled its nTouch 380HD touchscreen controller. Providing a 15.6inch display, the 380HD can be

mounted in a variety of locations, while the GUI can reportedly support any control and systemwide monitoring requirement. The controller is described as ‘an ideal solution where real-time

MDM32 equipment status monitoring and control is required in medium, large and enterprise systems’. Peavey has also announced that the rating for its Elements C Series weatherproof loudspeakers has been

upgraded from IP45 to IP56. The ﬁrst digit refers to protection against contact and ingress of small par ticles and foreign bodies. IP45 guarantees protection against contact with live or moving par ts inside the enclosure by tools, wires or other objects with a thickness greater than 1mm. An IP56 rating signiﬁes complete protection against contact with live or moving par ts including protection against harmful deposits of dust. The second digit refers to protection against water. An IP45 rating guarantees that water projected by a nozzle against the enclosure from any direction shall not have a harmful effect, whereas IP56 takes things a step fur ther to include protection against water from heavy seas or projected from jets. www.peaveycommercialaudio.com

EMS series welcomes smallest sibling

EMS-41 THE EMS series from EM Acoustics has undergone an expansion with a new ‘ultracompact’ model. The EMS-41 is intended for nearﬁeld monitoring and background music use where a small speaker is required and promises ‘intelligible’ audio distribution over wide areas. The cabinet is of a passive, coaxial design and boasts a 4-inch LF transducer and coaxially mounted 0.85-inch HF

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64 PRO AVL ASIA September–October 2018

compression driver. The enclosure is an infinite baffle design with the manufacturer saying it has been designed to provide a much smoother LF roll-off and extended bass response than would be expected from an enclosure of this size. The enclosure itself is constructed from 12mm and 18mm multi-laminate Birch plywood with curved, trapezoidal sides. Three M8 threaded fixings are incorporated (one top, one bottom and one on the rear) for attachment of rigging hardware and safeties. The EMS-41 includes a pair of Neutrik speakON NL4 connectors for input and enclosure link, as well as a pair of colourcoded push terminals for bare wire connections. A perforated steel grille protects the drive units from damage and can be removed for service purposes. The enclosure is finished in black or white textured paint as standard, with RAL colourmatching options also available. www.emacoustics.co.uk

PRODUCTS

SoundTube gets smart outdoors UTAH-BASED SOUNDTUBE has released its OS-440 outdoor smart amplifier. Featuring IP55 certification, the weatherproof amplifier comes with onboard Bluetooth functionality and Wi-Fi direct mode, allowing it to wirelessly connect to an existing network and function as a Google Chromecast device in addition to interfacing with DLNA servers to provide multi-zone control.

A source can be hard wired for analogue and digital outputs, allowing it to interface with any existing source or system. The OS440 boasts multi-zone control in addition to audio control by pairing with an Amazon Alexa-enabled device. Designed to create intelligible audio in indoor applications, the LA830i column speaker features eight 3-inch polypropylene

subwoofers and eight 1-inch aluminum dome tweeters. Housed in an MDF enclosure with a plywood rear panel and a powder-coated steel grille, the LA830i can be connected from the Neutrik speakON input jack. The LA830i offers longthrow capabilities with a 120° horizontal and 45° vertical dispersion pattern. In addition, the column can be paired with a

EAW bolsters its systems credentials ADDING TO its existing UX range of DSP processors, EAW has created a complete ampliﬁcation and processing solution aimed at installation and production applications that utilise EAW loudspeakers. The UX Series integrates the manufacturer’s greybox technology and Resolution software and provides tools such as DynO and Focusing. The 4-channel UXA4406 and UXA4410 ampliﬁers are joined by the 8-channel UXA4810 variant. Incorporating 48kHz DSP, the 4-channel models are capable of delivering up to

The UX48, UXA4810 and UXA4410 2,500W, while the UXA4810 provides 1,250W per channel. Each channel can be conﬁgured to deliver its maximum power into 21, 41 or 81 nominal loads as well

as 25V, 70V and 100V constant voltage lines. Incorporating the latest analogue-to-digital converters and DSP technologies, the ﬁnal component of the UX Series is the

120W transformer and 6-position tap switches for 25.5V, 70.7V and 100V operation or coupled with the SW10p subwoofer for a line array sub combo providing

UX48 for processing four inputs and eight outputs that can be configured from a front panel user interface. Meanwhile, the US manufacturer has added the RSX212L line array module and RSX18F subwoofer to its Radius Series. Designed for touring and permanent install applications, both products incorporate EAW’s DynO and Focusing technologies. The 2-way RSX212L includes two 12-inch lowfrequency drivers and two 1.7-inch voice coil compression drivers. The module also features 3-point rigging, a new flybar, caster pallet and a cover designed for quick deployment and pack down. The RSX18F is a single 18-inch, flyable,

low-frequency response. A wall bracket, spike and female pole mount insert come as standard. soundtube.mseaudio.com

low-frequency module that provides automatic cardioid functionality, in stacks of two or greater, via EAW’s OptiLogic technology. The subwoofer provides low-end support for all full-range products in the Radius Series and can be ﬂown with the companion RSX208L line array module via a new accessory adapter. Finally, the company has updated its Resolution 2 and EAWmosaic software. Users of Resolution 2.5 can now import external graphical images as plan and section views to aid the building of Resolution models from architectural drawings. www.eaw.com

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September–October 2018 PRO AVL ASIA 65

COSMO The COSMO Mixed Array provides an asymmetrical throw pattern. Very wide in front of the stage, it is narrower at medium distances and focused at long distances. The C 6*, C 8 and C 10* units ﬁt right on top of one another without additional adapter frames. *C 6 and C 10 units will ship in 2019.

C 10

C8 C6

COSMO / CONTOUR X / ONE LIVE SOUND SYSTEM FOR ALL APPLICA

C 10 60˚

C 8 80˚ C 6 100˚

Horizontally asymmetrical throw pattern

Long reach deep into the venue

The three COSMO top units are modular. Simply combine them to conﬁgure a horizontally asymmetrical array. Adapting a coverage pattern to suit the location‘s layout is as easy as that.

A narrow beam travels further—the tighter the throw pattern, the greater the COSMO top units‘ efficiency and max SPL. This gets the sonic energy where it needs to go, deep into the venue, compensating the air absorption at high frequencies for long throw applications.

CONTOUR X The CONTOUR X models‘ multifunctional housings are versatile indeed. FOH speakers, stage monitors and unobtrusive yet powerful front-ﬁlls they can do it all. They deliver high sound pressure levels paired with low distortions. The BEM-optimized horns ensure very uniform off-axis response. A rugged PU ﬁnish and steel front grilles treated with an anticorrosive coating keep them well-protected on the road.

C SUB

This series features CX 8, CX 12 and CX 15 models.

TIONS D C SUB C SUB series models are highly efficient bass units ﬁne-tuned to deliver the best performance with COSMO and CONTOUR X series top units. Built to handle a lot of power, their unusually expansive dynamic headroom ranges down to the lowest frequencies. With four Speakon NL4 connectors–two in back, two up front– with pin selector switches they are very easy to connect in cardioid and other setups. This series features C SUB 118 and C SUB 218 models.

C 10

hkaudio.com *LAB.gruppen and Powersoft electronics excluded

PRODUCTS

Crest unveils its system credentials

Versarray Pro hang

HAVING DISTINGUISHED itself as an innovator of mixing console and ampliﬁcation technology, Crest Audio has extended its reach into loudspeaker manufacture with the development of a new powered line array. Comprising the Versarray Pro VR112 line array element and the VR-Pro 215 sub, Versarray Pro is designed for mid-sized line array applications. While the highfrequency section of the VR112 is equipped with Mark III ribbon drivers matched to a Clear Form Waveguide, the low end is served

by a Black Widow neodymium 12-inch woofer with dual 4-inch voice coils. The addition of a Ram Air Cooling (RAC) design enhances efﬁciency and power handling. Also beneﬁtting from its RAC design, the VR-Pro 215 subwoofer incorporates dual 15-inch Black Widow woofers for LF extension down to 35Hz (±10dB) with a peak SPL of 135dB. While adjustable rigging comes in the form of an integrated rear 3-pin system, the incorporation of FlyQWIK hardware ensures that the system can be quickly and accurately deployed. In addition, Auto-Hang DSP technology provides

1-push button control for simple adjustment according to the number of cabinets in the array and speaker positioning. As an active system with onboard DSP processing including FIR ﬁltering, parameters can either be accessed from the rear panel or remotely via the dedicated Window-based software utility. Furthermore, connection via a single Cat-5 or Cat-6 cable provides Dante audio network control. Following on from the launch of the Tactus digital mixing system, Crest has now developed Tactus.Control as a physical mixing interface. Developed in

conjunction with Waves, the Tactus system comprises the Tactus.FOH audio processing core, the Tactus.Stage 32-in/16out remote stage box and a Tactus.Control tactile motorised fader board serving as a physical extension of the Waves eMotion LV1 touchscreen mixer. Equipped with 16 motorised input faders, two masters and other control options, up to two control surfaces can be connected via USB to a Windows PC or Mac running the Waves eMotion LV1 mixer application. www.peaveycommercialaudio.com

JBL brings VTX to smaller audiences SMALLER VENUES and events will be able to make use of JBL Professional’s VTX series line array as a result of two new additions to the portfolio: the new VTX A8 dual 8-inch line array loudspeaker and companion B18 single 18-inch subwoofer. The VTX A8 combines JBL transducers that have been engineered to integrate more drivers into a smaller and lighter box with the manufacturer’s latest generation of highfrequency waveguides to provide ‘performance, efﬁciency’ and 110° of horizontal coverage. Its 8-inch neodymium LF woofer is based around JBL’s fourthgeneration Differential Drive

technology and features a dualvoice coil/dual-gap configuration that is said to maximise excursion, power handling and sensitivity. The midrange drivers are integrated into JBL’s Radiation Boundary Integrator, while the cabinet also features two instances of the 2423K 2-inch compression driver found in the larger VTX A12. The speaker’s 3-way design utilises a passive network to drive both the mid- and high-frequency sections with a single amplifier channel, simplifying configuration, lowering the total weight and, therefore, overall costs. The new V8 cabinet also shares the same rigging system as the larger A12 sibling. Eight

The JBL VTX A8 accessory options expand the VTX A8’s mounting, integration and installation capabilities, such as a base plate that mounts the A8 on top of the new ground-stacked B18 subwoofer, and a truss clamp and

mini frame that enable the A8 to be mounted. The companion sub, meanwhile, integrates the manufacturer’s new 2288 single 18-inch woofer which promises ‘improved linearity

and a wider dynamic range’. Also making use of the fourth-generation Differential Drive technology, it promises LF extension down to 35Hz. In addition, the B18 incorporates JBL’s SlipStream double-flared exponential LF port design that reportedly improves airflow and reduces audible turbulence, even at maximum excursion. Both the VTX B18 and VTX A8 adopt the familiar VTX A Series full-face powder- and zing-coated grille design that boasts an IP55 high ingress protection rating. The grilles can be finished in a variety of colours to suit fixed installations. www.jblpro.com

Bright summer forecasts follow the Sovico Spring FOLLOWING THE Sovico Spring event in May 2018, South Korean pro and commercial manufacturer, Sovico, is shipping several new products under its SAC catalogue range alongside its commercial audio brand, Matrix. Targeted at production and touring companies for live events, the PLA-65 is a multipurpose 6.5inch line array system promoting ease of use and ﬂexibility. The lightweight cabinet incorporates dual 6.5-inch B&C woofers together with an optimised waveguide and HF compression driver. Operating within a frequency response of 70Hz to 18kHz (±3dB), the PLA-65 can provide horizontal coverage of up to 150°. Designed to extend the lower frequencies down to 38Hz, the PLA115S is a dual 15-inch subwoofer sharing the same width for suspension on the same array as the PLA-65.

Equally at home in ﬁxed installations or live productions, the D-series of ampliﬁers is a series of three 2U-height models between 4.5kg and 5.25kg. The

high-frequency section utilises a 1-inch HF compression driver coupled to a Constant Matching Design wave guide and 90° x 60° (HxV) rotatable horn. Equipped

S24.0

The latest D- and S-series on the catwalk for their fashion shoot The S-series of Class-D digital ampliﬁers offers rental companies and systems integrators real-time monitoring via the proprietary Network Monitoring System software program. In addition to 64-bit DSP functionality, all three 2U-height, EU-compliant ampliﬁers are equipped with temperature,

68 PRO AVL ASIA September–October 2018

voltage, mute, peak and signal/clip protections. The S24.0 6-channel model is capable of providing up to 2,500W to two channels and a further 800W to the remaining four channels over 41. The S8.4 and S2.5 models can offer 500W of power to eight and 2,500W to two channels, respectively.

D2.0 and D2.1 2-channel models are capable of providing 300W and 490W per channel over 41. Loaded with protections such as over current and voltage, PFC also comes as standard. The DNL portable loudspeaker series has also been extended with the addition of a new 15-inch powered cabinet. Operating within a 45Hz to 20kHz frequency range (±3dB), the DNL-15P integrates a 15-inch B&C woofer, while the

with M8 suspension points and a 35mm pole mount, the 15mm birch plywood, weatherresistant enclosure is ﬁnished in a waterborne, black half-matt coat and comes with a 1.5mm metal grille backed with black acoustic foam. The 30.5kg speaker is further equipped with a 1,400W Class-D Pascal ampliﬁer together with XLR inputs and outputs. www.sovico.co.kr

IPX

IPX5:4 | IPX10:4 | IPX20:4 | IPX10:8

THE PINNACLE OF AMPLIFIER ENGINEERING IPX series multi-channel amplifiers mark the new, unprecedented standard for sound system amplification in mid to large-sized fixed installations. These amps offer seemingly unlimited power and have the most advanced DSP with FIR-Drive processing on board, supporting Dante audio and OCA. All models embody several proprietary amplifier technologies, such as Eco Rail, which can reduce power consumption up to 50% while maintaining outstanding audio and operational safety. Learn more: Dynacord.com/ipx

PRODUCTS

1HZ OLIH IRU *HQHOHF·V GENELEC’S 7050B compact subwoofer has been given a refresh and re-enters the market as the 7050C. The new version has extended the low-frequency response while reportedly achieving higher SPLs and lower distortion than its predecessor. Notable for its size-toSPL ratio, the 7050B’s replacement has been designed to push these attributes further with an extra 3dB SPL capability and a switched-mode power supply. The system provides ﬁve input and output channels with 85Hz LP/HP ﬁlters, plus a discrete 120Hz LFE signal input with

The Genelec 7050C subwoofer selectable +10dB boost, while the cabinet measures 410mm (H) x 350mm (W) x 319mm (D).

Inside the cabinet is a single 8-inch, magnetically shielded, low-frequency driver housed inside a Genelec LSE spiral enclosure, which the manufacturer claims will deliver an ‘impressively clean’ LF response down to 24Hz. The 7050C can be calibrated to suit its acoustic environment via a set of rear panel DIP switches. Adjustable settings include phase and LF roll-off, the activation of the +10dB LFE level and the sensitivity of the Intelligent Signal Sensing (ISS) power-saving mode. www.genelec.com

2XWOLQH·V 6XSHUÁ\ WDNHV RII FOLLOWING IN the footsteps of its Butterfly design, Outline has released its Superfly compact line source enclosure. Weighing less than 38kg, Superfly can be paired with any of the company’s subwoofer designs. With a frequency response of 50Hz to 20kHz, Superfly is a fully active, quad-amplified system that uses the company’s DSP-equipped X8 amplifiers. The 10-inch drivers in the LF section are powered individually, which is said to enhance LF performance compared to Butterfly. According to the manufacturer, the 90° dispersion in the horizontal plane will reduce or eliminate the need for additional fill cabinets.

Equally, however, Superfly can also be used as a side-fill system for off-stage audience coverage. In other news, Outline has announced the availability of Newton firmware version 0.76 and Dashboard version 1.6. The updates provide input and output channel IIR filters (two layers), output channel all pass filters (one dedicated layer), phase trace on IIR and all pass filters, Newton output group capabilities, temporary link capabilities, copy/paste Newton units, flat groups and flat DSP processing.

MAN062.00

/DYRFH JRHV KLJK and low NEW LOW-FREQUENCY transducers and high-frequency compression drivers are available from Italian manufacturer, Lavoce. At the lower end of the spectrum are the MAN062.00, WAF123.02 and SAF214.50. The MAN062.00 is a highpower neodymium magnet 6.5-inch midrange driver with a high-temperature 2-inch CCAW voice coil and has a 250W AES power rating and 95dB sensitivity. It is intended for use in premium 3-way applications or horn loading in complex line arrays, and has reportedly been optimised with FEM to produce a smooth frequency response and perform in the most demanding applications. The WAF123.02 is a ferrite magnet 12-inch transducer designed for high midband output in 2- or 3-way applications. It uses a high temperature 3-inch CCAW sandwich voice coil to achieve a 500W AES power rating and 99dB sensitivity. The manufacturer has also added an aluminium demodulating ring to reduce inductance and lower distortion in the critical mid-band.

The SAF214.50, meanwhile, is a new high-power 21-inch subwoofer that uses a 4.5-inch CCAW sandwich voice coil, a ferrite motor structure with optimised cooling, and includes an aluminium demodulating ring. Offering super high excursion, a power rating of 1,700W AES and 98dB sensitivity, the SAF214.50 has been elegantly designed to be suitable for a variety of subwoofer applications. At the other end of the spectrum are two new HF compression drivers, one ferrite and one neodymium. The DN07.10LM is small neodymium magnet compression driver with a 0.75-inch exit and 1-inch CCAW voice coil. It boasts a 10W AES power rating, 109dB sensitivity and a 1-piece polyester diaphragm and surround. Its FEM-optimised motor, phase plug and diaphragm are said to deliver a smooth frequency response to 18kHz and, together with its weight and compact size, is ideal for smaller systems or line arrays where multiple units are required. www.lavocespeakers.com

www.outline.it

&OHDU &RP EUDYHV WKH HOHPHQWV DESIGNED TO combat environmental elements such as water and dust, Clear-Com’s 800 Series Encore Analogue Partyline beltpacks are IP53-rated and developed specifically for industrial and marine settings. All products in the series – the RS-801-IM (single channel), RS802-IM (dual channel), MS-802-IM (2-channel main station), RM-802IM (2-channel remote station) and KB-802GM-IM (2-channel speaker station) – are marine certified as they are DVN-GL compliant, certified asbestos-free and conform with Navigational Compass Safety regulations. The beltpacks are also compatible with the 700 Series Encore Partyline.

Staying on the subject of beltpacks, the FreeSpeak II IP Transceiver features AES67 compatibility, low-latency signal distribution and high-performance audio routing with high audio bandwidth. As a result, FreeSpeak II wireless beltpacks can now be addressed across a user’s LAN, while existing FreeSpeak II beltpacks can be upgraded to work with the IP Transceiver through a firmware update. Meanwhile, the manufacturer has also released COMduit, a fibrebased solution for audio and video transport between booth, field, production truck and any other remote location. The solution is based around BroaMan’s MUX-22 signal multiplexer, Clear-Com’s

70 PRO AVL ASIA September–October 2018

The RS-801-IM and RS-802-IM ProGrid audio and video transport products and Clear-Com’s LQ for intercom over IP. Also new from Clear-Com is E-IPA, an audio and intercom

over IP connection card for the Eclipse HX digital matrix intercom family. AES67 compliant and SMPTE2110-30 ready, the E-IPA card provides 64 streams

of low-latency and high audio bandwidth connections for linking existing and new IP-based Clear-Com products as well as for interoperating with AES67compatible products. The card can also deliver up to 256 IP ports in the Eclipse HX-Median and Omega systems. Finally, Agent-IC 2.2 is the latest version of the app that expands intercom access via mobile devices such as the Apple Watch. The app enables smartphones and tablets to connect to ClearCom’s Eclipse-HX matrix system or to the LQ Series IP interfaces that connect to any Partyline system, either locally or remotely. www.clearcom.com

Powersoft deploys new M-Force IT HAS been ﬁve years since Powersoft debuted M-Force. Now, the Italian manufacturer has unveiled a follow-up in the form of the M-Force 301P01, an updated version of the transducer that includes additional features designed to simplify the workload of OEM partners. Described as the ‘all-in-one solution for low-frequency applications’, the M-Force 301P01 has reportedly been engineered to simplify implementation and comes in a factory-assembled package. Its motor is built to mirror ‘the

ﬁnest of tolerances’ with a purpose-built diaphragm, as well as a newly designed coupling and a lightweight chassis, built to improve thermal dissipation. The new version of Powersoft’s linear motor transducer is also equipped with high voltage and high current connectors and a variety of internal electromechanical improvements. Powersoft also states that the M-Force 301P01, with dimensions of 294mm x 764mm x 294mm and a weight of 34.5kg, also features an improved magnetic spring action. Also joining the M-Force roster are the M-Force 01 long throw linear motor for infra sub applications and the M-Force 02 short throw linear motor for high acceleration applications. M-Force 01 is intended for direct radiation and bandpass applications, while the 02 model is aimed at bandpass applications and loaded horn conﬁgurations.

M-Force 301P01

www.powersoft-audio.com

46&·V 3UHPLXP %XVLQHVV 0XVLF 6ROXWLRQV QSC HAS released a whole new catalogue titled Premium Business Music Solutions. This includes the MP-M Series music and paging mixers designed for processing and routing audio across multi-zone retail and hospitality spaces, while also possessing live mixing abilities for business applications requiring live speech reinforcement, such as in ﬁtness clubs, hotel meeting rooms or banquet halls. ‘We combined the customer’s need for ease of use and aesthetic design with the proven reliability and performance of QSC sound mixing, processing and reinforcement technology to expand our business music offering in order to serve all

foreground and background commercial installations from one complete, streamlined portfolio,’ explained David Fuller, senior director of product development at QSC. The MP-M Series is built on the same platform as the TouchMix Series and comprises the MP-M40 and MP-M80, which offer four mic/ line inputs, four phono line inputs and four zone outputs, and eight of each respectively. Each unit is a 1U chassis ﬁlled with DSP, priority ducking, scheduling and automatic mixing functionalities, as well as QSC’s Intrinsic Correction loudspeaker tuning ability. MP-M systems can be designed and conﬁgured using the MP Install app for iOS and Android

mobile devices and PCs of the Windows and macOS variety. In addition, MP-MFC wall controllers allow the wired selection of multi-zone sources and scenes along with volume control. Up to eight MP-MFC controllers can be connected to a single MP-M Series mixer using standard Cat-5 cabling. Wireless control, meanwhile, is offered by the MP Manage iOS and Android app. The range is rounded out by the MP-A Series Zone ampliﬁers comprising the MP-A20V (200W x 2-channel), the MP-A40V (200W x 4-channel) and the MPA80V (200W x 8-channel); the AcousticDesign Series of Sub/ Sat loudspeakers comprising the surface-mount AD-S.Sub and AD-S.Sat, the AD-C.Sub and AD-C Sat ceiling speakers; and the pendant-mount AD-P.Sub and AD-P.Sat enclosures. www.qsc.com

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Next Generation www.codaaudio.com

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$LU0HGLD LV JR CRESTRON HAS launched AirMedia 2.0 within its new AirMedia wireless presentation systems, the AM-300 and AM200. The manufacturer describes AirMedia 2.0 as â&#x20AC;&#x2DC;the fastest, easiest, most manageable and secure wireless presentation technologyâ&#x20AC;&#x2122;. The AM-300 and AM-200 are designed to mount discreetly behind wall-mount displays, facilitating wired and wireless presentations without the need for furniture, dongles or a new Wi-Fi network. In addition to

AirMedia 2.0 wireless presentation capability, the AM-200 possesses HDMI inputs and outputs, while the AM-300 adds to this with a DM input for connecting to an in-room DM transmitter. â&#x20AC;&#x2DC;Itâ&#x20AC;&#x2122;s the only enterprise-grade wireless presentation solution that offers network security, cloud-based deployment and management, and iOS mirroring without Bonjour,â&#x20AC;&#x2122; stated Fred Bargetzi, Crestron CTO. For controlling presentations, Crestron has released the 3-Series Media Presentation Controller 201

(MPC3-201-B), a wall-mounted, PoE powered member of the 3-Series Control System family and control panel. Its modern design and customisable, backlit buttons

are intended to offer ease of use when controlling A/V solutions and performing other functions. It is fully programmable, supporting web- and cloud-based conďŹ guration

and management. The MPC3-201-B also integrates with Crestron Fusion to form a complete managed enterprise solution. Finally, Crestron has unveiled XiO Cloud, a cloud-based solution for the simultaneous conďŹ guration and deployment of an unlimited number of Crestron products, signiďŹ cantly reducing installation time. It allows for the monitoring and management of all devices and provides the ability to proactively resolve incidents remotely. www.crestron.com

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VISIONARY SOLUTIONS is combining its Dante-enabled IP video encoder and decoder products with Symetrixâ&#x20AC;&#x2122; Composer DSP programming and control software to enable PacketAV Duet and E/D4100 video encoders and decoders to appear as native units in Composer 7.1. PacketAV Matrix productsâ&#x20AC;&#x2122; 4K UHD video can be streamed over IP together with a Danteenabled Symetrix DSP system to provide a complete audio, video and control solution, while bypassing the constraints of traditional switch matrix systems. Symetrix Composer 7.1 takes full command of the PacketAV Matrix products with drag-anddrop conďŹ guration, network discovery, video routing and video wall control. Live video previews for conďŹ dence monitoring of both encoders and decoders are supported, which can be placed on custom user interfaces deployed to Windows- or webbased devices. Composer also manages the Dante audio interfaces on Duet products including discovery, device naming, channel naming and audio routing. Using Visionaryâ&#x20AC;&#x2122;s PacketAV Duet encoders and decoders,

DESIGNED TO enhance any presenter in a classroom setting or meeting space environment, Williams AV has launched the Pointmaker Presenter. Integrating Airplay, Miracast and Chromecast, a presenter can connect a personal device for controlling, advancing, highlighting, annotating and whiteboarding in real time. Based

PacketAV Matrix products has been incorporated into Symetrixâ&#x20AC;&#x2122; Composer software audio from an HDMI source may be stripped off and routed through the DSP for processing, mixed with other sources and distributed to other audio systems in a facility. A design can be completed ofďŹ&#x201A;ine, without hardware. Once the hardware is installed, Composer locates all the network hardware before updating and reconciling network names, IP addresses and channel conďŹ gurations and then conďŹ guring initial A/V routing. Designed to serve huddle rooms, large conferencing applications, courtrooms and distance learning halls, Symetrix has unveiled the latest generation of its Radius Series. Radius NX adds an acoustic echo cancellation (AEC) module and VoIP or analogue telco card via the 64x64 Dante network

2K %R\RKR KHUHÂˇV D 6PDUW 2QH BOYOHO HAS released an intelligent information management control centre that runs on the LAVMNET platform and is named Smart One. Smart One is capable of controlling, editing and managing audio, video and lighting, as well as other stage mechanisms via a network connection. Users can upload

72 PRO AVL ASIA Septemberâ&#x20AC;&#x201C;October 2018

audio bus and its conďŹ gurable 4-port Gigabit Ethernet switch. The AEC module is adaptable and scalable, for which single and dual-core versions feature software-conďŹ gurable channel counts, tail lengths and number of references with up to 16 channels of AEC per unit. DSP is fully virtualised for integration with Dante microphones and other network audio sources. The Symetrix T5 is the ďŹ rst in a new line of touchpanel controllers that can be programmed using Composer software. Incorporating a customised GUI layout, the 5-inch in-wall touchpanel comes with a capacitive-touch, fullcolour, high-resolution LCD screen. www.symetrix.co www.vsicam.com

The range can be extended up to 30m with the addition of an optional Bluetooth extender. In other news, the manufacturer has unveiled its Digi-Wave Intercom Bridge for use in event production where full-duplex communication is required between non-mobile and mobile crew members in the same venue. The wireless add-on

Pointmaker Audio Presenter on a 64-bit quad-core ARM processing platform, Pointmaker Presenter streams broadcastquality video to a display with 4K output resolution. The Presenter Toolbar is a mobile presenter interface that works on any personal device. Pointmaker Audio Presenter offers all the features of Pointmaker Presenter but further adds wired and wireless audio to the system. An integrated ampliďŹ er and audio mixer allows Audio Presenter to integrate microphones, loudspeakers and other pro audio components for connection to wireless personal devices or anything Bluetooth to the roomâ&#x20AC;&#x2122;s audio system.

commands to the web, enabling 1-touch commands for a variety of equipment.

bundle is an expansion of an existing Clear-Com 2-wire intercom base system and has been upgraded to include Williams AVâ&#x20AC;&#x2122;s wireless Digi-Wave DLT 300 transceivers. For assistive listening and language interpretation in commercial spaces, Williams AV has also rolled out its SoundPlus IR T2 infrared transmitter. Reportedly offering 50% greater coverage than the current WIR TX75, the IR T2 joins the companyâ&#x20AC;&#x2122;s IR T1 and is said to provide additional coverage and wider pattern, plus there is no need for a slave. www.williamssound.com

