Pro AVL Asia September–October 2024

MISSION STATEMENT

Rajchandra

Editor’s Letter

Most coverage in our titles celebrates the progress and achievements of the AV industry. However, our September/October issue goes further in reminding us of the contribution the audio industry, in particular, has made to all aspects of life as Celestion reaches its centenary. Veteran audio journalist Jerry Gilbert, who was instrumental in researching the UK manufacturer’s background for a commemorative book, takes a deep dive into its history over the past 100 years (p76).

Back then, the idea of installing electronic sound reinforcement equipment into places of spirituality and worship would have been preposterous. For millennia, such establishments have relied solely on ambient acoustics to relay their message. But in India this is fast changing, and it’s becoming more and more apparent as ashrams and

temples increasingly turn to the latest technology. A recent trip to the Shrimad Rajchandra Mission in Gujarat, our cover story (p50), was the latest spiritual centre I’ve visited to install a state-of-the-art AV system – in this case Adamson – to relay the discourse of founder Pujya Gurudevshri Rakeshji to thousands of devotees. Meanwhile, across Asia, the Dolby Atmos boom continues. KUMA has become one of a few Korean universities authorised to educate on immersive content and has constructed a Dolby Atmos HE facility equipped with PMC monitors at its Sejong City campus (p56). And in Mumbai, sound designer Arun Crasto has included a Genelec-equipped Dolby Atmos room at his new facility, which also has two 5.1 rooms, to handle his extra workload and futureproof the business (p60).

Hope you enjoy this issue!

Email: cmoss@proavl-asia.com

Richard Lawn General manager rlawn@proavl-asia.com

Sue Gould Advertising director sgould@proavl-asia.com

Nick Smith Digital media manager nsmith@proavl-asia.com Chris Yardley Video editor cyardley@proavl-asia.com

Carolyn Valliere Sales associate cvalliere@proavl-asia.com

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Simon

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Q-SYS opens Singaporean APAC Experience Centre

QSC’s Q-SYS APAC division has announced the opening of its pioneering APAC Experience and Training Centre in Singapore. Through its investment in recruitment and other assets, the Q-SYS brand has been built up over several years

Panasonic

in the APAC region and is now enjoying record growth as a result. Developed to be more than just a space, the Experience Centre is a commitment to innovation, regional development and unlocking new business opportunities.

sells 80%

of its

projector business to Orix

Panasonic Connect has reached an agreement on a capital partnership with Orix Corporation regarding the company’s projector business and related operations. Aiming for sustainable business growth and market expansion, both Orix and Panasonic Connect will establish a new company to operate the projector business based on Panasonic’s Media Entertainment Business Division (MEBD). With

that it will be necessary to strengthen operations and make continual investments.

Panasonic Connect and Orix have determined that further growth can be achieved by combining the former’s technological expertise and customer base, with the investment power Orix holds in addition to the experience cultivated through business investments in numerous companies, including manufacturing and large corporations.

Orix holding 80% of the shares, target products will continue to carry the Panasonic brand and the new company will continue to use the Panasonic name in the short term.

Panasonic Connect said that significant changes in the competitive environment in the market have arisen due to the emergence of applied technologies and the demand for immersive experiences. Therefore, to achieve in-organic growth and further market expansion going forward, the manufacturer has deemed

Through the partnership, Panasonic Connect aims to leverage Orix’s business investment experience and pursue strategies for in-organic growth, along with continuous investment for technological development in hardware technology and the construction and execution of strategic alliances on a global scale.

The capital partnership is scheduled to be established out of the MEBD division in April 2025. Overseas subsidiaries will be established from the sales functions of that division in North America, Europe, China, Australia, Singapore and other regions to be operated by the new company. Panasonic Connect’s Gemba Solutions Company will continue to handle domestic sales in Japan.

eu.connect.panasonic.com www.orix.co.jp/grp/en

Surrounded by Fortune 500 giants and financial powerhouses, the Experience Centre in Raffles Place is strategically located on the periphery of Singapore’s Central Business District. Poised to become the epicentre of Q-SYS operations

across APAC, the space serves as a gateway to its technology for the brand’s partners and customers, by offering a hands-on journey into the future of audio, video and control.

“We are thrilled to launch the Q-SYS Singapore Experience Centre,” commented Q-SYS director, SE Asia, and managing director, Singapore, Paul Lee. “This milestone underscores our commitment to the APAC region and allows us to invest back into a market that has been instrumental in our growth. Our customers’ trust has enabled us to get to where we are today, and this interactive space is designed to empower and inspire them in their future projects. Integrators, consultants and end users will use the space to discover, learn and shape the AV landscape with the latest innovations and industry insights.”

The Singapore Experience Centre also bears testament to the company’s vision of leading transformation in the AV industry. “By elevating the experiences we offer, we aim to redefine the expectations of end users and create unparalleled experiences for everyone,” added Duncan Savage, vice president and general manager APAC, Q-SYS. “We invite our partners, consultants and technology partners to embark on this revolutionary journey with us as we strive to excite our customers about the limitless possibilities of what can be achieved.”

With the addition of Singapore, Q-SYS currently operates four experience centres worldwide, including the UK Experience and Training Centre just outside London and a new office in Bengaluru, India.

www.qsys.com/experiencecenters

Focusrite buys

Innovate Audio

Following its earlier acquisition of TiMax, Focusrite has purchased Innovate Audio, the UK-based company behind the panLab spatial audio solutions. Through the agreement, panLab solutions will join the TiMax brand to enhance its range of immersive sound solutions, including entrylevel panning software through to full-delay matrix spatial processors and performer stagetracking. Innovate Audio founder Dan Higgott will also join TiMax as a senior product developer.

“This opportunity marks an exciting new chapter for both Innovate Audio and me personally,” commented Higgott. “Our spatial audio products and panLab console now have an exciting new home, where they can thrive and integrate with world-class brands. I am delighted to be joining the brilliant Dave Haydon and Robin Whittaker, as we deliver an exciting roadmap of new products to the TiMax family.”

Dan Higgott

Tim Carroll, Focusrite CEO, remarked: “This acquisition represents another strategic expansion within our audio reproduction business, enhancing our product range and building a customer journey into immersive audio. This investment aligns perfectly with our mission to deliver exceptional forward.”

www.focusriteplc.com

www.innovateaudio.co.uk

www.timaxspatial.com

SINGAPORE

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Representing a dramatic leap forward in power and connectivity within a remarkably compact format, Quantum 338 Pulse follows the Quantum 7 in defining the future of audio mixing. Boasting a wealth of new design features and enhancements to create ultimate flexibility of use plus the speed of operation that only Quantum can deliver, Quantum 338 Pulse is based on seventh generation FPGAs with an entirely new system architecture.

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Kramer has recently announced its acquisitions of both AVoIP technology developer ZeeVee and collaboration spaces provider Ashton Bentley, to expand its product offerings. The manufacturer said that the acquisition of ZeeVee is part of its commitment to invest in AVoIP and IT/AV convergence. ZeeVee, a founding member of the SDVoE Alliance, brings deep expertise and a proven track record in 10Gbps technology, facilitating large-scale and complex deployments. Kramer believes that the addition of ZeeVee’s medical-grade and certified product line will expand the company’s market reach and complement other Kramer solutions in this domain. The merger also combines

ZeeVee’s on-premises AVoIP management solution with Kramer’s cloud-based offerings, resulting in an enhanced ecosystem for management and control solutions.

“ZeeVee’s innovative solutions and industry leadership align seamlessly with our strategic vision,” commented Gilad Yron, CEO of Kramer. “This move enhances our portfolio and accelerates our growth and innovation. Additionally, both companies’ customers and partners will now benefit from access to the combined portfolio of products and services.”

Bob Michaels, ZeeVee CEO, added: “Joining forces with Kramer is a thrilling opportunity for ZeeVee. Our combined expertise and

to our customers and partners worldwide. We are excited to be part of a company that shares our vision for the future of IT and AV integration.”

Kramer’s purchase of Ashton Bentley is part of its three-year strategy to elevate its offerings in the unified communication and collaboration (UCC) ecosystem. “The Ashton Bentley ‘out of the box’ solution, alongside Kramer’s broad portfolio, offers a unique, fully integrated solution to further enhance the hybrid meeting experience,” added Yron. “The cultural fit, enthusiasm and passion the Ashton Bentley team brings will be an outstanding addition to Kramer.”

Ashton Bentley founders Roger McArdell, Roger Vinton and Tony Leedham added: “Kramer’s global market reach and product synergies will enable us to bring our innovative solutions to a broader audience. The whole team are looking forward to contributing to Kramer’s vision and continuing to push the boundaries of AV technology in the UCC domain.”

www.ashtonbentley.com

www.kramerav.com

www.zeevee.com

Williams AV expands portfolio with TeachLogic

To expand its assistive communication product portfolio and presence in the education sector, Williams AV has bought TeachLogic. TeachLogic specialises in sound reinforcement solutions for classrooms, with audio systems aimed at ensuring all students have equal access to the teacher’s voice and other classroom audio sources.

“We’re excited to join Williams AV,” said Ron Canfield, VP of education business development, TeachLogic. “The combined business accelerates TeachLogic’s capacity to innovate and enhance our

product offerings for our customers, while expanding our market reach in the education market.”

Brad Kautzer, president and CEO of Williams AV, commented: “The acquisition aligns perfectly

LEA and Acoustic & Lighting System celebrate Malaysian partnership Kramer acquires ZeeVee and Ashton Bentley

To announce their new distribution partnership in Malaysia, LEA Professional and Acoustic & Lighting System hosted a launch and open day event at the distributor’s headquarters and show room in Kuala Lumpur. Attended by over 50 customers and systems integrators, the event saw the debut of the manufacturer’s latest Connect Series Half-Rack amplifiers for customers. Generation AV’s managing director Dave McKinney and technical manager Jeremiah Joseph gave an overview of the LEA Connect Series amplifiers, as well as the new Half-Rack models.

with Williams AV’s strategic objectives. Both companies are passionate about creating inclusive spaces with intelligible audio. This underscores our commitment to growth and innovation. We look forward to expanding our footprint in the education market with TeachLogic products.”

www.teachlogic.com

www.williamsav.com

Over the two sessions, attendees benefitted from demonstrations of LEA’s Cloud platform and the latest LEA software updates such as the new input mixer that has been added to all models.

“This was the perfect way to announce and launch our new LEA distribution partnership with Acoustic & Lighting System in Malaysia,” said McKinney. “It was rewarding to chat with many customers at the event and exciting to hear their positive feedback on the LEA Cloud, the new HalfRack Series and the latest LEA software updates. The new partnership with Acoustic & Lighting System is off to a great start and we are very positive about the future of LEA in Malaysia.”

www.acousticlighting.com

www.generationav.net

www.leaprofessional.com

Gilad Yron, CEO of Kramer

Creative Technology APAC enhances its Ayrton stock LynTec acquires Juice Goose

Creative Technology APAC has added 30 Ayrton Argo 6 Wash fixtures to its lighting inventory. Provided by Total Solution Marketing, the lights have already been

deployed for high-profile corporate events in the region.

“We were looking to expand our stock of wash fixtures with an IP65-rated unit and, after some internal evaluation against

LynTec has bought electric power distribution, condition and control equipment manufacturer, Juice Goose. LynTec, a wholly owned subsidiary of Chauvet, manufactures electrical power control solutions for professional audio, video and lighting systems.

“LynTec couldn’t be more excited about the reputation and deep customer relationships Juice Goose brings, with solid products that perfectly complement our existing lineup,” remarked Mark Bishop, president of LynTec. “Now, regardless of how big or small the installation, we have the power solution for the job.”

Peter Cook, CEO of Juice Goose, said: “For more than 40 years Juice Goose has been the trusted power distribution solution for AV integrators and we’ve achieved great success in the pro AV

market. We are incredibly excited to continue our legacy with the LynTec and Chauvet brands, providing our customers with the same power management solutions they have relied on for years, now with LynTec’s leading customer support.”

Chauvet CEO Albert Chauvet added: “Juice Goose brings another great product line to the Chauvet family, expanding our power solutions portfolio that we began with LynTec. This partnership provides key resources to our customers, meeting the full demands of their AVL installations. With this acquisition, we are able to complete our portfolio of power distribution, conditioning and control products.”

www.chauvetlighting.com www.juicegoose.com www.lyntec.com

CT APAC’s Thomas Lee Image courtesy of Kenz

DMT opens Beijing Experience Center

CHINA

Digital Media Technology has announced the opening of its experience centre in Beijing. The facility will serve as a place for musicians and audio production teams to experience the complete audio workflow from preproduction and live production to live sound reinforcement, postproduction, live broadcasting and streaming, as well as cloud production.

“We hope to build closer ties with musicians and production teams, to bridge the gap between them and the manufacturers and further improve products and services to establish a virtuous circle,” said Clement Choi, managing director of DMT. “DMT can provide complete solutions to serve audio production, involving three major sections –music production, live sound reinforcement and broadcasting/ streaming. We also hope the experience centre can connect these three market segments to show everyone the overall audio workflow.”

Located adjacent to the distributor’s Beijing office, the centre is authorised by audio brands, including Dolby, Genelec and Audinate and benefits from professional acoustic treatment.

It features a 150m 2 live sound room, a 22m 2 Dolby Atmos mixing room, a VIP lounge equipped with a Dolby Atmos home theatre system as well as a conference space and office area. DMT noted it plans to expand its product experience areas in the future.

The live sound room boasts a 9.1.6 immersive sound system featuring audio from dBTechnologies and an SSL Live 200 mixing console which has built-in operations for various immersive formats, allowing for integration with musicians’ own immersive sound systems. The setup also utilises the Dolby Atmos RMU renderer and FLUX:: SPAT Revolution applications for mixing and processing and the complete system can be interchanged to suit users’ unique requirements. Additionally, the space is equipped with SSL’s networked I/O Stagebox which, through Dante, transmits signals to the mixing room where users can complete recording, mixing, postproduction and livestreaming to platforms such as Tencent Video and Bilibili.

The mixing room is equipped with a Genelec 7.1.4 monitoring system and SSL System T console with Dolby Atmos renderer, an Avid ProTools workstation and outboard gear from Focusrite, Grace Design,

transform.engine

by fourieraudio

Tube Tec and Universal Audio. Furthermore, it is designed for Dolby Atmos production and broadcasting grade output. The complete immersive live broadcasting can also be listened to in real time in the centre’s Dolby Atmos home theatre.

www.dbtechnologies.com

www.dmtpro.com

www.focusriteplc.com

www.genelec.com

www.gracedesign.com

www.solidstatelogic.com www.uaudio.com

channels.

latency.

Ashoka AVL Solutions invests in Adamson

Ashoka AVL Solutions has upgraded its audio inventory with Adamson’s E-Series speakers, provided by Stagemix. The AVL rental company based in Kochi, Kerala, has purchased 18 E15 large-format line array speakers, 12 E219 subwoofers, as well as 12 Lab Gruppen PLM 20K44 SP amplifiers to power the system.

Arun Ashok, director at Ashoka AVL Solutions, said that he chose the E15 as he believes it is a versatile and powerful line array system that is ideal for a wide range of applications from corporate events to larger concerts. He also added that it offers excellent sound quality, consistent coverage and a lightweight and compact design.