Described as being suitable for use in small- and medium-sized applications such as in conference rooms, multifunctional rooms, ballrooms and auditoriums, Smart One is also able to monitor the status of equipment. It also features an alarm system, customisation, surveillance and remote reset functionality. www.boyoho.com

Forever young! IBC • 8.C80

…. and always up to date in theatre and live events! With development of digital audio equipment moving at an ever faster pace, it has never been more important to keep up-to-date. Stage Tec has always paid close attention to the sustainability and value retention of its mixers. To this day every AURUS audio mixing console continues to benefit from practical up to the minute innovations. The recent software release for AURUS platinum and AURUS, for example: The new 3.1 multi-channel mode extends options for sound reinforcement – especially in theatres. A bypass function for each aux VCA facilitates rehearsals and workflow. These and all the other functions packed into this new software release ensure that AURUS platinum and AURUS remain at the cutting edge. Innovative. Sustainable. Stage Tec!

www.stagetec.com

A U D I O

E X C E L L E N C E

PRODUCTS

WyreStorm huddles together

The MXCW and MXC systems

Shure starts a discussion MICROFLEX COMPLETE Wireless (MXCW) is the latest addition to Shure’s integrated systems portfolio. MXCW reportedly provides a speedy set up in flexible meeting spaces or at off-site events in hotels and conference centres, and is said to ensure ‘reliable per formance in even the most hostile RF environments’. Smart lithiumion rechargeable batteries provide up to 11 hours of use, while AES audio encryption keeps meeting content private. For organisations requiring advanced meeting tools such as participant identification, agenda management, electronic voting and language interpretation, Shure has also unveiled its Microflex Complete Wired (MXC), which combines microphone, loudspeaker and controls in one system. In other news, Shure has announced the latest version of its Designer software

application. Designer 3.1 will allow users to ‘import ﬂoor plans and design audio coverage and routing while also having the capability to create and reuse room templates across multiple locations’. The update increases support of the company’s products, including the Microﬂex Advance MXA910 ceiling array, MXA310 table array microphones, the IntelliMix P300 audio conferencing processor and the ANIUSBMatrix USB audio network inter face. Users can manage device presets at a location level, while device passwords and Shure Network Audio Encryption can be enabled for an entire location at a time. For more information, visit www.proavl-asia.com/videos/#/ ondemand/id/k0G121oNxr where Shure’s Chris Lyons gives more detail. www.shure.com

DESIGNED FOR small meeting room and huddle space applications, WyreStorm’s EX-SW-0301-H2 features a transmitter for mounting on or under the table and a receiver for installing behind a display or above a projector where it can also activate projector screens. The transmitter and receiver are connected via HDBaseT. The receiver features CEC, RS-232 and IR and has its own HDMI input for companies to maximise use of their digital signage and TV content displays when no presentations are taking place. The EX-SW-0401-H2-PRO builds on the design of the EX-SW0301-H2 by adding a USB-C input and USB support to allow the connection of multiple USB devices. The EX-SW-0401-H2-PRO

EX-SW-0301-H2 has been manufactured for spaces that need more than presentation functionality but not a complete video conferencing system. Connecting a USB camera, mic and speaker to the transmitter or receiver transforms the EXSW-0401-H2-PRO from a huddle room to a complete collaboration solution. Meanwhile, the manufacturer has also unveiled a wall plate and a touchscreen. The NHD400-TX-WP is a 2-Gang wall

S6L-48D

Avid boosts S6L A TRIO of new control surfaces, a new engine and two new I/O racks have been added to Avid’s Venue S6L family of live sound systems. Together, these new components form a uniﬁed platform, drawing on the modular abilities of the S6L. The three new control surfaces bring the total available for the

S6L to ﬁve. The new arrivals are the S6L-48D, S6L-24C and S6L-16C, which are 48-, 24- and 16-fader versions, respectively. These can be paired with one of the three engines for the platform, including the new E6L-112, and connected to any combination of S6L’s four I/O rack options, such as the latest entries: the Stage 32

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74 PRO AVL ASIA September–October 2018

plate that provides connectivity for WyreStorm NetworkHD 400 Series installations in meeting and huddle room applications. The TS-280 is the company’s ﬁrst ever touchscreen and is available as an EU model or a US 2-Gang model. It leverages RS-232 ports on presentation switchers and is also compatible with all models in WyreStorm’s presentation switcher line. www.wyrestorm.com

and Local 16. The S6L-48D features 160 assignable knobs, an integrated master touchscreen and 5-channel touch modules, while the S6L-24C possesses 32 assignable knobs and the master touchscreen. The S6L-16C has 32 assignable knobs. The E6L-112 features 112 input processing channels, 48 mix busses and LCR. The Stage 32 meets stage and remote I/O needs, offering support for up to 32 inputs and outputs with the ability to select from a variety of analogue I/O, digital I/O and Dante card options. Local 16, meanwhile, expands the local I/O capabilities of the S6L by providing eight analogue inputs, eight analogue outputs and eight AES digital inputs and outputs. www.avid.com

#FESTIVALSD12 WWW.DIGICO.BIZ

PRODUCTS

L100

SSL squeezes in tight spaces THE L100 is the newest member of the SSL Live console range. Designed for restricted spaces, sub-mix positions or corporate production, the L100 provides a compact 12+2 fader conﬁguration frame as well as the same high headroom, low latency SSL Tempest Audio Engine as the other SSL Live consoles. Users who require more faders can expand the L100 with the addition of SSL’s Remote Tile. Other features include a 17-inch multigesture touchscreen that provides access to all of the consoles’ functions and an integrated tablet device that combines with SSL’s TaCo tablet control application functionality to offer an additional control interface for channel or effects rack processing. The Master Tile also provides mute group, solo/talkback, assignable keys and automation controls. The L100 includes 96 fully processed paths and can be conﬁgured with up to 64 input channels, 36 aux sends, 12 stem groups, 12 VCAs and four masters. An additional 4x32-input/ 12-output matrix is also available.

Staying with Remote Tile, V4.7 software includes an upgrade to SSL’s Super Query workﬂow, enhanced TaCo features, a new Transfer Function Analyser Tool and Auto Pan effect, and support for external touchscreen control. Users can now have direct touchscreen control of their overview and automation screens without having to switch focus on the console’s internal touchscreen. Lastly, SSL has released Native v6 which will replace the company’s Duende Native plug-in collection. Improvements include higher-resolution inter faces, improved preset management, expanded purchase options and framework changes. The complete SSL Native v6 bundle includes Channelstrip, Vocalstrip, Drumstrip, Bus Compressor, X-Phase, X-EQ, X-Comp, X-ValveComp and X-Saturator, and is available in AAX, VST3/VST 2 and AU formats.

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www.solidstatelogic.com

A darker shade of black STUDER HAS designed its Vista 5 Black Edition to deliver more ﬂexibility and the advanced features of Vista mixing sur faces to a more cost-conscious market. Based on the Vista 5 M3 mixing console and incorporating the company’s Inﬁnity Core

EQ plug-ins and full core redundancy with up to 1,000 MEQs (mono-equivalent channels). The Vista 5 Black Edition reportedly supports any of Studer’s Infinity Core products, including the Infinity Core 300, 600 and 1000, as well as the Infinity Core

processor, the larger Vista 5 Black Edition offers a scalable mixing system and full processing redundancy. It is available in 22, 32 and 44 fader sizes, and supports an optional TFT meter bridge. The consoles feature Studer’s Vistronics inter face and FaderGlow technology, as well as dynamic

Commercial off-the-Shelf solution (COTS). COTS reportedly allows customers to run Studer’s real-time audio processing on its own server hardware by adding a standard PCIe Inﬁnity CoreLink card. www.studer.ch

September–October 2018 PRO AVL ASIA 75

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Expansion on the cards TASCAM HAS launched three BO-series I/O expansion boxes for its ML-32D and ML-16D analogue/ Dante converters and other D-Subequipped devices. The BO-32DE 32-channel D-Sub breakout box provides 16 input and 16 output channels. Four rear panel DB25 connectors provide analogue network input for microphone and line-level audio signals. For applications requiring XLR connectivity, the BO-16DX/IN offers 16 channels of analogue audio input on front panel female XLR connectors. Two of its rear panel DB25 connectors send eight channels of audio to an ML-series converter. The BO-16DX/OUT, meanwhile, receives 16 channels of

The BO-series audio from an ML-series converter via a pair of rear panel DB25 connectors and sends analogue audio output on 16 front panel male XLR connectors. In other news, TASCAM claims that the most noticeable feature of its 202mkVII dual cassette deck

is a rear panel USB output that enables recording and archiving cassettes to digital media. Other features include a front panel, ¼-inch, high-impedance (200k1) microphone input with dedicated level control, which allows users to mix live input with Tape 1 audio and

record, in real time, to Tape 2 for karaoke and voiceover applications. The mic input can also accept line level signals, while the rear panel provides stereo analogue line level input and output on unbalanced RCA connectors. The deck can simultaneously record

Bose is in the zone

New Bose ControlSpace commercial sound processors (left) and engineered sound processors (right) DESIGNED FOR commercial applications such as restaurants and retail outlets, Bose Professional has added two ControlSpace CSP audio processors together with three new digital wall controllers. The CSP-1248 and CSP-428 incorporate balanced inputs and outputs, RCA inputs, eight GPIs, one GPO, a mute contact, RS-232 serial, Ethernet network for configuration or wall control and Bose AmpLink out for digital audio connectivity to supported power amplifiers. The two processors feature a workflow using an integrated webserver with browser-based control software for

access to the CSP conﬁguration page. The real-time interface features live metering and assists in the workﬂow of commercial projects, while providing tasks such as setting sources, paging thresholds, adjusting EQs and tuning limiters. The CSP models offer AutoVolume compensation that continuously adapts zone output level based on the ambient noise of that room to maintain consistent program material. SmartBass dynamic equalisation enhances the low-frequency output of smaller loudspeakers. Optivoice paging provides a smooth transition between the music and

page signals, while Opti-source level management monitors the input level of up to four sources. The family of ControlSpace ESP ﬁxed I/O engineered processors has been extended with the addition of the ESP-1240 and ESP-880 models to include options for Dante audio networking and Bose AmpLink connectivity. The ESP1240A, 1240AD, 880A and 880AD variations inherit a fresh visual appearance while maintaining key features from their predecessors. The ESP-1240A and ESP-880A include 12x4 and 8x8 analogue I/Os with integrated Bose AmpLink output for digital connections

over Cat-5. The ESP-1240AD and ESP-880AD versions integrate both AmpLink and 32x32 Dante connectivity. All four ESP models utilise ControlSpace Designer software for conﬁguration, control and monitoring. To complement the ControlSpace CSP and ESP processors, three CC-1D, CC-2D and CC-3D digital wall controllers provide further user ﬂexibility. Finished in white, the three controllers feature a single rotary encoder and circular LED ring for which the CC-2D and CC-3D allow the rotary encoder to be pushed for A/B or A/B/C/D source selection with LED source indicators on the panel. The CSP and ESP processors are further supported by ControlSpace Remote, for which customised control panels can be built and installed for wireless control from mobile phones, tablets or laptops.

to create two tapes with the same source. This enables the creation of a master tape and a copy for distribution. The 202mkVII features two playback modes: normal playback, which routes sound to line outputs and a headphone output; and special playback, where users can monitor the sound from one tape using headphones while the other tape plays through the line outputs. Finally, the manufacturer has announced a version 2.0 ﬁrmware update for its DR series of portable recorders. Improvements include the addition of real-time level meters during recording, an additional level setting in dual record mode and the inclusion of MP3 as a recording format. www.tascam.com

7DVNHU·V multicoloured cables TASKER’S FLUO series of audio cables are manufactured with a PVC sheath and are available in ﬁve colours: red, green, blue, yellow and transparent bronze.

pro.bose.com

Cadac takes to the stage CADAC HAS created a new series of CDC stage boxes. The ﬁrst member of this series is the CDC I/O 4016. The stage box comes with both analogue and digital I/Os, and the option of optical connectivity to the console. The 4U device is conﬁgured with 32 analogue inputs and eight analogue outputs, plus eight AES3 inputs and eight AES3 outputs. It features an LCD display with three surrounding buttons and encoders to adjust incoming levels, mic gain and phantom power settings. There is also an integrated headphone amp. The dual MegaComms

ports on the front panel are complemented by redundant duplex optical LC ports for connection runs of up to 2km. Staying with MegaComms, the manufacturer has added a pair of optical bridge units to the family. The rackmount CDC MC Optical-4 provides four optical ports and four MegaComms pairs, while the CDC MC Optical-1 is a free-standing unit equipped with a single optical port and a single pair of MegaComms connectors. NetComms is programmable PC control software for the CDC MC Router that allows the user to create, save and edit custom

76 PRO AVL ASIA September–October 2018

Finally, the new version of the CDC iPad App is CDC ﬁve and V.5 CDC OS compatible. The graphical interface has been improved, as has the speed of operation.

The series consists of the T33 and the T32 cables. The T33 is a guitar and instrument cable while the T32 is a balanced microphone cable. Both are manufactured with OFC red copper conductors and incorporate a carbon screen shield.

www.cadac-sound.com

www.tasker.it

CDC I/O 4016 maps within its GUI. Its grid-based patch system, using a ‘tabbed’ system for each unit, allows the user to patch either individually or in blocks of four, eight, 16 or 32; or patch all connections from unit to unit with a single click.

New VHD2.18J Subwoofer Housing two 18” high performance transducers the VHD2.18J is a direct radiating bass-reflex subwoofer. The VHD2.18J’s optimised, high efficiency, bass-reflex design produces considerably more output than other similar double 18” enclosures and features intuitive integrated flyware that allows for fast rigging of multiple cabinets. Johannes Krämer works with many of the worlds leading artists, promoters and events. When he visited KV2 Audio he was looking for something special in a sub. After discussions with Chief Engineer, George Krampera the VHD2.18J was born.

www.kv2audio.com

George Krampera Chief Engineer KV2 Audio

Johannes Krämer Sound Engineer Richie Hawtin

PRODUCTS

disguise streamlines large-scale projector deployment CLAIMING THE ability to ‘dramatically improve projection quality and setup time, even for the most complex shows’, disguise has released the OmniCal camera-based projector calibration engine. Using a network of iPod Touch or wired Ethernet vision cameras, OmniCal captures a point cloud of the stage to calibrate projectors to sub-pixel accuracy. The result is a solution allowing users to calibrate large numbers of projectors in less time and with much more conﬁdence, promises the manufacturer.

The VFC card

The interface inside OmniCal The solution will be available as part of disguise’s upcoming r15 software release. The company has also added a new entry-level media server to its portfolio. Solo can be used as a standalone server or in conjunction with an understudy for smaller shows. The 2U server has options for HMDI and SDI capture, ‘pro audio’ and 10GB Ethernet ports, two 4K outputs,

ﬁxed storage, 2TB SSD and redundant backup capabilities. disguise has also been showcasing the latest in its Video Format Conversion technology: the HDMI 2.0 VFC card. Accessories to the pro and gx range, the VFC card allows users to change the video output signal on the server. The new card enables users to run 4K resolutions at 60fps and now joins the DisplayPort, Quad-DVI and Quad-SDI options. www.disguise.one

Tesira and Devio updates BIAMP HAS launched several updates for its Tesira and Devio product families. First up is Biamp SageVue, a web-based monitoring and management platform for its Tesira and Devio platforms that enables the review of a system’s status and provides the ability to perform certain administrative tasks. ‘With the addition of SageVue, users gain the essential information and tools for their connected Tesira and Devio devices right from their web browser,’ explained Chris Fitzsimmons, product manager for video products at Biamp. The browser-based interface is equipped with a full-featured RESTful API, allowing users to directly integrate with third-party monitoring applications or to create custom dashboards by pulling in data. User access and setup are simpliﬁed by interfacing SageVue with an LDAP (Lightweight Directory Access Protocol) infrastructure. When SageVue is used with a Tesira device, functions associated with the device maintenance table and the conﬁguration functions of VoIP-enabled devices can be accessed, while, for Devio devices,

Tesira EX-UBT SageVue provides integrated access to the existing Devio device webpage. Remote ﬁrmware updates are also supported. In another update, the Tesira Platform has grown with the addition of the Tesira EX-UBT, an AVB USB expander. The Tesira EX-UBT is designed to provide a reliable digital audio interface for installations requiring USB connections not located in a rack or near to other equipment, as well as systems requiring multiple USB audio inputs or those utilising Tesira Server or Server-IO as the DSP by adding an onboard USB connection. www.biamp.com

A handheld addition to the 6000 Series AUDIO-TECHNICA HAS added the ATW-T6002x handheld transmitter to its 6000 Series high-density wireless system. It allows users to run up to 31 channels within 4MHz of bandwidth. The ATW-T6002x transmitter is said to offer ‘extremely low handling noise’ while featuring a body of metal construction, an OLED screen for high visibility, softtouch controls and switchable RF power. Its thread mount enables

the use of six interchangeable Audio-Technica microphone capsules, as well as other compatible capsules. In other news, the ATH-M60x on-ear professional monitor headphones are the latest addition to Audio-Technica’s M-Series. They are designed for studio, broadcast and mobile applications and feature the same 45mm large-aperture drivers found in the ATH-M50x to deliver an extended

frequency range with accurate bass response. With a low-proﬁle, closed-back, on-ear design as well as memory foam earpads and headband, the ATH-M60x comes with three interchangeable cables: 1.2m to 3m coiled, 3m straight and 1.2m straight. They each include a 3.5mm mini-plug, a 6.3mm screw-on adapter and a protective carry case. Keeping with the headphone theme, Audio-Technica has

released a trio of new sets for news and sports broadcasting: the BPHS2 stereo and BPHS2S single-ear headsets with dynamic microphones, and the BPHS2C stereo headset with low-proﬁle condenser mic designed to be less visible on the air. The BPHS2 is based on the aforementioned ATHM60x and uses the same 45mm large-aperture drivers. ATH-M60x

www.audio-technica.com

RedNet X2P expands I/O for Dante systems FOCUSRITE’S NEW RedNet X2P is a compact 2x2 Dante audio interface that can serve as a highperformance remote I/O solution to Focusrite’s Red interface or any Dante over IP system, with power, audio and remote control all sent down a single Cat-5 cable. Boasting two Red Evolution mic pres, stereo line out and stereo headphone ampliﬁer, the RedNet X2P uses what the manufacturer calls ‘more me’ control, allowing talent to mix the level of the local mic pre inputs at zero latency with the cue mix

RedNet X2P

feed to the unit via the network inputs assigned to feed either local line outputs or a headphone amp. The preamps include Air Mode, which emulates the sound

78 PRO AVL ASIA September–October 2018

of the manufacturer’s classic transformer-based mic preamps. A/D conversation for the RedNet is with over 118dB dynamic range. The interface can be mounted to

a mic to keep it out of the way if desired. In addition to the Dante interface, the British manufacturer has been showcasing its Red 16Line audio interface that boasts 64-in/64-out Pro Tools HD and dual Thunderbolt 3 ports, together with Dante and analogue connectivity. Features include ultra-low latency AD/DA for 16 line level I/Os, two Red Evolution mic preamps, up to 121dB dynamic range and expansion over Ethernet for networked audio.

The 16 line inputs are on a D-sub connector, coupled with 16 line outputs and two main monitor outputs, while the outputs can be ganged for surround monitoring applications. The two digitally controlled Red Evolution mic preamps provide up to 63dB of gain along with stereo linking, individually switchable phantom power, high-pass ﬁlter, phase reverse and Air mode. The unit also houses a dual-port Dante card. pro.focusrite.com

EVOX J SYSTEM ACTIVE TWO-WAY PORTABLE ARRAY MUSIC SYSTEM The top mobile solution for Corporate Events, DJ’s and Live Entertainment, featuring exemplary sound performance in a lightweight composite enclosure.

EVOX J8

EVOX JMIX8

• • • • •

128 dB Max SPL 1400 Watt 2-way peak power DSP Processing with FiRPHASE 12” woofer, high power 2.5” v.c. 8x2” compact fullrange 1.0” v.c.

All the features of J8 plus: 8-Channel Digital Mixer with multiple FX Bluetooth Audio Hi-Z Input for Musical Instruments Auxiliary Output

The RCF EVOX App allows you to navigate between pages and fully control the JMIX8 mixer’s parameters.

www.rcf.it

PRODUCTS

Røde to the SoundField Sennheiser bridges a gap

THE NT-SF1 broadcast-grade, 360° surround sound capture microphone is the ﬁrst member of the SoundField by Røde family. Developed at the Røde Microphones campus in Sydney, it features four of the Australian manufacturer’s ½-inch TF45C capsules in a tetrahedral array to produce the same number of A-format recordings that can be transformed and manipulated in B-format using the SoundField by Røde plug-in. Both SoundField and Røde are part of the Freedman Electronics Group. ‘When the Freedman Group acquired SoundField, the aim was to continue producing the premier 360° audio capture,’ commented Freedman Group CEO, Damien Wilson. ‘But, as is the Røde way, we have brought our manufacturing and design expertise to bear on this new family of microphones. The SoundField by Røde NT-SF1 is aimed at creators for whom the ultra-high-end SoundField products are out of reach.’ ‘It gives budding VR creators, immersive ﬁlmmakers and

videogame world builders an accessible and high-quality way to dive into 360°-with-height audio capture,’ added Røde product development director and former director of new products at SoundField, Pieter Schillebeeckx. www.rode.com www.soundﬁeld.com

SENNHEISER HAS dubbed its new range of headset and lavalier microphones as Essential. The series is designed to bridge the gap between the manufacturer’s high-end solutions and the microphones that come with its evolution wireless series. The Essential microphones all connect to bodypack transmitters with either a 3-pin or 3.5mm jack. ‘As its name suggests, the Essential range brings the accepted core acoustics of the HSP 2 and MKE 2 to a new audience at an attractive price,’ said Jannik Schentek, product manager at Sennheiser. The HSP Essential Omni is the ﬁrst ‘essential’. It features an omnidirectional capsule and an adjustable stainless-steel headband. It is available in black or beige, with the choice between a 3.5mm jack connector for use with Sennheiser’s XS Wireless and evolution wireless, or a 3-pin connector for the company’s wireless series, from the 2000 to

HSP Essential Omni Digital 9000. It also includes a 1.3m cable and a pop windshield. The other ‘essential’ is the MKE Essential Omni. Also available in black and beige, and available with a 3-pin or 3.5mm jack connector, this omnidirectional lavalier microphone is boxed with a crocodile clip and a pop windshield. However, it can also be used with the MKE 2 range of mounting accessories. The 1.6m cable is intended to accommodate different wearing styles, such as concealing the microphone along the user’s hairline or for use as a lapel microphone. Sennheiser has also expanded its evolution wireless series with

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the ew 500-p, which is designed primarily for ENG and ﬁlm work. The system is formed of the ew 512-p G4 Pro Portable lavalier mic set, complete with camera receiver, bodypack transmitter, MKE 2 lavalier mic and accessories; the ew 500 Boom G4 Pro Portable boom set, including camera receiver, phantom powered plug-on transmitter and other accessories; and the ew 500 Film G4 Combo Set, which comes with both bodypack and plug-on transmitters, MKE 2 lavalier mic and camera receiver, among other accessories. www.sennheiser.com

PRODUCTS Audix’ SCX25A

Audix presets added to Qu AUDIX AND Allen & Heath have collaborated to add a range of presets for the mic manufacturer’s products to the Qu series of mixing consoles. The new ProFactory mic presets cover a range of Audix models, including the SCX25A condenser vocal microphone, the D2, D4, D6 and i5 dynamic instrument microphones and the OM series of dynamic vocal microphones. Engineers from both companies worked

closely to ensure that the settings were optimised for each mic paired with Qu’s AnalogiQ Preamps. The presets are available as a free download from the Qu series product pages on the A&H website.

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www.allen-heath.com www.audixusa.com

DiGiCo adds auto mic mixing to S-Series

The DMI-AMM automatic mic mixing card AUTOMATIC MICROPHONE mixing capability has come to DiGiCo’s S-Series consoles with the release of the new DMIAMM card, which allows up to 48 channels of automatic mic mixing on any S-Series console. Insertable on any input channel, local or rack I/O, the DMI-AMM assists with multiple spoken voices and is ‘seamlessly’ incorporated into the console’s user interface for a continuous workﬂow. The system works by automatically managing multiple live microphones in unpredictable dialogue situations. When one person speaks, that microphone’s gain level fades up instantly, while the other microphone’s

implemented by the DMI-AMM, known as AMM-A and AMM-B, with channels assigned to either A or B, or neither. This means that two separate events can run simultaneously on the same console without one interfering with the other. The S-Series consoles themselves have also been given an update to accommodate the AMM functionality. V2.2 software gives users access to Rack Receive only mode, which prevents the I/O rack’s input socket gain from changing on the surface if it is adjusted locally; Snapshot fader crossfades, which for all Input, Matrix and CG faders, fader crossfade times can be applied per channel and per Snapshot; Control Group Spill, where up to 10 pre-defined members of a Control Group can be spilled to any console section using a single button function; and OSC Control of Snapshots, so that OSC messages can be transmitted from the console when a Snapshot is fired, or a Snapshot can be fired when an incoming OSC message is received. Finally, following the launch of the DiGiCo 32-bit John Stadius mic preamp, the British manufacturer has accompanied it with a new ‘Stadius’ DA converter, a 32-bit DAC that promises dedicated analogue, ultra-

FEATURES: BROADCAST

FOR EVAC SYSTEMS CERTIFIED ACCORDING TO EN 54-24 (B)

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100V WITH TRANSFORMER TAPS

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PILOTTONE DETECTION

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INDOOR & OUTDOOR

DiGiCo’s 32-bit DAC gains are reduced. When the speaker pauses, all microphone levels will adjust to medium gain to collectively match the level of one microphone at full gain. The resulting effect is as if all speakers are sharing one microphone. There are two independent AMMs

low noise linear power supplies, 104μs conversion time, a –100dBA noise ﬂoor, a dynamic range of 122dBA, a 20kHz to 44.5kHz ±0.15dB frequency response and a fully shielded analogue stage. www.digico.biz

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www.pan-acoustics.de

September–October 2018 PRO AVL ASIA 81

PRODUCTS

Antelope on the Verge and the Edge ANTELOPE AUDIO has created Verge as an aesthetic alternative to the Edge small-diaphragm condenser microphone suited to recording for both nuanced accuracy and high SPLs. Verge is a modelling microphone designed to excel when capturing the sounds of brass, drums and cymbals as well as piano, strings and acoustic guitar. As a modelling mic, Verge also comes equipped with several emulations, such as the Perth 55 small-diaphragm, true-condenser cardioid mic with an omnidirectional capsule, which is suited to recording acoustic instruments, overheads and live performances; the Freiburg 6 cardioid mic for capturing vocals and musical instruments; the Aalborg 4006; and the Hamburg 40.

As for the Edge, new mic emulations have been made available, including the Berlin

M103, Berlin 57, Vienna 12, Vienna 414, Sacramento 121R, Oxford 4038 and Berlin 49T. The same ﬁrmware update also provides ﬁve new preamps: the VPA76, Gyraf Gyratec G9, BAE 1073, RD-47 and BA-31. Finally, Antelope’s Windows Thunderbolt driver is now available as part of the manufacturer’s Open Beta programme. The driver makes Antelope’s Thunderbolt interfaces fully compatible with Windows devices and is available to download for Discrete 4, Discrete 8, Zen Tour, Orion Studio, Orion Studio Rev2017, Orion32+ and Goliath HD. It will also be released for ZenStudio+ and Goliath.

Plugging in the music WAVES HAS added a raft of plug-ins to its inventory. First is the Bass Slapper, designed to recreate, on a keyboard, the nuances of slap bass, one of the most popular styles of bass playing. The plug-in incudes an extensive library of special bass guitar sounds, including slides, mutes and harmonic strums. It also provides position and articulation controls to help users determine where to play on the fretboard, which strings to thumb or pop, and when to play legato or staccato.

speakers in an acoustically treated room, the plug-in also includes the Nx Ambisonics component, which lets users monitor ambisonic B-format audio for 360° and VR projects on regular stereo headphones. V10 is a new version of Waves plug-ins. Users updating to V10 will beneﬁt from futureprooﬁng their sessions, ensure continued compatibility, enjoy plug-in updates and technical support, and receive new plug-ins when added to Waves premium bundles.

www.antelopeaudio.com

Universal Audio plugs in UNIVERSAL AUDIO has released its Neve Preamp plug-in, said to give users the ‘clarity, grit and complex Class-A saturation’ of the Neve mic preamp in a 2-knob plug-in. It combines the sonic attributes and features of both the 1073 and 1290 designs, and has been produced to replicate the sound and behaviour of the original preamp. UAD-2 hardware owners can use the plug-in for mixing and tone shaping. Its lower DSP usage means that users can place the plug-in across multiple channels. In other news, the manufacturer has unveiled its UAD-2 Live

The Neve Preamp GUI Rack, a 16-channel MADI effects processor for live sound engineers who want to mix using real-time UAD processing and UAD plug-ins straight out of the box. Up to four UAD-2s can be combined for up to 64 channels of MADI signal processing. The 1U rackmount processor comes

with a suite of UAD plug-ins, including 1176 and Teletronix LA-2A compressors, and Pultec EQs. The Antares auto-tune, realtime plug-in, fail-safe features and MIDI snapshot recall capabilities are also included. www.uaudio.com

Ultimo UXT gains AES67 compatibility

AUDINATE HAS released Dante ﬁrmware 4.1 for the Ultimo UXT range of audio networking chipsets. The update provides the chipsets with the ability to send audio streams to non-Dante products that use the AES67 standard.