1 Sound holds Taiwan launch event

manufacturer’s complete range of speakers and featured demo presentations by the company’s APAC sales executive, Leonardo Dani, and Seapower Technology’s CEO, Douglas Chang.

“Taiwan, known as the global hub for high-tech industries, represents an opportunity market for

Kuala Lumpur-based event production service provider Doremi has increased its audio inventory with equipment from RCF and Sennheiser, provided by Acoustic & Lighting System. This significant investment is part of the company’s expansion plans into the audio production landscape.

Doremi has invested in 12 RCF NXL 24-A MK2 line array column speakers and 12 RCF SUB 8004-AS subwoofers. “As we expand further into the corporate event business, having an excellent speaker system that can be groundstacked or flown gives us the flexibility to cater to different venue needs,” said CK Lam, chief operating officer at Doremi. “We considered

about the future and are eager to continue promoting this outstanding brand.”

Taking place inside the 330-seat, mid-sized conference room, the demonstrations offered an opportunity to showcase the brand’s speakers in action, including the Contour

CT28 and SUB215 system. “The audience consisted of mostly systems integrators who had nothing but positive things to say,” added Chang. “Attendees remarked on the exceptional sound quality and performance of the loudspeakers. 1 Sound, though a relatively new brand with just two years in the global market, left a strong impression.” Chang noted that guests praised each of the Cannons in the series, noting the hi-fi sound quality that the speakers produce. The event also highlighted the varying uses for the manufacturer’s solutions, whether it be indoor or outdoor applications. “Compared to other top-tier brands, 1 Sound stood out for maintaining excellent sound quality while being weather-resistant,” noted Chang. “Attendees made it known that they are planning upcoming projects such as nightclubs, live production and more after hearing the speaker’s performance for the first time. This launch event was a resounding success.”

www.1-sound.com www.seapowertech.com

various active column array speakers and were impressed with the audio clarity and powerful bass from the RCF system. With the NXL 24-A

MK2, our team can meet short turnaround times for setup and our clients are very happy with the speaker performance.”

Patton, the manufacturer of the FiberPlex brand fibre transport products for audio, video and data, has acquired Artel Video Systems. The addition of Artel’s video transport and IP-based products will enable Patton to offer a more comprehensive suite of solutions for the telecom, broadcast and pro AV markets.

The manufacturer said that combining Artel’s R&D and manufacturing enhances Patton’s ability to serve customer needs for standard products. Furthermore, the acquisition brings new intellectual property building blocks to Patton’s contract development and special project services business. The combined companies will focus on providing new, highly integrated solutions, services and support, through Artel’s established market penetration, together with Patton’s reach and resources.

“This acquisition furthers our strategic objectives in the real-time communications market, aligns with our vision to ‘go deep’ with our customers, complements our existing offerings and brings intellectual property that we can leverage to deliver on defense and industrial customer needs for special-use products,” commented Burton A Patton, Patton chief revenue officer.

Tom Fyfe, Artel CEO, added: “Joining forces with Patton is a fabulous win for Artel and, most importantly, its customers. Patton’s capabilities and commitment enables us to continue delivering and innovating broadcast-quality media and IP transport solutions while significantly enhancing the expertise and services we can deliver to those customers.”

www.artel.com www.patton.com

Lam noted that Doremi was looking for a robust and easy-to-use microphone system, which led it to invest in 28 units of Sennheiser’s EW-D/DX Series. “The Sennheiser EW-D/DX series’ ease-of-use has greatly benefited our operational team,” he said.

Michelle Yeo, business development director of Acoustic & Lighting System, commented: “We are glad our proposed RCF and Sennheiser systems bring value to Doremi and we thank them for their support. RCF is known for its powerful performance and we aim to raise awareness of the potential of this active line array column system in the market.”

www.acousticlighting.com

www.doremionline.com.my

www.rcf.it

www.sennheiser.com

Karan Nagpal from Stagemix cited

The Seapower Technology team with Leonardo Dani of 1 Sound

The Doremi team with their new RCF and Sennheiser inventory

The Ashoka team with their new gear

QSC brings the L Class to Manila

Created in collaboration with its regional partners, JB Music and Sports Inc, QSC recently held a launch event for its L Class speakers in the Philippines. The event was attended by partners of JB Music and Sports Inc, including representatives from church organisations, systems integrators, rental companies, dealers and consultants.

JB Music’s product and pro audio manager, Michael Joseph De Vera, commented on the series: “The QSC L Class offers impressive clarity and power, combined with rapid deploy-ability that is truly game-changing in the professional audio industry.”

Held at the Wack Wack Golf and Country Club in Manila, the event served as a platform to increase visibility and knowhow of the series for local partners and clients in the Philippines pro audio industry. Furthermore, it fostered networking and collaboration opportunities, enabling JB Music and QSC to solidify their relationships with key partners and clients in the region.

The launch featured several key presentations highlighting the L Class series’ features and applications. Kim Muurholm Jurgensen, director, QSC pro sales – APAC

region, provided an overview of the brand and delved into the series’ features such as Rapid Deploy, AWARE, LEAF technology and the SYSNAV software which enables setup,

examples of the speakers in house of worship installations.

Guests also benefited from product demonstrations involving the setup of the speakers in pole-mounted, groundstack and flying configurations. During these sessions, attendees also got the chance to try out the equipment for themselves, to enable them to see their deployment capabilities. In addition, there was a live performance from a rock band which played various recorded music pieces, to demonstrate the sonic qualities of the speakers in different scenarios.

control and monitor of the system via PC or iPad. Rico Bicol, a sound designer at the Audio Engineering Society, explained how to utilise the SYSNAV software, detailing its functionalities and practical applications to enhance system performance and simplify complex audio configurations. Furthermore, Mark Yulo, CEO/president of SoundTechPhil, guided attendees through the design of the line array and its technical specifications and deployment benefits and showcased

QSC noted the event a success, citing that several clients purchased the L Class on the spot, while it also fostered interest in others who have inquired about it for upcoming opportunities.

“I am pleased to have been a part of the event in Manila,” remarked Jurgensen. “It was a very productive day with great people that generated a genuine interest in our brilliant L Class speakers. I look forward to many more moments like this with local partners and stakeholders here.”

www.jbmusic.com.ph www.qsc.com

Ateliere acquires Agile Live

Ateliere Creative Technologies has purchased Agile Live. Owned by TV platform operations and technology company Agile Content, Agile Live utilises software architecture and cloud technology which is reported to reduce costs by up to 70%. The acquisition signifies a shift from traditional reliance on proprietary custom hardware solutions to IP-based systems.

“Agile Live strategically enhances a broadcaster’s capacity and streamlines the production of live content, substantially enriching the array of real-time entertainment accessible to consumers,” remarked Dan Goman, CEO and founder of Ateliere Creative

Technologies. “With this acquisition, we are revolutionising the live production content industry to deliver enhanced real-time content directly to consumers.”

Koldo Unanue, Agile Content CEO, commented: “With Ateliere’s established portfolio, organisational strength and market presence, the conditions are ideal for the technology and team to expand rapidly and achieve global success. We are eager to explore how our complementary portfolios and capabilities can advance our partnership, leading to the creation of new innovative solutions.”

www.agilecontent.com

www.ateliere.com

QSC’s Kim Muurholm Jurgensen gave a presentation at the event

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DirectOut partners with Sonos Libra and DMT

As part of its ongoing expansion into Asia, DirectOut has announced new distribution partnerships with Digital Media Technology in the Greater China region and Sonos Libra in Thailand and Vietnam. DMT has an established regional systems when downtime is not an option.”

Sonos Libra has offices in Bangkok, Ho Chi Minh City and Hanoi. “DirectOut’s approach to audio distribution and processing has caught the attention of many professionals in recent years and further strengthened their reputation,”

Blaze Audio has entered a partnership with Mahajak Trio Electronic (MTE) to distribute its range of commercial audio products in Malaysia. Jointly founded with Mahajak Group of Thailand in late 2010, MTE is involved in the sourcing, sale and distribution of professional audiovisual technologies in addition to providing consultancy services, technical advice, training and repair services. Operating from its Kuala Lumpur headquarters in Puchong, MTE has built a wide network of professional customers throughout Malaysia. MTE managing director, David Yap Chong Huat, explained the rationale behind the agreement: “We aim to provide advanced, versatile professional audio solutions to fellow Malaysians and with Blaze Audio we have added a leading professional audio brand to our range. The PowerZone Connect amplifiers can be easily configured via their built-in web interface through any smart device with Wi-Fi. In addition, the latest Ci range of loudspeakers are very acoustically and aesthetically pleasing enclosures.

Rebranded from Cornered Audio, their compact size is deceptive as these speakers pack a lot of power. When paired with Blaze power and control solutions, we can now offer a powerful package for small to medium-sized hospitality venues. Our customers appreciate their lives being made easier with features such as Dante audio networking compatibility, so I anticipate that Blaze Audio will quickly become the cornerstone of our audio portfolio.”

“As a growing entrepreneurial company, we need to work with distribution partners who share a similar philosophy,” explained Patrick Hau, regional sales manager – APAC at Blaze Audio. “Mahajak Trio Electronic has a great track record of bringing innovative brands to market in Malaysia and we look forward to working with them and their integration partners to deliver some great projects.”

www.blaze-audio.com www.mahajaktrio.com

The Adam Hall Group has appointed Ningbo Komi Intelligent Technology (Komi) as the exclusive distributor of the Gravity brand in China. The Ningbo-based company specialises in the development and distribution of music hardware and has an established, wide-ranging regional network.

The manufacturer said it believes Komi will be a strong local partner, enabling the

company to adapt to the dynamic market environment and meet the individual needs of Chinese consumers. Furthermore, both parties cited the ever-increasing demand for professional music and stage equipment in the region.

“Gravity has a lofty international reputation and stands for excellent design, quality work and high reliability,” commented Shawn

Xiao, managing director of Ningbo Komi Intelligent Technology. “We are looking forward to further advancing the partnership and exchange between China and Germany in the field of music technology and to

exceptional opportunities for Gravity, but also presents foreign manufacturers with special challenges due to its size and structure. For this reason, we are pleased to have found an experienced and

Headquartered in Shibuya, Tokyo, GizaGiza has been named as the exclusive distributor of 1 Sound in Japan. With over 20 years of experience in the AV industry, the company provides expertise in audio design, installation and comprehensive support and system maintenance services.

A representative from GizaGiza stated: “There is a growing demand in Japan for superior sonic quality and meticulously engineered loudspeakers. The sonic excellence and design of 1 Sound’s products meets the needs of the market, positioning them to gain great popularity in Japan. With

the cooperation of Tokyo Sound System Laboratory, renowned for their extensive installation/project portfolio, we aim to redefine acoustic standards and values in Japan.”

Leonardo Dani, APAC sales executive of 1 Sound, commented: “We are thrilled to appoint GizaGiza as our exclusive distributor in Japan. Their knowledge and proactive approach in showcasing our products reflects their dedication to enhancing the audio landscape, which is exciting to see.”

www.1-sound.com

L–R: Chris Fish of DMT, Luca Giaroli of DirectOut and Desmond Stou of DMT

L–R: Thomas Marcher of AV Distribution Asia, David Yap Chong Huat and Yi An Yap of MTE and Blaze Audio’s Patrick Hau

The GizaGiza team

Meyer Sound appoints Indonesian distributor

Meyer Sound has announced PT Promedia Sejahtera Raya as its exclusive distributor in Indonesia, bringing its professional audio and cinema solutions to the region’s growing market.

PT Promedia Sejahtera Raya is a newly formed collaboration between PT Promedia Innovative Solution, which works in Indonesia’s professional audio market, and Sejahtera Raya Group, which is one of the country’s largest cinema chains with 1,300 cinemas nationwide. Through the agreement, customers will be able to preview a selection of Meyer Sound systems in PT Promedia Sejahtera Raya’s Jakarta showroom, ballroom and lounges.

“After meeting with Yosua and his team at InfoComm, we knew this partnership would be

AtlasIED partners with NAS in ANZ

Commercial audio and communication technology solutions provider AtlasIED has signed an agreement with NAS (National Audio Systems), a distributor of professional audio and visual brands focused on commercial installation and production markets across Australia and NZ.

“Supporting the commercial AV industry in Australia is a significant focus for us. Partnering with NAS, a widely renowned and deeply connected distributor, will enable us to

reach all facets of the industry, from specifiers to integrators and end users,” said Matt Czyzewski, EVP for AtlasIED. “We’re committed to continuous growth that benefits our worldwide customer base, and we look forward to this partnership that will catapult us further in this direction.”

“AtlasIED has been of much interest to NAS for some time,” added Brad Kivela, business and product manager at NAS. “We have been

1” ANNULAR COMPRESSION DRIVERS

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instrumental in expanding the Meyer Sound brand in this dynamic market,” said John McMahon, Meyer Sound’s senior vice president. “The road ahead will have many opportunities for product launches, demos, training and

Yosua Yan Heriyanto, CEO of PT Promedia Sejahtera Raya, commented: “We are honoured to partner with Meyer Sound and look forward to bringing their innovative solutions to our market. This collaboration allows us to enhance our offerings in both the professional audio and cinema sectors, ensuring top-quality sound experiences across Indonesia.”

www.meyersound.com

www.promediaraya.com

over the last 12–18 months. This partnership enables our customers to access market-leading DSP, speaker, amplification, sound masking, security and mass transport products. We are proud to represent such a respected brand and look forward to delivering our customers AtlasIED products and solutions.”

www.atlasied.com www.nas.solutions

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YOUR GLOBAL PARTNER FOR TRANSDUCERS: FROM CONCEPT TO DELIVERY

870

L–R: Meyer Sound CEO John Meyer, PT Promedia Sejahtera Raya CEO Yosua Yan Heriyanto and Meyer Sound executive vice president Helen Meyer

Allen & Heath selects Nepal distributor EM Acoustics teams up with Danmon Asia in Vietnam

Allen & Heath has announced Nepal Max Technologies as its exclusive distribution partner in Nepal. Through the agreement, Nepal Max Technologies will partner with local event organisers and venues and offer live demonstrations and training sessions, as well as provide strong after-sales service and support for customers.

“This is a major milestone for us and the pro audio industry in our country,” remarked Shashindra Chitrakar, CEO of Nepal Max Technologies. “Bringing Allen & Heath’s

boosting the pro audio scene in Nepal with Allen & Heath.”

Jamie Ward, APAC sales director for Allen & Heath, added: “We are delighted to partner with Nepal Max Technologies. With a strong position in the club and hospitality installation markets and good relationships with the leading rental and production companies, they are the perfect fit for Allen & Heath.

Shashindra and his team have impressed us with their knowledge and enthusiasm and we’re looking forward to fully supporting them as they

entire media production and presentation sector. We look forward to working with Bjarne and his colleagues in promoting our full spectrum of products and services to potential customers and systems integrators throughout Vietnam.”

presentations, themed attractions and houses

www.danmon.com

www.emacoustics.co.uk

EM Acoustics has selected Danmon Asia as its exclusive distributor for Vietnam. Danmon

Bjarne Pederson, general director at Danmon Asia, added: “EM Acoustics

of worship.”