The Ultimo UXT chipsets are designed to offer Dante audio networking capabilities to 2- and 4-channel count products. They are currently implemented across a wide range of A/V products, such as powered speakers, microphones, wall plates,

82 PRO AVL ASIA September–October 2018

amplifiers, personal monitoring systems, recording interfaces, intercoms and break-out interfaces. ‘In the broadcast industry we want to make sure that our OEM partners and their customers are able to enjoy the benefits of the complete Dante solution while also maintaining compliance with industry standards for interoperability,’ explained Audinate’s Joshua Rush. Audinate has also announced support for SMPTE 2110 across the entire Dante platform by the end of 2018. The SMPTE 2110 feature will be made available via the Dante Domain Manager software platform and firmware updates for Dante IP Core, Dante HC, Dante Brooklyn II and Dante Ultimo. www.audinate.com

Bass Slapper Brauer Motion is a circular stereo auto-panner designed with Coldplay’s Michael Brauer and gives users the ability to create a ‘world of movement inside their mixes’. The plug-in is said to work particularly well on rhythmic tracks such as percussion and acoustic guitar; on swelling pads and organs; or whenever a mixer wants to pull the listener in with a subtle or drastic panning movement. PRS SuperModels has been created in collaboration with Paul Reed Smith. Designed to model three high-end PRS guitar amps (PRS Archon, PRS Dallas and PRS Blue Sierra/V9), the plug-in allows users to choose from eight different speaker cabinet IRs and provides the option of adding up to two third-party IRs simultaneously. Nx Virtual Mix Room-overHeadphones plug-in is a virtual monitoring plug-in powered by the company’s Nx technology. Said to deliver the same 3-dimensional depth and panoramic stereo image that would be heard from

Last, but not least, is the Tract Loudspeaker Correction, a corrective EQ and system time alignment tool for live PA systems and studio environments. With Rational Acoustics’ Smaart v8 or Smaart Di v2 audio analysis software running, the Tract plug-in allows users to view frequency and phase response in real time, take and merge snapshots of a system’s transfer measurements or calculate a corrective FIR EQ curve. In other news, the Waves MultiRack plug-in host is now available with an updated conﬁguration for integration with DiGiCo SD-Series consoles. Users can run the MultiRack plug-in host software on a computer connected to the DiGiCo console. Integrated remote control of Waves MultiRack and SoundGridcompatible plug-ins is also now supported on DiGiCo’s SD12 Console, using DiGiCo’s DMI Waves I/O card. www.waves.com

PRODUCTS

0DMRU XSGDWH IRU 'LUHFW2XW·V ([%R[ 0' 'DQWH A MAJOR ﬁrmware release for DirectOut’s ExBox.MD Dante inter face has expanded its capabilities while also being integrated in the new ‘globcon’ global control software. The highlight of the upgrade is the EARS (Enhanced Automatic Redundancy Switching) technology, which was designed by the German manufacturer to improve reliability of digital multichannel audio systems. It offers different modes of operation and methods of triggering automatic input

switching. The upgrade also adds a channel-based routing matrix to allow access to all inputs and outputs, and offers the option to present new output streams to the Dante and MADI domains. Meanwhile, the ExBox.MD now has extended options to conﬁgure the unit’s MADI outputs, including for 48/96kHz operation and 64/57/56 channel settings, with all modes supported and detected automatically on inputs. The company’s uniﬁed control software, globcon, was designed to provide coherent control of

multiple pieces of equipment from different brands as if they were one. Starting with the

Updates abound at Soundcraft

Notepad-8FX SOUNDCRAFT NOTEPAD mixers have received their ﬁrst major ﬁrmware update. Suitable for Notepad-5, -8FX and -12FX desktop mixing solutions, one of the new additions to Notepad 1.09 is the Ducker feature, a broadcast-style side chain compressor that enables content

creators to select up to four mic preamp channels as threshold triggers to ‘duck’ the USB audio return when they are speaking. Also included is a firmware updater and a control panel that allows users to select which inputs feed the USB bus while connected to computer workstation software. The Soundcraft Ui24R 2.0 firmware update is also now available. Added to the system are a Speech AutoMix function, which automatically reduces the noise floor in panel-discussion or theatre settings by prioritising the current speaker; the MultiDucker feature, which has been designed for radio and TV broadcast workflows and allows the automatic ducking of userspecified sources; and language

localisation, which provides the option of setting the browserbased user interface to Chinese. Finally, software release version 6.4 has been announced for all Soundcraft Vi -000 and -00 series consoles. The update beneﬁts users of the Vi1000 mixing console and the company’s Vi family of products. The Vi-mixers now support Sennheiser Digital 6000 wireless microphones in the VM2 microphone monitoring system. Users can see battery, RF, audio level and Sennheiser’s Link Quality Indicator for attached wireless microphones, in real time, directly within the channel strip display. Other wireless systems already supported include AKG DMS and WMS systems, and Shure ULXD, QLXD and Axient. www.soundcraft.com

support of the DirectOut product portfolio, more devices from a variety of other manufacturers

will reportedly be added progressively. Each globcon node enables access to its local connected hardware. As a result, multiple users running globcon on different computers can share the control of all the hardware via the network. The software offers device-independent snapshots, facilitates and synchronises real-time changes and ensures monitoring of numerous hardware with one single control. www.directout.eu

Lectrosonics updates PDR LECTROSONICS HAS announced ﬁrmware update V2.0 for its PDR (Portable Digital Recorder). The new version offers iXML Header Support, which allows for recordings to contain industrystandard iXML data in the ﬁle headers, while Filesystem Protection adds provisions to protect recorded data on the micro SD card when users mount the card onto a computer. The menu structure has also been updated with some items moved to submenus, including ‘Timecode’, ‘SD Card’ and ‘Settings’. Timecode can be copied from the internal real-time clock, while users can enter scene and take

numbers manually. The take number automatically increments each time the record button is pressed. File browsing and playback can be organised by ﬁle or by scene and take. Additionally, the PDR understands recordings made in SMWB series transmitter/ recorders and can list their format, length and timestamp information, among others. Recording segment size has been increased from approximately 200MB to 4GB, and the two original ﬁle-naming templates (‘Clock Time’ and ‘Sequence’) have been enhanced. www.lectrosonics.com

NUGEN offers complex combinations A NEW production tool from NUGEN Audio has been launched that allows users to combine simple processes into complex combinations to correct, tweak or convert an audio signal. SigMod includes 11 single-process modules that can be inserted, swapped or moved around. The modules include Mid/Side (for converting stereo plug-ins to mid/side operation); Protect (for safeguarding digital equipment via virtual protection ‘circuitry’); Mono (for switching the signal path to mono to check for phase cancellation and image issues); Switch (for switching over the left and right – or mid/side – signals); Delay (for delaying the signal

The SigMod modules path); Phase (for inverting either side); Trim (for applying dB offset); DC Offset (for detecting and offsetting accordingly); Tap (for parallel processing); Crossover (for splitting frequencies to apply

84 PRO AVL ASIA September–October 2018

band-limited effects); and Mute/ Solo (for muting or soloing a speciﬁc channel). Useful examples listed by the manufacturer include adding mid/side functionality to classic

compressor and EQ emulations, or getting creative with mid/side delays, distortion and many other effects by inserting the Mid/Side encoder/decoder either side of any left/right plug-in instance. Additionally, a new extension has been introduced for Halo Downmix 3D, NUGEN’s solution for downmixing of feature-ﬁlm and 5.1 mixes to stereo. The new 3D Immersive Extension is an optional extension that adds capability for downmixing 7.1.2 Dolby Atmos bed tracks to 7.1, 5.1 and stereo. Along with the 3D Immersive Extension, all versions of Halo Downmix have reportedly been updated to introduce greater control over the centre

channel energy placement when downmixing to channel counts above stereo. This new centre channel control enables handling of the amount of centre channel spread into the left and right channels in the downmix. Finally, to celebrate the launch of its new website, NUGEN Audio has released six music production and postproduction bundles – Focus, Modern Mastering, NUGEN Producer, Loudness Toolkit, NUGEN Post and Surround Suite. Each include a different assortment of NUGEN plug-ins to accomplish various production tasks. www.nugenaudio.com

PRODUCTS

TSL increases its tally TO ADDRESS the need for visual delivery of critical workﬂow information across an entire facility, TSL has introduced FlashBoard, which links into the TallyMan system as a direct system interface. Integrated into the IP network, users can design FlashBoard screen displays using the Virtual Panel’s creator software package. The system provides information at point of use, for display on monitor walls or distributed wirelessly to tablets. FlashBoard also replaces separate clocks, cue lamps, production

timers and printed paper within a uniﬁed system. TSL has also updated its TallyMan Virtual Panel to V.1.3 to include enhanced source selection architecture for the Virtual Panel to reportedly enable a simpliﬁed preset design and management. Operators can create categories and favourite pages and access them from anywhere on the user interface at the touch of a button. New controls include enhanced selection for pop-up categories and a multi-take tool for building and

TallyMan Virtual Panel executing salvos live. Improved sliders, rotary encoders and X-Y control allow operators to steer robotic cameras, adjust gain on audio devices and tweak levels on

colour correctors. Finally, TSL has released a ﬁrmware update (V.1.9.2.0) for its TallyMan control system, which will provide support for

Ember+ data delivery protocol and enable engineers to integrate all Ember+ capable third-party devices to their automated workﬂows. The new failover feature means that operators can create presets across all devices that automatically trigger in the case of failover or scheduled down time. TallyMan will then automatically recall all established presets without requiring any action from operators. www.tslproducts.com

The highs and lows of audio FOLLOWING IN the footsteps of its Bute Loudness Analyser, Signum Audio has released the Bute Loudness Suite. Bute is named after the Scottish island that is divided into highlands and lowlands, and is an integrated loudness solution designed with postproduction and broadcasting in mind. The analyser includes a custom warning system, a history overview that can show areas of the mix that require attention, DAW Sync for automatic re-metering and a variety of metering ballistics. It also reloads metering data from previous sessions and can handle over 10 hours of data. Bute’s AudioSuite Normaliser allows users to comply to a large number of loudness standards with a single click of a button. The Bute Loudness Suite is available in VST/AU/ AAX (including AudioSuite) formats for Windows and Mac OS X.

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A JOINT VENTURE PA RT N E R S H I P O F

www.signumaudio.com

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PRODUCTS

Lawo gets smart

ABC-MRT measurement selection

Precise speech intelligibility AUDIO PRECISION has added a new speech intelligibility measurement option for its APx500 audio test software. Based on the ABC-MRT (Articulation-Band Correlation Modiﬁed Rhyme Test) speech processing algorithm, the option allows developers to measure the speech intelligibility of their designs using the Audio Precision tool they use for electro-acoustic testing. The ABC-MRT software option requires APx500 audio measurement software release v4.5.2 or later and is compatible with all analysers in the APx500 Series. Audio Precision describes the measurement of speech intelligibility as being particularly important for communication systems, products and components, especially those related to public safety.

In other news, Audio Precision has released version 4.6 of its APx audio measurement software, bringing with it the ability to perform measurements using the log-swept sine chirp in an open-loop conﬁguration. ‘Open-loop chirp measurement capability is very important to developers of acoustic and electronic devices alike, especially engineers focused on smart device design, manufacture and evaluation,’ explained Dave Schmoldt, Audio Precision chief executive ofﬁcer. ‘Combining open-loop, timeselective (or quasi-anechoic) acoustic measurements with the performance, versatility, reliability and ease-of-use of the APx platform makes for a very powerful audio test solution.’ www.ap.com

BRIDGING THE gap between IT and video engineering, Lawo’s smartDASH System Monitoring and Realtime Telemetry software suite has been designed to provide full network and media visibility across an all-IP, all-SDI or hybrid WAN/LAN broadcast infrastructure. smartDash addresses both sides of the operation by providing a view of what a network is doing and how the media streams flowing through it are behaving. Based on a Unix OS, the software uses a database to document and search any aspect of the network’s operation – from a simple cable ID number to the path of a multicast across a transnational multi-hop WAN. The system automatically interrogates live and dormant path connections to create presentation layers of a COTShybrid infrastructure. Staying with the smart theme, the German manufacturer has also unveiled its smartScope deep packet inspection and network analyser, a mediaagnostic, high-density 24/7 analysis platform for IP flows in live production and delivery networks. Designed to address the issues of packet loss, jitter, encoding errors and transport violations, smartScope alerts the operation tiers of serviceand packet transport-related impairments in ST2110/ST2022/ ASPEN production flows, linear

smartDash MPEG services and OTT/ABRdeﬁned streams. In other news, Lawo’s vm_dmv64-4 provides unlimited inputs and heads, as well as full support of IP and SDI sources in 4K/ UHD, 3G, HD and SD. It supports embedded and discrete audio and works with pixel perfect mosaics with ultra-low latency. The vm_dmv64-4 has an input stage capable of receiving up to 24 sources of any combination of 4K/3G/HD/SD which is limited only by the physical (up to 18 SDI inputs) or network (2x 40GbE) I/O. It also features an output stage capable of creating up to four 3G mosaics (or two UHD mosaics) with up to 64 sources/ PIPs each (128 each in UHD).

Finally, the company has released the third generation of its mc256 with full native support for SMPTE 2110, AES67/ Ravenna and Dante. Capabilities such as IP-Share gain compensation and DSCA Dynamic Surface to Core Allocation have also been added. New colour TFTs reportedly provide ‘clearer colour-coding of channel strips for enhanced visibility and faster access in low light conditions’. The extended free control section gives direct access to four parameters in addition to gain control to balance between de-centralised and centralised control workﬂows. www.lawo.com

Kramer gets creative with latest ranges KRAMER ELECTRONICS’ Network 2.0 management platform has been developed for the IT and A/V sector to configure and manage the entire Kramer product range, Dante devices and other third-party devices. Some of the features for Network 2.0 include reduced configuration time due to the automated device detection and firmware management in the consolidated device history log. It also generates email alerts and/or SNMP traps, while the platform also supports LDAP centralised user management as additional security. Kramer Network provides the switching of A/V sources to destinations for both physical and virtual matrices, or any combination of both. The platform, which is available as a softwareonly solution or as a package, also enables Kramer Maestro which adds room automation functionalities to any managed

Kramer device. The latest Kramer Maestro V1.5 software customises, conﬁgures and automates meeting room environments without requiring any programming, and reportedly requires minimal end user intervention to get meetings up and running. The other new features include scheduling, input/output connectivity and routing, while it can also per form an array of tasks due to its database of device drivers, such as controlling A/V devices or room elements, from switchers to air conditioners. Kramer’s latest additions to its integrated A/V presentation systems are VS-88UT and VS-622DT that combine multiple functionalities into a single presentation system. They both feature matrix switching, HDBaseT 2.0 range extension and room control. Installation and maintenance has been simpliﬁed

86 PRO AVL ASIA September–October 2018

Kramer Network 2.0 as additional extenders are no longer needed. VS-622DT has Kramer Maestro and is described as being suitable for small- and mid-sized meeting spaces. VS-88UT has been developed for executive boardrooms, hotels, multipurpose divisible spaces, video conferencing applications, visitor centres and showrooms.

Elsewhere, Kramer’s secondgeneration extension technology, DGKat 2.0, is featured in the PT-871/872 transmitter and receiver pair, and has been developed with installation simplicity in mind. They support 4K HDR, HDMI 2.0 and HDCP 2.2 signals and 2-way powering over twisted pair. This latest

solution delivers video signals up to 40m over copper cables at up to 4K@60Hz (4:4:4) 24bpp video resolution. Requiring only a single cable for both the signal and the power, the devices’ low temperature is said to withstand extreme weather conditions. The PT-871/872 also has Kramer Intelligent EDID Processing. Meanwhile, Kramer has also been busy with additions to its scaling technology in the shape of the VP-428H2, an HDBaseT 4K transmitter/scaler with HDMI, DP and VGA inputs and supports HDBaseT tunnelling of Ethernet, bidirectional RS-232 and IR signals. It receives the selected A/V signal, upscales, downscales or bypasses the video, according to the settings selected by the user, and converts it for sending via HDBaseT, together with the tunnelled data and PoE. www.kramerav.com

Versatile High-Fidelity Wireless 3000 Series expands the possibilities of performance ŝ Class-leading, extremely wide 60 MHz UHF tuning bandwidth for maximum versatility ŝ True Diversity operation reduces dropouts ŝ Unique multifunction button on the handheld and body-pack transmitters can be used to switch to a backup frequency should interference be encountered ŝ Automatically adjusts squelch setting to maximize range while minimizing potential interference ŝ Frequency scan and IR sync for ease of setup Interchangeable capsule options

interchangeable A-T microphone capsules, as well as other compatible capsules ŝ New rugged cH-style screw-down 4-pin connector on body-pack transmitter

PRODUCTS

Captioning the stream

Telestream has updated Vantage to v7.1 TELESTREAM HAS responded to the need for live closed captions within multiscreen applications by adding integrated live caption

encoding to its Lightspeed Live Stream, creating a ‘one-boxsolution’ for closed caption encoding to multiple live streams.

The solution encodes the live captions within the original stream as opposed to a cloudbased approach which would see content moved to the cloud, captioned, then re-encoded and re-streamed for delivery. Telestream believes that taking this approach will reduce the opportunity for human and mechanical error. Housed in a 1U enclosure, Lightspeed Live Stream uses standard captioning protocols to receive caption data. In other news, the manufacturer has announced signiﬁcant enhancements to its Avid integration in the 7.1 version of Vantage. Avid Production Asset

Monitor in Vantage supports MediaCentral directory monitoring allowing Vantage to trigger jobs from MediaCentral ‘virtual directories’. In related news, the 2.3 version of Lightspeed Live Capture streamlines ingest

for Avid workﬂows by creating Avid OPAtom MXF media with associated AAF ﬁles and automatically checks assets into Interplay or MediaCentral. www.telestream.net

Live caption encoding is now part of Lightspeed Live Stream

Ultra Stream HDMI in simplicity drive WITH THE aim of making live streaming production user-friendly for non-professional users, Magewell’s Ultra Stream HDMI enables customers to record or stream high-quality video from a variety of sources with one click using on-device buttons or its accompanying smartphone app. The encoder, the ﬁrst of multiple planned models in the Ultra Stream family, is described by the manufacturer as being ideal for users wanting to stream but who have ‘very little technical knowledge’. Avoiding the laptop and browser-based interface typically needed for setting up streaming

Magewell Ultra Stream HDMI encoders, initial conﬁguration is performed over network or Bluetooth connectivity with the free iOS or Android app. Once security, encoding and destination parameters have been set,

recording and live streaming can be started and stopped directly with physical buttons on the Ultra Stream unit or via virtual buttons on the app. Users can stream to services such as YouTube and Facebook Live or to a custom-speciﬁed RTMP server. Streams can be output to multiple target services simultaneously, while real-time video preview on the smartphone app allows monitoring. A tablet-optimised version of the app is also available for use with larger mobile devices. The Ultra Stream HDMI captures, encodes and streams video up to 1080p60 via an HDMI input

interface. The encoder also supports 4K HDMI inputs at 60fps with 4:2:0 colour subsampling, down-converting them automatically to HD for recording and streaming. Embedded HDMI audio is complemented by an analogue microphone input and a headphone output for monitoring. HDMI loopthrough connectivity enables source signals to be simultaneously sent to a monitor or projector without the need for an HDMI splitter. Ultra Stream HDMI can also record video as MP4 ﬁles to a directly connected USB drive or the associated smartphone. Footage can also be recorded in a loop on embedded storage

within the unit for subsequent previewing and downloading. The device supports H.264 video compression and AAC audio, with HEVC encoding and recording planned for a future update. Two distinct combinations of resolution, frame rate and bitrate can be speciﬁed, enabling simultaneous recording and streaming with different parameters. Still frames can also be captured with the app. The encoder offers both wireless and wired network connectivity, with built-in Wi-Fi as well as an RJ-45 Gigabit Ethernet port. www.magewell.com

BRUTALLY HONEST. The ADAM S Series

S3V

S2V S5V

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The new S Series: Designed and engineered from scratch to reveal details that no other flagship monitors can. With more bass extension. Dramatically enhanced mid-range detail. And loud, intensely accurate output without fatigue or distortion. This is sound designed to reach your inner ear. Inspire trust in your creative instincts. And move you to create your best work... by hearing what others miss.

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Find us on the web at www.adam-audio.com or email info@adam-audio.com 88 May–June 2018 22 PRO AVL ASIA July–August 2018 88 PRO AVL ASIA September–October 2018

Trust Your Inner Ear

PRODUCTS

A revolution in live graphics FOR THOSE looking to add lower thirds and other visuals to their live video feeds, NewTek states that it has delivered a ‘new approach to the creation of realtime motion graphics that does not require a proprietary hardware graphics engine’ with the release of LiveGraphics. The solution makes content produced in Adobe Photoshop CC and Adobe After Effects CC available for live output from NewTek’s TriCaster TC1 and IP Series systems with adjustable text and images that can, if desired, be driven by live data and web content. The LiveGraphics Creator plug-in is used within Adobe After Effects and allows users to create real-

time graphics with complex layer presets and text effects that can be applied across multiple layers simultaneously with offsets. A layered Photoshop ﬁle can be imported into LiveGraphics Creator and a composition is then created automatically. After animating and previewing the content in After Effects, it can be exported to a TriCaster TC1 or IP Series media buffer with 10 real-time graphics channels and preset states for layer compositions and data elements.

From the chosen NewTek production system, text and image ﬁelds can be updated manually or connected to data sources,

such as databases, watch folders, web pages, scoreboard controllers, macros and LivePanel web-based scoring, via the native

www.newtek.com www.vizrt.com

See us at IBC booth 10.A31

TVU Producer goes pro

THIS 3/4 PAGE

IS STATE-OF-THE-ART WIRELESS COMMUNICATION

BOLERO

WIRELESS TS

PE N

PATE N

INTERCOM

TVU PRODUCER Pro is the latest addition to TVU Networks’ family of remote production solutions designed to facilitate professional, multicamera live video production. It is a cloud-based video production suite that enables multi-camera production to be conducted from a web browser-based interface. Featuring a multichannel IP video switcher and titling as well as graphics capabilities, TVU Producer Pro has the ability to simultaneously output content directly to Facebook Live, YouTube Live, Periscope Producer, CDN platforms and SDI via a TVU transceiver. It supports multi-user operation, allowing for collaborative workﬂows, and its WYSIWYG interface is designed for users of all abilities to manipulate graphics and text overlays during production. iOS, Android or macOS devices can be added as live video sources when equipped with the TVU Anywhere app. The solution is compatible with all TVU transmitters, IP video sources and standard IP video streams.

Datalink functionality. In addition, LiveGraphics comes with more than 100 customisable templates that are ready-to-use right away. In other NewTek news, Vizrt’s studio automation solution, Viz Mosart, has now been integrated with the TriCaster TC1 and NewTek IP Series systems. This partnership aims to streamline workﬂows and facilitate ease-of-use, consistency and quality to productions.

· As a standalone solution or integrated in digital matrix intercom systems · Up to 100 Beltpacks, 100 Antennas · 12 Partylines and unlimited point-to-point connections · Advanced DECT with seamless handover · Simple registration via OTA (Over The Air) and NFC (Near Field Communication) · Integrated web server for easy setup · Daisy chain or redundant ring antenna network · Redundant antenna power · Up to 300m CAT5 cable between Antennas · External 4-Wire and GPIO Interface box

www.riedel.net

www.tvunetworks.com

September–October 2018 PRO AVL ASIA 89

PRODUCTS

Open hardware for broadcast

ROSS VIDEO is claiming ‘the broadcast world’s first and only open hardware platform’ with the launch of OGX, the fourth generation of its openGear platform. Designed for use in baseband, hybrid and IP facilities, OGX features independent rear modules that provide connection options to a variety of interfaces such as BNC, twisted-pair audio and fibre while supporting analogue to UHD and IP conversion. Different I/O configurations are available, including high-density split rear modules for up to 20 independent openGear cards. On the front, OGX has an integrated LCD display showing

the frame name and IP address and reporting any alarms. A programmable RGB LED bar allows users to customise the look of the system. For power, OGX accommodates a pair of front-loaded, hot-swappable power supplies with independent cooling fans, status LEDs and frontmounted power switches. A 600W supply can fully power a loaded frame, while the optional second supply offers redundancy. As for control, several interfaces are found on every OGX frame. Ethernet connections establish DashBoard control of openGear cards, while DashBoard itself facilitates setup, real-time control and monitoring, and provides the

tools for creating a customised workﬂow using CustomPanels. An optional Advanced Networking controller enables DataSafe to automatically back up card settings and restore them when a module is swapped. SNMP support is also an option for managing third-party control solutions. Meanwhile, building on the Carbonite Black Plus engine designed to output a canvas size of more than 20 million pixels with single-frame latency, Ross Video has released the Carbonite Mosaic video image processor for use with large displays. Aimed at entertainment or sports venues, Carbonite Mosaic delivers scaled video with ﬁve layers for video and graphics. Carbonite Mosaic supports up to 10 individual canvases with its 36 inputs and 25 outputs, I/O processing functionality, internal media playback and four built-in multiviewers for monitoring. It is also HLG HDR ready.

Roland updates V-60HD VERSION 1.1 ﬁrmware and software updates have been released for Roland Professional A/V’s V-60HD HD video switcher.

other programmable interfaces. The RCS software for Mac and PC, which is available as a free download, facilitates remote

V-60HD This provides support for the manufacturer’s RCS remote control software and adds Auto Scan automated video switching functionality as well as Panel Information commands to the RS-232 control for use with connected touch panels and any

control of the V-60HD via a LAN network. Roland’s Smart Tally function also delivers a wireless tally capability to smart devices on the LAN via a setup screen accessed with an IP browser. proav.roland.com

www.rossvideo.com

AJA analyses HDR Picturall’s Octo media server AJA VIDEO Systems describes its HDR Image Analyzer as a ‘waveform, histogram, vectorscope and nit level HDR monitoring solution’. It is built to simplify the process of monitoring and analysing 4K/UHD, 2K, HD, HDR and WCG content in production, post, quality control and mastering. Additionally, the HDR Image Analyzer signiﬁes the second technology collaboration between AJA and Colorfront, as the latter’s Colorfront HDR Image Analyzer is licensed for use with the former’s new solution. The HDR Image Analyzer combines the Colorfront tools with AJA’s video and audio I/O inside a 1U chassis. HDR formats supported include PQ (Perceptual Quantizer), Hybrid Log Gamma (HLG) and Rec.2020 for 4K/Ultra HD workﬂows. The device also includes a UHD UI for

Picturall the way up to uncompressed 8K AJA’s HDR Image Analyzer native-resolution picture display and a feature list including out of gamut and out of brightness detection, SDR support and support for colour spaces from Arri, Canon, Panasonic, Red and Sony. AJA has also launched the IPR10G-HDMI Mini-Converter, which converts SMPTE ST 2110 IP video/audio to HDMI. This allows SMPTE ST 2110 video/audio content to be displayed on an HDMI monitor. The manufacturer is supporting the standard by introducing SMPTE ST 2110 support for its Kona IP PCIe

capture and playback cards via a free desktop software update to v14.2. Other updates from AJA include v2.1 ﬁrmware for the Helo recording and streaming device, which brings closed caption streaming from an SDI input, HLS streaming for direct interoperability with an iPad and support for Chinese, Japanese and Korean in the system’s web UI. Ki Pro Ultra and Ki Pro Ultra Plus have a v3.0 ﬁrmware update with Avid DNxHR support.

PICTURALL HAS released a software update for its Duo, Quadro, Octo and Broadcast media servers. Software release version 2.4.0 sees the addition of support for dual DisplayPort 1.2 and uncompressed 8K playback options. ‘The input cards were ﬁrst unveiled last year, but the software was still in beta format,’ explained Picturall CEO, Samuli Valo. ‘The new release provides full support for the latest input cards to offer full

end-to-end 4K compatibility as well as uncompressed 8K playback.’ In addition, the update provides support for upcoming Analog Way server models. There are also a number of improvements in display conﬁguration and custom display mode handling, as well as improved diagnostic tools. The software installer can be downloaded from the support section of the Picturall website. www.picturall.com

www.aja.com

Christie expands the GS Series THE 1DLP DHD635-GS and DWU635-GS laser phosphor projectors are the newest additions to Christie’s GS Series. They are designed to be lightweight and compact, facilitating ease of transport between venues. Both models feature embedded warping and blending technology,

dynamic contrast and a 360° orientation as well as portrait and landscape modes. The DHD635-GS and DWU635-GS also include laser diodes offering up to 6,750 ISO lumens of light output for a reported 20,000 hours of operation. They are equipped with Christie’s RealBlack technology, which is designed to

90 PRO AVL ASIA September–October 2018

deliver a 4,000,000:1 full on/off contrast ratio in a ‘whisper-quiet (36dBA) solution’. In addition, the new projectors are compatible with all GS Series lenses and are said to be capable of 24/7 operation. Christie has also expanded its Extreme Series with the launch of the FHD493-XE 49-inch LCD

Christie’s DWU635-GS ‘extremely narrow’ bezel display. It features a 1.8mm combined bezel

width and panel matching functionality, and is compatible with Christie’s Phoenix EP network distributed processor. The manufacturer states that it is ‘ideal’ for videowall applications and has been developed for 24/7 operation. www.christiedigital.com

VIO L212

3-WAY ACTIVE LINE ARRAY MODULE

MAX SPL .............................................................. 142 dB HF ..................................... 2x 1.4”, 3” v.c - Neodymium MF .................................... 4x 6.5”, 2” v.c - Neodymium LF ....................................... 2x 12”, 3” v.c - Neodymium Amplifier ...................... 2x 1600 W RMS (3200 W RMS) Frequenct Response [-6dB] .................... 55 - 18.600 Hz

info@dbtechnologies-aeb.com

Width .............................................................. 1100 mm Height ............................................................... 380 mm Depth ................................................................ 450 mm Weight ............................................................... 54.4 Kg Expansion Card............................................RDNet Card Expansion Card [optional] .......................... Dante Card

dBTechnologies

www.dbtechnologies.com

PRODUCTS

A pocketful of Blackmagic BLACKMAGIC DESIGN’S Pocket Cinema Camera 4K is a handheld digital camera that features a full 4/3 HDR sensor, dual native ISO with up to 25,600 ISO and 13 stops of dynamic range. It removes the need for external recorders with a USB-C expansion port, allowing users to record to built-in SD/UHS-II and CFast recorders or to external disks. The 4/3 HDR sensor offers a native 4096x2160 resolution. Its size is said to match MFT lenses, meaning the crop factor

is significantly reduced, providing a wider field of view. An MFT lens mount is included on the Pocket Cinema Camera 4K, as is a 5-inch touchscreen monitor, 10-bit ProRes and 12-bit RAW recording, 3D LUTs, four built-in microphones, a mini XLR audio input with phantom power, Bluetooth wireless camera control and HDMI on-set monitoring output. The camera is made from carbon fibre polycarbonate composite to keep it strong, yet light. Users hold on to a multifunctional grip

6RQ\·V XSGDWHG 9LVLRQ SONY HAS released a pair of new PTZ cameras, the BRC-X1000 and BRC-H800, which are 4K and HD models, respectively. They are available in a black or white ﬁnish, the latter targeting environments such as houses of worship, government buildings and medical facilities. The BRC-X1000

BRC-X1000

also holds the distinction of being Sony’s first 4K remote camera. Although remote PTZs, Sony argues that the BRC-X1000 and BRC-H800 are also able to replace traditional broadcast cameras used in fixed locations, such as in a television news studio. Both include a 1.0-type Exmor R CMOS sensor and are built for ‘nearsilent’ PTZ operation with a 12x optical zoom. Away from the studio, Vision Exchange, Sony’s interactive collaboration solution, has received an update. Version 1.1 facilitates the integration of Skype for Business, which the manufacturer says will benefit applications such as distance learning and provide functionality including Personal Note Taker. The Version 1.1 update is compatible with the PEQ-C100, PEQ-C130 and the PES-C10 Pod PC software.

that features buttons and dials that provide access to functions such as recording start/stop, still photo capture, ISO, shutter, aperture, white balance and power. The camera can record 4K images at up to 60fps and windowed HD at up to 120fps. It also includes Blackmagic’s fourth-generation colour science technology that lets users shoot HDR images in a variety of modes. The manufacturer has also released DaVinci Resolve 15, an

The Blackmagic Pocket Cinema Camera 4K update designed to completely integrate visual effects and motion graphics. This, Blackmagic states, makes it ‘the world’s ﬁrst solution to combine professional ofﬂine and online editing, colour correction, audio postproduction,

multi-user collaboration and visual effects together in one software tool’. In addition, DaVinci Resolve 15 adds a new Fusion page with more than 250 tools for compositing, paint, particles and animated titles among other functions. It also includes an update to Fairlight audio, as well as more than 100 other feature additions and improvements that users have requested. www.blackmagicdesign.com

Ikegami takes image capture to the docks IKEGAMI ELECTRONICS has created a ‘dockable’, multirole camera in the form of the HDK-73 3-CMOS for full-HD HDR production. It can be acquired as a complete system with CCU, connecting fibre, viewfinder and remote control. The ‘dockable’ structure of the HDK-73 allows for studio configuration with fibre base stations and self-contained operation with a camera adapter for wireless or onsite recording applications. The HDK-73’s Ҁ-inch, 2.6 megapixel CMOS sensors capture images with a dynamic range of more than 600% at full HD 1920x1080 resolution. The images feature a high sensitivity – F13 at 50Hz – and a high signal-to-noise ratio. The sensors support 1080i/59.94

HDK-73

and 1080i/50 natively, in addition to 720p/59.94 and 720p/50 scan formats. Other features of the system include full digital signal processing capabilities, advanced digital detail correction, with independent horizontal and vertical correction of RGB signals and optional anti-moiré ﬁltering functionality. For those seeking ultra-high resolutions, Ikegami has

launched the UHK-430, a UHD camera employing three 3840x2160 native Ҁ-inch CMOS sensors that provide full resolution plus the depth of ﬁeld needed for outdoor production. While facilitating UHD production, the UHK-430 is also designed to interface with current HD systems. www.ikegami.com

pro.sony.com

Panasonic connects with NDI THE LATEST addition to Panasonic’s PTZ camera line-up, the AW-HE38, is built to provide a low-cost option for those seeking a full HD remote camera. It is also compatible with NewTek’s NDI|HX driver. With integrated pan-tilt functionality, the AW-HE38 features the same speciﬁcations as the

AW-HE40H and adds a 22x zoom. It incorporates a new 1/2.3-type MOS sensor and digital processors, and is available as an HDMI output-only version. Panasonic has also released a ﬁrmware update to enable its existing PTZ cameras (the AWHE40, AW-HE130 and AW-UE70)

integrate with the hundreds of other NDI-capable products, enabling NDI-based video production workﬂows without any additional conﬁguration,’ said Panasonic’s Nela Pertl.

to support NDI|HX. Integration with the NDI (Network Device Interface) allows users to connect Panasonic cameras directly to an NDI network. ‘With automatic detection by the NewTek TriCaster and NewTek’s IP Series of professional video switchers, Panasonic’s remote camera line-up can now seamlessly

AW-HE38

The Vaddio DocCAM 20 HDBT

Cisco, Polycom or Vaddio cameras to codec rooms. The OneLINK Codec Kits provide an HDBaseT interface that extends video, power, control and network up to 100m over a single Cat-6 cable. This means Cisco and Polycom systems can now go into larger

www.newtek.com www.panasonic.com

Vaddio blends in DOCCAM 20 HDBT from Vaddio is an in-ceiling document camera that is high deﬁnition with 20x optical zoom, 1080p/60fps resolution and a 59.5° horizontal ﬁeld of view. Equipped with the OneLINK HDBaseT port, the DocCAM connects to OneLINK extension

systems or other HDBaseTcompatible devices to reduce cabling and extend video, power and control up to 100m. Meanwhile, Vaddio’s OneLINK Codec Kits have been designed to give more camera ﬂexibility by providing the ability to connect

92 PRO AVL ASIA September–October 2018

rooms. They also provide additional ﬂexibility when connecting over USB 3.0 to cloud conferencing software such as Google Hangouts, Skype for Business, WebEx and Zoom. www.vaddio.com

A 10" driver with extraordinary mid-band clarity RAJ >ABKNA SA [JEODA@ >QEH@EJC EP Right from the start, it was clear that the CF1025C was going to be something special. Using laser interferometry early in the development phase, Celestionâ&#x20AC;&#x2122;s engineers built an accurate picture of the coneâ&#x20AC;&#x2122;s movement across the frequency spectrum, providing the essential data needed to achieve extraordinary mid-band clarity.

CF1025C From a range of small-diameter, high performance Celestion professional drivers

MANUFACTURERS Contact Celestion to request a sample

celestion.com

PRODUCTS

Hitachi smooths the transition HITACHI KOKUSAI is making the move to UHD with the CUHD1300F-S1, an HDTV camera control unit with 4K, 12G-SDI output that transforms 1080p to Ultra HD with support for High Dynamic Range (HDR). Building on the feature set of the original CU-HD1300F, the CU-HD1300F-S1 combines SMPTE ďŹ bre transport and multi-format HDTV support

with intercom, teleprompter return and additional signal connectivity in a 2U unit. The CUHD1300F-S1 can output natively acquired 1080p video as 4K/UHD over single-link 12Gbps SDI or quad-link 3G-SDI connectivity. The 4K output functionality of the CU-HD1300F-S1 is compatible with all ďŹ bre-equipped, 1080p Hitachi Z-series and SK-series cameras,

The CU-HD1300FT-S1 CCU

and supports HDR when used with HDR-enabled camera models including the Z-HD5500 and SKHD1300. The new CCU can also be used with interlaced Hitachi camera models for HDTV output. The CU-HD1300FT-S1 offers all of the capabilities of its ďŹ bre-only sibling, plus Hitachi Kokusaiâ&#x20AC;&#x2122;s fourth-generation digital triax system for longdistance triax transport of HDTV signals. The dual-cable model offers similar 4K output capabilities when used with ďŹ breconnected cameras. Hitachi is aiding the transition to HDR with an optional ďŹ rmware

Hitachiâ&#x20AC;&#x2122;s SK-UHD4000 upgrade for its SK-UHD4000 4K Ultra HD camera system. The new ďŹ rmware option allows separate video shading adjustments for HDR and SDR outputs, enabling users to select from multiple HDR proďŹ les alongside SDR simultaneously

with the same camera. New optional 12Gbps SDI output capabilities for the accompanying CU-HD4000 CCU have also been added to its existing quad-link SDI inter face. www.hitachi-kokusai.co.jp

6WULNH ZLWK Ă H[LELOLW\ CHAUVET LIGHTING has designed the new Strike P38 to add ďŹ&#x201A;exibility to its Strike series of multi-formatted blinder/strobe ďŹ xtures. It can reportedly be used in more applications and conďŹ gurations than the Strike 1 and Strike 4 ďŹ xtures due to its smaller form factor. An IP65-rated single pod LED ďŹ xture, the Strike P38 delivers 90W of warm white light, measures 303mm x 261mm x 184mm and weighs 3.8kg. It offers 16-bit dimming control and includes an adjustable Pulse Width Modulation to ensure it is ďŹ&#x201A;icker-free when on camera. The ďŹ xture delivers a strobe rate of 0Hz to 29Hz and has four dim modes. Although it is designed primarily as a blinder, the Strike P38 is also â&#x20AC;&#x2DC;cool enoughâ&#x20AC;&#x2122; to serve as a wash. It can be controlled via DMX or RDM protocols. Speaking of control, Chauvet has also introduced BTAir, an app

Strike P38 that utilises Bluetooth wireless technology and allows users to control lighting ďŹ xtures from a smartphone or tablet. The app is available on Android and iOS devices and is compatible with the Bluetooth-enabled ďŹ xtures from the Chauvet DJ range â&#x20AC;&#x201C; the SlimPAR T12 BT, SlimPAR Q12

â&#x20AC;˘ â&#x20AC;˘ â&#x20AC;˘ â&#x20AC;˘

BT and Colorband T3 BT. Via the app, users can create, store and recall scenes, and control colour fades and chases. The SlimPAR T12 BT features 12 RGB LEDs and is designed as a compact unit to ďŹ t inside sticks of truss. In addition to its built-in Bluetooth capabilities, an IRC-6 remote control can also be used, as can DMX, automated and sound-activated programs. The larger SlimPAR Q12 BT offers the same methods of control, while also including 12 RGB LEDs. Meanwhile, the Colorband T3 BT is a linear wash light. It also possesses 12 RGB LEDs and includes three control methods on top of its Bluetooth functionality: access to builtin automated programs via an optional IRC-6 remote, Master/ Slave or DMX. www.chauvetlighting.com

CLAYPAKY HAS developed a device that allows follow spot ďŹ xtures â&#x20AC;&#x2DC;to see like a human eyeâ&#x20AC;&#x2122; and automatically follow a subject. It is called Zac-Eye and is described as â&#x20AC;&#x2DC;the ďŹ rst standalone follow spot to use artiďŹ cial intelligenceâ&#x20AC;&#x2122;. Zac-Eye connects to any of the manufacturerâ&#x20AC;&#x2122;s moving lights via Ethernet and its optical 3D

sensor will detect all objects on a stage. Its algorithm has been programmed to recognise the shape of human beings, and it can follow up to four people. Claypaky has designed it to be easy to set up and use, and states that it is â&#x20AC;&#x2DC;completely reliable and affordableâ&#x20AC;&#x2122;. www.claypaky.it

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Preset each array angle on ground then lift it directly to use. Built-in processor to deliver impressive sound. Innovative vertical transport designed to meet the demands of fast rigging. Compact cabinet designed, same dimension as dual 8â&#x20AC;? loudspeakers but has better performance on SPL and bass than dual 8â&#x20AC;?. Â&#x2021; 5HPRYDEOH DPSOLÂżHU PRGXOH ZLWK 9 9 XQLYHUVDO YROWDJH 8OWUD ORZ JURXS GHOD\ FODVV ' PRGXODU SRZHU DPSOLÂżHUV RIIHU VXSHU GULYLQJ IRUFH Â&#x2021; 9HULW\ $XGLR &ORVHU WR PXVLF

94 PRO AVL ASIA Septemberâ&#x20AC;&#x201C;October 2018

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Product information

w w w. ve r i t y a u d i o. f r TEL: +86-757-8512-9008 Headquarters: VERITY AUDIO SARL (253 Rue Saint-Honore, 75001 Paris France.) Chinese Exclusive Distributor: SAE Audio Co., Ltd.

PRODUCTS

A pair of Sevens and a Smarty

ArKaos’ MediaMaster software can now be monitored in the An-Ki solution

Remote show with An-Ki INTENDED FOR scheduling and monitoring the manufacturer’s MediaMaster software, ArKaos has released the An-Ki remote control and digital management solution. Working over the internet, An-Ki allows digital content appearing as projections or on any LED mappable sur faces or devices to be updated, synced or tweaked in ‘just a couple of clicks’. An-Ki also allows different surfaces or displays to be synchronised so they show the

same material at the same time. The An-Ki player will synchronise video sources running on two or more MediaMaster computers or media servers anywhere in the world, with frame synchronisation based on the internet’s Network Time Protocol (NTP). Meanwhile, the An-Ki enabled layer of MediaMaster now gives content managers remote access to devices and displays from anywhere in the world.

ELATION LIGHTING has built upon the success of its SixBar Series with the creation of the Seven Batten Series of LED colourchanging battens. These use 7-colour (RGBAW + Lime + UV) multi-chip LED technology to deliver a more flexible wash solution than the series’ predecessor. Available in 0.3m, 1.2m and 1.8m lengths, each Seven Batten produces almost 80% more lumens than its SixBar counterpart. They can stand alone or be flown from trussing and are recommended for production applications and installations as a wash light, uplight, wall/cyc wash, accent lighting or as a direct view pixel strip. Also new is the line of Seven PAR IP colour-changing fixtures. The

The Seven Batten family Seven PAR 7IP and Seven PAR 19IP house seven and 19 LEDs, respectively, and spread light at a 25° angle while, like the Seven Battens, producing nearly 80% more lumens than comparably sized SixBar ﬁxtures. The Seven PAR IP units are IP65-rated and can be used as a wash light, uplight, wall wash or truss warmer. Finally, the Smarty Hybrid is a CMY colour-mixing spot/beam/ wash hybrid moving head. The manufacturer says that this ﬁxture

has ‘stage smarts’ thanks to its Flex lamp technology. This is because Elation worked with Philips to build on the latter’s Platinum lamp technology to create the new, longer-life Platinum Flex 200 lamp that forms the foundation of the Smarty Hybrid. The result is a discharge lamp/ballast package that provides a high output from a compact ﬁxture that reportedly has a lamp life of 6,000 hours. www.elationlighting.com

www.arkaos.net

ColorSource Pearl

A Pearl of light THE COLORSOURCE Pearl has joined ETC’s ColorSource family of lighting fixtures, providing flicker-free white light with a smooth dimming curve. It is a variable white light LED array for use with the ColorSource Spot, Linear and PAR fixtures, utilising a combination of two different white LEDs, which allow the colour temperature to be set anywhere between 2,700K and 6,500K. Alongside the Pearl, ETC has added the WLZ (Wash Light Zoom) fixture to its Irideon line of architectural fixtures, designed to blend into any space. The WLZ is available in a variety of colour

temperatures, from 3,000K to 5,000K, and three mounting variations: track mount, portable and canopy. It also has a built-in rotating zoom adjustment at the rear of its housing that enables beam angle adjustment within a range of 9° to 78°. The manufacturer’s entry-level Eos family is also celebrating a new addition in the form of Element 2. This new Element is more in line with the other Eos consoles than its predecessor, Element, featuring the same hardkey layout as its Eos siblings.

1/2 PAGE Island

www.etcconnect.com

September–October 2018 PRO AVL ASIA 95

PRODUCTS

Aqua comes into full effect EXPANDING ON its Aqua Series, PR Lighting’s Aqua 480 BWS includes various effects that can be used for outdoor productions as well as permanent or temporary applications. The luminaire has a 480W lamp with an optical system and is an IP65rated beam, wash and spot hybrid moving head. It has a gobo wheel with 10 ﬁxed gobos as well as a rotating gobo wheel with seven interchangeable gobos. This, in turn, offers users a selection of gobos from which to choose and something the manufacturer says also gives users the option to create in-air and surface designs. Aqua 480 BWS also has a 3-piece bidirectional prism, colour wheel,

PR Lighting’s Aqua 480 BWS CMY linear colour mixing system with macros and independent CTO channel.

Meanwhile, Aqua 350 BWS is an IP65-rated beam, wash and spot ﬁxture with a 350W lamp. Reportedly offering 1,500 hours of operation, the light incorporates three prisms (a standard, a 2x6facet circular prism and a linear prism), bidirectional rotation with variable speeds and a motorised linear focus and zoom. The light angle in beam mode is 0° to 2.5°; in spot mode it’s 2.5° to 42°; and in wash mode it’s 5° to 50°. It has a DMX512 wireless receiver and an optional DMX512 wireless transmitter. Arc LED 1360 Strobe is an IP67-rated graphic strobe, blinder and ﬂood that is available in white (6,500K) and warm white

(3,000K). Weighing 9kg, 360 Osram 1W LEDs reportedly provide 50,000 hours of operating time and a power consumption of 350W at 220V. Housed in high-intensity, die-cast aluminium, the ﬁxture provides four channels in standard mode and 12 channels in extended mode. Finally, the manufacturer has added Polaris, an IP67-rated LED wash luminaire designed for indoor and outdoor use. Equipped with seven 15W RGBW 4-in-1 SMT LED lamps, Polaris can withstand inclement weather and features a 3,200K to 10,000K colour temperature, meaning that ‘countless’ colour

Diamonds are forever

Robe adds some bite

ROE VISUAL’S Diamond 2.6 (DM2.6) series LED panel is designed as a lightweight, small pixel pitch visual solution. Built for indoor use, the DM2.6’s weight is kept to a minimum at 4.6kg per panel due to its frame of carbon and magnesium. It is constructed with black LEDs to provide a high-contrast image and it is designed with a magnet assembly to offer ﬂexibility when setting up, as concave and convex curving are made possible. The manufacturer has also released Vanish 18. As its name suggests, it is a ‘transparent’

CZECH LIGHTING manufacturer, Robe, has built on its Spiider technology to create its most powerful LED beam/wash/effects ﬁxture yet. Named the Tarrantula, the multi-function light features 36 30W and one 60W LED chips, providing 20,000 lumens of output. Away from the power, the luminaire also offers a range of standout features such as an adjustable beam angle from a 4° spot to a 50° wash and an integrated 18-bit LED dimming system. In terms of effects, it offers an LEDWash 800-inspired Beam Shaper accessory which creates a traditional oval beam

LED display panel and can be used for both indoor and outdoor applications. It joins the Vanish 25 as part of the Vanish series and is designed to offer a ‘smaller pixel pitch’. www.roevisual.com

effects can be created due to the luminaire’s ability to control each independent LED. It is a silent ﬁxture with a 4° to 40° beam angle, making it ideal for HOW and theatre applications. www.pr-lighting.com

that can be indexed for coverage of the stage or performance area. Central to the Tarrantula is the manufacturer’s ‘Flower Effect’. Driven by the 60W RGBW multichip, this creates sharp, speed-controlled spikes of light that can be rotated in either direction. In addition to this, videodriven effects can be achieved by mapping the Tarrantula’s individual pixels via a DMX console or a media server, and using the onboard sACN with internal HTP merging via DMX or Kling-Net protocols. Tarrantula builds on Spiider technology

www.robe.cz

Sola power

Litepanels update fully affects Gemini LITEPANELS’ LATEST firmware update for its LED soft panel Gemini includes new lighting effects, including TV, emergency lights, lightning, fire, hue burst, paparazzi, fireworks, party lights, pulsing, square and strobe. All effects are customisable, giving users the ability to control rate, colour and depth. Effects can be saved to presets for easy recall which, in turn, can be saved to a USB drive for porting to other lights – described by the manufacturer as being ideal

Polaris

for rental customers who need a streamlined setup for their rented lights. In addition, the ﬁrmware itself can be updated from a USB drive, a process that reportedly takes about 20s. www.litepanels.com

96 PRO AVL ASIA September–October 2018

DESCRIBED AS ‘the industry’s first automated LED luminaire to deliver completely silent operation’, High End Systems has aimed at situations where fixture noise is simply not acceptable with its SolaFrame Theatre. To achieve this feat, the light has been engineered with no fans. It also features a high-CRI LED engine, delivers 15,000 field lumens and includes the manufacturer’s full-frame shuttering system. Staying in the Sola family, SolaFrame 750 has been created for smaller- to mediumsized venues. The fixture offers 11,300 field lumens, 6° to 50° zoom, a rotating gobo wheel plus fully continuous animation. The manufacturer describes it as offering ‘the widest array of effects currently available in a fixture of its size’.

The SolaFrame family A final pair of additions to the Sola family of LED automated lighting fixtures are the SolaWash 2000 and SolaSpot 1000. The flagship SolaWash 2000 luminaire uses a 600W Ultra-Brite LED source, offers multiple colour and effects systems and provides a versatile zoom range. The

SolaSpot 1000, meanwhile, has a 440W Ultra-Brite LED engine and specially designed optics. It also offers a rotating animation wheel, ﬁxed gobo and colour wheels, CMY/CTO system, iris, frost, prism and zoom. www.highend.com

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PRODUCTS

Work Pro gives LightShark wings

Avolites launches Titan v11 TITAN V11 is Avolites’ latest version of its lighting control software suitable for all its current consoles. The upgrade builds upon and extends the existing Titan feature set and includes the option to specify the number of times that effects run – this includes Shapes, Pixel Map effects and Key Frame Shapes. The update turns the Key Frame Shapes engine into a oneshot, timeline-style cue creator. Two new cue list key proﬁles, ‘Flash and Go’ and ‘Timed Flash and Go’, have been added to allow more expressive options for control over cue lists for live applications, especially where the list is to be triggered from a single executor button. Titan’s Attribute Editor has also received a signiﬁcant upgrade, adding gel colours and HSI/RGB/ CMY mixing options to the colour picker, which combines up to seven colour channels, as well

WORK PRO Audio’s LightShark range of lighting consoles has gained additional functionality thanks to the LS-Wing console expander unit and four LS-Nodes that aim to offer an affordable hardware expansion solution for LightShark, providing extra DMX and Ethernet connectivity without the user interface and physical controls of the LS-1 and LS-Wing units. Although the LS-Wing is narrower than the LS-1, it is designed to still hold a 12.9-inch iPad Pro

The Key Frame Shapes engine as gobo images which transfer directly to palette Quick Sketch labels. Two new curves have been added to Fan that allow users to create positions for a large number of ﬁxtures and enhanced spatial selection directions. The new Cross-fade HTP option allows

number of freely conﬁgurable DMX universes it delivers to a connected DMX-capable lighting system, whether it’s LightShark or an alternative system. All LSNodes feature 2-port Ethernet connectivity and support the Art-Net and sACN protocols. The LS-Node1 and LS-Node2 models also offer a DMX input universe, facilitating the merging of DMX sources. The three smallest LSNode units come in the same ¼U form factor as the manufacturer’s LS-Core and are powered through

dimmer channels to behave like LTP channels on a per-playback basis. The manufacturer states that the new updates continue to ‘add ﬁnesse to live environment lighting control’. www.avolites.com

LS-Wing

LSC unites racks for better control THE UNITY 48- and 96-channel installation racks from LSC Lighting Systems have been described by the manufacturer as being able to control any load from traditional tungsten lamps, through to LEDs, neon and ﬂuorescent ﬁxtures. The Unity dimming/power cabinet system allows users to set any channel to become a TruPower relay, said to be ideal for powering moving lights and A/V equipment. Available in two sizes, for four or eight modules (48 or 96 channels) the UIR (Unity installation rack) cabinet provides mains power distribution, output circuit termination panels, DMX/Ethernet

connections and cooling for the Unity system. With dedicated modules, each cabinet can be loaded with any of the following 12-channel modules enabling the venue to customise its system as required: UDM (Dimming/TruPower Relay bypass module), ULM (LED dimming/TruPower Relay bypass module) and USM (Switching Relay module). Meanwhile, in the data distribution range for installation markets, the 4-way DIN-Rail with RDM as standard is the latest version of LSC’s MDR DMX Splitter. The Unity 48- and 96-channel installation racks

www.lsclighting.com

on its sur facemounting area. It connects to the LS-1 via Ethernet, enabling users to expand the physical controls available for LightShark systems. The LS-Wing offers 20 backlit and 10 playback buttons, as well as two extra DMX control universes and an additional three Ethernet ports. A pair of USB connectors allows users to charge their tablets or smartphones when used to control the LightShark system. The four LS-Nodes are named LS-Node1, LS-Node2, LS-Node4 and LS-Node8. Each gains the number in its title from the

a USB-C connector. They can be rack-mounted using optional LS19AR rack ears. Meanwhile, the 8-universe LS-Node8 is a 1U, 19inch unit featuring an LCD display for conﬁguration and has a Neutrik True1 power connector. The Equipson Group-owned brand has also released the WNS-8P, an 8-port Ethernet switch designed for the live and installed A/V markets. It is contained in a 19-inch rack, offers Power over Ethernet (PoE) via each of its standard Ethernet connectors, is compatible with RJ-45 and etherCON connectors, and can be conﬁgured using a webbased interface. www.workproaudio.com

Middle Atlantic grows and adjusts MIDDLE ATLANTIC developed its new L7 Series of adjustableheight lecterns to comply with the Americans with Disabilities Act, meaning it can be used by speakers of all heights with its range of adjustment options. With a curved design, it is built with a combination of brushed aluminum and wood grain. The L7 Series has a welded steel frame with modular rackmount and storage options, as well as additional small device storage below the worksurface on the manufacturer’s Lever Lock mounting system. Integrated power, cabling and thermal

management are included with AVIP plates for educational applications. The L7 offers a 1.5m x 78cm workspace with a wireless charging pad, USB and AC outlets, and storage for markers and microphones. Middle Atlantic has also expanded its FlexView Series with the introduction of FlexView IFP display carts that integrate device mounting and built-in power distribution within a ‘sleek and sturdy’ design. The new solutions offer both ﬁxed and height-adjustable options, and are available in a range of colours.