L–R: Jamie Ward of Allen & Heath, Shashindra Chitrakar and Shreya Chitrakar of Nepal Max Technologies and Markus Sinsel from Allen & Heath

L–R: Ed Kinsella, Roger Harpum, Greg Clarke and Mike Wheeler of EM Acoustics

• JULIA RUBIO

• NAMM FOUNDATION

EXECUTIVE DIRECTOR

NATIONAL ASSOCIATION OF MUSIC MERCHANTS

Powersoft expands APAC team

APAC

Powersoft has announced the expansion of its APAC team with the appointments of Jonathan Wu as senior business development manager and Michael Wu as solution engineer in China, as well as Jinfu Chen as business development manager for the Southeast Asian market.

Jonathan Wu commented: “It is an honour to join the Powersoft team in China where there is a lot of momentum. Powersoft’s solutions and reliable and innovative products will be greatly welcomed in this highly competitive market.”

In his new role, Michael Wu will work closely with EZPro to enhance Powersoft’s services in China, including promoting products, providing

• VIKRANT MORE

• BUSINESS DEVELOPMENT

MANAGER – INDIA

ARTHUR HOLM

As business development manager for SEA, Jinfu Chen will focus on Indonesia, Thailand, the Philippines and Vietnam. “My vision for

value Powersoft has in the region.” www.powersoft.com

Audio-Technica (SEA) welcomes Albert Leong

SOUTHEAST ASIA

Audio-Technica (SEA) has appointed Albert Leong as its ASEAN regional sales manager in its export business unit. Operating across all professional channels in the territory, including the unified collaboration portfolio, Leong has accrued extensive experience working for companies including Shure and AV distributor Mindstec.

“I have always been an audiophile and admired the Audio-Technica brand values,” commented Leong. “Their large portfolio includes a wide series of popular installation-based microphones that are well-respected in the market. I particularly like the ease-of-use features that make setting up tasks simple for users.”

Managing director Shaokai Teng added: “Albert brings a wealth of audio and lighting experience, including great microphone knowledge. By working closely

• JOHN JENNINGS

AMIT SINGH

L–R: Powersoft’s Michael Wu, Luca Lastrucci, Kat Ye, Abby Hu, Luca Giorgi, Jonathan Wu and Francesco Fanicchi

L–R: Shaokai Teng and Albert Leong

Jinfu Chen

MLV Teknologi expands with key appointments

MLV Teknologi has welcomed Melvin Halpito as managing director and Aldi Omarhadi as sales director. Halpito previously held the role of MD at the company in 2016 before joining Vega Indonesia as country manager. Other previous positions include sales manager at Datascrip, country manager – Indonesia at Crestron Electronics and, most recently, managing director at DVI Solutions. In his new role, he will leverage his knowledge and network in the Indonesian and SEA region to grow the company.

With extensive sales experience in the audiovisual industry, specialising in the government sector, Omarhadi has worked with many notable companies in the region, such as Intav Prima Solusindo, Ideal Systems and DVI Solutions Asia. At MLV Teknologi, he will work primarily across audiovisual projects in the government sector, leveraging his knowledge in design and engineering.

www.mlvteknologi.com

Rik Kirby joins TiMax

Rik Kirby has joined TiMax in the newly created role of commercial manager. He will assume the global development of sales and promotion channels for both TiMax Spatial and OutBoard motor control, building upon the business of both brands to further develop new opportunities for growth across all territories and sectors.

“I first encountered the TiMax products over 20 years ago at an AES event,” explained Kirby. “I was

really drawn in by the psychoacoustics and science and what products can achieve when it comes to delivering a truly immersive experience. I jumped at the opportunity to join their team when it arose. I’ve known the OutBoard TiMax guys for years and, with the added backing of the Focusrite group, I’m excited for where the future will take us.”

Dave Haydon, commercial director at TiMax, added: “I can’t think of a safer and

• HAL TRUAX

• JAMIE DUNN “VORSTAND” AND DEPUTY CEO LAWO

• ANDY RIGLER • HEAD OF SALES VOID ACOUSTICS

Aldi Omarhadi

Melvin Halpito

Rik Kirby

Generation AV makes changes to its team

Generation AV has announced the appointment of Bensen Ong as regional sales director and the promotion of Jeremiah Joseph Vijaiyasheghar to technical manager.

Based in Singapore, Ong will manage and support Generation AV’s distributors and partners across Asia. He will be responsible for the AV integration brands including LEA, Sonance and NST Audio. “With both a technical and sales background and a track record of growing sales, Bensen is the perfect fit for Generation AV and the AV integration brands we work with,” noted managing director Dave McKinney.

“I am thrilled to be part of the dynamic team,” added Ong. “I am eager to contribute and grow alongside a team of experienced professionals, driving the company to greater heights.”

After joining the company in 2023 as business development engineer, Vijaiyasheghar now assumes the position of technical manager.

“When the opportunity arose, it was an obvious www.generationav.net

Calrec welcomes Anthony Wilkins

Calrec has appointed Anthony Wilkins as international sales manager for APAC. With a career in technical sales, business development and product marketing spanning several years, he has extensive experience across a wide range of technologies including music creation, broadcast, video, audio, consumer electronics and industrial test.

“It’s an honour to work for a company with such a customer-centric mindset,” noted Wilkins. “My goal is to develop partnerships and sales strategies that help our clients stay ahead of the technology curve and leverage our IP offerings in a way that best suits their business. My in-depth knowledge of broadcast audio, video and success in combining a commercial and engineering mindset will help to further increase brand

Dave Letson, vice president of sales at Calrec, commented: “Anthony brings a wealth of experience to Calrec’s sales

team, leveraging his deep understanding of broadcast audio and video to drive success. His unique blend of commercial acumen and engineering insight will be a valuable asset to our customers and will help to expand our presence in the APAC region.”

www.calrec.com

L–R: Jeremiah Joseph Vijaiyasheghar and Bensen Ong

Great audio – anytime, anywhere

Shure has three lines of wireless solutions for screens both large and small: MoveMic, SLX-D and Axient Digital portables

AUDIO ENTHUSIASTS AND professionals have used Shure’s iconic microphones and groundbreaking wireless technology onstage, for events and in the theatre for decades. But what about audio for movies, television and videos? Shure has three audio solutions for screens both large and small. Let’s take a look at them.

How do they differ?

First, let’s describe how they are similar. Each of the three systems have Shure’s legacy of excellence designed and tested throughout. They deliver class-leading features, classleading sound quality and ultra-reliable RF. If you have a need for great-sounding, easy-

MoveMic falls within the awardwinning MOTIV range of microphones for content creators with options that include single- and two-channel wearable, wireless microphones that connect direct-to-phone and a wireless receiver for additional connectivity to a digital camera, computer or third-party mobile apps.

television or film, Shure has a portable option for you.

The MoveMic series includes MoveMic One, MoveMic Two and the MoveMic Two Receiver Kit. MoveMic is the perfect solution for YouTubers, TikTok creators, mobile journalists, streamers and other creatives. MoveMic One and Two include incredibly

Scalable SLX-D Portables

include the SLXD3 portable plug-on transmitter and SLXD5 bag and camera-mounted single-channel wireless receiver.

transmitters that record or livestream directly to your phone using Shure MOTIV video and audio apps. The MoveMic Two Receiver Kit adds a two-channel cold shoe mountable receiver for those who want to record wirelessly to their camera, computer or third-party mobile apps. MoveMic is the best solution on the market for contemporary content creators who want to record on the go and need just one or two channels of audio. It’s small, affordable and really easy to use, and the clip-on lavalier is IPX4-rated to resist rain and the elements (not submersible).

Building on the success of SLX-D wireless audio – known for its scalability, reliable RF performance and convenient power management solutions – the SLX-D Portables include the SLXD3 plug-on transmitter and the SLXD5 singlechannel wireless receiver. Both are available individually and in various wireless system bundles. Different from MoveMic, which is completely self-contained, the SLX-D Portables are made to work with other products such as the rest of the SLX-D portfolio and XLR and lavalier microphones. This means you can use the SLXD3 plug-on transmitter with any of the SLX-D receivers – portable or racks – and can match the SLXD5 wireless receiver with any of the SLX-D transmitters – portable, bodypack or handhelds – making this the perfect solution for commercial videographers and an affordable option for entry into broadcast and film audio.

Finally, included in Shure’s flagship wireless portfolio, Axient Digital, is the AD3 and ADX3 portable plugon transmitters and the ADX5D twochannel portable slot-in receiver.

Bringing international touring wireless sound and RF quality to broadcast and location sound is the Axient Digital ADX5D dualchannel, slot-in wireless receiver and the AD3 and ADX3 plug-on transmitters. The most complicated audio setups and demanding RF environments require flagship solutions and Axient Digital delivers. Similar to the SLX-D Portables, the Axient Digital Portables are intended to be used with the rest of the Axient Digital portfolio of receivers and transmitters and Shure’s high-tier broadcast and lavalier microphones including TwinPlex and DuraPlex. The world’s most-viewed sporting events, news and talkshows, TV shows and blockbuster films call on Shure Axient Digital Portables due to rock-solid RF and outstanding sound, but they also include features such as a wide tuning range (up to 184MHz), High Density mode for maximised spectrum efficiency, true digital diversity for drop-out resistance and ShowLink which provides remote control of transmitter functions from the receiver position.

For the everyday videographer, working location sound professionals and even content creators, there is a growing demand for professional wireless systems that are lighter, portable and faster to set up. Regardless of your needs, Shure now has a complete portfolio of wireless solutions, at all price points to provide you with great audio clarity –anytime, anywhere.

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RCF knows power amplification and the development of active speaker technology in many diverse solutions. Now we have unleashed our amplification and signal processing technology into a convenient 2U package for mobile touring and install applications. XPS 16K and XPS 16KD are 4 x 4000 Watts power amplifiers with ready-to-use presets, advanced routing capabilities, RDNet integration and Dante Networking (XPS 16KD). Onboard DSP handles input mixing, delay, IIR/FIR equalization, crossover filters, and thermal/RMS/peak limiting. Premium sound quality in a tour-worthy chassis, designed for years of durability and reliable operation with best-in-class signal-to-noise ratio, ultra-low distortion, and great dynamic range.

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ADAPTing to technology

How does EAW’s ADAPTive technology work and why does it stand out?

In the modern world of loudspeaker arrays, the technology and approaches to deploying them continuously evolve toward better performance, clearer sound and a more efficient use of resources. One of the most revolutionary advancements is Eastern Acoustic Works’ ADAPTive technology. So, what is the ADAPTive approach and why does it stand out?

Given the physical attributes of EAW ADAPTive systems where arrays are deployed with no vertical curvature, it’s easy to conflate the ADAPTive approach to creating coverage with beam steering. However, ADAPTive offers a very different method to achieving optimised coverage for frequency response and SPL for an audience.

How do we ADAPT?

The fundamental strength of the ADAPTive approach to generating a comprehensive coverage polar for a specific audience geometry lies in the design’s adherence to universally accepted criteria for creating a line source. Historically, this has presented the challenge of matching driver size and spacing measured against the wavelength of the frequencies contained within the given pass band. In the past, the drivers available to meet this demand resulted in sound systems challenged to produce high SPL.

When trying to accomplish this mechanically, angling is added to the array. This causes the isophasic qualities to be broken apart, and high-frequency quality and distribution are sacrificed. Vertical coverage capabilities quickly reach a limit for steep demands before becoming undoable.

Comparatively, with ADAPTive, there is the ability to direct audio into any desired polar shape using simple techniques

There are two rules for creating a single acoustic source: the source size must be small relative to the desired wavelength of frequencies in the pass band, and the distance between the source’s acoustical centres must match the size of the source. Many companies can build a single box that meets this criteria. The challenge begins when more enclosures are added to create an array, causing most products to break away from the properties of being a single acoustic source. With ADAPTive, the spacing criteria are met and maintained regardless of how many enclosures are used, offering the user the broadest controllable bandwidth to an upper and lower vertical coverage area.

Superior coverage through driver density

There are two steps to define and meet a coverage target. First, enter the accurate audience geometry into prediction software and, second, manipulate the angles to meet the coverage demand of the audience geometry. Where EAW’s Resolution 2 software differs is that, unlike many competitors, it doesn’t simply predict the coverage. Resolution creates the coverage by managing the interaction of every component in the array. This provides an optimised polar for the targeted vertical coverage independent of trim height and number of enclosures deployed.

of progressive delay, amplitude and filtering. ADAPTive allows sound to permeate 180° up or down while the array hangs in a straight line, offering the aesthetic of a single enclosure and, most importantly, remaining a single acoustic source.

The model of efficiency

With traditional line arrays, manipulating vertical coverage after deployment is generally not plausible technically or physically, causing negative impacts on the array’s vertical steering and often leading to disjointed audio and loss of headroom. With ADAPTive, by entering a simple adjustment of coverage in Resolution, a new vertical response is delivered to the system using all its components. There is no loss of headroom or coherence, all without needing to physically move anything – the model of efficiency. ADAPTive systems can also direct subwoofer energy precisely, eliminating issues like power alleys and ensuring even sub-bass coverage across long or steep areas. This malleability makes an ADAPTive subwoofer like Otto ideal for indoor and outdoor venues, providing powerful and coherent low-frequency extension to ADAPTive full-range arrays.

The hidden gem: horizontal coverage expansion

One of the most notable advantages of ADAPTive compared to its mechanically articulated rivals is its ability to easily and predictably expand horizontal coverage. Traditional line sources often require multiple arrays flown at disparate angles and separated by varying distances to cover wide spaces. This leads to inconsistencies in the low-frequency response of the system and adjacent listening areas. By

adding columns to the primary array, an ADAPTive system creates a singular, coherent, predictable and repeatable lowfrequency source, resulting in exceptional bass extension and impulse response. It provides a fuller, more powerful sound with significant headroom. This capability is especially beneficial in highly reverberant spaces, where maintaining consistent bottom-end and low-end coverage is crucial for an event’s success.

Why choose ADAPTive?

ADAPTive technology represents a significant advancement in loudspeaker design and application. By focusing on creating and maintaining a single acoustic source and adapting coverage to the specific geometry of a space, these systems offer unparalleled precision and efficiency. Whether for stadiums, concert halls or smaller venues, ADAPTive ensures consistent, high-quality audio that traditional beam steering and mechanically articulated systems cannot match. This technology is advantageous in challenging environments, providing clear, coherent and powerful audio. The intelligent use of resources and the ability to nimbly adapt to different coverage needs make ADAPTive technology a game-changer in the professional audio industry.

Horizontal coverage expansion

Resolution 2 software

Jason Kelly

Preservation promise

Bea

Meikle talks to Jason Kelly of L-Acoustics about

his charity, Animal Saviours, which funds

global conservation projects,

What does a typical day look like for you at L-Acoustics?

My role as a product and technology marketing engineer is varied, so a typical day is difficult to define. I can conduct market research, work on a new product profile, develop the next tradeshow presentation and deliver content for a current product –all within the same day. Although it can be quite intense at times, this variety keeps things interesting and being part of the product development cycle is also very rewarding.

When did you get involved with wildlife conservation and what does your involvement entail?