98 PRO AVL ASIA September–October 2018

The manufacturer has also increased its DC Power Distribution Series with new 200W and 300W models that reportedly deliver the same features as the 45W DC compact and 125W DC 1U systems. They provide high current capacity to up to 24 devices, maximising the voltage at either 5V, 12V or 24V, or splitting between 12V and 24V. The multi-mount design allows it to be installed in a 1U space or beside a rack with zero-U mounting. L7 Series

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FEATURES: INSTALLATION

Rising up The musical ambience on the 39th-level bar Mr Stork is enhanced with Tannoy CVS 6 and DVS 4 speakers

The Garden Studio function room provides a more intimate party experience

Singapore systems integrator, EAS, has brought the sights and sounds of the PZSHUK UH[PVU PU[V /`H[[»Z ÄYZ[ (UKHa PU :V\[O ,HZ[ (ZPH Richard Lawn reports WHEN THE PAIR OF CONCAVE TOWERS KNOWN AS DUO made their joint entrance onto the Singaporean skyline in 2017, the 186m iconic architectural masterpiece defined a new standard in Singapore when it came to integrated development. Incorporating the first Andaz hotel in South East Asia, the new kid on the Bugis block looked to distinguish itself from the pack by drafting in famed interior designer, Andre Fu, to conceptualise an individual character. Mr Fu ingested the hotel’s dynamic location of the surrounding streets to create a labyrinth of passageways featuring locally inspired techniques, decorative details, furniture, art and fabric in the hotel’s design. Although yesteryear’s sights and sounds that emitted from Bugis are almost impossible to capture and replicate, Electro-Acoustics Systems Pte Ltd (EAS) managed to architecturally blend A/V and lighting systems throughout this unique property. Since its inception in 1983, EAS has been a first-choice SI for many expanding Singaporean hotel chains wishing

to incorporate A/V and lighting technologies for added functionality. Working under the supervision of the main contractor, Obayashi Singapore, and A/V consultant, Acviron Acoustics, EAS provided aesthetically sympathetic A/V systems both within and beyond the main alleys. ‘We made a request for A/V equipment that is renowned in the market for quality, reliability and ease of use,’ says F&B operations director, Victor Marcato. ‘When opening a hotel of this magnitude, there are so many aspects that need to be considered, from silverware to bed linen, staff uniforms to floor tiles. Ultimately, you have to trust the expertise of the contractors you bring in.’ Before guests can familiarise themselves with one of the 342 rooms offering floor-to-ceiling windows for dramatic vistas of the city, they need to take two elevators via Alley on 3. Here, Andre Fu’s signature becomes apparent as the intimate alleyways of the local shop houses have been woven into the third-level ‘alleyway’. Circumnavigating this almost circular floor, Alley on 3 allows guests to dip in and out of various

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100 PRO AVL ASIA September–October 2018

The divisible Glasshouse comes with challenging acoustics courtesy of the ﬂoor-to-ceiling windows

FEATURES: INSTALLATION function spaces. Specifically designed for event organisers, the 1,375m2 alleyway features four residential-style event spaces, including a distinct ‘glass-box’ venue called The Glasshouse, an adjoining outdoor terrace named Garden Studio and two studios available for smaller gatherings. With the exception of The Glasshouse, Alley on 3 is a mere sampler for Alley on 25. While meetings and events are hosted at Alley on 3, guests and visitors are spoilt for choice at Alley on 25 by a wide variety of food and beverage options. The 21st-century concept brings Singaporean street dining together with unique skyline views by offering seven alleyway shop houses on one floor, including barbecued snacks in Smoke & Pepper, piping hot dishes coming out of the Green Oven, Japanese feasts in Plancha’Lah!, noodles in Auntie’s Wok & Steam or desserts in Icehaus. Music is an important aspect of the hotel’s public areas, especially on Alley on 25, with specific BGM playlists catering for different zones. As some of the restaurant outlets open 18 hours a day from breakfast until midnight, every day of Andaz Singapore relies on Tannoy CVS 6 and CVS 8 ceiling speakers for its zoned BGM

Biamp Nexia CS DSP mixers route the BGM sources to the Tannoy speaker system the year, the audio system is in almost continuous use. ‘It’s important that we create our own design and identity, so music plays a role,’ continues Mr Marcato. Connected to a Biamp Server-IO, the main BGM source for Andaz Singapore is a MediaLON MAS Pro 32-D digital music server, although local iOS devices can also be selected for individual zones throughout Andaz. The stereo audio signals from these are transported into Intelix AVO-A2-F stereo devices before being routed to Biamp Nexia CS 8-in/8-out and 12-in/12-out DSP matrix mixers. Interlinked Biamp Nexia processors transport the shared audio data out to the network of 79 Tannoy CVS 6 ceiling loudspeakers. The coaxial speaker system is powered by racked Lab.gruppen 4-channel C Series and 2-channel E Series ampliﬁers. ‘Our facility managers demand user-friendly technology, allowing them to easily select a source and adjust the level when required,’ explains Mr Marcato. Located behind the scenes, EAS integrated rack-mounted Biamp Volume/Select 8 panels for each zone to provide a menu of sources, while two accessible wall-mounted Bosch LBC 1410 attenuators allow staff to adjust the volume only. Crestron CP3 control of the audio, video and lighting systems throughout Andaz can be

accessed from Apple iPad touchscreens. The six restaurants are interlinked along Alley on 25 and each restaurant manager can select the general BGM or one of two source players. Not only is the music audible, but spillage between the various restaurants and zones has been avoided. Designed to cater for special events, product launches and weddings, both The Glasshouse and Garden Studio are fitted out with higher SPL specifications. Inspired by a glass-box design featuring floor-to-ceiling windows on three sides, The Glasshouse can accommodate up to 280 seated guests. The combination of excessive glazing and sound reinforcement may not be great acoustically, but the EAS engineers have sensitively addressed DSP parameters including EQ, filtering, dynamics and delay using the Biamp Server-IO software. Stored settings within the Server-IO can be configured and managed via Crestron CP3 control Ethernet connection on an iPad touchscreen. Focusing on the dining tables rather than the exterior glass, 36 Tannoy CVS 8 8-inch coaxial speakers and 16 SoundTube CM1001d-T subwoofers constitute the ceiling system. Powered by a combination of two Lab.gruppen C 28:4 4-channel amplifiers, the sourced BGM and live music are mixed on a Yamaha TF3 48-channel console that receives its microphone inputs from a Yamaha Tio1608-D remote stagebox. The musicians are monitored from Renkus-Heinz CFX121M-8 speakers that can be patched in on-stage, while a choice of Sennheiser ew 135 handheld and ew 112 clip-on wireless microphones are available for all events. Two Remaco TEN 5.5m and four Remaco TEN 5m motorised screens can be called upon for high-impact visuals, receiving outputs from individual Christie D12WU-H projectors. Inputs including three Datavideo PTC-150 cameras linked to a

Datavideo RMC-180 controller, a Blu-ray player and five Kramer WP-20 HDMI and audio wall points are routed to a Datavideo SE-2200 6-channel matrix switcher for output. A Datavideo HDR-70 hard disk recorder allows guests to leave with a memento of the event. Twelve Grandbright skyhooks provide retractable lighting options, while 10 Martin Rush MH 1 Profile moving heads can be controlled from a software-loaded PC. Combining a picturesque indoor pavilion with an adjoining outdoor garden, the more intimate Garden Studio can entertain up to 100 guests. Here, a similar, but scaled-down, audio setup consisting of 26 Tannoy CVS 8 8-inch coaxial models and 10 SoundTube CM1001d-T subwoofers powered by three Lab.gruppen E Series amplifiers receive their mix from a 16-channel Yamaha TF1 console. A single Remaco TEN 3m screen and Panasonic PT-DZ870 projector are adequate for the needs of this venue, with inputs from four Kramer WP-20 wall plates and a Blu-ray player. Six Martin Rush MH 1 Profile moving heads provide the dazzle for incoming guests, and Sennheiser ew 135 handheld and ew 112 clip-on wireless microphones are available for speeches. As Andaz ascends, similar BGM systems as Alley on 25 have been woven into the building’s architecture, covering the 26thfloor changing rooms, 665°F restaurant and 38th-floor fitness centre. At the apex on the 39th floor, the Mr Stork rooftop bar is adorned with teepee-hut seating and a 360° view of the city. Powered by a Lab.gruppen E 4:2 amplifier, Tannoy CVS 6 6-inch coaxial models and DVS 4 wall-mounted speakers provide ambience in the bar under its outdoor canopy. But initially, the extensive rooftop bar did not require reinforced SPLs. ‘From my personal perspective, EAS came into their own when we asked for their assistance on the rooftop bar area,’ explains Mr Marcato. ‘This area wasn’t intended to play music originally but, as the bar developed and we started to draw large happy-hour crowds at sunset, the need to add BGM was paramount. The EVAC contractor had installed a Bose FreeSpeak II landscape speaker system for public announcements only. When we approached EAS to see if they could upgrade its use for BGM, we would have fully understood if they had declined the offer or sent us an invoice. However, they undertook the request and applied the right DSP and cabling to ensure we could play music into this zone for no extra fee.’ For EAS, Andaz Singapore could be seen as just another hotel credit in its extensive portfolio. The A/V and lighting systems the company designed and installed enhance the hotel’s functionality and promote ease of use, ensuring future service calls will be kept to a minimum, but the acoustical and design challenges it faced were no different from other similar hotel projects the company has embarked upon in recent years. But something along the alleyways must have set this project apart, as EAS booked the hotel for its own prestigious 35th anniversary party. Perhaps it never wanted to leave. www.andazsingapore.com www.easpl.com.sg

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September–October 2018 PRO AVL ASIA 101

FEATURES: INSTALLATION

Aiming high

Sue Su reports from a new high-end nightclub in Zhongshan, a city with a very important legacy

Club founder Hong Libo with TR Audio’s Huang Zhao

102 PRO AVL ASIA September–October 2018

SUN YAT-SEN, THE FOUNDING FATHER OF THE REPUBLIC of China, was born in Guangdong in a city that was known as Xiangshan prior to his death in 1925. In that year, it was renamed Zhongshan in honour of Dr Sun, who was known in Mandarin as Sun Zhongshan, making it one of the few cities in China to be named after a person. Cited as one of the most livable cities in China, Zhongshan is located in the south of the Pearl River Delta close to Hong Kong and Macau. The entertainment market certainly reflects its status as one of the country’s most wealthy regions, and the most recent example is the 0760 Plus club in Shiqi town. Besides being the name of a chain of nightclubs, 0760 is also the dialling code of Zhongshan. Along with the 0760 Plus in Shiqi town, there was already a very successful 0760 club in Xiaolan, also a district of Zhongshan. The new club in Shiqi set out to be an upgraded version of the first club, adopting the ‘Plus’ moniker to reflect this ambition. ‘Our new club is very large, even within the whole Pearl River Delta area,’ says Hong Libo, one of the club founders. ‘We wanted to create a stylish, fashionable club in Zhongshan where EDM would be the main style of music.’ The Xiaolan club underwent a major renovation in 2016, and Mr Hong was very impressed with the good service offered by audio equipment supplier, TR Audio. So when the new club was in the planning stage, TR Audio was naturally one of the strong competitors for the project. Established in 2011, TR Audio is a relatively young company, although general manager Huang Zhao has been involved in the nightclub industry for more than 10 years. The company is APG’s Chinese distributor for the club and fixed installation markets. ‘I have known APG for a long time and am very familiar with the sound of the speakers,’ says Mr Huang. ‘Coaxial technology is at the core of their products, and it’s a well-known French brand with several decades of technical acceleration. Its sound is true and natural, and has

One of the APG UL210/UL115B arrays covering the dancefloor a very good performance across the whole spectrum. In my opinion, it is as good as any first-tier speaker brand in the world.’ Mr Huang is clearly very confident about the brand he distributes. Despite this, and the fact that Mr Hong was already convinced by TR Audio, it wasn’t a given that the distributor would be guaranteed the contract to supply and install the new club. This decision was made after Mr Hong had visited many other venues, listened to different brands and finally decided to use the solution provided by TR Audio. ‘Generally speaking, we think APG is the best in terms of cost efficiency,’ he says. ‘The new club is a pure EDM club. The sound must be powerful and punchy as well as clean, to reproduce the different layers of EDM. The interior of this venue is more than 11m high and there are some pillars, so we needed to find a trusted supplier to make sure the sound coverage was smooth and even in this challenging environment.’

FEATURES: INSTALLATION This acoustic treatment included sound isolation and the installation of acoustic diffusion plates in the main room to avoid a build-up of sound caused by irregular surfaces created by the interior décor. Materials with a smooth surface such as glass, mirrors and stainless steel were not used in the club in order to avoid sound reﬂections, thereby minimising some of the acoustical challenges. The club owner hired a specialist company to ﬁt the stage mechanisms and lighting. In total,

Three APG TB218S subwoofers are positioned beneath the DJ booth Converted from an automobile shop, to the tune of RMB380 million (US$55 million), 0760 Plus is now a luxury nightclub spanning two spacious floors, of which the 800m2 first floor has been installed with an APG system. The main L-R system has been flown on either side of the DJ booth, 3.3m from the ground. Each side consists of two UL115B bass speakers on top, three UL210 dual 10-inch line array speakers in the middle and two UL210D dual 10-inch down-fill speakers at the bottom. The UL210s in the middle aim to cover the far field of the main hall, while two of the UL210Ds at the bottom cover the 6m area in front of the DJ position. ‘I am very pleased with the result obtained by adding the UL115B bass speaker, because it has made the sound more powerful, tighter in the low frequencies and allows a smoother transition to the ultra-low frequencies,’ explains Mr Huang. ‘This gives more layers and allows it to function as a 5-way system.’ The low frequencies dominate as below the booth are three TB218S double 18-inch subwoofers. There are also two TB218S subwoofers in the front, middle and rear of the main hall, respectively. A horseshoe-shaped VIP area spanning the first and second floors is covered by 16 DX15 coaxial speakers complemented by 10 SB118 18-inch subwoofers stacked in a ring formation. The entire system is driven by six APG SA20:2 and 10 SA30:2 Class-D amplifiers, managed by four DMS48 digital system controllers. A Midas M32 console was preferred for in-house mixing. As 0760 is close to a residential area, the owner invested heavily in architectural acoustics to prevent noise polution, while still maintaining the necessarily high SPLs. ‘We have spent more than RMB7 million [US$1 million] on this,’ says Mr Hong. ‘We are located around 20m away from the residential area, but the outside of the building won’t be affected by the high SPLs inside.’

350m2 of Helilai LED paneling has been fitted, the largest of which acts as an 18m x 9m (WxH) backdrop behind the DJ booth. There are also smaller LED screens on both the left and right sides of the booth. Small LED screens have also been installed around the balcony together with more than 800 lighting fixtures, while two mechanical arms on each side of the DJ booth create an outer space effect. This theme continues on the second floor, where a platform extending outside, which resembles the cockpit of a space capsule, houses a grandMA lighting console to control the lighting. Video and images are provided by a Pumiere-ED5 media server. Throughout the design phase, the system alignment was calculated many times over in EASE software as the plans were revised due to changes in the interior décor. TR Audio also decided to add an extra DX15 speaker on each side of the DJ booth for better coverage. The installation phase took two weeks to complete, during which time APG sent engineers from its factory to help with system alignment. Mr Hong is more than satisfied with the final result. ‘The entertainment industry is changing very fast,’ he notes. ‘We need to keep up with the latest trends all the time, so we regard service as the key factor when we choose our supplier. The APG system has achieved what we expected, and I believe the sound quality here is one of the best in the Pearl River Delta area.’

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www.apg.audio www.traudio.cn

September–October 2018 PRO AVL ASIA 103

FEATURES: INSTALLATION

NEU technician, Mr Kha, Bosch’s Nguyen Duc Nhat and AICe’s Pham Thanh Binh

Bosch Building Technologies white speaker cabinets have been installed in the classrooms

One of the larger seminar rooms

Economic expansion

Systems integration company and distributor, AICe, has installed Bosch systems into one of Vietnam’s leading universities. Caroline Moss visits NEU THE NATIONAL ECONOMICS UNIVERSITY (NEU) IN HANOI is one of Vietnam’s leading educational establishments. Founded in 1956, the university was known previously as the Financial Economics School, the Financial Economics University and then the University of Economic Planning until 1985, when it was awarded its current name under the jurisdiction of Nguyen Dinh Tu, minister of the Ministry of Education and Training. NEU offers diversiﬁed training programmes at bachelor’s, master’s and PhD levels in eight majors of economics, management and business administration, along with 45 minors. Many graduates of NEU have attained high positions in the Vietnamese government, with others going on to become successful entrepreneurs. The university’s alumni include the current prime minister of Vietnam, Nguyen Xuan Phuc, while the ﬁrst rector of NEU was former prime minister, Pham Van Dong. Competition to enter the university is intense, and its annual admissions test is considered the most competitive in Vietnam. The main role of NEU is to provide the highest level of training in the country in economics, macroeconomic government policies and research in economic management. Today, around 45,000 students are enrolled at NEU, in addition to 1,228 lecturers and staff including 113 professors and vice-professors, 255 doctors and 391 masters. In order to meet ongoing demand, the university was recently enlarged with the addition of a new building to provide 129 classrooms, four larger seminar rooms and a large multipurpose hall, among other facilities. The new building is on the same campus as the existing university, which has been in existence for more than 50 years. In addition to enabling more students to attend NEU, it also houses a brand-new library.

104 PRO AVL ASIA September–October 2018

Evid 6.2t speakers provide side-ﬁll Hanoi-based Applied Illumination and Electronics Company (AICe) has been a Bosch platinum partner for 15 years, and entered the tender for the design, supply and installation of sound, lighting and video equipment for the new building, winning the contract in July 2017. The company has installed Electro-Voice, Bosch and Dynacord equipment throughout the new building’s classrooms and multipurpose hall. ‘We have a good long-term relationship with Bosch, and are very familiar with the products from all the different brands,’ says AICe director, Pham Thanh Binh. AICe, which works on large integration projects in hospitals, conference centres and high-end apartment buildings, has

EV TX1122FM stage monitor

FEATURES: INSTALLATION around 25 staff members and also outsources freelance staff such as system designers. ‘We have two or three staff designers too, and we also work with an acoustic consultant,’ says Mr Pham. ‘In Vietnam, there is a growing demand for high-quality products and good acoustics. The Electro-Voice brand is very good and end users are happy with it.’ Nguyen Duc Nhat is technical support engineer for Bosch Building Technologies in Vietnam. ‘We enjoy a good relationship with AICe and support them in their design work,’ he says. ‘We have two technical engineers who work with us on system design for such projects. We have several

The multipurpose hall partners who are very loyal to Bosch and work exclusively with our brands, and AICe is one of these partners. ‘This is one of the largest and most important universities in Vietnam, and a lot of government ofﬁcials and VIPs went to this university,’ he continues. ‘They often come back to attend events here. Some of the students are good musicians, and live music will be put on here; not only

A bust of Ho Chi Minh takes pride of place on the stage of the multipurpose hall professional acts, but many of the students themselves will perform.’ Accordingly, when it came to the multipurpose hall, which will mainly be used for musical performances and large meetings, there was a requirement for a good music and vocal system. Here, AICe supplied an Electro-Voice Tour X system. ‘A line array system here was a very expensive option, so this was selected,’ continues Mr Nguyen. ‘It was more budget-friendly and also could be installed much quicker and easier.’ An L-R system consisting of two Electro-Voice TX2152 speakers and a TX2181 dual 18-inch subwoofer have been installed each side of the stage, with two pairs of Evid 6.2ts on each of the side walls to provide side-fill. Two TX1122FM stage monitors have also been supplied. The system is powered by a selection of Electro-Voice Q1212, Q99 and Q66 amplifiers and controlled by a Dx46 system processor. Up in the control room is a Dynacord CMS 2200 22-channel compact mixing system. The first event to be held in the hall took place last November. ‘In Vietnam, we have a lecturer’s day and, on that day, we celebrate our teachers,’ explains Mr Pham. ‘They will come here to this hall and sing and perform, and some of the leading people who’ve studied here will come back to the university to celebrate their teachers.’ Indeed, the new

hall received a very special inauguration at the opening event when one of the country’s deputy prime ministers, Vu Duc Dam, appeared on-stage to sing. When it came to the classrooms, all of a similar size, the requirement was for identical equipment setups to function as a PA system for teaching purposes as well as announcements. ‘There are 129 classrooms; they are small but, in terms of the equipment supplied and installed, it was a big order,’ explains Mr Nguyen. Here, equipment from the Bosch Building Technologies range was chosen, including LBC3099/41 ceiling loudspeakers. Bosch PLE-2MA240EU and PLE-1MA060-EU priority mixing amplifiers have also been supplied, providing mic/line and music source inputs, call station input with priority and VOX and voiceactivated emergency override. Additionally, LB2-UC15-L1 and LB2-UC30-L1 white cabinet speakers have been installed into the classrooms. Each classroom is equipped with one lavalier MW1-LTX-F5 and one MW1-HTX-F5 handheld microphone – the lavalier for the teachers’ use and the handheld to be passed around the classroom for students’ questions and participation. Receivers for the wireless mics are Bosch MW1-RX-F5s. Vietnam’s pro audio industry is maturing and, as is the case in many developing markets, some of the developments can be attributed to changing customer perceptions. ‘People are more aware now; they have gone out and heard good sound, for example at a theatre or in a cinema,’ says Mr Nguyen. Companies such as AICe are also at the forefront of this progression. ‘If companies want to bid on a professional tender, they must have at least two or three people who have the relevant audio qualification,’ he continues. ‘That is a mandatory requirement for entering the tendering process.’ And this rise in professionalism and insistence on good sound quality is perfectly exemplified by the new auditorium and classrooms at the prestigious NEU. www.boschsecurity.com.vn

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September–October 2018 PRO AVL ASIA 105

FEATURES: INSTALLATION

Towering ambitions The pillarless Sheraton Towers Grand Ballroom can be subdivided into four smaller rooms

The A/V technology installed into the Crestron-controlled function rooms enables lectures and video conferences

Richard Lawn visits the Singapore’s Sheraton Towers to check out its recent A/V upgrades

40 Martin MH1 Proﬁle moving heads have been programmed using Crestron software

Vital statistics Ballroom 1: 8.1m x 14.7m Ballroom 2: 16.4m x 16.5m Ballroom 3: 10.3m x 11.9m Ballroom 4: 8.7m x 11.9m Total size: 593m2 Theatre capacity: 600 guests Classroom capacity: 320 guests Ballrooms 1+2 ceiling height: 9m Ballrooms 3+4 ceiling height: 3.5m

Equipment 1 x Crestron AV3 wireless media control system 1 x Crestron Wireless Presentation Gateway 2 x iOS Apple iPad interfaces 40 x Martin MH1 Proﬁle Plus LED moving heads 2 x Martin RDM 5.5 1-in/5-out splitters

Sound reinforcement can be added courtesy of L-R Norton i1212W 3-way coaxial loudspeakers AS MUCH AS HOTEL OWNERS MAY DISLIKE PERIODS OF slower economic activity, facility managers look upon them rather more positively, using them to conduct overdue upgrade works. Such renovation work recently took place at the 420room Sheraton Towers Singapore on Scotts Road. To merit its distinction as a specialist A/V systems integrator within South East Asian hospitality circles, Concept Systems Technologies maintains a firm discipline on its works schedule. ‘It can be crazy,’ reflects sales director, Gerald Fong. ‘There are times when we have to juggle multiple projects simultaneously and so it’s essential to plan meticulously, months in advance.’ With room upgrades at the Sheraton Towers set to compressed time limits, and with conflicting contractors on site, Concept’s road to completion meant overcoming multiple obstacles on a daily basis. The company’s part in the upgrade extended to the level two Grand Ballroom in addition to three adjacent function rooms – Amber, Pearl and Topaz – and the Pearl meeting room. Once tenders had been approved, budgets agreed and deposits received, Concept then incorporated end user A/V requests into the final designs, placed its equipment orders to suppliers and created bespoke solutions and customised designs where required. Once called to site, inevitable compromises with interior designers and the main and

106 PRO AVL ASIA September–October 2018

electrical contractors had to be made in order to complete the work on time. The Crestron-controlled function rooms are each equipped with ergonomic chairs and flat screen TVs for video conferencing. For the audio setup, each room has been allocated Shure SLX4 wireless systems, with a Yamaha MG10XU mixer and 12 Electro-Voice C8.2HC ceiling speakers powered by a single PA1250T amplifier for sound reinforcement. Presentations and lectures are enhanced with the use of Eiki EK-401WA 4,600 ANSI-lumens projectors and LAV Hariz BN 3m x 2.4m motorised screens. A Crestron AM-100 wireless HD presentation system allows content for up to 32 users and four presenters to be displayed simultaneously using Quad View. The SI’s primary works were contained in the pillarless Grand Ballroom, who can be subdivided into four smaller rooms. The interior designer – who decorated the ballroom with chandeliers and customised gold leaf motif wallpapers – nevertheless placed fewer restrictions on the Concept team, but other challenges awaited. ‘The last upgrade was conducted 15 years ago, so this was overdue,’ explains Mr Fong. ‘There is a 4m void above the 9m ceiling in the main ballrooms, for which there is no catwalk, and we could only access the space through a manhole. Once up there, we had to be very careful fixing the 25 intelligent lights and

3 x Panasonic PT-RZ970 8,000 ANSI-lumens laser projectors 3 x LAV Hariz BN 6m x 6m motorised screens 1 x LAV Hariz BN 4m x 6m motorised screen 3 x LAV Hariz BN 3m x 2.4m motorised screens 7 x Kramer WP-20 4K UHD HDMI/VGA Ethernet/audio wall plates 7 x Kramer TP-580Txr HDMI extender transmitters 14 x Kramer TP-580Rxr HDMI extender receivers 7 x Kramer FC-46xl HDMI audio de-embedders 1 x Kramer VS-88HDxl 8-in/8-out matrix switcher 4 x Kramer VP-729 video scaler switchers 1 x Datavideo SE-2850 8-channel digital video switcher 2 x Datavideo RMC-180 4-channel camera control units 5 x Datavideo PTC-150 4-channel camera controllers 2 x Datavideo DAC-8P SDI-to-HDMI scalers 1 x Yamaha MG20XU 20-channel analogue console 3 x Yamaha MG16XU 16-channel analogue consoles 2 x Norton Audio i1212W 3-way coaxial loudspeakers 2 x Norton Audio ND2 amplifiers 39 x EV C8.2HC 8-inch coaxial ceiling speakers (tapping 60W) 1 x EV PA2400T amplifier 3 x EV PA2250T amplifiers 6 x Norton Audio i10 10-inch loudspeakers 3 x EV Q1212 amplifiers AVP ¼-inch analogue patchbays Shure SLX4 wireless headworn and clip microphones

FEATURES: INSTALLATION Norton Audio i1212W fixtures from above. Although we used the pre-existing ceiling speaker points, some of the brackets had to be modified and all of the cabling had to be replaced.’ As requested, flexibility has been added in the form of seven Kramer wall plates providing VGA, HDMI and audio outputs. The signals from the wall plates are scaled before being processed in the VS-88HDxl 8-in/8-out matrix and mixed on Datavideo SE-2850 switchers. Various room combining and dividing settings have been configured in an 8-in/8-out DSP unit. Ease of use for the facility managers has been provided courtesy of Crestron AV3 wireless media iPad touchscreen control for operating the audio sources and levels, DSP settings, house lighting, Wi-Fi and video projections. In addition, the 40 Martin MH1 Profile moving heads have been programmed with the Crestron software for individual and combined displays.

A main LAV Hariz BN 4m x 6m screen receives its display from a Panasonic PT-RZ970 8,000 ANSI-lumens laser projector

VGA, HDMI and audio outputs from seven wall plates are scaled before being processed in the Kramer VS-88HDxl matrix

Datavideo PTZ camera signals are mixed on an SE-2850 switcher

A/V engineer, Phyo Han, confirms how the new digital system has transformed his daily workload. ‘We previously spent a lot of our time trying to fix the old system, following negative feedback from clients. Now, we simply make preparations well in advance for the varied clientele, whether it’s a live band, a corporate event, a wedding or a private party. Settings can be easily stored and used again for many events. With our portable stage, the room is very versatile and easy to set up, allowing many hirers to patch their instruments into our main PA from one of seven different locations.’ The air conditioning vents situated alongside the ceiling perimeter in the Sheraton Towers meant that the projection screens had to be suspended some distance away from the wall rather than being flush with it. The previously existing PTZ camera system and Denon DN-DN4500 source players have been recycled for use in the newly refurbished ballrooms. ‘Owing to budgetary constraints, we recycled products that were deemed fit for purpose,’ says Mr Fong. ‘However, many of our recommendations were approved, such as the addition of two more motorised screen

projectors in the two larger ballrooms. Given our experience in these spaces, the hotel realised that they could maximise bookings by providing room ﬂexibility.’ At the Sheraton Towers, the dust has settled and the wraps are off, with only the smell of new paint lingering as a reminder of the refurbishment. Normal service has been resumed and, as expected, year-on-year bookings have increased. The installation of digital, wireless operations has enhanced efﬁciencies, smoothing day-to-day running of the facilities. Now, the emphasis is on future event preparations rather than troubleshooting. Having entrusted its upgrades to Concept Systems Technologies, the Sheraton Towers’ claim of state-of-the-art A/V systems for weddings, corporate events and private hire functions is no idle boast. www.concept-systems.com.sg www.sheratonsingapore.com

The EV C8.2HC ceiling speakers are powered by EV PA2250T and PA2400T ampliﬁers

DESIGN MEETS QUALITY.

1/2 PAGE VISIT OUR SHOWROOM IN SINGAPORE Adam Hall Asia Pte Ltd · Singapore 737853

11 Woodlands Close 01-12 · Phone +65 3152 9345 · asia@adamhall.com a subsidiary of the Adam Hall Group Germany

September–October 2018 PRO AVL ASIA 107

FEATURES: INSTALLATION

Astra goes Stella

The architect favoured design elegance over technology

Richard Lawn reports on a new Meyer Sound installation in [OL IHSSYVVT VM [OL UL^ 4LUHYH (Z[YH VɉJL KL]LSVWTLU[ ESTABLISHED IN 1957, PT ASTRA INTERNATIONAL HAS developed a varied business model in Indonesia under the name Astra International. Astra has expanded its business by implementing a model based on synergies and diversification within seven business segments: automotive, financial services, mining and construction, agribusiness, infrastructure and logistics, IT and property. Astra Property recently opened the 51-storey, 270m-tall Menara Astra integrated office development on the Jalan Jenderal Sudirman, a major thoroughfare that runs through the centre of Jakarta. Here, specialist services and expertise were drafted in, ensuring the construction would conform to international office Grade A and Platinum Green Building standards. As part of an impressive lineup, PT Kairos Multijaya was called upon to

design and deliver a bespoke A/V solution for the building’s new ballroom. The businesses of both Astra and Kairos have evolved enormously over the years, with the latter recently taking a greater role in A/V integration. Working closely with the owner PT Menara Astra, main contractor STJO and interior designer A+I, Kairos Multijaya was handed a design brief to install a ﬂexible, multifunctional A/V system that would not distract the eye from the elegant décor. In addition to hosting corporate AGM meetings and in-house demonstrations, the 11.28m x 44.87m space can be partitioned into three equal sections, which can be individually or wholly rented out for private events. Carefully following the design brief, Kairos Multijaya has created a powerful, unobtrusive system for speech and BGM.

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May–June 2018 July–August 2018PRO PROAVL AVLASIA ASIA 107 93

FEATURES: INSTALLATION

The Nion DSP conﬁgurations are managed using the NWare software

The rackmounted Allen & Heath AR2412 AudioRack and AR0804 expanders

Each section of the ballroom is equipped with eight Meyer Sound Stella-8c 8-inch ceiling speakers augmented by dual MM-10 ceiling subwoofers. The self-powered Stella-8c models installed in each individual ballroom are connected to a Stella-188 600W external power supply located on the sixthlevel control room. The 48V DC power supply to all six MM-10 subwoofers is handled by a separate MPS-488HP. In addition, the 2.6m divisions between the two external and innermost ballrooms required dual 8c speakers to be added and these are served by their own dedicated Stella-188 supply. The control room harbours the vast bulk of the A/V equipment and serves as a centralised audio source. Variations in room combining and dividing have been programmed using NWare software and stored in a MediaMatrix Nion nE processor connected to a Cab 4n audio bridge. In addition to simpliﬁed room-combining setups, various DSP settings can be applied depending on the audio system and conﬁguration being used for an event. Offering ease of set up and valuable time saving, the MediaMatrix DSP can also be used for room-combining purposes. Finally, the Nion DSP is interfaced with the Crestron control system, and technicians can simply access the system remotely via iPad devices. A Crestron CP3 processor integrates all A/V parameters including the Nion nE for all three ballrooms via iPad control. Should the MediaMatrix Nion nE processor develop a fault, an analogue Neutrik patchbay has been added to the rack for manually patching outputs to inputs. In terms of speech, a Shure SLX24 wireless platform with Beta 58A handheld and WH30 headworn models is available, while MX gooseneck microphones have been installed into the podiums. The Menara Astra technicians can also utilise Meyer MJF-208 stage monitors when required, with RCF Ayra 6 monitors assisting mixing at FOH.

processor. Eight Just Add Power 2G+ Enhanced Gigabit transmitters and receivers simplify the video signal path between the inputs and the LED walls. While the transmitter creates a matrix, an HD over IP transmitter encodes the HDMI video for distribution over the LAN to the laptop. The decoder receives the network packet and converts it back into an HDMI signal before transferring the image to the LED wall. Expansion is possible by plugging a new transmitter into the switch hub without any configuration, negating the need to add any splitters. Venue flexibility has been enhanced with the addition of RLP (Retractable Lighting Position) insertions above each ballroom’s 7m-high ceiling. These can be lowered into position when required, allowing loudspeaker systems, lighting and décor to be suspended. Manufactured locally within a very limited time frame, the customised solution integrates dual power connections on a spring-loaded mechanism. ‘We wanted to maximise venue flexibility so that live performances could be staged in each ballroom,’ comments Kairos Multijaya’s project manager, Damaran Kristanto. ‘Unfortunately, the products we wanted could not be imported in time so we had to manufacture our own hardware before the building contractor closed the open ceiling to further works.’ Commissioned in January 2018, prior to the official opening of Menara Astra, the L5 Catur Dharma Hall is undoubtedly the centrepiece of Astra Holdings’ corporate world. Whether it’s a car launch, a top-level committee meeting or a glittering evening event, this flexible space has been enhanced by Kairos Multijaya’s bespoke design and installation expertise.

Stella-8c ceiling speakers and MM-10 subwoofers cater for the BGM needs of the venue

An Allen & Heath GLD-80 console mixes larger-scale events An Allen & Heath GLD-80 48-channel console provides programmed recall and presets, allowing the venue’s technical engineers to properly prepare for a forthcoming event. Cat-5 cabling connects the GLD-80 console to an AR2412 AudioRack providing 24 inputs for when a live event is performed. A further two AR0804 expanders are available should three events be running concurrently or an excess of 24 microphone inputs be required for a single event. Each ballroom section is equipped with a 5.12m x 3.01m LPZ-P3.9m LED videowall. Each 3.9mm pixel pitch screen comprises 480 interconnected modules that receive their individual signals from a rackmounted RGBlink X3 video

www.astra.co.id www.kairosmultijaya.com

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September–October 2018 PRO AVL ASIA 109

FEATURES: INSTALLATION

Joining the club

Stage Professional’s Tran Manh Hung with 1900’s Cao Quang Hiep and Michael Luong

Funktion-One is establishing a foothold in Vietnam’s burgeoning clubbing scene, with 1900 Le Theatre in Hanoi joining the party. Caroline Moss visits HANOI, SEAT OF VIETNAM’S COMMUNIST GOVERNMENT, has long been regarded as the demure sister of Ho Chi Minh City in the south, where the locals know a thing or two about partying the night away. Until recently, all bars and clubs in Hanoi had to respect a midnight curfew, but change is afoot as this has now been extended by two hours at the weekend, paving the way for a more serious clubbing environment. The current Hanoi hotspot is 1900 Le Theatre, a cavernous venue located in what used to be, unsurprisingly, a French theatre, Quang Lac, constructed in the early 1900s. Halfway up Ta Hien Street, a narrow lane in Hanoi’s Old Quarter crowded with bars and cafés dubbed ‘beer street’, 1900’s spacious interior has high ceilings, a mezzanine level and some impressive artwork and décor. It also has a FunktionOne system supplied by local distributor, Stage Professional Company. The distributor’s connection with the iconic British brand stretches back to 2005, when its owner Dinh Viet Hung was introduced to the manufacturer by a mutual friend – the Funktion-One Japanese distributor – at a Plasa tradeshow in London. The first system was installed into a club in Hanoi, not HCMC as might have been expected. This was in 2013 and the club was The Bank, which has since changed names and hands, though not, apparently, its Funktion-One system. The owners of The Bank – a collective of six people from different backgrounds – have since transferred their energies to 1900 Le Theatre. The team comprises creative director, Dustee Nguyen; operations director, Cao Quang Hiep; financial director, Bich Diep Tran; general director, Nam Hoan; art director, Tia Lieu; and music director, Ngo Kien. The team has stayed true to the brand that defined its previous venture, installing Funktion-One into 1900. A main system of four Funktion-One Evo 6 high-intensity speakers covers the large room, supplemented by a delay system of four Resolution 5s, four Resolution 2s and four F218 dual 18-inch subwoofers, with a second delay system for the balcony, consisting of six F101s. The DJ booth has two PSM318 DJ monitors as well as four Pioneer CDJ-2000NXS2 multi-players and two DJM-900NXS2 DJ mixers, while a DiGiCo S21 mixer has been installed for live events. Cao Quang Hiep was one of the driving forces behind the choice of equipment for the club, as well as the renovation and reconstruction of the building. Many of the club’s ideas, as well as its vision, spring from Mr Nguyen – aka DJ Dustee – who heads up the team of resident DJs. The original décor and artwork was created by the company’s art director, Ms Lieu, who worked with DJ Dustee to come up with the concept and style for the venue. Together, they have brought the industrial space to life with a backdrop of original and

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and partying but, like the entire country, it’s adapting fast to a new way of life. ‘We are quite happy with the system at the moment, although we’d like to install more cabinets,’ says Mr Luong. ‘However, we have to be careful about the neighbours, as there are many people living above and around the club. We’ve already had to soundproof the upper floor and the walls. We open every night around 9pm. During the week, we have 600 to 700 people through the doors but, at weekends, the numbers go up to more than 1,000 – a mix of locals and tourists. There’s a different type of music most nights; we have around 10 DJs who play here, and each has a different style of playing.’ Since its first installation at The Bank five years ago, Funktion-One has started to appear at clubs in other parts of Vietnam. Last year alone, Stage Professional installed seven clubs across the country, in cities including Hanoi, HCMC, Nha Trang and Danang. The nightclub boom in Vietnam looks set to continue, with Funktion-One leading the way. www.funktion-one.com

Funktion-One Evo 6 speakers vibrant art, which sets the scene for nightly parties as the system kicks in. The current growth of nightlife in Hanoi dates back to around 2005 with the opening of Apocalypse Now. Like its namesake in HCMC, which opened back in 1991, Hanoi’s Apocalypse Now is widely considered to be the first club to exist in the city. Both Mr Hiep and DJ Dustee used to DJ at Apocalypse Now, further underscoring the pedigree of 1900 Le Theatre. ‘Apocalypse Now was the first one that really got going; it was one of the first bars to play trance and dance music,’ says 1900 Le Theatre’s manager, Michael Luong. ‘Then, when The Bank opened, it was different from the other bars around here because the DJs were playing more international dance music and hip hop, and this brought in not just locals but tourists too. This spread to the streets around here, which started to develop just four or five years ago. There were already some beer joints here and more people started coming because of this, so clubs started popping up too, over the past three or four years. At the moment we’re the biggest club here. People like the sound quality of Funktion-One; it’s different from other sound systems and it brings people here.’ The narrow lane outside 1900 Le Theatre – now crowded with venues ranging from tiny hole-in-the-wall joints to the spacious new club – wasn’t really designed for loud music

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FEATURES: RECORDING

Reach for the sky

AMS Neve 88RS in control room 1

Modern Sky Entertainment’s decision to build a large recording complex in Beijing has turned out to be a timely one. Caroline Moss drops by LAST YEAR, THE VISIONARY OUTFIT THAT IS MODERN SKY Entertainment celebrated its 20th anniversary. The group’s Modern Sky Records label is the largest independent record company in China, with more than 200 albums from 40 artists under its belt. Meanwhile, the Modern Sky Entertainment arm operates large-scale festivals and a live streaming platform, and a chain of live venues, Modern Sky Lab, are being rolled out across China. Having concluded that its artist roster deserved a state-ofthe-art recording studio, Modern Sky has now constructed a 1,000m2 facility in a former light industrial warehouse in Beijing. And in an era when much of the global music market is relying on live per formances to generate revenue, this is a refreshing move. Modern Sky was set up as a small record label in 1997 by LiHui Shen, himself a musician. Perceiving the downturn of recorded music sales at that time, Mr Shen needed to ﬁnd a way of giving his artists an income as well as a public platform, and so took a punt on the music festival. To say this was a good decision is somewhat of an understatement. Starting with the initial Modern Sky Festival in Beijing in 2007, the company now stages large outdoor events in more than 35 cities across China each year, including Modern Sky Festival, Strawberry Music Festival and the 500 KM Festival. In 2014, Modern Sky Festival NYC was launched and, since then, Modern Sky festivals have also been held in Seattle, Los Angeles and Helsinki. Now, the company is putting an increased focus on the recording side of the business. By a stroke of fate, recorded music sales worldwide have simultaneously started to show an upturn. However, the new studio isn’t simply a reaction to market trends. Modern Sky prides itself on always following its own philosophy, heading in the direction it believes is the right one. With a constantly changing roster of signed artists

112 PRO AVL ASIA September–October 2018

Budee’s Lee Feng and Modern Sky’s Chen Dong in control room 1 that currently numbers close to 100, Modern Sky believes strongly in supporting its musicians by making the bestpossible recording facilities available. ‘We feel there is still a market for recorded music,’ says Modern Sky’s chief engineer, Chen Dong. ‘Studios all over the world are getting smaller and smaller, but we feel there is still an opportunity for spacious recording studios.’ Mr Chen has been with Modern Sky for 12 years, working his way up to head of audio production. Previously, he worked from Modern Sky’s smaller studio, as well as using commercial facilities. ‘We’ve based the design of this studio on what we’ve experienced as musicians and engineers: what works well, what we like and don’t like in a studio, so it’s tailored to just how we want it,’ he continues. ‘Whether we are designing a studio, working on an album or releasing music, it’s all the same: we want to be at the forefront of the industry, not following behind anyone. I didn’t feel the need to travel abroad

to visit studios – I’ve been working as a recording engineer for more than 20 years and was previously a musician myself, so I had a good idea of what I wanted.’ Mr Chen and his team from Modern Sky also drew on the help and advice of Chinese distribution company, Budee, which provided all the recording equipment. Together, the two companies worked with studio designer, Qiao Zhenyu of Huanyu Acoustics, to custom-build and install the facility. Modern Sky’s well-established connection with Budee was initially facilitated around a decade ago by the distributor’s vice president and live sound engineer, Lee Feng. Mr Lee was instrumental in assisting Modern Sky to choose the bestpossible equipment for the new studio, some of which was based on what he’d been using in a live situation. Modern Sky’s new facility consists of three control rooms, a 250m2 live room and three smaller recording spaces, enabling multiple sessions to run simultaneously. Both control rooms 1 and 2 are equipped with AMS Neve consoles and Quested monitoring. Pride of place in the 55m2 control room 1 is the first AMS Neve 88RS console to be installed in China, with a Quested Q412D main monitoring system. ‘Neve and Quested have always had a great reputation in the industry, and we really wanted to use both these brands for our studio,’ says Mr Chen. Other equipment in control room 1 includes two Avid Pro Tools HDX systems; two Burl B80 Mothership 80-channel configurable AD/DA interfaces; Empirical Labs EL8X-S distressors; a Chandler TG12345 Curve Bender and TG12413 Zener limiter; a Bricasti M7 reverb; and an Antares Auto-Tune processor. Barefoot MicroMain26 speakers are being used for nearfield monitoring. ‘I’d been using other nearfields for many years but, when I heard the Barefoots, I was really impressed by the sound,’ continues Mr Chen. The smaller control room 2 has a similar equipment setup, but here the Neve console is a Genesys Black G16 and the

FEATURES: RECORDING

Uniline, unrivalled precision and ﬂexibility

The Neve Genesys Black G16 in control room 2

Slate Media MTX touchscreen surface in control room 3

Quested system is a and GML outboard pair of V2108 active gear, and the reference monitors. speakers are Barefoot Again, the room Sound MiniMain 12s has been installed with a Shadow Hills with Pro Tools HDX Oculus controller. systems, and other Also available equipment includes a throughout the facility Shadow Hills Oculus is a wide selection wireless monitor of microphones controller; Antelope from Telefunken, OCX HD master DPA, Neumann, clock; Orion 32 AKG, Shure and All three control rooms are linked to the converter and MP8D Sennheiser, with main live recording space mic preamp; Manley, Summit Audio TDAPI and Chandler mic preamps; a Vintage King 100 and A-Designs Reddi tube instrument Rack 500 with API 550B and 560 EQ units preamps. The result is a studio that upand 565 filter module; Sunset S1P, Chandler and-coming bands in the West, where such TG2-500 and Burl B1 and B1D preamps; and a facilities have been closing their doors for Bettermaker 542 analogue EQ. Again Barefoot several decades, can only dream of. nearfield monitors are being used, this time ‘If you look at the studio from a static point, the MicroMain 27s. this may not seem like a rational investment,’ Like the other two rooms, control room 3 comments Mr Shen. ‘But looking to the can also be used to access both recording future, we see this as the most fundamental spaces, but here the equipment setup is very aspect of the modern entertainment industry. different. This room is used mainly for mixing, As our lives get faster, it’s important that we mastering and postproduction, and pride remember to slow down and return to the content itself to ensure its quality.’ of place goes to a Slate Media MTX, which This is a refreshing take on today’s functions as a touchscreen control surface fast-paced, disposable culture. However, for the Pro Tools HDX, while also offering its with China’s recorded music revenue from own functionality and a set of plug-ins. Budee physical and digital sales increasing by has been representing Slate for several years, a whopping 35.3% in 2017 according to and a representative from the manufacturer the IFPI, it looks like Modern Sky has also travelled to Beijing to carry out some training. correctly anticipated the country’s appetite ‘The desk can be highly customised to suit for its music consumption. the personal needs of the user,’ says Budee’s strategic alliance manager, Brandon Chemers. www.ams-neve.com ‘A lot of people still want something they can www.barefootsound.com touch. Steven Slate, the company founder and product designer, is very active in the recording www.budee.com www.huanyuchina.com.cn field and on the forums and message boards, www.modernsky.com so it’s a very hands-on experience.’ www.quested.com Control room 3 has a variety of Antelope, www.slatedigital.com Chandler, Manley, API, Pultec, Shadow Hills

1/2 PAGE vert Uniline Modular line array system “ As the entertainment industry is evolving quickly, I decided to visit a number of entertainment venues in China to compare the different audio brands and ﬁnally chose APG for its strong energy and impactful sound. Clean and layered, the performance of the modular Uniline line array, created by APG France, has met our expectations and I strongly believe that the 0760 Plus is one of the best sounding clubs in Southern China. ” Mr. Hong, Co-founder of 0760 Plus club

www.apg.audio

September–October 2018 PRO AVL ASIA 113

FEATURES: BROADCAST

A sporting chance

Senior VP and head of postproduction, Kingshuk Bhattacharya

The edit suites are installed with Neumann KH 80 DSP monitors (photo courtesy of Alcove)

When space became available in the adjacent building, Sony Pictures Networks India snapped it up for a production facility to house its new sports channels. Caroline Moss reports SONY PICTURES NETWORKS INDIA (SPN) DOESN’T believe in resting on its laurels. The broadcaster, a subsidiary of Sony Corporation, has been steadily building up its entertainment and sports channel portfolio. It recently boosted its sports bouquet with the acquisition of Ten Sports, bringing its sports channel count up to 11 and vastly expanding its international output. Sony entered the sports broadcasting world with the acquisition of International Cricket Council events between 2003 and 2007, and, in 2008, it won the rights for Indian Premier League cricket for 10 years. At this point, these international cricket events aired on Sony’s entertainment channels but, in 2012, its ﬁrst sports channel, Sony Six, debuted in India. 2015 saw a tie-up with ESPN to launch Sony ESPN, while the big breakthrough came in August 2016, with a US$385 million deal to acquire Ten Sports from Zee Entertainment Enterprises. Clearly, Sony needed to expand its broadcast capabilities. ‘With the acquisition of the Ten network, we were going to be handling a lot more sports coverage than the four channels we already owned,’ says Kingshuk Bhattacharya, senior vice president and head – postproduction. Fortunately, Mr Bhattacharya is known for his vision, which he has employed to great effect across Sony’s Mumbai facilities. ‘I see an endpoint and work out how I can get there,’ he explains. ‘I put the time and the research in ﬁrst, and spend a lot of time looking at places.’

114 PRO AVL ASIA September–October 2018

A Grass Valley Karrera production switcher in one of the PCRs

FEATURES: BROADCAST The timeframe for the takeover of the new channels and their migration from Zee to Sony was very short. ‘Zee was based in Noida near Delhi, and Sony’s uplink facility and MCR (master control room) is based out of Singapore, so we had to migrate all of that,’ Mr Bhattacharya explains. ‘Besides, we needed to create a sports facility so that we could do the production and commentary from the studio.’ The search was on as Mr Bhattacharya and his team started looking for a suitable property, initially searching for an existing studio that could be leased long term and fitted out as they needed. ‘The build time would have shortened as we wouldn’t have to build from scratch,’ he continues. ‘We had FIFA under-17s coming up, being produced in India, to air on 6 October 2017. All the games were being played in India, so we had to be on air by then. We also needed to think about newer technology such as VR and augmented reality. So we decided to build from scratch.’ By a stroke of luck, some space became available in the building adjacent to SPN’s facility in Malad, Mumbai. Work began in July 2017 to construct the new production facilities in time for the football tournament, three months later. ‘We didn’t have time for trial and error so I had to get the right team together,’ continues Mr Bhattacharya. As production facilities of the type he wanted to create are still a rarity on the subcontinent, he travelled to London to meet British company, iDEA Design Studio, which had conceived workspaces for IMG Studios at Stockley Park, west of London, and the BBC’s new facilities in Manchester, both of which Mr Bhattacharya cites as huge inspiration for his new studios. ‘We got iDEA onboard as soon as possible; they were very open. For the technology part of the project, we got in touch with IMG. We decided to handle systems integration ourselves, so we built a crack team of just 16 people, including members from IMG and iDEA.’ iDEA worked closely with Indian architectural practice, Alcove, which had designed the Facebook offices in India, among other prestigious projects, to create an ergonomic, efficient

A Calrec Brio36 console in on of the two SCRs

and stylish workspace. ‘It was an exciting design phase,’ recalls Mr Bhattacharya. ‘We wanted to get everything right from day one, and nobody was doing anything like this in India. We also wanted to build things according to vaastu shastra, an ancient traditional Hindu system of architecture. This tells you how to articulate your interiors, and we believed that was very important. We had to ﬁt two studios, PCRs (production control rooms), SCRs (sound control rooms), an MCR, 13 edit suites, make-up facilities, an eating area and rest rooms into an ofﬁce space of 6,400m2.’ A huge part of the job was to order and track all materials and equipment needed. This totaled around 1,700 items, and most had to be imported, with only the bricks and mortar sourced from India.

One of the live broadcast studios (photo courtesy of Alcove)

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September–October 2018 PRO AVL ASIA 115

FEATURES: BROADCAST Once the facility layout was complete, Mr Bhattacharya called in Munro Acoustics India, which had previously worked on SPN’s stereo and 5.1 audio suites. A total of 13 edit rooms, which can also be used as live commentary booths, had been constructed, as well as a PCR and SCR for both of the live studios, and an MCR where all the master-monitoring is carried out before broadcast. Isolation of the separate areas was key here, and has been achieved with air gaps and staggered stud with variable material densities and elasticity. Throughout the project, Munro worked from design briefs given by IMG, which specified the acoustics of the different rooms, and how much isolation was required. When it came to equipping the studio, Mr Bhattacharya was very clear about what equipment he wanted, and discussed his requirements with IMG. ‘The cameras were the easy part; clearly they had to be Sony!’ he says. ‘I wanted to use Shotoku mechanical tracking equipment from Japan. We also needed to keep the workflow in mind, especially as our MCR is in Singapore. We decided to go with Grass Valley switchers and backend, to be compatible with our playout facility. Using fewer suppliers streamlined the process, and Grass Valley had 80% of what we needed, so all the switchers, routing and card-based systems are Grass Valley.’ There are two main studios: Studio A and Studio B. Each has its own PCR and attached SCR, and near-identical equipment in both. The SCRs are fitted out with Calrec Brio36 consoles and Genelec 5.1 monitor systems. ‘The entire audio workflow is all digital, transmitted via Dante and MADI; there is no analogue connectivity,’ explains Sujay Hanje, head of network engineering. ‘We have a Clear-Com Eclipse digital intercom matrix system and

microphone and IEM technology for the entire facility, including EM 2050 dual-channel receivers, SK 2000 mic transmitters, A2003 UHF antennae, SR 2050 IEM transmitters, EK 2000 IEM bodypack receivers and AC 3200-II IEM combiners. Good workspace ergonomics were always at the heart of this project. ‘In a sports broadcast, if you sort everything out to be available, and think through the workﬂow, people don’t need to rush about like crazy, they can be calm and take their time,’ says Mr Bhattacharya. ‘Technology can bridge all the gaps and be used to advantage. But, when we designed this place, we also wanted it to be so beautiful that you could put a camera anywhere and shoot. In a sports broadcast there is often a newsﬂash. Many of the areas can be transformed into sets. There’s a lounge area for the talent to sit and watch a match, but they liked it so much they’ve made a studio out of it.’

Sony cameras and Shotoku tracking equipment in the green screen studio The edit suites double up as commentary booths The spacious open-plan ofﬁce area has large picture windows overlooking a lake. This not only provides light and a view, but has also become a backdrop for broadcasts. Fitted out with audio and camera connectors, radio mic antennas and lighting grids, it provides a ﬂexible space where equipment can be plugged in wherever it’s needed. The CAR (central apparatus room) is at the heart of the facility, and building work here started before anything else. All of the extensive and impressive installation and wiring was handled by Mr Bhattacharya’s in-house team. ‘We have a Grass Valley 900 in/900 out matrix – probably the biggest in India,’ he says with pride. Not all the innovations at the new studio are technical ones; original sporting artwork was commissioned from a local Indian artist and lines the walls of the facility, to great effect. This avoided having to source expensive stock sporting images, and provides the facility with specially commissioned wall panels, which can be changed whenever required. Just one more reason, then, why SPN’s new sports production facility is ahead of the game on the subcontinent. www.calrec.com www.grassvalley.com www.sennheiser.com

Specially commissioned artwork lines the walls also a Clear-Com FreeSpeak matrix line system which is connected over Wi-Fi.’ Central to the PCRs is a Grass Valley Karrera video production switcher and a Crystal Vision chroma keyer. ‘We don’t use the switcher to do the keying,’ continues Mr Bhattacharya. ‘The minute we start using green screen, the video goes through a lot of processing and gets a little delayed, so audio is early and needs to also be delayed. The Crystal Vision handles that process.’ The 13 edit suites have been equipped to double up as commentary booths. ‘We have a lot of Indian languages; sports generally come to us in English but then are usually consumed in regional languages,’ explains Mr Hanje. The edit suites have been installed with Neumann KH 80 DSP 2-way active nearﬁeld monitors, and panels have been installed to maximise communications and ﬂexibility. ‘I can take 20 simultaneous feeds, which are also monitored and dual recorded at a primary and secondary source,’ he continues. The Neumann monitors were supplied by Sennheiser Electronics India, which also provided Sennheiser wireless

116 PRO AVL ASIA September–October 2018

www.sonypicturesnetworks.com

Vignyan Beera, Munro Acoustics; Derick Lobo, Kingshuk Bhattacharya and Mohan Gupta, Sony Pictures Network India

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BUSINESS: COMPANY PROFILE

New beginnings

While Studiomaster’s heritage is deeply ingrained in the MI industry, as part of the Soundking Group it is installed A/V and pro audio that are leading the way for its future direction THE HERITAGE OF THE STUDIOMASTER NAME CANNOT be denied. From its beginnings as RSD (Recording Studio Design) in 1976, the early 1980s ushered in a name change to Studiomaster as the company’s power amplifiers, mixing consoles and cabinets became favourites of acts such as Phil Collins and Phil Lynott. But it has not always been a bed of roses for the manufacturer. ‘It did lose its way on occasion,’ admits general manager Patrick Almond, who has been with the company since 1986. ‘Studiomaster started small in the 1970s and grew into a large company full of inspiration and innovation, and it really led the market with product development. In the 1980s, we were the first company to put MIDI into a console, defining mixer automation, and we led the revolution for compact consoles and powered mixers. However, over the years, we lost momentum against the rise of some of the big corporate companies, lost some of the right people we needed to let it grow and we didn’t always have the right management or financial investment. From what I have seen, it has definitely been a bit up and down over the years.’ That all changed in April 2008 when the Soundking Group, one of the largest professional audio manufacturers in China, acquired the British manufacturer. Founded in 1988, Soundking has slowly grown from 10 members of staff manufacturing XLR connectors to a workforce of 2,000. Its sprawling 185,000m2 production facility in Ningbo includes not only a 2,000-seat gymnasium on the fifth floor but also the first multifunctional experimental base for 15.1 Dolby Atmos immersive audio in China. Further acquisitions followed in 2009 with the purchase of both Cadac and Carlsbro; again, like Studiomaster, both heritage British brands. With Studiomaster retaining its product development; R&D, engineering, strategic management, marketing, UK distribution and service departments at its 650m2 headquarters in the UK, the acquisition could be seen as only adding cost-effective Chinese manufacturing. However, from Mr Almond’s perspective, Soundking has brought muchneeded stability to the company.