I set up the Animal Saviours charity in 2015 with my partner Miriam Lodewijks and it’s grown bit by bit over the years. We basically use our money to fund other charities’ wildlife conservation and rehabilitation projects. One of our primary projects is working with a wildlife reserve near the Pilanesberg National Park in South Africa which researches and protects rhinos. We take groups of around 12–16 people from all around the world to the reserve for a week to do hands-on conservation.

What inspired you to start Animal Saviours?

and what it means to him and the people who get involved

projects. With conservation, I think it’s very easy to see it on TV and think that you understand the process and the problem, but it’s only when you get your feet on the ground and you’re talking to the people on the front line that you realise you probably know nothing about the issue.

What would you suggest to people who would like to become more involved either on a practical or financial level?

Our goal with Animal Saviours has always been to pay it forward in the best way we can by finding projects that have a wider impact on wildlife conservation than we could achieve with our limited resources alone.

This is the concept behind the conservation experiences we run –these trips enable guests to be involved in the practical aspects of conservation and discover how it works in the real world. Guests can see that their financial contributions directly benefit the programmes that they are a part of.

We also take a percentage of the money they pay and distribute it to other projects across the world. By becoming part of one of our trips, they both practically and financially support us by contributing and learning about wildlife conservation and helping us assist other charities.

Miriam is a vet and she was approached by one of her clients who wanted to donate their money in some way for a similar cause. We suggested that we could set up a charity and then use their donations to fund other projects. Initially, we didn’t really do much fundraising per se but, over the years, it’s evolved so that we now use these trips partially as a fundraising opportunity. We do lots of different projects where we try to get people on the ground to interact with conservationists and scientists so they can learn more about what real-world conservation looks like.

What kind of projects do you offer to the groups?

Once or twice a year we do rhino horn trimming which gives the animals roughly an 85% better chance of survival, which is very important because of the level of rhino poaching in South Africa. The guests get to be part of the team that sedates the rhinos and monitors them during the sedation. This involves checking the rhino’s breathing, as well as various other measurements, to gather data for each time they’re de-horned. That is typically

What’s been your standout moment?

One thing that stands out for me is the first horn trimming I did. To have a two-and-a-half-ton animal that is basically a dinosaur, asleep right in front of you, that you can touch, smell and hear –that is just a complete sensory overload. Then after the horn’s been trimmed, to see the animal get up and to hopefully know that it’s relatively safe for the next two years – that’s quite a special thing.

Why do you find the conservation project so beneficial?

It’s been incredible to be able to take people that have probably never been in the African bush and close to those sorts of animals outside of a zoo or a safari park, and to see their reactions to the whole experience. It’s also amazing to see them come back from the trip energised and proactive to get involved with other similar

If people reading this are interested in making a difference, I would encourage them to visit the Animal Saviours website and become part of what we do. They won’t regret it.

Jason and Miriam

As the founder of the Pickwick Chronicles, mixologist and entrepreneur Gabriel Gliga diplomatically toed the line with his partners on every decision from the choice of interior design to the peacock that decorates one of the walls. One criterion was off limits however –the audio system. The two-level, 90m2 venue packs a punch courtesy of a Martin Audio CDD loudspeaker system designed and installed by i-Magic project manager Seth C Langer.

Gliga is as passionate about his music as he is about the cocktails he conjures up behind the two classic bars. “I have a good ear for sound and instantly know when something is missing in the mix,” he said. “For any entertainment venue, audio is an essential part of the experience. You don’t need to create a club-like atmosphere with excessive bass and a lack of clarity, so my request to Seth was to focus on the midrange.” Having known Langer since his days as a Soho Hospitality employee, he requested the US audio specialist to deliver a bespoke audio system on a limited budget with a unique setting. “My partners insisted on three quotations for all the various works

want excessive decibels, so the acoustic energy is directed away from these zones. But other than that, the guests want to enjoy evenly dispersed, full-range music throughout.”

Allowing Gliga to control the levels, a zoned audio system has been created with the addition of a Symetrix Jupiter 8 processor. Wary of neighbours

to the rear, Langer insisted on wall mounting four Martin Audio CDD6 enclosures on each level, with lowfrequency extension provided by a pair of dual 10-inch SX210 subwoofers. Two Work Zenith 2500 dual-channel amplifiers provide sufficient headroom to the 10 cabinets. The inclusion of an Intusonic 6-inch speaker extends the ambience to the outdoor smoking

The system was calibrated and tuned using Smaart analysis software. DSP parameters including limiting and EQ were added and presets have been included with the Jupiter 8 processing. The 70-capacity limit of the third- and fourth-level venue is reached frequently because of guest mixologist evenings in addition to regular DJ appearances. Gliga highlights how Langer’s audio expertise has made the difference: “When my business associates came to our opening night, they realised why I had stubbornly refused to seek alternative quotes. They were amazed at the quality of Martin Audio and are looking to specify the brand for their future projects.”

www.fuzion.co.th www.martin-audio.com

www.symetrix.co

Holoplot technology enhances learning

Located in the city’s Xinyi District, the Taipei Medical University in Taiwan has installed Holoplot audio technology for its main 430-seat auditorium. The space is used for a mixture of onsite and digitally delivered lectures, speeches, ceremonies and seminars and measures 25m from the front of the hall to the back.

The university engaged Dacoms Technology to deliver a solution that could be discreetly integrated into the space and provide optimum intelligibility to aid the learning environment, including combating listening fatigue. A Holoplot X1 system was implemented to focus all sound energy on the audience

area only, avoiding reflective surfaces to increase audio quality. The compact L-R system comprises two 2x2 MD96 clusters to generate intelligible even coverage for every seat in the auditorium, with even SPL levels for the audience, and stage avoidance to improve gain before feedback.

“We no longer need to apply large amounts of SPL to cover the entire space, which can cause echoes that lead to listening fatigue,” commented Terence Lee, EVP of Dacoms. “This immensely improves learning for the students. The system is incredibly flexible, allowing staff to work with presets.”

L–R: Pickwick Chronicles owner Gabriel Gliga with i-Magic project manager Seth C Langer

TAIWAN

KMSPKS temple beams with Ayrton

A large Buddhist statue at the heart of the Kong Meng San Phor Kark See (KMSPKS) temple in Bishan is being illuminated by six Ayrton Eurus Profile fixtures, supplied by Total Solution Marketing following sponsorship from a devoted Buddhist fellowship. The temple team noted why they chose the fixtures: “With gobos on two wheels, these lights offer versatile creative possibilities. Their 40m reach ensures excellent coverage across the stage and the framing shutter options allow precise control over light

shaping. We’re thrilled with the Eurus fixtures.”

Glenn Wong, MD of Total Solution Marketing, commented: “We are proud to enhance this significant cultural and religious landmark with our state-of-the-art lighting solutions. This collaboration reflects our commitment to supporting community projects and promoting cultural heritage through innovative technology.”

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

Nighttime hotspot KV2 Hub named after its sound system

The latest addition to Meishan’s cultural landscape, KV2 Hub, has been aptly named after its sound system. Situated within the heart of the Rose International M District, the sprawling entertainment venue recently opened with a capital investment of over CN¥50m. The principal investor, a Chinese media entrepreneur, heard the KV2 system installed at the Forever club in Wuhan and decided to not only implement it in his own venue, but even name the club after it. KV2 Hub spans an area of over 2,300m2 of column-free space and features over 60 seating

cutting-edge technology and hardware to promise an unforgettable experience for visitors. The audio system comprises four long-throw VHD2.0 mid-high enclosures arranged in two vertical arrays L-R of the main stage. This is supplemented by four VHD2.21 subwoofers for low-end frequency. A further two VHD2.0 enclosures act as a vocal system. The system has been designed to minimise sound distortion or uneven dispersion and has been combined with a custom sound matrix crafted by professional acousticians to provide coverage

CHINA

Christie powers visuals at Wynn Resort’s Illuminarium

The luxury five-star Wynn Palace Cotai in Macau is home to the newest Illuminarium experience location which features Christie Digital Griffyn lasers to power visuals. Located in the heart of the city, the resort’s new immersive experience builds on the Macau SAR Government’s diversified development strategy, aimed at enriching the visitor experience through the development of non-gaming experiences.

“We were approached by the CEO of Wynn Resorts and he really wanted to bring the finest immersive entertainment experience possible to Wynn Palace, which is their flagship property

in Macau,” explained Alan Greenberg, CEO, Illuminarium Experiences. “We had a whole team, including Christie, Rockwell Group, Electrosonic, Holoplot and Legends project management, come to Macau to look at the space. We developed a technology fit and then we were off and running on construction.”

During the initial planning, Illuminarium and Wynn Palace worked closely with Christie’s Joseph Conover, director, live events/immersive experiences at Christie, and solutions architects to select the AV technology for the venue which included 29

of the manufacturer’s Griffyn 4K50-RGB pure laser projectors. The 50,000-lumen laser projector features pure laser illumination technology which has been designed to deliver highly saturated colours for use in large-venue applications.

Furthermore, unlike previous Illuminarium locations, the Macau experience wasn’t built to suit. “We had a very defined space that we had to deal with – we’re inside a major resort,” said Greenberg. “It provides a very expansive entertainment experience for guests at the Wynn Palace.”

Illuminarium opened with its initial show, SPACE: A Journey to the Moon and Beyond, while its most recent interactive and

multisensory experience, WILD: An Immersive Safari Experience, transports guests to the wild savanna. To ensure optimum performance, Christie Professional Services provides 24/7 service and support for the experience’s complete AV system.

“Illuminarium at Wynn Palace is nothing short of spectacular,” remarked Conover. “It’s a true testament to the vision of Wynn Palace and Illuminarium to deliver a unique experience for guests and visitors to the resort. We’re grateful to have been given this opportunity to work with a talented group of people on this world-class project.”

www.christiedigital.com

CHINA

Illuminarium’s opening show: A Journey to the Moon and Beyond

Phoenix Networks flies in for Kathmandu Music Festival

NEPAL

Phoenix Networks designed and supplied a Meyer Sound system for the Kathmandu Music Festival 2024, the first international project for the Indian company. Taking place at the open-air ground at the Hyatt Regency hotel, the two-day extravaganza included performances by internationally celebrated artists and renowned Nepalese pop bands.

Following an in-depth analysis of the venue, Phoenix Networks’ 29-strong team elected to use Meyer Sound’s Panther and Leopard systems. The setup included the primary FOH rig deployed in a stereo configuration of 14 Panther modules on each side of the stage which combined four wide-throw modules and 10 long-throw modules. Four Leopard line array units provided front-fill reinforcement for the audience members located closest to the stage. Covering the entire expanse of the almost 150m-long venue were six Leopard line array modules, acting as the delay reinforcement solution on either side of the venue flanks to provide coverage at the back of the venue.

Providing low-end reinforcement were seven 1100-LFCs rigged in a gradient subwoofer array arrangement on either side of the stage, while three ground-stacked 1100-LFC subs

were deployed on either side of the stage in a cardioid pattern. Control for the system and comprehensive stage management was courtesy of three Galaxy 816 processors.

The onstage setup was tailored to meet the diverse requirements for the artists’ performances. For Pakinstani singer Atif Aslam’s performance, DiGiCo’s SD10 digital

mixing console was utilised with octa-core facility at FOH, while the Quantum 338 digital mixing console was incorporated for the monitor mix. For other bands, a combination of the SD10 console along with a Midas M32 Live digital mixing console was deployed, while Avid’s Venue S6L-24D was the FOH preference for Indian singer Anuv Jain’s performance.

Additionally, artists were supplied with 16 Shure PSM 1000 in-ear monitoring systems. Vocals were captured through an assortment of microphone systems such as Shure’s Axient Digital ADX2 wireless microphone for Aslam and Sennheiser’s 6000 Digital series systems paired with an HSP4 head mic for Jain. The microphone selection also included SM58s and SM57s for instruments, e900 and Audix DP7 for drum kits and various other microphones for delicate acoustic instruments. Wireless guitars were equipped with Shure ADX1 beltpacks and Sennheiser SKM 6000 bodypacks.

Animesh Mishra, founder-director of Phoenix Networks, commented: “Audience members and artists were amazed by the exceptional auditory experience provided by the comprehensive sound system. We firmly believe that exemplary sound reinforcement is the cornerstone of any successful show and the festival’s resounding success is a testament to this.”

www.meyersound.com www.phoenixnetworks.in

ARRI cameras and lights bring VFX-heavy film to

Produced by Create Cinema and Cornerstone Entertainment, Filipino comedy film Fruitcake was shot on ARRI’s ALEXA 35 camera and featured a range of luminaires from the manufacturer to bring VFX-intensive scenes to life. Directed by Joel Ferrer DGPI, the film follows a diverse cast of characters whose stories unexpectedly intertwine when they all meet on a train.

Embracing the director’s affinity for movement in his past films, the team chose to make camera movements their primary way of pushing the visual storytelling forward, mimicking the dynamic motion of a train. “We aimed to have the camera act as a unifying element stitching the various narratives together,” said cinematographer Tey Clamor. “Having train scenes that needed a significant number of VFX shots, coupled with the challenges of dealing with multiple characters with diverse skin tones, I chose to go for the superior image quality and robust build of the ALEXA 35.”

As the project involved a myriad of characters in a confined space, complex shots and multiple shooting days, the team elected to shoot inside a stationary Light Rail Transit

(LRT) car and employ VFX to simulate a moving train. “It was my first time lighting a nonmoving train and making it appear in motion,” noted Clamor. “I collaborated with my gaffer and key grip, conducted thorough research, observed actual trains and meticulously planned a detailed lighting diagram.”

Several SkyPanels, controlled remotely via DMX by Clamor and co-operator Mico Manalansay, as well as ARRI D12 and D40 fixtures were utilised to illuminate the green screens. “Each light source was of premium quality, ensuring an even tone for the green screens and providing the appropriate lighting for dynamic movements in the train scenes,” explained Clamor.

Clamor added that the ALEXA 35’s LogC4 functionality significantly enhanced his flexibility in exposing images which was helpful due to the production’s limited lighting resources. He also cited the camera’s REVEAL Color Science which aided the colour-grading experience for both him and colourist, Joe Nico Ebora.

Local postproduction boutique Malasmalas Studios contributed significantly to the filmmaking process from preproduction to

post, aiding with VFX and CGI. “We needed to navigate through more than 100 shots for the film. The footage wasn’t grainy, even in sequences filmed during nighttime or under low light conditions. The clips exhibited an outstanding dynamic range, allowing us to

Coda Audio doubles up sound for ADM super clubs

Super clubs ADM Da Nang and ADM Bien Hoa both feature a Coda Audio system to power sound for international DJ sets and performances by some of the country’s leading live acts. Hanoi-based integrator Viet KTV Electronics Company supplied and installed the solution for both spaces centring around the manufacturer’s AiRAY speakers.

SC2-Fs and three SCP subwoofers. Bien Hoa’s system is driven by five LINUS DSP amplifiers, with two CUE TWOs for stage monitoring.

“Taking forward the success of the first project at ADM Da Nang, the venue in Bien Hoa has once again been equipped with Coda Audio,” added Diep. “Predictably, the system has completely won over the customers and

The newly opened Da Nang location features 20 AiRAY units, complemented by nine SCP subwoofers and four SC2-F bass extensions. Six LINUS14s and one LINUS10C DSP amplifier drive the system. “We are honoured to be the supplier of this high-end sound system from Coda Audio for ADM,” said Vu Phi Diep, founder of Viet KTV.

Due to the success of the Da Nang installation, the venue owners engaged the integrator to supply another Coda system for the ADM branch in Bien Hoa. The solution comprises 12 AiRAY line arrays with four

helped to create a top-class entertainment destination with sound quality beyond expectations.”

Coda Audio global business lead, Paul Ward, commented: “Viet KTV are doing great work in Vietnam as our distributor and as a leading integrator. The fact that the install in Da Nang led directly to the Bien Hoa project is testament both to the quality of our systems and the Viet KTV team’s expertise in deploying them for optimal outcomes.”

www.codaaudio.com

access abundant details in the

and shadows,”

www.arri.com

Nexo carries the torch in French Polynesia

In the run-up to the 2024 Olympic Games, French Polynesia hosted the torch relay, with a concert to culminate the event featuring a Nexo sound system. The island was the 31st stage of 68 before the torch returned to Paris for the games. With 124 torchbearers across 11 municipalities, the Olympic flame arrived at the tip of Fare Mahora aboard a V6 canoe, followed by a lighting of the cauldron at Place To’ata in the capital Papeete on the island of Tahiti. Comimpex provided the sound system for the concert which was attended by thousands of islanders. The Nexo system comprised left and right hangs of nine

extension line array elements with three M28 side fills and six STM S118 subs per side in a cardioid configuration. For stage side fills, stacks of one S118 with three M28s were implemented, while amplification and processing were provided by nine of the manufacturer’s Universal Amp Racks which also incorporate digital input metering and output patching. “This was an important opportunity for French Polynesian people to be a part of the Games and we’re proud to have delivered world-class sound at such a prestigious event,” commented Comimpex manager Jean-François Leou.

highlights

commented CG artist Vladimer Castañeto and VFX artists Tricia Bernasor and Shaine Robles.

VIETNAM

FRENCH POLYNESIA

Two ALEXA 35s capturing the train scenes

DAS Audio provides beachfront bass in Goa

Located in Anjuna, Slow Tide Restaurant has implemented a DAS Audio sound system, designed and installed by Audio Kris. A hotspot for both locals and tourists, the beachfront venue regularly plays host to live music and DJ sets.

The main objective for the project was to install a sound system that delivered consistent quality and coverage without compromising the venue’s aesthetics. Additionally, the system needed to be versatile enough to work both in relaxed atmospheres and during lively parties. Due to Slow Tide Restaurant’s beachfront location, extreme environmental conditions like salt, high humidity and high temperatures posed potential challenges to the project such as impacting the durability of the equipment.

DAS Audio’s WR series systems were chosen for the project. Eight WR-8826-CXs and two WR-6415-CXs, constructed of birch plywood for ruggedness and durability, have been implemented to provide uniform coverage

throughout the venue. To enhance the low end, two WR-151Ss and two WR-218S subwoofers were installed. To meet both technical and environmental requirements, the ARCO series systems, moulded in ABS plastic, were also installed. All audio management is handled using the Integral series and its M-88 processor, while amplification is courtesy of six PA-1500s and one PA-4000.

“The Slow Tide Restaurant project was a fantastic opportunity for us to showcase the durability and sound quality of DAS Audio products,” commented Cris Furtado, managing director at Audio Kris. “Our long-standing relationship with DAS Audio allowed us to confidently meet the unique challenges posed by Goa’s beachfront environment, ensuring that both locals and tourists enjoy an exceptional audio experience.”

www.dasaudio.com

Geraldton Turf Club places its bets on MediaMatrix

The oldest provincial race club in Western Australia’s racing community, the Geraldton Turf Club, recently upgraded to an audio and control solution designed and installed by 65Thirty Events, supplied by NAS Solutions. Hosting numerous events throughout the racing season, the club desired a clear audio system for announcements, race commentary and overall event management.

At the heart of the system is the MediaMatrix NION N3 AoIP solution, operating over Dante. Essentially acting as a fader-less mixer across the entire venue, the system controls all audio zones, inputs, outputs, volumes and ducking. In addition,

staff can access necessary controls via wall-mounted MediaMatrix sTOUCH 55 touchpanels.

“The choice of MediaMatrix really came down to the cost-effectiveness of future expandability,” noted Lane Place, owner of 65Thirty Events, who spearheaded the project. “If you want to expand the system, you simply add another Cat6 cable going into a Dante receiver and we can do as many as we want. The simplicity of the user interface was a huge selling point as well.”

An array of inDESIGN loudspeakers have been installed, tailored to different areas of the venue and powered by Cloud CA2250EK and InterM DPA-600S amplifiers. “We installed about 42 speakers in total, comprised of the ID-MH1512 music horns in the outdoor areas, some iD-BGM8s under eaves in the bar, picnic areas and where in-fill was needed, iD-BGM6s in the Tab area and iD-PCS8 in-ceiling speakers in the members areas,” added Place.

Place said that the iD-MH1512 music horns were a standout in the project. “We recently used the music horns at the ANZAC Day service with 4,000 people in attendance and everyone raved about the sound,” he confirmed.

David Wrensted, manager of Geraldton Turf Club, commented: “The feedback from the public and stakeholders has been overwhelmingly positive. An important factor in the upgrade of the PA system was to futureproof the sound system going forward. We believe 65Thirty Events has delivered that and more. It has given the club a professional edge and the confidence that the long-running issues of a failed PA system are behind us.”

www.65thirty.com.au

www.cloud.co.uk

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Club BEEN chooses Robe

CHINA

Club BEEN has burst onto the highly competitive nightlife scene in Beijing with an AVL solution by Netherlands-based creative studio Live Legends. Headed by project director Serge Patist and lighting designers Thomas de Vries and Bas Knappers, the lighting system features over 250 Robe moving lights, 144 Spikies, 76 Viva CMYs and six T1 Profiles.

The brand-new entertainment space features a bold and modern interior design that emulates physical elements like RSJs and concrete pillars with geometric shapes and lines of lights that intersect and create matrix-style effects with different beams and colours. Club BEEN also includes a video screen upstage of the DJ booth along the back wall and a large, automated cube-shaped centrepiece rigged above the middle of the room with a screen that folds down from the ceiling enclosing the DJ booth from the top as well.

In terms of the lighting design, de Vries completed the drawings and visualisations, while Knappers did most of the programming in the studio and onsite in Beijing. They also created some special light and visual shows for the opening nights. “We wanted long linear runs of lights that reinforced the cube theme and accented the space clearly and with an elegant demarcation,” explained de Vries. The main room measures approximately 30m2 with some adjacent VIP areas and different bars around the space. Both the

Spikies and the Viva CMYs were selected for their compact form factor, as well as to blend in with BEEN’s aesthetic. Spikies are rigged in horizontal and vertical rows on the roof beams and can shoot in all directions through the space, with a quantity at floor level and around the DJ area onstage for contrast.

The Viva CMYs have been primarily rigged on bars inside columns carved out from the

concrete walls, with most of the fixture bodies hidden and only the front lenses visible, in a line or a block shape to tie-in with the cube theme. Both LDs specified the T1 Profiles for key lighting on the DJ and dancers, while a variety of other lights have also been incorporated in the installation.

“We have been involved in several designs and installations in China now

and it’s always a pleasure to work with our Chinese Partner SIR.TEEN Group who are dedicated to providing visitors with the very best creative experiences, production values and excellent music,” concluded de Vries.

www.livelegends.com www.robe.cz

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Powersoft provides a crossover of power and energy-efficiency in Malaysia

MALAYSIA

Kuala Lumpur’s multilabel retail and concept flagship store CROSSOVER has implemented Powersoft’s T Series amplifier platform to power audio and minimise energy consumption.

CROSSOVER is a multi-label retail space and concept flagship store housing labels such as Carhartt WIP, Aries and Patta. The shop needed to transform the in-store audio experience to match its avant-garde retail ambience.

Located in the city’s international financial district, the sustainabilityconscious store reached out to Norwegian loudspeaker manufacturer NNNN, which specified the Powersoft solution to power its OJAS ON7 speakers.

Integrator Concept Associates (KL) tailored the audio setup to the store’s unique architectural features, with the aim to provide even distribution of sound without overpowering certain areas.

Another key factor was to ensure the system blended in with CROSSOVER’s design and also not impact on the shopping experience during the installation process.

Julian Noor, senior application engineer of Concept Associates, said that the T604A’s ability to deliver high power with minimal energy consumption aligned with the store’s sustainability goals.

“The T604A amplifier has built-in DSP, which came in handy,” he added. “Since each stack of NNNN OJAS ON7 are tri-amped, the TestSYS function in ArmoníaPlus allowed us to quickly test if all the drivers were internally wired and functioning properly.”

The integrator worked closely with Powersoft technicians to develop custom presets that matched the store’s unique acoustic profile.

NNNN’s speaker presets are available in ArmoníaPlus, although a few ON7 system speakers require manual configuration. The ON7 speakers were placed near the store’s main entrance, with one facing the entrance and the other inwards, both in front of a pillar. The Powersoft amplifiers were integrated into the store’s tills. Two T604As are powering two stacks of OJAS ON7s and the store is using its own Pioneer DJ console in combination with a Yamaha MG10XU mixer. Following installation, Concept Associates provided comprehensive training for CROSSOVER’s staff to easily adjust the system settings as needed.

“This installation highlights the importance of selecting the right audio equipment and

partners to achieve a seamless integration of technology and design, ultimately enhancing the overall customer experience,” concluded Noor. “What’s more, the store has observed a reduction in energy consumption that’s been attributed to Powersoft amplifiers’ high efficiency, which has been contributing to lower operational costs.”

www.conceptaudio.com.my www.nnnn.no www.powersoft.com

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Quest and NST elevate sound at Melbourne’s Teller

Located in Melbourne’s Brunswick East, thriving contemporary pub and hospitality venue Teller has recently installed an audio solution comprising products from Quest Engineering and NST Audio. The venue was originally home to the State Bank of Victoria and comprises a multifaceted collection of spaces, designed to accommodate various functions and events.

Owner Melanie Aldred called on Factory Sound to integrate the system as part of the venue’s development process, with consultation provided by Group Technologies. Quest MX601 and MX801 loudspeakers, along with X10S concealable 10-inch subwoofers, have been placed throughout the venue for maximum coverage and to provide background music. Ceiling-mount MX6C speakers have also been implemented to extend coverage across the bathrooms and corridors.

For the larger spaces at Teller, additional systems from the HPI Series provide increased volume during big functions, including four PI25 dual 5-inch loudspeakers and two HPI12S compact sub-bass

cabinets. For power, three QX4300s were used to feed the MX Series loudspeakers, while the heavier duty of powering the HPI Series went to a QX4750.

“Our team had to be very careful when choosing the right speakers – including the right colours – and placing them in the right way, so as to not break the aesthetic,” said Jonathan Sinclair, Factory Sound’s projects department manager. “We found that the results in fact added to the aesthetic; not every speaker brand and model can do that, but Quest has really good-looking speakers.”

Another key requirement for the project was to have distinct zones of audio to tie in with the venue’s array of unique spaces, including its small and large function spaces, private dining spaces, formal dining and more traditional open dining areas. In line with this, Factory Sound installed two Dante-enabled NST Audio VMX88 processors to create a multisource zoned audio setup which allows the restaurant staff to adjust the volumes in each area separately. A set of VR1 wall panels were also placed throughout Teller to provide remote control of the system.

“Being able to manage each zone independently, whilst maintaining excellent audio quality throughout, was a very important part of choosing the right processing unit for the project,” added Sinclair.

“The VMX88 is well-suited for this requirement and also makes life easy for the client by offering easyto-use remote-control panels like the VR1.”

“We’ve had a noticeable number of guests comment on the quality of sound that the system can

deliver,” said Aldred. “Both the patrons and the staff agree that it sounds fantastic. Group Technologies and Factory Sound went above and beyond when it came to the design and the roll-out of this setup. Teller now has a fit-for-purpose solution that’s easy to navigate and perfect for our needs.”

www.grouptechnologies.com.au

www.nstaudio.com

www.questaudio.com.au

Tiffany Wonder exhibition dazzles with ROE

JAPAN

Celebrating 187 years of the company, Tiffany & Co.’s Tiffany Wonder exhibition at the TOKYO NODE gallery immerses visitors through imaginative LED installations. Takenaka and Ark Ventures designed ROE LED walls powered by Brompton processing for three rooms of the exhibition.

The “Breakfast at Tiffany’s Room” features two screens measuring 3.5m x 3m and 3m x 3m consisting RB1.2 panels displaying visuals of Breakfast at Tiffany’s and snippets from other films featuring Tiffany’s jewelry.

The “Wonder of Celebration” room boasts a 5m x 3m curved wall comprising 54 RB1.9 LED panels, while the “Diamond Kings” room features four screens each measuring 1.5m x 3m made up of 18 RB1.2 LED panels. Eight Tessera SX40 processors and 11 Tessera XD data distribution units drive the setup.

The “Diamond Kings” room

Takenaka’s representative director, Hideaki Takenaka, commented: “Working together with Ark Ventures, we were able to add an additional layer of ‘sparkle’ and sophistication to the Tiffany’s exhibition with high-quality LED screens and industry-leading LED processing.”

www.bromptontech.com www.roevisual.com

Chinese pop star pioneers 360° L-ISA show in Asia

CHINA

Pop sensation Ada Zhuang launched her 2024 Hi Stranger tour with a 360° L-ISA immersive sound experience. Taking place at Shenzhen’s Bao’an Stadium, the show marked the first-ever concert to deploy the L-Acoustics sound technology in a full 360° format. Zhuang, who regularly plays to crowds of 40,000 people and up, wanted to elevate her live performances by creating a more intimate and engaging experience for her fans.

Guangzhou HaoNa Audio Equipment deployed nearly 300 L-Acoustics speakers in a configuration that surrounded the audience with sound from all directions, including overhead. This immersive setup aimed to dissolve the traditional barriers between performer and audience, allowing Zhuang’s music to envelop listeners in a three-dimensional soundscape.

Rightway Audio Consultants (RAC) supported Guangzhou HaoNa Audio Equipment on the project. “I firmly believe that immersive sound will be a key trend in the future,” said Jason Tao, CEO of RAC. “L-ISA technology uses more scientific algorithms to better localise the source in a three-dimensional space. It can create multiple spatial sensations, allowing the audience to be completely immersed and surrounded.”

The L-ISA Hyperreal Immersive Sound configuration comprised a frontal system of five hangs of 12 L-Acoustics K2 each and 12 K3 speakers per hang for extension on either side. Extending the low frequencies were 16 KS28 flown behind the frontal system and 10 ground-stacked KS28 subwoofers. An array of nine K2 speakers per side provided side-fill, while a surround system employed seven hangs of six Kara II speakers each. The overhead system comprised four hangs of six Kiva II speakers.

Music director Cai Xiaoen noted that the implementation of the technology offered Zhuang and the creative team unprecedented control over the soundscape, likening the experience to “converting two-dimensional audio to threedimensional audio”.