118 PRO AVL ASIA September–October 2018

The 432-seat Dolby Atmos experience centre ‘It took a few years for that stability to get ironed out and a proper direction to be worked out,’ he states. ‘Then we started the plan to make this happen so, in reality, we’ve had nearly 10 years of financial stability but it’s actually only in the last two years that we’ve really got that brand foundation where we want it to be. It’s been about getting the products right, the development done, making sure the branding is right and now we can say it’s time for people to properly look at us as a viable option in the market.’ A big part of establishing that foundation has been with an eye to gaining market share in Asia as well as Central and South America. And that certainly seems to be borne out in the figures, with a reported 60% growth last year in the international markets. ‘We’ve got a great network of distribution partners in Asia, including Korea, Taiwan, Thailand, Indonesia, Malaysia, Singapore, the Philippines, Cambodia and India, and they’re growing in territories such as Nepal and Myanmar,’ shares Mr Almond. ‘Studiomaster has a higher brand value in these areas than in Europe or the US, so we’re working hard on getting the distribution right. We’re all passionate about what we’re doing and selling the products.’ While the brand’s heritage is very definitely in the MI market, there is a clear acknowledgement that developing

products away from this sector is crucial to the company’s continued success. ‘Studiomaster has always been very ﬁrmly present in the MI market with a few steps into the pro audio market but the direction over the next two years will see us moving into the pro, install, rental and A/V markets,’ says Mr Almond. ‘We’re not coming out of those other markets but we’re expanding the remit and we believe we can make further gains in the installation market, so that’s the direction we’re going in.’ Part of this process has seen Dr Ulrich Hatje brought on board as head of digital design with a remit of ensuring further new product development is kept ﬁrmly at the forefront. ‘We’re trying to be clever,’ says Dr Hatje. ‘Not just doing what others have done but doing what the customer wants. Giving the customer something that they are actually going to use. We are talking to our customers and they tell us what they need. We are looking at price points, quality and

Patrick Almond, Summer Xu and Ulrich Hatje

BUSINESS: COMPANY PROFILE

Studiomaster production line Speaker assembly

The anaechoic chamber

Patrick Almond with the new digiLive console

feature sets. We need to look at other directions but not lose what we are and where we came from. We must retain our identity so we are not going to move out of our core market, but we are looking at other opportunities.’ The main priority from these new opportunities is installed A/V. ‘That is probably the most stable and lucrative market at the moment, so that’s where we’re starting now with the products. We’re getting some ready, not just ceiling speakers but also digital mixers,’ continues Dr Hatje. ‘It’s key to get

the right features. Currently our digital mixers are for live not the install market so we have got to get that feature set right. ‘For the installation market, it’s getting that networking capability,’ he elaborates. ‘We will not use our proprietary network protocol as others do. The benefit of a proprietary protocol is a cheaper UI for us, but acceptance by customers is not great as they are stuck with the company. If you go with Dante or AES70, then you can connect it to anything.’ While it presents the obvious starting point, installed A/V is not the only area to which the manufacturer is looking for growth. It is equally talking to its pro audio customers to help it innovate and develop new real-world solutions. ‘We want to give them something that they’re not being given by other manufacturers,’ says Mr Almond. ‘We are coming up with those ideas particularly on the digital side. As with installed A/V, we don’t want to just give them a product that we think they want. We are very market-driven, rather than being driven by our own particular concepts and ideas. We like to listen to people’s experience. We will use this to look at everything from the appearance to the operation and its specifications. The feedback we get could see us come up with ideas that are formed from a combination of all three.’ With the backing of a major manufacturing group and the foundations of its future direction in place, Mr Almond believes there is a bright future for Studiomaster. ‘As a brand, we’re actually a very small team,’ he states. ‘There are only 11 of us here in the Studiomaster/Carlsbro team but the benefits of being part of the Soundking Group are enormous. We have this back office resource of over 100 engineers, more than 1,000 people in a manufacturing environment and access to an array of technology. We’re using this enormous resource that is available to us.’ Returning the brand to its previous heights is the next challenge for the Studiomaster team, and it certainly has the foundations in place to achieve that. www.studiomaster.com

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September–October 2018 PRO AVL ASIA 119

BUSINESS: COMMENT

A letter from America Give us the names and we’ll give you the money – Dan Daley contemplates the creation of a centralised credit system for live professionals WHO ENGINEERED BRUCE SPRINGSTEEN’S Born in the USA LP and where was it recorded? That would be Jon Landau and Chuck Plotkin, at the Hit Factory and Power Station studios, in New York. It’s right there on the back of the album or on any number of online sources. Now, who were the FOH mixer and system tech when that album became one of the biggest-grossing tours of the 1980s? Yeah, I thought so. When you flip over an LP jacket or look inside a CD jewel case, you’re likely to find the names of those involved in the technical aspects of the music’s production. From producers to recording, mixing, mastering and even, in some cases, assistant engineers and tea makers, the list of credits has been reasonably consistent in its presence and its comprehensiveness over the last four decades. Even when physical media began to disappear and albums unravelled into single-song downloads, beginning about a dozen years ago, online resources helped fill the gaps.

The purpose of this kind of information goes well beyond the personal satisfaction of recognition that comes with a job well done; for instance, the Recording Academy relies on that information to determine who gets nominated for Grammy Awards. Those credits act as calling cards and résumés for an entire cohort of audio professionals that lead to the next gig and the next. It’s how careers are built.

Missing in live sound Live sound professionals don’t have that same informational infrastructure, and it’s one of the ironies of music’s digital era: there is tons of information out there, but ﬁnding it and connecting it in a meaningful way is often nearly impossible. That’s especially galling today, when live music revenues have eclipsed those of recordings. Thus, it’s clear that the names of those who are working in its engine rooms warrant recognition.

The problem is, how do you do it? Back when live albums were a substantial part of the sales mix for the music industry – think Frampton Comes Alive, Live at Leeds and Runnin’ on Empty – credits for live sound professionals were closely connected with the album itself. Ironically, while live albums are few and far between these days, more live recordings are being made than ever, thanks to the ubiquity and simplicity of multitrack recording systems that can be bolted onto the FOH console and distributed with the press of a space bar. There are third-party websites, such as Discogs, that catalogue recording credits, and wikis with that sort of information abound. However, their accuracy is often questionable, and they’re barely a step above crowd-sourced. Unlike the recording industry, the touring business doesn’t have a trade organisation that could lobby for the creation of the kind of database that the Recording Academy encourages. The good news is that there are some new platforms coming online that make it easier

to attach credits as metadata to files and streamed performances. For instance, Veva Sound, which develops standards for how sound recordings are archived, released its Studio Collect plug-in earlier this year, designed to gather production credits during recording sessions that become part of the session file as it moves from studio to studio. It could be easily adapted to live recordings. There are many good reasons for devising a way to know who did what on a tour and the content that is derived from those shows. It won’t be easy – the increasingly fragmented nature of music production’s workflow lends itself more to scattering information than aggregating it – but the potential rewards for creating some kind of centralised, accurate information repository for music’s production community are enormous, ranging from rightful recognition to justifiable compensation. We’re soaring through the greatest era live music has ever experienced. We ought to be able to find out who flew the plane.

For the World Cup, the Spartak stadium was completely rebuilt and, alas, Penalty Kick has gone. It’s now a typical cathedral of A/V reinforcement, and uses Samsung SSP screens and Tripleplay’s single-platform Digital Signage and IPTV package to ﬁll almost every space with video, meaning spectators don’t have to miss a single videoassisted bad refereeing decision, even in the queue for a caviar pie. The Luzhniki Stadium, used for the 1980 Olympics but also rebuilt since, ups the sports arena ‘ante’ by moving to Optocore ﬁbre-optic nodes and BroaMan interfaces that integrate literally everything from ambient mics to OB output via VA and even multi-lingual commentary. As well as stadium heaven, Moscow is now a city of skyscrapers, none more iconic than Mercury City Tower. If that sounds like somewhere straight out of the Gerry Anderson puppet series of the 1960s like

Thunderbirds or Fireball XL5, you are over 50 years old and really should have grown out of these comparisons by now. Nevertheless, on the 40th floor is Mercury Space Moscow, a suitably high-profile and hi-tech nightclub where Captain Scarlet has his own pewter tankard behind the bar. Most impressively of all, the audio system here is the first such application – DJs, paparazzi and poison-tipped cocktail sticks – for L-ISA, the new ‘hyperreal’ and immersive proposition from the house of Dr Heil, better known as L-Acoustics. Apparently, the owner of Mercury Space Moscow visited the L-ISA HQ in London and immediately ordered the full package, using Kiva II, X12 and X8 boxes and KS28 subs, just like that. This is the new Russia and, if the West is that keen to revive the Cold War and start deporting unmasked spies to Moscow again, it’s fine by me. I have contacts in the Russian Navy.

A letter from Europe

As the FIFA World Cup comes to an end, Phil Ward SVVRZ [V 9\ZZPH HUK [OL ÄYZ[ installation of an L-ISA system in the country WHILE THE WORLD GOGGLED AT THE FIFA World Cup soccer tournament, there is much talk in the West of a new Cold War. If things were supposed to be cooling down as football fever raged, one way or another such a bulging net of balls must be the tip of the iceberg of change in Putin’s allegedly hardening Russia. Nowhere is this more evident than in Moscow, a city unrecognisable from the one I ﬁrst saw as a student in 1981. In fact, it’s pretty much unrecognisable from the last time I saw it in 2002. On that occasion, I managed to avoid being trapped in the Dubrovka Theatre with 850 hostages by 48 hours, as Chechen militants stormed the building and turned a routine night out for ordinary Muscovites into a face-off with the Russian military. I watched that show with my hosts from Russian pro audio distributor, ISPA Engineering, ﬂew home the next day

and then watched the unfolding horror on my own TV set, my seat in the venue probably still warm yet now occupied by an innocent punter. A far more pleasant recollection surrounds an evening in a bar called Penalty Kick, so called because it used to occupy a corner of the old Spartak Moscow football stadium. Not to be sidetracked too far from the issues at hand, you will appreciate that to be welcomed with open arms by a group of off-duty Russian sailors taking time out from their heavily armed battlecruiser was a big moment, glasnost or no glasnost. In a different context, these guys might have been pointing an RBU-1000 Smerch-3 rocket launcher at Liverpool. Their eagerness to toast my local team (not them, the ones in blue) with vodka may have owed more to onshore dipsomania than sporting generosity, but hey, I was moved.

120 PRO AVL ASIA September–October 2018

BUSINESS: TECHNOLOGY

Making contact

Attaching the contact mic to a piece of perspex in the long jump sand pit

Installing contact mics in the ice

Dennis Baxter details some of the unconventional microphone practices he has used to capture sports and other applications MY FIRST ENCOUNTER WITH A PIEZO-ELECTRIC, contact-type microphone began early when I begged my father to buy me an electric guitar. Being the crafty conser vative that he was and is, my father had bought me an acoustic guitar in 1968. Imagine my shock when I saw this under the Christmas tree and blur ted out, ‘You can’t play rock ‘n’ roll on an acoustic guitar!’ Thus began my quest for isolating and amplifying sound. Many years ago, in a professional sound studio, a German Tonmeister taught me that good sound was all about microphone placement. Three decades later, I can honestly say that it still holds true in many situations. However, outside of a recording studio, there is no accounting for location anomalies such as excessive venue noise levels from PA systems, mechanical racket from generators and HVAC. Frankly, when you factor in poor acoustics found in most indoor venues, the resulting sound ﬁeld is an acoustic soup. You might think that outdoor venues would be better for sound but, with drones and helicopters, it can be just as soupy. I often wonder how a sound mixer can even achieve satisfactor y results. Live audio capture for enter tainment and spor t continues to be difﬁcult because traditional sound capture for spor t is usually accomplished from less than desirable distances. This process is as much about what sounds you are tr ying to reject as the sounds you are tr ying to directly capture. And that is why there is such a reliance on traditional shotgun microphones.

122 PRO AVL ASIA September–October 2018

However, with traditional microphones, unwanted background noise is cumulative so that each open microphone adds additional background noise along with the desired sound. Each additional open microphone dilutes the detail of your sound quality because a part of the background noise is a build-up of off-axis sound that generally lacks any full-frequency fidelity. Unfortunately, with traditional transducers, this situation is impossible to avoid. Microphones are not precise in their detection and do not just stop picking up sound once they have captured what you are trying to catch. Of course, this situation is further complicated by sound reflecting from surfaces back into the microphone, even though much of this reflected sound may be off-axis. Here is some fuzzy maths that makes sense to me. When you open one microphone, you pick up the desired sound plus an audible amount of undesired sound – let’s say 2dB of extra noise for example – which is barely noticeable but the concept and effect is cumulative. When you open two, three or four additional microphones, each adding an additional 2dB of background noise, then you have a build-up of 6dB to 8dB of background noise, which is distinctly higher.

Non-acoustic transducers

The contact mic can be used in a variety of sports applications

A good solution for eliminating background acoustic noise is non-acoustic transducers – they are not just for acoustic instruments. In the early 1990s, innovative sound practitioners took a page from amplifying the acoustic

BUSINESS: TECHNOLOGY guitar and found an interest in contact microphones. During the folk music boom, sound engineers had a difďŹ cult time amplifying the acoustic guitar until a transducer was applied directly to the resonating sur face of the instrument. The contact microphone is not sensitive to air vibrations and generally detects the structure-borne sound. The type of transducer/microphone does not add any acoustic noise â&#x20AC;&#x201C; only the direct signal off the resonant surface. Given the fact that most solid surfaces resonate complex sound waves, this technique has a lot of possibilities.

The contact microphone works well with sounds that have a variety of pressure intensities â&#x20AC;&#x201C; like running on a wooden rampway, the percussion of a basketball on the backboard or the sound of ice skates slicing through the ice

Successful use of a contact microphone depends on a resonant surface

I discovered the Audio-Technica contact microphone in 1994 and my ďŹ rst success with this type of transducer was with a wooden velodrome track. I could hear the rhythmic percussion of the cyclists as they circled the track. I concede that this sound may not have been a true capture of the sport but these new sounds created a very interesting sound design and effect. At the Sydney Games in 2000, I expanded the use of contact microphones to include basketball, gymnastics and track jumping. Gymnastics is a sport that has up to ďŹ ve events taking place simultaneously during the qualiďŹ cation rounds. This is complicated by the fact that the womenâ&#x20AC;&#x2122;s ďŹ&#x201A;oor exercise uses high levels of music which bleeds into everything. I

put contact microphones on the balancing beam, pommel horse and vault runway as well as under the podium for the ďŹ&#x201A;oor exercise and heard detailed sounds of the sport without music. Another perfect application of the contact microphone is table tennis. During the elimination rounds, there are four tables which makes separating the sounds of the ball on the table a challenge. Two contact microphones are mounted in the middle of each playerâ&#x20AC;&#x2122;s side and allow the mixing operator distinct and separate sound from each of the four tables. Since coverage is generally isolated to one table at a time, the sound is in-sync with the pictures and there are no spurious sounds from adjacent tables. Successful use of a contact microphone depends on a resonant surface such as the wooden velodrome track or backboard where the basketball hoop is mounted. With both the long jump and triple jump, the landing pit is sand and requires a resonant surface. I found that by attaching the

contact microphone to a piece of perspex, a single piece could run and detect the entire length of the landing pit. This sound added a completely new dimension to the sport â&#x20AC;&#x201C; plus this sound could also be directed to the LFE. In Beijing in 2014, I installed several contact microphones in the ice at the ďŹ gure skating venue, but quickly found out that with too many microphones buried in the ice, there was simply too much sound from the skates. My friend, Chen Chen from China Central Television (CCTV), further reďŹ ned this approach by using four microphones buried in the ice, one in each corner. I applied the same concept of four contact microphones at the ďŹ gure skating event in South Korea and received emails from around the world about the sound quality of the event. The contact microphone works well with sounds that have a variety of pressure intensities â&#x20AC;&#x201C; like running on a wooden rampway, the percussion of a basketball on the backboard or the sound of ice skates slicing through the ice. Along with its non-acoustic characteristics, the contact microphone gives distinct, in-sync sound with each sound source, making it very useful for separating a lot of sounds. As a creative tool, the contact microphone offers some interesting additional possibilities. For example, when used on skateboard ramps, it captures a sound that is longer in duration than is possible with an acoustically captured sound. The stretched sound that a contact microphone can capture is an interesting sound design concept that can be effectively used in simulating motion and speed by dynamically panning the sound in the vertical or horizontal plane. Unconventional practices using microphones can generate new awareness and appreciation for the sound capture. Sometimes it just takes applied practices from one setting and migrating those practices to another. A good example is the contact microphone, which was designed to amplify acoustic instruments, ďŹ nding its way into sports arenas and broadcast around the world.

The Crossroads Where Production Meets Performance

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Septemberâ&#x20AC;&#x201C;October 2018 PRO AVL ASIA 123

BUSINESS: TECHNOLOGY

Building a miniature mic

DPA Microphones’ factory in Asnæs Finn Mortensen, production line manager at DPA Microphones

The intricate, highly skilled processes required to hand-build miniature microphone capsules to a consistent standard is something the DPA production team prides itself on, as James Ling discovers TOURING DPA MICROPHONES’ FACTORY IN DENMARK provides a lesson in just how intricate some of the production processes for professional audio equipment can be. At the production facility in Asnæs, the workers create most of the components that make up the inside of the capsule. While not all of the metalwork or plastic moulding is done on site, DPA engineers have precisely developed each design and chosen each supplier. Final assembly of the mics is done at DPA’s facility; all of the various component parts for all of the microphones are assembled by hand into ﬁnished products. ‘Almost everything is done by hand; we don’t have many robots,’ explains Finn Mortensen, production line manager at DPA Microphones. ‘At least 90% is made underneath a microscope so there is a lot of control in everything that the team does. They are highly skilled when it comes to making our microphones and it takes a long time to educate them to get a good output and the stable results we like to have. They are very specialised in what they do.’ While this is clear at every stage of the production process, the place where this painstaking work is best emphasised is on the production line for the manufacturer’s 5mm miniature microphone capsules. ‘The whole process is done inside our cleanroom,’ says Mr Mortensen. ‘All of the microphones start with very thin mylar. We glue it onto rings to get it tight. The gold plating machines use an electro-chemical process to gold plate the mylar for the diaphragm. We measure the tension before we put gold on it and we measure the tension after. ‘We have three major things going on in a microphone,’ he continues. ‘We need to have the right tension of the diaphragm, we need to have the right charge on the back plate and we need to have the right spacing between the diaphragm and the back plate. We have an algorithm for

124 PRO AVL ASIA September–October 2018

this, so if one of these parameters changes, we can adjust the others as well.’ This initial process creates 100 diaphragms per ring. However, around half of these will not be up to standard. ‘We discharge close to 50% of all the rings we make because they have to be within the right tension span,’ says Mr Mortensen. ‘We take all of those discharged diaphragms and recycle the materials.’

Much of the manufacturing work is done under microscopes

Rows of miniature microphones before their ﬁnal assembly

‘We will never change the focus that we have in terms of making the best products that we can’ Having created the diaphragms, the next stage is the microphone back plate. ‘Again we have sheets of 100 to match the diaphragms,’ notes Mr Mortensen. ‘They are made from a thin steel sheet, are magnetic and have a gold coating. We emboss the back plate so it forms something similar to a pyramid shape. This ensures the correct distance between the back plate and the diaphragm. Since a piece of sheet metal will not hold any charge at all, we coat it in electret so we can bombard it with electrons and get the right charge. ‘We measure the height on the embossing and then the electret layer on top,’ continues the production line manager. ‘From top to bottom, we’re talking about 50μm so you can imagine the movement of the diaphragm in front of the back plate is extremely small.’ With the two major components created, the next stage is to combine them. ‘The diaphragm is connected

BUSINESS: TECHNOLOGY with a very small amount of adhesive on the edge. We have to be extremely precise during this process,’ says Mr Mortensen. ‘So far, we haven’t found any robotic processes that can do this. After that, we cut the microphone elements out. This is another point where we also scrap elements that don’t live up to the very narrow tolerance window we accept.’ Acceptance or failure is determined following a manual testing procedure. ‘Every single one is cut and inspected visually to see if there are any cracks or dents. If, for example, the electret is too high, it will stick up,’ he

With the 5mm capsules now complete, the process moves outside the cleanroom and back into the main lab. ‘Up until this point, we only make two different microphone types – a directional mic and an omnidirectional one. The next step is sorting them out into the different models,’ notes Mr Mortensen. ‘We test for sensitivity and for frequency response. We have various parameters we can adjust to suit the speciﬁc needs for the mic types. Every single mic

The capsules are tested at multiple stages during the manufacturing process explains. ‘Our people sit and go through every single one of them and the discarded ones are then recycled for gold and metal.’ With the diaphragm and back plate connected, the next stage is to add the housing for the capsule. ‘We have a basic housing that has been engraved,’ says Mr Mortensen. ‘Every single element is placed inside this housing. A robot puts in some adhesive and the element is put in with suction and then we glue around it.’

microphones that reproduce the true sound of the source,’ says Kalle Hvidt Nielsen, CEO at DPA Microphones. ‘That is why it is necessary to have a large number of testing steps along the way in the manufacturing process – it is part of our core ideology and I can’t see that ever leaving DPA. ‘We will never change the focus that we have in terms of making the best products that we can,’ he continues. ‘We will always try to innovate with processes, materials and technologies for making things small and still very accurate. The tolerances when you make such small things are often difﬁcult to deliver but, when you master those

Gold plated diaphragm

Visually inspecting the 5mm capsules is tested and sorted. Knowing what to do with the individual mic takes a lot of skill from our workers.’ The steps described here are only a few in a long, manually demanding manufacturing process that is ﬁlled with regular tests to ensure quality standards are met; an ethos that the manufacturer has adhered to since it ﬁrst opened its doors. ‘We really want to manufacture

technologies, you can also make better, larger diaphragm microphones.’ The process for creating a miniature microphone capsule at DPA is exceptionally demanding, with testing processes at just about every step of the way. Having walked the production line, it is easy to see the pride the manufacturer’s staff takes in creating the best endproduct that they can. www.dpamicrophones.com

1/2 PAGE

TWAUDiO.COM

Festivals on the NEXT level. Simply your sound.

32 PROMADE AVL ASIA July–August 2018 IN GERMANY

September–October 2018 PRO AVL ASIA 125

BUSINESS: SHOW REVIEW

BroadcastAsia 2018

VIPs assemble for the ConnecTechAsia opening day ceremony

Swarup Mukerjee of TSL Products

Under new ownership, BroadcastAsia continues to charter along a familiar path, reports Richard Lawn LEARNING TO ADAPT TO INNOVATIONS AND DISRUPTION can take its toll, so there’s something almost comforting about visiting BroadcastAsia each year. The products and the technologies may change, but you’re almost guaranteed to witness the same exhibitors – and visitors – each year in order to ‘catch up’. Returning to Suntec Singapore for a second year, the exhibition format needs to shake itself up if it is to remain an ongoing attraction. Like the technological disruption in the real world, Ramadan continues to change calendars each year. Having nudged BroadcastAsia forward into May during the past several years, a threshold was reached this year dictating a return to late June. BroadcastAsia can no longer expect the ITsavvy crowds attending EnterpriseIT and CommunicAsia to divert themselves away from the Marina Bay Sands exhibition centre. Perhaps the regular free shuttle bus that operated between the two venues failed to properly exchange broadcasters with IT-savvy technicians. Despite heavy morning rainfall, large visitor numbers turned up on cue to day one’s ConnecTechAsia. Rebranded by new owner UBM Media, the 3-day technology event now comprises CommunicAsia, BroadcastAsia and NXTAsia to represent an ecosystem of info-communications, broadcasting and emerging technologies. In total, the event drew around 1,800 exhibitors from 52 countries. ‘New emerging technologies such as IoT and AI present signiﬁcant opportunities for businesses but are, at the same time, causing disruption across all industries,’ commented UBM Singapore event director, Victor Wong. ‘Bringing our shows under one brand has allowed us to better serve our core audience and build a new segment amidst the backdrop

Sennheiser Asia’s Faz Sallah demonstrating TeamConnect Wireless and MobileConnect technologies at ConnecTechAsia

126 PRO AVL ASIA September–October 2018

Now almost 40 years of age, BroadcastAsia feels more at home at Suntec Singapore. Here, the dynamism and fastevolving changes highlighted at Marina Bay Sands were somewhat less evident, although OTT platforms, audio over IP technology, live production, UHD content and the latest ﬁlm production equipment were all on display. In addition, the ﬁrst-ever live esports tournament – the South East Asian League (SEAL) – was staged at the Esports Arena Studio within BroadcastAsia. In addition, Radio’s New Wave highlighted the future of radio broadcasting and discussed shifts in audience behaviour impacted by streaming services such as Spotify and Amazon.

Loud Technologies Asia’s Colin Quek with his team and support from Prolyte Asia Paciﬁc and Doughty Engineering

ARRI showcased its latest Alexa LF Signature Prime large-format camera system

Datavideo presented a large number of its switcher and camera products on interactive displays

of converging industries and an increasingly interconnected landscape brought about by digital transformation.’ The debut of NXTAsia is an attempt to spotlight how emerging technologies – such as AI, robotics, VR/AR, IoT and Cloud – are having an impact on industries and businesses across Asia. Basement two of Marina Bay Sands played host to the PlayGround, an interactive zone for visitors looking to experience the future of smart cities. Situated next to the PlayGround, Big Bang at NXTAsia distinguished itself as a 1-day, unconference-style experience highlighting disruptive solutions and new ideas from leading ﬁgureheads in AI, robotics, Industry 4.0 and future industries. With the telecommunications sector catering for the demand for greater speed and connectivity, CommunicAsia focused on the latest developments in 5G, SatComm, ﬁbre communications and broadband technologies.

Broadcast? Asia? As an exhibition that is based in Singapore, its regional catchment area has been questioned for many years as neighbouring markets have matured, sufﬁciently negating the need to trade with the Lion State. Only 45% of attendees at the 2017 gathering were overseas visitors. Whether it’s TV or radio, economic analysts will argue that broadcasting revenues are in decline as younger viewers turn to Amazon, Netﬂix and other networks displayed on mobile and smart devices. Indeed, a recent BBC survey in the UK found that 2018 has become a turning point whereby more viewers are streaming their content from the iPlayer than watching live broadcasts. Equipment vendors and turnkey suppliers can no longer be reliant on those once-in-a-decade, big-budget upgrades and, as 5G technology is set to become a reality, new customers are

BUSINESS: SHOW REVIEW needed. So, what attracts new buyers to BroadcastAsia? The national Japanese and Korean exhibitions that are InterBEE and Koba have endured as they go beyond broadcast, incorporating everything from live sound to lighting. But BroadcastAsia does not try and pretend to be an all-in-one entertainment technology trade show. Perhaps it should? Since Pala closed its doors several years ago, many South East Asian suppliers don’t have a show ﬂoor they can call home and BroadcastAsia would – perhaps – represent the closest format to their requirements.

The CDA Pro AV team – minus Rick Dowel – presented CEDAR Audio, Trinnov and DAD products

Celebrating its 50th anniversary, Clear-Com vied for the attention of event organisers and broadcasters with FreeSpeak, Helixnet and Trilogy comms platforms; LaON Technology continued to highlight the signiﬁcance of stable 5GHz technology; and RTS demonstrated its new IP-addressable Odin platform. Showcasing the latest Bolero standalone, Riedel exhibited its MediorNet MultiViewer and MicroN high-density media distribution network devices, while hosting its Teatime Tech Talks.

William Yu, Joseph Foo and the Yamaha team promoting a range of UC Experience products and technologies

While consumer demand is driving broadcasters to create content using 4K and 8K cameras from exhibitors such as Arri, Canon, Ikegami, Panasonic, RED and Sony, there was a somewhat familiar feel on the level 4 and 6 show floors of Suntec Singapore. A number of audio console suppliers presenting their latest platforms for radio, TV and production studios were present. New small-format desks were unveiled as Avid showcased its S6L 16C console and SSL revealed the new Live L100 format for the first time since InfoComm. Calrec hosted its Type R radio solution alongside the Brio36 console; Stagetec Asia wooed passing traffic with Avatus; and Lawo returned with its mc236 console alongside the V__matrix and R3LAY virtual 4- or 8-fader mixer.