The concert also integrated the BlackTrax infrared sensor system for real-time tracking, creating an audiovisual show incorporating lighting, video, visual projection, AR and camera systems. This resulted in a multidimensional experience for concertgoers, where sound and visuals worked in harmony to amplify the emotional impact of Zhuang’s performance. By immersing fans in a 360° sound experience, Zhuang was able to create a more intimate and memorable concert environment, despite the large-scale venue.

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

Pulse sambas into SEA with Singapore installation

Located atop Capital Tower, SUSHISAMBA has opened in Singapore with a comprehensive AVL solution provided by Pulse Middle East. The restaurant features a bar, panoramic 360° views overlooking the cityscape, intimate private dining rooms and the exclusive SAMBAROOM – a concept that brings together fun-dining with high-energy parties.

The AVL system integrates lighting and audio over a network and is controllable from smartphones and tablets with Xilica as the central control hub. The integration of all the equipment was carefully coordinated with the designers from Sunset Hospitality who

concealed the speakers within the design to maintain the space’s aesthetic integrity.

Martin Audio FlexPoint and CDD speakers and SX subs are installed along the interior walls of Level 52 and the mezzanine for comprehensive audio coverage across the venue’s main areas. Ceiling speakers have also been utilised in specific locations such as private dining rooms, washrooms and corridors for targeted sound distribution. The system also includes Pioneer DJ decks and monitors.

Pulse also implemented a network infrastructure with Ubiquiti Dream Machine, UniFi Switching and U6-Pros. The rack equipment includes Linea Research amplifiers, a Xilica DSP control system and products from Visual Productions for control.

Vision Professional Lighting Viper 150W lights are positioned on the mezzanine floor to enhance the atmosphere in the SAMBAROOM with moving lighting. The setup is hot-swappable when connected to the network and the control can be moved from the ChamSys QuickQ 20 lighting console to the iPad lighting control, allowing staff to manage the lighting from their devices.

The audio zoning system is managed through Xilica wall controllers and the Xilica programme on an iPad. This system allows for tailored adjustments to fit various operational atmospheres, creating a customised experience throughout the venue.

“We are thrilled with the final result of our project at SUSHISAMBA,” commented Matthew Ilsley, Pulse Middle East AV project manager. “The successful integration of our AVL solutions and innovative zoning control through Xilica has created an exceptional experience.”

Based in the UAE, Pulse has built up a strong portfolio of projects across Asia and the SUSHISAMBA installation marks the company’s first venture into Southeast Asia. “As Pulse’s first project in Southeast Asia, this opportunity has been incredibly rewarding,” stated Ilsley. “We are excited about expanding our presence in the Asian hospitality sector and look forward to future projects in the region. We hope the customers at SUSHISAMBA Singapore enjoy the new setup as much as we enjoyed bringing it to life.”

www.pulse-me.com

Will Pan kicks off world tour with EAW

For the Chinese leg of Will Pan’s 2024 Mad Love world tour, EZPro provided a PA system featuring Eastern Acoustic Works’ ADAPTive Anya arrays and Otto subwoofers. The Taiwanese–American singer’s tour was produced with the help of MaxTeam, one of the largest pop music performance service teams in China. Kicking off at the Hangzhou Olympic Sports Center Indoor Stadium, the first Mad Love show incorporated 24 EAW Anya enclosures, 12 per side, as the main PA system. The speakers were flown to a trim height of 13m but covered the near and far seating using the manufacturer’s Resolution 2 software to dictate start and stop coverages for the system. “The performance was perfect – whether it was the sound pressure level, the sense of energy in the mid-low frequencies or the

finesse of the high frequencies, Anya showed extremely strong expressiveness,” noted Shao Yong, sound engineer and sound director of the tour. The ADAPTive capabilities of the

system were leveraged to maintain an even SPL level over the seating area with the difference between the front and rear not exceeding ±3dB. The team noted that the measured frequency

response of the Anya system was also consistent, bringing hi-fi sound quality, impact and coherent coverage to the audience.

Ten Anya enclosures, five per side, were used for outfill to complete the soundfield coverage of the auditorium area on both sides of the stage. For low-frequency extension, Otto ADAPTive subwoofers were also installed on both sides of the stage entrance.

Yong concluded: “This is the most advanced system I’ve ever used and the outward appearance blends well with the structure of the stage. Overall, the artist team, the director team and the mixing team were all very satisfied with the EAW ADAPTive system.”

www.eaw.com

www.ezpro.com

Monash University Malaysia upgrades studios with JAA Systems

Monash University Malaysia has recently upgraded its multimedia department’s radio and podcast studios with solutions provided by JAA Systems. Contracted by Clearcast Asia, the project includes the installation of Axel Technology’s Oxygen 2000 radio mixer with Dante AoIP networking and the Tascam Mixcast 4 podcast mixer. The setup enables students and faculty to produce audio content for a wide range of broadcasting and streaming applications. The Tascam Mixcast 4 podcasting station, featuring multiple microphone inputs, sound pads for effects and music and integrated mixing features, has been installed in the podcast studio. The solution can be utilised by students and faculty for podcasts, livestreams and recordings. The project has also included

the complete redesign of the console table to enhance ergonomic functionality and aesthetic appeal.

David Chan, CEO of JAA Systems, added: “We are honoured to work with Monash University Malaysia on this important project to support the university’s mission of excellence in education and research. The new equipment and studio redesign will greatly benefit the students by providing them with hands-on experience using cutting-edge technology, preparing them for successful careers in the media industry.”

www.axeltechnology.com

www.jaasys.com

www.tascam.jp

CHINA

MALAYSIA

Monash University’s on-air studio features an Axel Oxygen 2000 mixer

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Kantana VP studio launches with Pixreal display

Situated in the heart of Bangkok, Kantana Post Production’s new Virtual Production (VP) studio recently opened featuring an ICVFX VP LED Volume – reportedly the largest VP stage in Thailand. Featuring an array of technology solutions from Pixreal, Brompton Technology, ARRI, disguise, Unreal Engine and stYpe, the space will be used for producing TV advertisements, TV dramas, films and Netflix Thailand original series.

“Since opening our new ICVFX VP LED Volume, we’ve been overwhelmed by the positive feedback from the industry, with companies like Netflix coming on board to create their content,” said Jareuk Kaljareuk, chairman of Kantana Group. “In fact, we will be shooting an original movie produced by Netflix Thailand which is very exciting.”

South Korean production company Dexter Studios provided system design and consulting for Kantana Group. The company designed an LED Volume made up of Pixreal’s Avatar series and ENZO panels, powered by Brompton’s 4K Tessera SX40 LED processors and Tessera XD 10G data distribution units.

from 2–8m in height, further enhancing its scale.

Brompton Technology provides control and processing for the entire space, with five Tessera SX40 processors and 10 Tessera XD data distribution units deployed for the studio. All Pixreal LED panels have been calibrated with Brompton’s Hydra measurement system to enable dynamic calibration and HDR.

Alex Guo, programme manager at Brompton Technology, commented: “The introduction of the ICVFX VP LED Volume opens new possibilities for creative companies, not only in Thailand but throughout Southeast Asia. We look forward to seeing productions leverage the full suite of cutting-edge technologies and expertise the studio offers, making it an incredibly attractive option for their clients.”

Built as a giant U-shape with a 4° concave format and a diameter of over 15m, the main LED wall is made up of 560 Avatar2.3 panels LED tiles which measure 2.5m x 14m (HxW) with a resolution of 12096x2160 pixels. The ceiling LED volume comprises 188 units of Enzo3.9 panels covering an area of 94m2 with a resolution of 3328x2048. The screen-capped ceiling can reach a brightness of 4,500 nits, making it reportedly the brightest studio skyline in Bangkok city. Furthermore, the full covering LED screen can move

Leo Wu, GM of Pixreal’s engineering science team, added: “Being part of this incredible project to install the virtual production LED stage has been an extraordinary journey. We are deeply grateful for the immense effort and expertise our team poured into every detail. Together, we’ve transformed our vision into reality, setting a new benchmark for innovation and creativity.”

www.bromptontech.com www.kantanadigital.com www.pixrealled.com

In collaboration with Stagetec Asia, Malaysian business and current affairs radio station

BFM 89.9 has undergone a technological revamp featuring solutions from Audio Video Technologies and DHD Audio. Located in Kuala Lumpur, the new solutions were integrated after meticulous demonstrations and evaluations by Yuzwan Yusuf, broadcast operations manager at BFM, to offer audio mixing capabilities, enhanced sound quality and a streamlined workflow.

BFM’s Studio C now features AVT’s MAGIC TH1Go telephone hybrid system. Featuring webbrowser-based operation, the system allows BFM to manage calls directly from digital devices, negating the need for traditional audio cabling via LAN. The setup is designed to streamline the pretalk process, including streaming and recording.

installed to boost recording capabilities. It offers simplified access to

BFM’s Yuzwan Yusuf

control settings and channel configurations and it facilitates integration with the AVT telephone hybrid equipment, providing BFM with operational fluency.

www.bfm.my www.stagetecasia.com

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Optimal Audio for Weibi Music Bar

Located in the bustling city of Nanjing, Weibi Music Bar has installed Optimal Audio’s Cuboid series to power sound for regular live performances of various genres such as jazz, blues and rock.

The owner was looking for a sound system to accurately reproduce the performance of live bands and singers and turned to an Optimal Audio solution

to create a new space that integrates music, art and technology. The Cuboid 10 and Cuboid 12 speakers have been wallmounted in different areas of the bar to provide uniform coverage. Due to the venue’s small size, the compact form factor of the models has enabled them to integrate into the space without affecting its aesthetic. The system has also been

fine-tuned to ensure clear tones and impactful sound in every area.

In addition to feedback, the return rate of customers has increased significantly. Furthermore, the venue has also attracted more well-known musicians and bands for performances.

www.optimal-audio.co.uk

1 Sound accelerates audio at Ferrari launch

Melodia Productions recently deployed a 1 Sound system for the Ferrari Roma Spider launch event at Tamo venue in Surabaya. The Italian sports car manufacturer enlisted the company to provide an audio solution to complement the aesthetic of the elegant, allwhite venue and provide enhanced sound for live performances.

Melodia chose to go with a fully cardioid system due to the venue’s cavernous hall. The goal was to keep the sound narrow and have minimal reflections to support background music and a string chamber orchestra performance.

1 Sound’s Tower LCC84 was used, in cardioid column, paired on top of the CSUB610 cardioid

subwoofer. Four stacks of the Tower LCC84 and CSUB610, in white housings, were incorporated for the design.

“This exclusive event for the Ferrari brand launched a new world-class sports car,” said Rudy Winarto, owner of Melodia Production. “We chose to use 1 Sound to support the live music at the event. The Tower system reproduced the string orchestra perfectly with true clarity and the cardioid properties were necessary for the venue that otherwise would’ve had a lot of acoustical reverberation. Lastly, the all-white system looked great in addition to its sound.”

www.1-sound.com

CHINA

INDONESIA

INFiLED captures attention in Mongolia

Located in the Xincheng District, Hohhot, Inner Mongolia, the Sincerity Digital Building has recently added an INFiLED MV Series screen to its façade to display advertisements to the vast population of residents in the vicinity. The Sincerity building joins a series of prominent structures in the region which also feature the manufacturer’s displays, including at Dongba Wanda Plaza and Jinan Yaoqiang International Airport.

Measuring a mammoth 45m x 12m (WxH), the screen adorns the upper part of the prominent building, making the

distance. The display features a 10.4mm pixel pitch and 5,000 nits brightness. It has adjustable brightness levels from 0–100% with 256 levels and a viewing angle of 160° to enable images to still be seen in various lighting conditions. To combat issues posed by inclement weather conditions in the area, it features an aluminium profile frame and IP65 protection. Furthermore, the MV Series cabinets allow maintenance access from the front and rear, enabling workers to address the screen’s status and potential issues.

AEQ technology enlivens Australian radio station

AUSTRALIA

Based in Baulkham Hills, Radio Alive has implemented an outdoor work kit manufactured by AEQ’s local partner in the country, Broadcast Components, with the ALIO audio codec serving as the centrepiece of the system. The community radio station broadcasts on 90.5MHz FM and its programming features a predominantly contemporary music and community information format, including public assistance sections. As a regular user of AEQ technology, Radio Alive 90.5FM’s main broadcast studio features the manufacturer’s AEQ Capitol IP digital console.

codec features dual stereo channels and enables the station to broadcast at outdoor events, and in multiple locations such as parks, hotels or restaurants.

Chantelle from Broadcast Components commissioned the system and provided training for the staff. Following installation, the equipment has already been used on numerous occasions, including Run for the Hill, Mateship Fair and Hills Winter Sleep Out.

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Black Stone rocks to RCF

As one of the newer established beach clubs in Bali, Black Stone Yacht Club bravely assumed a shoreline plot devoid of other entertainment in Tanjung Benoa Port. Based on a Mediterranean concept, the panoramic venue is drawing diners from land and sea for drinks, dinners, weddings, parties and community gatherings.

An RCF loudspeaker system supplied, designed and installed by PT Kairos Multi Jaya is also playing a starring role during the important first months of operations at the venue. In addition to an outside dining area by the wharf, the indoor two-level venue has so far demonstrated how it can firstly serenade a crowd and, secondly, keep it onsite. “The loudspeaker system is versatile, powerful and easy to use,” insisted Black Stone Yacht Club general manager, Melvin Septa Osman.

during weekend evenings and special events. Having placed an emphasis on the importance of the musical ambience, Black Stone tasked PT Kairos Multi Jaya to install a loudspeaker system that would transform background into foreground music when the time of day or the occasion called.

Powered by two Crest Audio 8200 amplifiers, four RCF C5212-94 ceiling-fixed enclosures provide the varying SPLs depending on the venue’s requirements. Fixed as L-R stereo pairs in main and delay settings, the narrow 90° x 40° horizontal dispersion emitting from the 12-inch models ensures that the spartan acoustic nature of the venue is not over excited. The lower frequencies extend down to 30Hz courtesy of twin RCF SUB 8004-AS subwoofers. Recessed into the rear wall on either side of the DJ booth, the self-powered 18-inch loaded

enclosures are equipped with a Pioneer mixer and twin decks.

The open-plan, upper-level area above the main bar is catered for by a pair of wallmounted RCF Compact M-08 8-inch enclosures powered by a Crest Peavey CS3000 amplifier. A blend of wall-mounted RCF S-8015 II and Compact M-08 speakers provide the required ambience for the outdoor seats. Ensuring a smooth, even consistency of audio throughout the varied zones, EQ and delay parameters were accurately programmed within the VSX Editor Program software of two Peavey VSX 48e four-in/eight-out digital processors. Utilising eight of the 16 outputs available, fully adjustable crossover filters allow any input to be routed to any of the eight indoor and four outdoor outputs.

The in-house engineer mixes live performances from the control surface of an Allen & Heath Qu-16 digital mixer located in the DJ booth. Connected to the outputs of the DX-168 stagebox, a portable, self-powered RCF loudspeaker system combining pole-mounted RCF ART 712 speakers on ART 708-AS subwoofers is preferred for these higher SPL events.

PT Kairos Multi Jaya system designer Damaran Kristanto assisted the installation team onsite including systems engineer Ryan Rama and Danang. “It was a straightforward setup but, for such a pioneering venue, the audio must empower the venue’s performance credentials. Having fully comprehended the owner’s varied requirements and delivered within the specified budget, the RCF loudspeakers offer consistency, flexibility, reliability and ample power.”

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L–R: PT Kairos Multi Jaya reunites at Black Stone Yacht Club – Danang, Ryan Rama, Melvin Septa Osman (Black Stone Yacht Club general manager), Johannes Martin Wijaya and Damaran Kristanto

DiGiCo steals the show for Nothing But Thieves’ tour

SOUTH KOREA

For English rock band Nothing But Thieves’ “fly-in” gig in South Korea, FOH engineer Gary Curtis decided to switch to a DiGiCo Quantum 338 console, supplied by Solotech. Now, the Quantum 338 is the band and the teams’ desk of choice at both front of house and monitor positions.

“We had been using another system for about seven years,” explained Curtis. “But when we heard the Quantum, we all knew it was really good. The other console was great, but the DiGiCo is completely different.”

As monitor engineer David Ruffle was unable to attend the South Korean leg of the tour and was unfamiliar with the console, Solotech invited him to its HQ, where he got a chance to take a closer look. “We ran through the desk with some multitrack recordings that I’d heard a thousand times before, and it was incredible,” he said. “The space and the separation the DiGiCo console gave the tracks was phenomenal – I was hearing things that I’d never really noticed before.”

Curtis noted that the desk’s Snapshot and Scene features have allowed him to automate certain changes that always happen in the show, so that he can focus more on the band and his mix. “We have an integrated timecode system for our lights and playback – by converting the LTC to MTC via my Rosendahl mif4 I can link the desk to the timecode and Snapshots that happen exactly when I need them,” he explained.

In addition, Curtis cited his satisfaction with the sonic quality of the console, which he states is “in a different league”. He also remarked on the desk’s processing elements such as Mustard Processing and the compressor emulations which he

the processing is onboard, supported by a few outboard effects,” he said.

Ruffle concluded on the investment: “I’m using all the processing. I think that’s what sold me on the desk. Plus, the 338 surface is really usable and the conversions are so easy between consoles, I know that if we have to do any more fly shows, I’ll be able to adapt to any console in the range and it just sounds incredible. I’ll be using DiGiCo Quantums for a long time to come.”

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Next generation visionary

Richard Lawn meets Thitikorn Sopchokchai, whose fresh ideas and innovations are shaking up the Thai family business

ESTABLISHED IN 1983 BY PIONEER

KITTISAK

Sopchokchai, Vichai Trading 1983 has evolved over four decades into four complementary companies under the Vichai Group banner. Providing expertise across all market segments, Vichai Group’s understanding of AV technologies ensures it leads the field. The baton has now been passed to Kittisak’s son and current managing director, Thitikorn.

“My father identified an opportunity in the market to create a project-based business, so Vichai 1983 separated from the familybased Vichai Trading ROP,” says Thitikorn of the event that occurred long before his birth. “The audio systems business within the AV industry as a whole is niche, but it will remain the focus of this company going forward regardless of the various vertical sectors in which we operate, including corporate, government, education, transportation, retail and hospitality.”

Educated at an American school in Bangkok, Thitikorn’s academic prowess and command of the English language was strengthened during four years of higher education in Virginia, USA. Awarded a BSc in commerce with a major in finance and marketing and a minor in economics, Thitikorn returned to Thailand. A planned MBA was postponed for 12 years when his mother developed longterm health problems, with Thitikorn assuming her role as CFO, having to quickly familiarise himself with the company’s finances and backend operations. “Although I could apply some of my educational knowledge, it was difficult to get up to speed as a new employee,” he admits. “There was always an expectation for me to work for the family business, but only after completing an MBA. Because of my age, it took some time to be accepted by some of my senior colleagues.”

Undeterred, and applying a mature blend of humility and respect, he was eventually embraced by the team, rebranding the business as one of his first big projects. In 2016, eager to assume a challenge, he implemented an internal SAP enterprise resource planning software system, highlighting his future leadership skills. “To many of my colleagues, the dated internal accounting and financial system operated without problems, so there was little appetite for an overhaul. To enable company growth, however, it was obvious that a system fusing manual and digital paperwork

was at breaking point. The updated ERP undoubtedly helped the company adjust to the doubling of business over the ensuing eight years, without increasing the headcount. It’s a work in progress but, by removing most of the paperwork, we have enhanced our efficiencies.”

While overseeing the company finances and showing a flair for sales, Thitikorn’s passion possibly remains in marketing. “I believe that the marketing efforts we currently conduct have changed how global manufacturers and partners perceive Vichai Group. There are no other businesses in the world where you must deal with 20 different manufacturers supplying the same project. As a result, we have around 10,000 SKUs [stock keeping units] in our catalogue, because every project is unique. It’s important that you apply marketing to stand out from the crowd.” With over 40 years’ expertise working with AV products and technologies, Vichai Group’s renowned projects have established it as a leader and AV specialist. Today, the four companies under the Vichai Group umbrella provide a complete suite of services in professional AV installation, distribution and services. In addition to the SI wing of Vichai Trading (1983), the group consists of the Sound and Communications Systems AV distribution, Digitcontrol Live Sound distribution and Audio Engineering Services maintenance and after-sales service divisions.

Renowned AV brands continue to seek distribution terms with Vichai Group. Although many, including Renkus-Heinz, formed partnerships early on, others such as Netgear, DTEN and Sennheiser only recently signed, and the impressive portfolio also includes Atlona, Audio-Technica, Q-SYS, Televic and Wolfvision. “AV remains a highly dynamic market so, by continually sourcing current, best-in-class technologies for our product portfolio, Vichai Group will continue to faithfully serve its long-term customers.”

Increasing demands to design, supply and install AV solutions for large corporates has led to a reassessment of how Vichai Group views the business. “A gap has emerged between customised AV and what I call ‘standard AV’,” explains Thitikorn. “Following the pandemic, we have witnessed an increasing demand for standardised AV systems in small- to medium-sized

Vichai Group’s headquarters is located between Bangkok’s city centre and the international airport

Thitikorn Sopchokchai

rooms where every room is basically the same. We must balance both worlds because we are in the installed AV space.”

Like his father, Thitikorn identifies technology, service and personnel as being the three main elements of Vichai Group. In addition to offering current AV technology and what he regards as “the best brands in the business”, he recognises the need to recruit the best employees. “Rather than recruit the very best people in their chosen subjects of expertise, we prefer to develop talent through hands-on training. Each company has its own culture where the management interacts with the staff. By nurturing what is a unique culture, the friendliness and positivity that oozes from our staff is transmitted to colleagues and customers alike. By being fair to our employees and providing a great working environment for them, we have very good staff retention.”

Thitikorn has adopted a long-term investment strategy to benefit the group and its employees. A large rent increase in 2017 triggered the search for a new permanent home. Vichai Group’s headquarters is now located between the city centre in the Ramkhamhaeng district and Bangkok’s Suvarnabhumi International airport. At that time, the site and the surrounding infrastructure was still being developed, but Thitikorn could see beyond the construction dust and his instinct propelled him to the estate agent’s office, where he made an offer. Over the following three years, a six-level development was designed and constructed complete with demonstration facilities, meeting rooms, an experience centre and an auditorium. The building design adopts the company’s centralised business structure including warehousing and shipping, with plenty of unused space for expansion and provides a bright, airy and stimulating environment which the staff can proudly call home.

The new headquarters provided a backdrop for the group’s “Journey of Friendship” 40th anniversary in 2023. Together with his father and president Thaweesak Thamsirisup, Thitikorn welcomed an assortment of distinguished Thai and international guests, clients, suppliers and friends stretching back four decades. Speeches in the packed auditorium focused on the friendship and trust of customers, suppliers and the long-serving staff, acknowledging that the milestone achievement was down to everyone. “The event was

we also wanted to create a memory, because that is what AV is all about.”

Like any other family-owned company, Vichai Group has entered a transitionary period as the founders make way for the newer generation. “With 170 employees, we are a big organisation that demands the best people to maintain its position and take us forwards within our niche AV world,” muses Thitikorn, whose 12-year tenure has coincided with the most successful growth period in the company’s history. A coincidence perhaps, as the foundations had been laid during the previous three decades. However, as he confidently applies his leadership skills, the AV capabilities of this Thai pioneer will continue to extend into new territories.

www.vichai.group

The group’s “Journey of Friendship” celebrations at its 40th anniversary last year

Sennheiser recently signed Vichai as its Thai distributor

Mission accomplished

The Shrimad Rajchandra Mission has a new spiritual complex at its Dharampur ashram, with an Adamson system to rival any rock venue. Caroline Moss reports from Gujarat

NAMED IN HONOUR OF SHRIMAD RAJCHANDRA, late 19th-century self-realised saint, poet, philosopher and reformer of Jainism, the Shrimad Rajchandra Mission was founded by devotee Pujya Gurudevshri Rakeshji in order to pass down the spiritual legacy. Today, the mission operates through more than 200 centres across six continents. On a quiet hill outside Dharampur in Southern Gujarat is its international headquarters, Shrimad Rajchandra Ashram, which has been under construction since 2014, with its Raj Sabhagruh satsang and meditation complex opening in December 2023. Trustee Raman Tikka has been involved with the Shrimad Rajchandra Mission since 2001 and was selected to oversee the development of what was previously a 225acre barren site. “We had to build the entire infrastructure from the ground up: roads, electricity, water – everything –to realise our plans for the spiritual complex, providing a marble temple, an auditorium, a meditation centre and open-air amphitheatre with a 10m statue of Shrimad Rajchandra-ji,” explains Tikka. Around the periphery is housing for 6,000 people – permanent residents who help to run the ashram and visitors taking part in retreats –plus a large dining complex. “We have an enlightened master who has provided sincere spiritual seekers with this beautiful ashram, both of which are very conducive to spiritual development. We are a spiritual organisation that invites members of all faiths who seek to attain the

ultimate truth. One of the most important foundations of Jainism is to be open to all faiths.”

Tikka has spent around eight years onsite coordinating the construction. “At its peak we had at least 15 prime agencies onsite, including building contractors, designers, architects, HVAC [heating, ventilation and air conditioning], MEP [mechanical, electrical and plumbing] and audiovisual services,” he says. The ashram has its own AV department which produces films and music, filming and recording all discourses by Pujya Gurudevshri and sharing them on its YouTube and social media channels.

“We have a studio in the ashram and one in Bombay, and our team members from the AV department have gathered experience by attending exhibitions and travelling all over the world, so they know the market and the brands,” continues Tikka. “Of course, when a project of this size and scale came up, everybody was interested to participate, so we invited the leading brands to present their designs and looked at the reliability of the equipment and what the level of support and after-sales service was in India.”

This was of particular importance when it came to constructing and equipping the Raj Sabhagruh satsang and meditation centre, an architecturally striking structure designed to resemble a lantern, which houses a 5,000-capacity auditorium with a meditation hall situated above it, a library, two multipurpose halls and several classrooms where multiple programmes can be held

The spiritual centre is built on a previously barren 225-acre site

The Raj Sabhagruh spiritual complex has been designed to represent a lantern

simultaneously. The complex can house 10,000 people at its peak capacity.

“The most important criteria for us in the auditorium was speech clarity; our master gives live discourses here at least seven to eight days per month, and we have several one-week festivals throughout the year for Diwali, New Year and so on,” explains Tikka. The intelligibility issue was complicated by the fact the auditorium is circular, with a meditation chamber situated above it. A search to find an acoustic consultant was resolved by Andy Munro, who has been active in studio design in India since an initial project at Mumbai’s Famous Studios in 1995. Now largely retired, Munro was backed up by the team from Munro Acoustics India headed up by Kapil Thirwani, working closely with Kapil Gupta from the project’s architectural firm, Serie Architects. The final auditorium design had been finalised: a cylindrical drum housing the auditorium and meditation chamber above, with a ceiling above the auditorium forming an inverted lotus.

“We met with the clients, mainly Raman Tikka, to discuss the requirements to overcome the acoustic hurdles due to the shape, and to provide an electroacoustic design of the space, which was to be used for religious music concerts,” explains Thirwani.

Measurements were carried out at a Mumbai auditorium to determine the AV requirements of the auditorium, while Andy Munro worked on the parameters for the structure’s shape and size, to provide concert hall-standard specifications. Together with Munro acoustic consultant Vignyan Beera, Thirwani worked on the acoustic parameters while Cyril Thomas conducted 3D electroacoustic modelling in EASE, with Utkarsh Naidu and Thirwani figuring out the electroacoustic design and signal flow of the spaces.

Custom-designed Munro diffusors were mounted on the side walls to reduce energy hot spots in the centre of the circular space, to control the RT and direct-to-reverb ratio. Lateral energy formation was avoided by directing energy to the ceiling, for which Munro designed a massive membrane trap. “Every element was simulated and placed in our grand model,” continues Thirwani. “When the scale is so huge, costs –including services, treatment and finishes – just spiral, so our inhouse architectural team worked closely with Serie to build the complex in record time and on budget.”

“Andy was able to meet the architect’s requirements to come up with something aesthetically beautiful,” confirms Tikka. “The inverted lotus ceiling was the biggest challenge; the ceiling construction took about 18 months, and we had to raise a scaffolding and build a platform to give the workers ground zero at 19m.”

Innovative Systems and Solutions Pvt Ltd (ISSPL) was initially hired in 2020 as a consultant to evaluate the design for the client’s requirements. Six months in, the company was awarded the contract for AV integration across the entire complex.

“The first building we worked on was the dining complex, optimising the design and switching the back end to Cloud Electronics with Biamp and Powersoft amplifiers with Bosch speakers,” explains ISSPL CTO, Bhavin Sureliya. “A Cloud Z8MK4 zone mixer is handling the matrixing of 16 separate zones which can be used individually or combined. Each zone can be used for large gatherings; there are mic inputs and connectivity. The main PA is for the spiritual background music played during meals. We’ve used a network player for the daily playlist, which any of the sevas [volunteers] can operate on their mobile phones.” Networking is in place to connect the dining hall to the main auditorium in the future. When the dining hall was underway, ISSPL started work on the 10,000-capacity outdoor amphitheatre, installing a fiveper-side system of Tannoy VLS 30 concentric beam steering column array speakers with Turbosound frontfill speakers and subwoofers in cardioid mode, a Behringer mixer and Lab Gruppen amplifiers, all sourced from Indian distributor, Alphatec. ISSPL also deployed a Dante-enabled AVoIP solution based around two Q-SYS Core 110f DSPs, an Allen & Heath SQ-5 mixing console and QSC AD-S162T column array loudspeakers in the white marble, 108-pillar Shri Mahavir

Meanwhile, work on the auditorium had begun. “We already knew how the system needed to perform and what functionality needed to be achieved, but we still had to bid for the tender along with lots of other interested parties,”

process of deciding on a main audio system began. Enter Carlos Sallaberry, who’d recently joined Adamson as head of education and applications engineering for APAC. “This was a huge project, and the tender was handed to me around March 2022,” he says. “I came to India for my first Palm Expo show and visited the site, which was still under construction, but you could see how massive it was going to be.”