RTW’s Andreas Tweitmann and Stagetec’s Alexander Nemes ﬂew in from Germany to support Stagetec Asia’s Advon Tan and his team

Wheatstone’s Jay Tyler and Tieline’s Charlie Gawley

The Audio-Technica team showcased its sports and news broadcasting microphones

Riedel’s Tom Cragg, Christian Bockskopf, Cameron O’Neill, Rajveer Singh and Sonali Baindur

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September–October 2018 PRO AVL ASIA 127

BUSINESS: SHOW REVIEW Heralding from the UK, both Sonifex and TSL highlighted their networkable audio monitors – the former placed its multichannel audio interfaces using AES67 AoIP in the main shop window, while the latter shone a spotlight on its PAMI IPaddressable monitor with SMPTE 2026 and 2110, Dante and AES67 networking capabilities. Designed for radio stations on a budget, AEQ Kroma unveiled its new Systel IP HD VoiP on-air telephone system. Now in its second year, NXTAsia and the emerging technologies it hosts threaten to disrupt the status quo of BroadcastAsia. Signiﬁcantly, the split in microphone booth locations yields a clue as to the dilemma that many producers are currently facing. On the one hand, Audio-Technica played it safe by displaying a portfolio of broadcasting shotgun models such as the latest BP28 and a number of headphones in an attempt to appeal to sports production broadcasters. Sennheiser and Shure, meanwhile, promoted their TeamConnect and MXCW wireless/MXC wired technologies, respectively, at NXTAsia. ‘We know most of the players over at BroadcastAsia,’ explained Shure Asia Paciﬁc’s marketing manager, Eva Oegger. ‘We’re introducing our brand and products to IT, government and corporate decision makers who don’t necessarily understand audio, but need it in conferencing, huddle and meeting room spaces.’ Yamaha too had migrated south to Marina Bay Sands from Suntec and, in the process, shed its PM10 Rivage console and other traditional audio mixing technology. ‘We recently rebranded Revolabs into the Yamaha family and are promoting products

Shure’s Eva Oegger promoted the manufacturer’s A/V conferencing technology at NXTAsia

Hyuk-Jin Kwon and Miyoun Park of LaON Technology Co presenting its 5GHz wireless products

range (HDR) technology resonated on the Suntec show ﬂoors. Level 3, meanwhile, enticed visitors with a packed conference schedule. While some exhibitors argued that a segregation of TV and radio-based technologies on both levels would perhaps enhance visitor clarity, the conglomeration of showcased technologies ensured an even dispersion of activities. With Koba, SMPTE, BIRTV, InterBEE and a multitude of national broadcast shows all vying for attention, BroadcastAsia is clearly attempting to cement its status as an ASEAN regional hub for future exhibitions. Last year, the switch to Suntec Singapore clocked up slightly lower visitor numbers. However, most exhibitors stated that those who had come to familiarise themselves with the Venice 6K camera and AJA converters appear to be more dedicated professionals who are no longer

Sony’s Wada Takuma and Ide Moriharu unveil the Venice 6K camera

Clear-Com’s CEO Mitzi Dominguez and President Bob Boster celebrating the company’s 50th anniversary

Ikegami promoted its 4K, 8K and HDR cameras

Glensound’s Gavin Davis with the Paradiso commentary unit such as the CS-700 alongside our YVC-1000 and other systems designed for boardrooms and meeting spaces,’ commented Yamaha’s William Yu. ‘Unified collaboration is a popular trend and there are many multinational companies based in Singapore seeking such solutions. Audio is our core competency but we are now incorporating video technology within our products. We’re meeting many potential new customers here at NXTAsia.’ Like Audio-Technica, beyerdynamic was promoting its latest Unite and Phonum technologies at BroadcastAsia. ‘It’s difficult as we cannot exhibit in two locations at once,’ commented Asia Pacific sales and marketing director, Kamal Mahtani. ‘In many ways, beyerdynamic should be exhibiting at Marina Bay Sands as these technologies are tailor-made to those environments, but we also need to connect with the broadcasters, house of worship users, event companies and rental houses.’ Catering to the media, the themes of continued digitalisation, broadcast audio over IP, 4K/Ultra HD (UHD) and high-dynamic

128 PRO AVL ASIA September–October 2018

wandering up the escalator to take a break from CommunicAsia. Clearly, the split in the A/V and IT venues goes against the current trend of convergence. At the close of the show, BroadcastAsia exhibitors were almost unanimously disappointed with the perceived lack of visitor trafﬁc. At best citing quality visitors, the verdict was that the attendance was down and that few of these were new ones. ‘This trade show needs to address hotel rates,’ commented CDA Pro AV’s Rick Dowel. ‘It’s hard to justify coming here if you’re coming from the Philippines or Jakarta as the hotel rates are so high.’ Most audio and lighting exhibitors were of the same persuasion. However, LTA’s Colin Quek promoting Doughty Engineering and Prolyte technologies was buoyant. ‘It’s been a great show as we’ve seen many new potential customers interested in the rigging and staging solutions we’re showing this year.’ UBM Media’s Mr Gandhi revealed that the average use of internet time amongst younger Singaporeans was now up to four hours per day. Obviously, the majority of this time is spent on mobile devices negotiating trafﬁc and crowds with headphones on. It’s a worrying indication to the established media such as the Straits Times and Mediacorp that perhaps the worst is yet to come. BroadcastAsia can include itself part of this fraternity and, as such, cannot rest on its laurels.

Acoustic & Lighting Systems’ Eugene and Michelle Yeo with their father Yeo Kim San

Andrew Tan on the Ross Video booth

Gustavo Robles from AEQ debuting the latest Systel IP HD VoiP on-air telephone system

MA Lighting’s Michael Strathmann introducing the new grandMA3 console

AJA’s Robert Stacy and Weihao Hsu

Panasonic promoted its IP networking and switcher solutions on a futuristic Star Wars set

Calrec’s Dave Letson unveiled the Type R platform

2018 Dates:

26 – 28 June

2019 Dates:

18 – 20 June

Venue:

Suntec Singapore

Total exhibitors:

1,788

Attendance:

40,000

Contact:

www.broadcast-asia.com www.proavl-asia.com/videos/#/ ondemand/id/dXLrk5N4WK

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BUSINESS: R&D

Cross-section of the Cosmo horn and waveguide

HK Audio’s Nils Stamer and Stefan Fischer launch Cosmo

The big bang HK Audio aims to simplify the lives of working technicians with the launch of Cosmo, a family of integrative speaker arrays that bypass hardware adapters by integrating fully compatible mechanical parts ‘THERE’S NO DOUBT ABOUT IT – I HAVE THE WORLD’S most enjoyable job,’ conﬁrms R&D director and HK Audio cofounder, Lothar Stamer. Having started the company almost 40 years ago with his brother Hans in the south-west German town of St Wendel, the brand continues to be regarded as a pioneer among contemporaries and peers with forwardthinking designs such as Lucas, Elements and Cohedra. ‘As the owner of a PA rental company, I learned to appreciate teamwork in the early 1980s and this helped me enormously when creating PA systems.’ Having entered unwillingly into his chosen career, the former end user continues to explore ways of making the lives of working technicians a lot less complicated. Hence the creation of Cosmo.

Cosmo’s characteristics in the vertical plane

130 PRO AVL ASIA September–October 2018

Back in end user mode, Mr Stamer delivers his observation of the loudspeaker universe prior to Cosmo. ‘Most line array systems come in different sizes, for which the typical enclosure is a 2-way system loaded with a pair of 6.5-inch, 8-inch or 10-inch speakers selected to suit the size of the venue and the type of audio signals to be rendered. Large-scale touring rigs usually consist of 3-way systems comprising 12-inch or 15-inch speakers. Therefore, mid-size and larger rental companies usually invest in two or three systems

BUSINESS: R&D of different sizes that will allow them to compete for a variety of jobs. ‘The current trend is to combine different-sized systems in one array. The lower end of any array has to cover the nearfield by dispersing sound over a shorter distance so that is where the smaller units with lower sound pressure levels go. Special adapter harnesses are needed to connect components from different lines of speakers. Rental companies have to use what they have on hand and it remains a cumbersome way of setting up an acoustically inferior system.’ Following this analysis in 2016, HK Audio started working on three new line arrays. Comprising a pair of 6.5-inch speakers and designed for short to medium ranges, the smallest system focuses on natural sounding speech. ‘The medium-sized dual 8-inch system covers the middle ground best, striking the right balance for universal deployment, while the large dual 10-inch version offers increased sound pressure levels and range,’ continues Mr Stamer. ‘But before we started developing any of this, we sat down at our first team meeting to talk about directivity, coverage, minimised distortion and time-saving rigging hardware. Then a new idea took shape and I believe it’s ground-breaking.’ Mr Stamer credits the genesis of Cosmo to the head of strategic portfolio management, Stefan Fischer, an ever present in the family company. ‘Most of our speakers are used by medium-sized rental companies which require a range of scalable loudspeaker systems including processing, amplification and accessories,’ Mr Fischer explains. ‘There is actually a gap between the various families of arrays and this is what creates acoustic problems, so we set about designing Cosmo to bridge those gaps.’

‘When we sat down to design Cosmo, we were in the unique position of starting from scratch, allowing us to factor all of these considerations into the mix,’ Mr Stamer continues. ‘Rather than developing yet another conventional line array system, that is why we came up with a family of three unconventional systems that can be coupled acoustically and mechanically in a way that achieves the best results possible.’ From here, Mr Stamer and his team set down the speciﬁcations for a new type of ‘integrative’ array that would bypass hardware adapters by integrating fully compatible mechanical parts. In addition, it was agreed that the coverage patterns and accessories of the three systems would have to complement one another. ‘We sought to minimise the component count yet cover practically all FOH system needs for most rental jobs, from corporate press conferences to open-air rock concerts. It would have to be a family of systems that grows as you go, adapting step by step to bigger gigs to provide an unprecedented level of investment protection.’ Central to Cosmo’s unique design is the proprietary Multicell Transformer (MCT) technology that puts two principles into action. Mr Stamer’s inspiration for this came from a US navy technique that was based on the same physical principles as the MCT but speciﬁcally developed for long-distance sonographic location. ‘Of course, it’s easier for us to create these designs today as we can use powerful simulation tools and have 3D printers in our laboratories. This wasn’t possible 15 years ago when we were launching Cohedra. We set out to shape the front of the wave precisely in a cabinet offering little space. The actual concept originated in the Cohedra

Debuted in 2002 with the German manufacturer’s Cohedra system, compressed-mode rigging determines the angle and comes with a stop that limits travel without carrying any extra weight. The integration of the latest 3-point compressed mode not only simplifies the rigging up of Cosmo enclosures, but it also requires a smaller footprint for setting up in confined spaces. During assembly, the cabinets are taken from their dollies and attached in a straight line until required. Once all the Cosmo units have been interconnected, a switch allows the user to compress the entire array to create the distinctive curve. In addition, Cosmo’s angle adjustment hardware carries no weights, so the flown system’s curvature can be easily adjusted by loosening the tension strap and repositioning the ball locking pins to the desired angle before recompressing the array again. By relaxing the tension, successive Cosmo modules can be lowered onto dolly boards before rolling them away. Mr Stamer claims that less manpower is required for assembling the array. ‘Every top unit shares the same 60cm x 45cm footprint so the individual components are easily connected, without the need for hardware adapters, and has worked well for 15 years since its release. You can lower the total harmonic distortion (THD) by minimising the reflections and resonances that are being emitted within the horn itself.’ The MCT that Mr Stamer has designed divides the wavefront along vertical lines into 13 separate horn channels of varying lengths that have been calculated precisely to generate different delay times. This straightens the wavefront’s vertical curvature and directs the sound to create a tight vertical pattern. Secondly, the narrow individual channels allow only high-frequency resonances to emerge, most of which are beyond the audible range. The difference between this technology and conventional horns, or waveguides, is that it generates far less audible distortion and, as a result, increases effective sound pressure headroom by a few decibels. The unveiling of the Cosmo C 8 top unit at this year’s Prolight + Sound Frankfurt exhibition marked the first component in the trilogy of integrative line array cabinets to be introduced to the market. Judging by the reaction to the launch, the Cosmo C 8 is certainly gaining admirers as a standalone cabinet. However, the sum is definitely greater than the parts and it won’t be until 2019, as the Cosmo C 6 and C 10 commence production, that Cosmo users will truly benefit from this unique design. With horizontal directivities of 100°, 80° and 60°, the Cosmo family of flexible speakers will provide the bandwidth needed to cover the most diverse live scenarios. The Cosmo C 8 top unit provides 80° horizontal directivity, making it the central building block for a set of mix-and-match systems designed to provide blanket coverage for the entire audience area. ‘One of the great advantages of line arrays over conventional point source systems is that they are so much more efficient at distributing sonic energy across the coverage area,’ comments Mr Stamer. ‘Line arrays are all about covering distance, with the range determined by the array’s length, curvature and power distribution. However, conventional line arrays offer little or no control over the throw pattern’s horizontal directivity. Combining the three models helps to spread the sonic energy evenly from the first to the last row.’ By combining the three Cosmo models, the throw patterns become asymmetrical, whereby the components at the top of the array should have a narrow pattern as they direct sound over greater distances. ‘The pattern ought to fan out, growing wider towards the bottom in order to provide plenty of horizontal coverage, even in front of the stage,’ furthers Mr Stamer. ‘Conventional line array systems’ horizontal connectivity is constant at around 90° or 100° to ensure the throw pattern is wide enough over the first few metres. The problem here is that the pattern gets very wide at medium distances, so a lot of the sonic energy bounces off the walls. At outdoor concerts, much of it goes to waste when it is directed beyond the flanks of the audience area. By combining the three Cosmo mid-high units, you can build an asymmetrical array to match the geometry of the venue.’

Cosmo’s characteristics in the horizontal plane and fit right on top of one another. As such, there is no heavy lifting, twisting and turning to be done for setup. The array’s curvature can be adjusted in advance on the dolly, so rigging and flying a Cosmo line array is as easy as it gets. Most line arrays on the market are rigged in fixed mode, whereby the angle adjustment hardware has to carry the weight of the array. The crew has to work a lot harder to rig up and adjust the angle between a flown array’s components. However, Cosmo can also use this mode, which can make sense with smaller setups using three or four cabinets.’ Before signing off the project, Mr Stamer gave a lot of thought to storage and transportation. ‘A loudspeaker system has to be both space-saving and easy to handle considering that it spends most of its life on the road and in storage. To keep things as straightforward as possible, I was inspired by the simplicity of children’s building blocks. This is why Cosmo, a family of few components, is a perfect fit for a Euro pallet’s grid dimensions – handling and storage are simplified, load-ins are sped up and truck space is maximised.’ Cosmo differentiates itself by providing an option to configure mixed integrative arrays. Ultimately, a production company will consider many factors before investing in a new audio platform, and those criteria will always strike a balance between cost and performance. With its pedigree and track record, HK Audio excels. Shining brightly, Cosmo stands out from the other stars and, like Cohedra, looks set to blaze for many years to come. www.hkaudio.com

September–October 2018 PRO AVL ASIA 131

BUSINESS: R&D

Beyond a joke(r)

When Amate Audio launched the Nítid series at the end of last year, it made some big claims about performance. Simon Luckhurst YLJLU[S` ZWVRL [V [OL THU PU JOHYNL [V ÄUK out what’s been changing under the surface

R&D director, Joan Amate WHEN SPANISH MANUFACTURER AMATE AUDIO LAUNCHED its ﬂagship line array system back in 2009, it wasn’t long before the Joker series also arrived on the scene. It adopted a lot of the same groundbreaking technology but was instead destined for the portable live sound market. Fast-forward almost a decade and the Joker has a new and even more beautiful successor in the form of Nítid – dutifully able to bridge the gap between the small-scale events easily handled by Joker cabinets and the full-on, large-scale touring events already taken care of by Xcellence. And there’s something for everyone, with the Nítid series encompassing a line array system, 8-, 10- and 12-inch point source cabinets, a stage monitor, and single and double 18-inch subwoofers. Many would imagine it was the line array enclosure that brought the series to life. Strangely, though, it was actually the humble stage monitor, recalls R&D director, Joan Amate. ‘The series is meant to be an evolution and a replacement for our Joker series, which has been on the market for almost six years now,’ he explains. ‘We call Nítid a mid-range series; however, it’s quite a sophisticated product, especially in terms of the smart technology inside. It’s certainly not simple based on its performance and features – it’s smaller than the Xcellence

132 PRO AVL ASIA September–October 2018

Amate N208-N18W stacked

speakers and is intended for smaller applications. We’ve put a lot of thought into making what I would call a minimal but functional design.’ One of Amate’s best-selling products in the early 2000s was the SM12D, an active 500W stage monitor in a 2-way wedge format. Since the SM12D was discontinued, the company’s sales department has continually been registering strong interest for a monitor-shaped cabinet with point source features. ‘Since that model, we have been working mainly with coaxial loudspeakers for monitors, but there was still a portion of the market that claimed that the traditional horn – a woofer plus compression driver plus horn – was the better approach. So we designed the N12SM and decided that this should become the first model in the Nítid series. Following this, we introduced the column series (N26, N36 and N46), the line array (N208) and also the point source speakers (N10, N12 and N15).’ Not wishing to simply create yet more unnecessary cabinets for an oversaturated market, the sales and R&D teams at Amate conducted an intensive design stage, concluding with an acknowledgment that the resultant speaker system would have longevity in the market for the next seven to 10 years. ‘We wanted to create a more powerful, ultra-compact amplified cabinet, and we had in mind several improvements from an R&D perspective, as well as two main design concepts.’ These primary design goals were for the cabinets to be more compact and more ‘stylish’ than Joker models while also offering increased SPL. Surely every engineer’s dream on paper, but how do you make this a reality? ‘It’s a combination of several factors,’ explains Mr Amate. ‘Of course, we’re taking advantage of new transducers that our driver suppliers manufacture, which are improving day by day. Also, in terms of amplification, if you have a driver that can hold more power, you can also apply more amplification. The final ingredient is fine-tuning the DSP so that the overall performance is great, even though the cabinet has shrunk. We have also made the internal design of the enclosure different, so that the bass reflex ports have new, different shapes to

BUSINESS: R&D optimise the space. We have really been working a lot on the design, not only technically but also aesthetically. â&#x20AC;&#x2DC;But, in order to get to where we are now, we have had to look at every part where some space can be saved, either by manufacturing things differently or optimising components. Taking a little from every side, we managed to improve the design of the Joker, which was not an easy thing as they were already cabinets that had very good performance.â&#x20AC;&#x2122; This constant shaving of space has meant that the NĂtid series makes use of an entirely different set of components to its predecessor; just the N26 and the N46 columns use the same woofer as the Joker series. â&#x20AC;&#x2DC;This is because itâ&#x20AC;&#x2122;s already a very special woofer with a carbon ďŹ bre cone and there was not much to optimise there,â&#x20AC;&#x2122; says the R&D director. â&#x20AC;&#x2DC;Of course, those models still had a big aesthetic redesign, and the middle brother, the N36, was not even available in the Joker series.â&#x20AC;&#x2122; There are beneďŹ ts to working at scale, yet the opposite can often be true. With just a few members in the Amate Audio R&D department, there are no stumbling blocks to close cooperation, except perhaps the watchful eye of founder Juan Amate. â&#x20AC;&#x2DC;There are ďŹ ve people that have all been involved in the design, together with supervision of our general manager, founder and my father, Juan, monitoring the process,â&#x20AC;&#x2122; says the R&D director with a smile. â&#x20AC;&#x2DC;You have to put good solutions in front of him but, of course, he has almost 40 years of experience building loudspeaker cabinets and he knows whatâ&#x20AC;&#x2122;s going to work, especially in the long term. This is in addition to his experience sourcing. For example, knowing how far we can push our suppliers and contractors to produce certain elements, and knowing what we cannot ask for. This knowledge is invaluable.â&#x20AC;&#x2122; The new cosmetic design was also a key consideration and Amate worked closely with an external studio. â&#x20AC;&#x2DC;We put a lot of thought into ďŹ nding design solutions that could be applied to the whole range, so thereâ&#x20AC;&#x2122;s a family ďŹ&#x201A;avour between all of the cabinets and they feel part of the NĂtid series.â&#x20AC;&#x2122;

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The N12SM stage monitor

Central to this aesthetic is the illuminated logo and new grille, which even required new tooling to produce. â&#x20AC;&#x2DC;The NĂtid grille is very distinctive as it combines strength with a powerful visual impact. The tool that perforates the metal and produces the grille is a new tool, and we knew that we would be able to make our own tooling for that, so there was freedom in that respect. Now we can punch the grille, make the holes without deforming the grille, yet still keep a maximum area of perforation. Itâ&#x20AC;&#x2122;s quite straightforward to manufacture, once you have the tools. â&#x20AC;&#x2DC;Also special is the small LED backlight that illuminates the NĂtid logo on the front grille when you power the cabinets,â&#x20AC;&#x2122; continues Mr Amate. â&#x20AC;&#x2DC;It can even been programmed from the back panel to blink according to the limiter condition, helping to monitor remotely in some environments.â&#x20AC;&#x2122; These additional touches arenâ&#x20AC;&#x2122;t purely aesthetic. The need to save space while committing to the minimalist but functional design mantra has meant that some features have been deliberately excluded, such as remote control. â&#x20AC;&#x2DC;With the design tools available today, itâ&#x20AC;&#x2122;s possible to make almost anything. But, if you make a difďŹ cult design to manufacture, it comes at a cost. Anything that is superďŹ&#x201A;uous or doesnâ&#x20AC;&#x2122;t add any value must, at the end of the day, be removed.

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Weâ&#x20AC;&#x2122;d made the decision from the outset that these cabinets would not have remote control, and that having a back panel where you can change the basic settings and presets was sufďŹ cient for the size and scale of events they will be used on.â&#x20AC;&#x2122; With the intense focus on shrinking the cabinet dimensions as far as possible, the DSP, which is controllable via proprietary SensitiveTouch keypad technology, has also taken on an even more important role in NĂtid. â&#x20AC;&#x2DC;We call the design inside the cabinet a â&#x20AC;&#x153;smart loudspeaker systemâ&#x20AC;? because, in addition to all of the protections that our cabinets have, such as limiters and temperature controls, weâ&#x20AC;&#x2122;ve also added some nice new features,â&#x20AC;&#x2122; explains Mr Amate. â&#x20AC;&#x2DC;One is called ALC (Automatic Loudness Compensation) which, when you are using the cabinet at a lower level (below 50%), can dynamically EQ the sound to compensate for our hearing differences at low levels and ensure you have an accurate frequency response no matter the volume. This is ideal for restaurants and clubs where background music is required before the volume is later increased.â&#x20AC;&#x2122; Furthermore, the systemâ&#x20AC;&#x2122;s DSP credentials are rounded out with a selection of presets developed for fast and easy set up in different environments. â&#x20AC;&#x2DC;One of the advantages of active systems is that everything is integrated â&#x20AC;&#x201C; you have the amp, the DSP, so the cabinet is, of course, expected to perform well from beginning to end. Saying that, we still included a 5-band EQ on the back panel DSP if more reďŹ ned adjustment is needed.â&#x20AC;&#x2122; For Mr Amate junior, the introduction of the NĂtid series recognises 45 years of acoustic and electro-acoustic reďŹ nement conducted by the Spanish manufacturer. â&#x20AC;&#x2DC;It certainly has been a challenge to increase the cabinetsâ&#x20AC;&#x2122; SPL without making them bigger and bulkier, and it was also tough to improve on something that was not out of date,â&#x20AC;&#x2122; he concludes. â&#x20AC;&#x2DC;But I feel weâ&#x20AC;&#x2122;ve succeeded in both those aims with NĂtid. This launch marks our 45th anniversary and Iâ&#x20AC;&#x2122;m very satisďŹ ed with the feedback weâ&#x20AC;&#x2122;ve had from the market.â&#x20AC;&#x2122; www.amateaudio.com

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1/4 PAGE 1/2 PAGE 1/4 PAGE UPRIGHT UPRIGHT The industry is changing and so have we www.proavl-asia.com Mayâ&#x20AC;&#x201C;June 2018 PRO AVL ASIA 133 Septemberâ&#x20AC;&#x201C;October

BUSINESS: ANALYSIS

The future of audio networking With several new developments from the sector’s key players, it’s time to revisit the state of audio networking THE LANDSCAPE IS CHANGING. IT’S BEEN a few years since Audinate first pitted itself as a viable future alternative to the Audio Video Bridging (AVB) standard that was being worked on at the time by the Avnu Alliance. Of course, not many would refute that, in the years since, Dante has been overwhelmingly adopted and has become the de facto standard for simple audio networking. Regardless of the protocol, audio over IP is a tool already in widespread use, to the benefit of both event staff and audiences. Video over IP isn’t quite as developed. However, it’s now 2018 and the vast majority of customers certainly don’t treat audio as a separate entity to video. For entertainment purposes they are one and the same. And while there are technical benefits in certain situations for integrators to break the audio feeds out from the video, why should this have to be the case? The video sector has some catching up to do. The relatively low bandwidth needed to effectively transmit audio signals over IP is a major reason why that specific method is already in such widespread use. Video, with significantly higher bandwidth, is much more demanding, and the hardware necessary to support this is not yet readily available at a cost-effective price. However, various different protocols have been released over the past few years to support video over IP. ‘We know and understand that customers want to manage their video streams on the network alongside their audio, with simplicity being the main benefit,’ says Joshua Rush, SVP of marketing and product development at Audinate. ‘In many installations, audio and video are inherently linked and customers want to manage them together.’ Thankfully, there are some smart minds working on the problem, and this year’s InfoComm exhibition in Las Vegas saw a new integrated A/V networking landscape beginning to emerge. The Avnu Alliance has been quietly working for several years on the next phase of AVB implementation, culminating with a presentation by industry heavyweights d&b, L-Acoustics, Meyer Sound, Avid, Biamp and Audioscience at the show. This next-stage protocol has been named Milan and, while audio networking was very much the focus of the InfoComm presentation, the AVB standard doesn’t make this distinction. At the same time, Audinate muddied the waters by announcing a partnership with the SDVoE Alliance (Software Defined Video over Ethernet) for an integrated A/V control platform. Essentially, one is an openstandards approach to complete control and

Clockwise: Jeff Rocha, L-Acoustics; Joshua Rush, Audinate; and Henning Kaltheuner, d&b

networking, while the other is proprietary. What does this mean for the future of networking? ‘The SDVoE Alliance is one of the leading industry groups helping to deliver a standardised way for the transportation and management of video streams over IP. It is a lot like Dante in that it has over 40 member companies that focus on adoption and interoperability,’ explains Mr Rush. ‘The SDVoE system delivers a 4K60 video solution with near zero latency over a 10G infrastructure.’ The two organisations chose to showcase an integrated control experience through Dante Controller, routing SDVoE video streams and Dante audio streams through the same interface at InfoComm. This was accomplished by updating Dante Controller to read the SDVoE API and displaying those video channels in the software. ‘While this new version of Dante Controller does not have a timeframe for public launch, it is a ﬁrst step towards providing an integrated control experience for both audio and video over IP,’ explains the Audinate product manager. ‘We are currently discussing ways the two technologies can be more tightly integrated to provide an even better experience for both OEMs building products, and integrators and customers using the products together.’ The Milan protocol being developed by members of the Avnu Alliance is a little more technical. d&b audiotechnik’s head

134 PRO AVL ASIA September–October 2018

of market research, Henning Kaltheuner, explained it in simple terms to Pro AVL Asia: ‘Milan is about creating a solution application layer on top of AVB technology,’ he says. ‘The target of this is that all these manufacturers have realised they want to use openstandards solutions for A/V networking and want to be able to build open-solutions network ports into their products, in order to guarantee the best longevity and best compatibility of their systems. ‘Milan, on the one hand, is a set of standards that is available publicly,’ Mr Kaltheuner continues. ‘On the other hand, it’s also the idea that manufacturers form a community and collaboratively work together on networking. We believe that networking products in the future should be a commodity and something that we share, just as we share XLR connectors for analogue signals. That’s our hope for the future of networking – that we should work together on creating the best solutions for the industry.’ ‘A network should be a commodity that simply works,’ continues L-Acoustics’ Jeff Rocha, director of product management. ‘Our customers should know that they can plug things together and they’ll work, so they don’t have to focus on being IT professionals and can instead focus on audio.’ But neither solutions are ready to market yet and, in the case of Milan, this has been

traditionally one of the biggest obstacles to AVB adoption. To ensure interoperability, the Alliance certifies that each product has properly implemented its guidelines. In the past, this has not been a quick process. ‘A lot of the hard work with Milan is done,’ shares Mr Rocha. ‘There are really four different standards that have to be developed before we have a fully functioning protocol – to define things for stream formats, media clocking, redundancy and software control. The first two (defining stream formats and media clocking) are already done and public. The third, the redundancy spec, will be released very shortly, and our control spec is near completion. The thing that then remains is to further refine the certification process through Avnu. There’s a lot of energy and effort being spent on that to make sure we follow up on the technology announcement.’ This is not a hurdle the propriety method has to overcome. Audinate has been very proactive with its certification in the past, with hundreds of manufacturers’ products having been certified in the last few years alone. For Audinate, the partnership with the SDVoE Alliance is part of something bigger. ‘We think the SDVoE partnership is the first of several important partnerships in the video over IP space,’ states Mr Rush. ‘While the SDVoE Alliance is clearly the market leader in the 10G space, there are a number of applications for 1G solutions in the installed market. Ultimately, we would like to integrate Dante with several video over IP solutions so we can offer that same unified control and management experience, regardless of the market or application. ‘We are also looking to expand the software and services that sit on top of the Dante platform. Dante Domain Manager is a great example of this. By continuing to invest in these products that enhance the Dante platform, it makes Dante much more than just a networking protocol – it’s a complete, end-to-end solution for A/V networking.’ So while the future of audio networking is not quite upon us, the industry has both open and propriety solutions poised for release. These manufacturers are going to be facing a whirlwind of questions at the next few tradeshows. www.audinate.com www.avnu.org/milan www.sdvoe.org

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