Receiving designs from Munro Acoustics in EASE and SketchUp software, Sallaberry began to design an Adamson system which was first based around S10 line array cabinets and quickly moved up to E12s. “They wanted the big system, so our distributor, Sonotone, arranged for a demo, comparing both models,” he says.

Once the model was confirmed and the tender awarded, Sallaberry got to work on finessing the system – a challenge as the proscenium still wasn’t built – with Adamson systems engineer Jochen Sommer in Germany and applications engineer Jeremiah Karni at the HQ in Canada assisting with CAD drawings. Other challenges included architectural requirements for the speakers to be entirely concealed, resulting in a long search for fully transparent acoustic fabric, and an extremely tight space around the proscenium to install the large speakers. However, an L-C-R system of three hangs of Adamson E12 – nine per array – have been flown into very tight spaces in the proscenium. Four hangs, each of three E219 subwoofers, have also been flown and configured in a cardioid (front-back-front) configuration to minimise low-end bleed onto the stage.

“Because we were very limited in space, we complemented the bottom coverage with four IS10P point source boxes rather than extending the hang with more line source enclosures,” explains Sallaberry. “We wanted to guarantee that the noise behind and above the stage was kept to a minimum so there are no low frequencies that would interfere with the presenter’s microphone. A lot of treatment was done within the proscenium and onstage to absorb those low-end frequencies that could potentially have been an issue.”

The team at Munro Acoustics were in favour of an L-C-R FOH system behind the acoustically transparent proscenium to provide a physical centre reinforcement. “This would have a perfect visual and aural synchronisation as the guru sits in the centre of the stage and a phantom centre doesn’t work for devotees sitting way off axis,” explains Thirwani. “We finetuned the design with Carlos and Andy to add the front and

L–R: ISSPL’s Bhavin Sureliya, Shrimad Rajchandra Mission’s Raman Tikka and Adamson’s Carlos Sallaberry

The auditorium ceiling forms an inverted lotus

stage fills. Having the subwoofer arrays high up, so they’re hidden in the proscenium, presented challenges such as LF bleed to the front part of the stage and coverage below the balcony. We also deployed mathematical modelling solutions in the form of energy-trapping enclosures and a massive hyperbola diffusor ceiling with absorptive backing in the inverted lotus ceiling.”

A frontfill system of eight IS7P point source boxes placed strategically in small alcoves across the front of the stage has also been designed to keep unwanted sound away from the mics onstage. Two rows of delays cover the back of the room, with eight IS7Px point sources on the first under-balcony line and four covering the furthest part of the room.

Sallaberry is grateful for the support he received from Adamson in this, his first major project for the company. “It was certainly a team effort working with Jochen and

Jeremiah,” he says. And the team effort in this enormous endeavour didn’t stop there. “The coordination between our distributor, Sonotone, and Munro Acoustics also played a major role, while Bhavin’s team did a wonderful job of installing the system,” he continues. “The cabling is set up in such a way that if there is growth to the system, the infrastructure is already in place.” This includes provision to install extra speakers to fill some small dead spots throughout the hall if and when required.

“The beauty of the design is that it’s a Dante network for audio and fibre for video, with analogue backup,” adds Sureliya. “There are around 25 patch points throughout – nine onstage, six in the auditorium, eight around the periphery and a couple backstage – so you can just remove the console or other pieces of equipment, plug into the network and power up. It’s all the same, location doesn’t matter and the system is scalable, flexible and futureproof. You can extract video and audio from anywhere. The AVoIP network also goes from this main auditorium to other areas of the ashram.”

Two Allen & Heath Avantis 64-channel/42-bus digital mixers were sourced from Sun Infonet and supplied by ISPPL, one at the FOH position on the balcony and the other at the lip of the stage in the audio pit, while the video control room is installed with an Allen & Heath SQ-5 console. Peripheral equipment for the mixing system includes two-channel analogue Allen & Heath input and output Dante adapters and five DT168/INX portable Dante I/O expanders.

Delays to construction during 2023 meant that the final system installation was carried out in September and October in time for the inauguration in late December, at which four Indian bands performed. “The opening events ran for a week, and all the musicians said that this was among the finest sound they’d ever heard in an Indian venue,” Tikka testifies.

Now that the Raj Sabhagruh auditorium is fully operational, Pujya Gurudevshri Rakeshji addresses a crowd of around 3,000 people every Monday from wherever he is (he currently spends half the year travelling to the mission’s worldwide locations). For the rest of the week, from Tuesday to Friday, discourses are presented, while weekends are given over to retreats themed around a particular scripture and attended by up to 5,000 people.

Four Shure ULXD4Q quad-channel digital wireless receivers were again sourced from Sun Infonet, with four ULXD1 bodypacks, 10 ULXD2/B58 wireless handheld mics and two ULXD8 and MX415 wireless goosenecks. Other microphones include 15 Shure SM58S vocal mics, six Shure SM57 instrument mics and a DPA 4488 headset mic.

The stage is backed with a large 13m x 6m Xtreme Media LED screen, with smaller Xtreme Media and VU LED screens around the auditorium, taking feeds from a Novastar H Series LED controller and Sony Z280 and Fx6 cameras. A Blackmagic Design switching and distribution system covers the auditorium, including two HyperDeck Studio 4K Pro broadcast decks and a 12G 40x40 Smart Videohub router. Video distribution is provided by Lightware components.

For larger events, 10,000 people can be accommodated by using the meeting rooms, meditation hall and other overflow areas connected to the AV network.

“The audio team have done a fantastic job, going out of their way to provide us with astounding sound while following the architect’s instructions to ensure all the speakers are hidden,” concludes Tikka. “That’s not just my personal opinion but also that of regular visitors who’ve said that from any position, the speech clarity is amazing and they can hear the discourse perfectly. This, of course, is exactly what you need when you’re being given spiritual instruction.”

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www.isspl.in

www.munro.co.uk

One of the Allen & Heath Avantis 64-channel/42-bus digital mixers at FOH

The Adamson E12 arrays are hung in a very limited space in the proscenium

Adamson IS7P frontfill speakers have been placed in alcoves across the front of the stage

The auditorium can accommodate 5,000 devotees

Pujya Gurudevshri Rakeshji gives live discourses in the auditorium several times per month

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Power to the people

The Biennale of Sydney celebrated its 24th outing this year. Caroline Moss finds out more about the Ten Thousand Suns event, which introduced a live music programme at a new venue

WITH ALMOST HALF A DECADE OF CREATIVE ART exhibitions and experiences under its belt and playing an indispensable role in Australia’s engagement with the world, the Biennale of Sydney featured a music programme for the first time in 2024. Curated by performing arts venue and gallery Phoenix Central Park, the live performances were held at the White Bay Power Station. Constructed between 1912 and 1917 to power the rail network, the heritage-listed White Bay Power Station is part of the transformation of the Bays West precinct into a new area for living, working and recreation. The power station was equipped for the duration of the festival with a QSC L Class audio system purchased by the Biennale from Australian distributor the Technical Audio Group (TAG).

Tim Barker has worked at the Biennale of Sydney since 2016, and this was his first year as head of production. “The focus has normally been on contemporary art and particularly international contemporary artists but, for this particular edition, we really wanted to try and focus on a more live music approach and incorporate that as part of the exhibition experience for the public,” he says.

Andy Lysle, event technician at Dplr, has been involved with the Biennale of Sydney since 2016, although the company wasn’t incorporated until 2018. “Even before Dplr existed I had an involvement with the Biennale and their various different events, assisting with artwork installations and logistics when they were on Cockatoo Island, moving through to all the different venues that they’ve been in, right up to White Bay Power Station,” he explains.

As this was the first time the power station had been used as a music venue, it inevitably presented a few challenges. “Placemaking NSW [which creates and manages many of Sydney’s harbourside locations] and the local government have done a lot of work on this space to bring it up to spec for the public,” continues Barker, adding that it was a privilege to use the newly renovated building. “We were installing at the same time as they were doing all of the final renovations, so it

was a bit of a challenge with all the construction teams onsite versus the art install and the event teams.”

Despite this, the venue and its audio system were ready to go on the opening night on 9 March, with 350-capacity live events running every Wednesday throughout the festival’s 15week duration. TAG worked in tandem with Sydney-based Dplr, a full-service production, technical and event management company servicing metropolitan, state and national projects, to design and install the system. Although the Biennale had purchased several small amounts of QSC equipment from TAG in the past, this was its first major acquisition. It was also the first time Dplr had deployed QSC’s L Class series, launched a year ago.

“Since the very beginning, QSC has been a part of our journey. We attribute a lot of success in our company to that alignment with QSC early on, purely from a return on investment point of view. We were just starting our business when the K boxes hit the market, and they blew everything else out of the water. They’ve remained a consistent product for us; at the price point, you just can’t beat the quality. The L Class has continued the amazingness that QSC has always provided for us, where you throw the faders up and are instantly impressed with what’s coming out. Really clean and crisp, with minimal effort from us.”

The company deployed six QSC LA108 intelligent active line array modules per side, which it found covered the length of the audience without the need for delays. Ten K10.2 powered two-way speakers were used around the venue for frontfill, foldback and throughout the gallery space for BGM and artist soundscapes, while six KSC112 dual 12-inch powered subs were positioned in front of the stage in cardioid mode. Dplr supplied an Allen & Heath dLive CTi1500 FOH console with CDM MixRack for the Biennale shows, together with Allen & Heath DT22 interfaces that allowed the subs to run

This was the first time Dplr had worked with QSC’s new L Class system

Live events took place in White Bay Power Station weekly during the Biennale

Sydney’s White Bay Power Station is at the centre of a regeneration project

via Dante, an Allen & Heath AHM 16 processing matrix and a selection of Sennheiser and Shure microphones.

QSC’s RapidDeploy rigging system meant that setup required just one person, with its AWARE (Automatic Wireless Array Recognition) technology identifying the order and position of each speaker relative to the others within seconds with the push of a button. This quick deployment was a bonus when it came to the power station installation. “It clipped together really quickly,” says Lysle. “The single button to align the array and configure everything was perfect. And it suits everything that we do because we’re always just trying to put things together as quickly and best as we possibly can.”

Other technical features that helped in the acoustically challenging space were running the subwoofers in cardioid mode and using the tightness of the array to control the reverb. “White Bay Power Station is a very large, cavernous space in a highly built-up area with a lot of nearby neighbours, so we had to be careful about how we managed our audio levels,” continues Lysle. “We wanted a really vibey dancefloor experience for the audience, but we couldn’t be too loud or cause too much bounce in this hugely cavernous space. So the directionality of subs and control of the high-mid ranges were hugely important, which have both been achieved with this system.”

a big, cavernous space, there’s a lot of reverb issues, so TAG’s sound design really came through. We’ve also been with Dplr for years; we have a lot of trust in them and they always deliver, giving us an excellent service.”

Following the successful deployment of the White Bay Power Station as a venue, Sydney’s Inner West Council has proposed that it continues to be used for live performances

Barker was also suitably impressed. “It packs a huge punch for the size,” he says. “It could definitely do a space even bigger than this, which is incredible for such a compact box. And the clarity is really amazing, especially in the mids and highs.

“We really value the relationship we’ve built with TAG, which has given us the opportunity to have a PA of this quality in the time that we needed it for. It’s always a challenge because we run for 15 weeks, so having a partnership with TAG enabled us to step up the game in terms of technical product so that we can deliver for the public. And the feedback has been amazing; everyone really loves the sound in here. Being

and concerts. “Having advocated for so many years to have the power station converted to an arts and cultural venue, it’s vital that we continue to progress this vision beyond the Biennale,” commented Inner West Mayor Darcy Byrne at the festival’s conclusion. “It will be obvious to the hundreds of thousands of Sydneysiders who’ve experienced the power station during the Biennale that the site has the potential to be a world-class concert venue.”

www.allen-heath.com

www.dplr.com.au

www.qsc.com

www.tag.com.au

Setup was accomplished by just one person using QSC’s RapidDeploy rigging system

Next generation

Korean distributor Music Metro has equipped a new Dolby Atmos HE facility at KUMA, a university which is pioneering immersive recording

KUMA (KOREA UNIVERSITY OF MEDIA ARTS) WAS established in 1993 at Sejong City, the administrative capital of South Korea, focusing on two main disciplines, content production and live sound, and was the first teaching facility in Korea to become an Avid Learning Partner. Last year, KUMA removed the wraps from its new Dolby Atmos HE (home entertainment) mixing stage, fitted with a PMC 7.1.4 monitoring system. This joins three existing facilities: an SSL- and Genelecequipped recording and mixing studio, a mastering suite that doubles as a small project studio and an audio mixing studio for video work.

Like many leading audio educators, the head of the Music and Sound Technology department at KUMA, Munyeon Yoo, had a career in the industry before moving into teaching 12 years

ago. “Before joining the university, I worked as an advertising and commercial film director, specialising in sound production, new media production and cultural content,” he explains. “After graduation, I worked as a sound recordist and maintenance engineer in a recording studio and audio postproduction studio.” According to Yoo, sound production is only offered at three universities in Korea. “What sets us apart from others, especially internationally, is our emphasis on sound engineering,” he continues. “We collaborate closely with performers and artists studying at other departments of KUMA during our classes. After graduation, our students pursue careers in various fields of the entertainment industry such as theatre, live touring, maintenance engineering, mixing and mastering engineering and audio equipment distribution.”

content, and the studio is a newly established facility within

Atmos home entertainment guidelines, were determined using DARDT (Dolby Atmos Room Design Tool), resulting in a 3m-high space measuring 9.7m x 8.6m excluding soundproofing, the resulting 89m 2 accommodating 25 theatre-style seats. The studio design was a joint collaboration by Yoo working closely with Music Metro, together with input from Dolby. “We wanted a good reference studio,” Yoo asserts. “I’ve worked in audio production and film for a long time, so this was a fairly straightforward procedure for us; there were no main challenges involved in building the Atmos studio.” As for teaching his students to work in a new, immersive format, he describes it as a natural progression from learning to mix in stereo.

Overhead and surround channels are provided by slim PMC ci65 speakers

KUMA was the first teaching facility in Korea to become an Avid Learning Partner

Munyeon Yoo worked in the industry before moving into teaching

The 89m2 theatre provides 25 theatre-style seats

The 7.1.4 PMC setup comprises an L-C-R system of three PMC 6-2 active three-way main monitors, with 8-2 speakers providing the LFE (low-frequency effect) channels for the left and right speakers. Two PMC ci65 slim on-wall speakers form the left surround and right surround channels, with two PMC ci140 speakers featuring four 5-inch LTX long-throw woofers as rear left and right surrounds. Overhead channels are provided by a further four ci65s and the system is completed by two PMC8-2 SUB subwoofers.

Music Metro, which distributes many other audio brands including Avid in South Korea, has also supplied an Avid S6 control surface which is due to be installed later this year, together with Avid Pro Tools HDX, an MTRX Studio interface, a Sync X master clock and Pro Tools Ultimate running on a Mac Pro 7.1. For now, Yoo is using his personal Avid Artist Mix control surface with a JL Cooper AXOS panner. Other studio equipment includes Audio Ease Altiverb, Fabfilter, Flux Audio, Soundtoys, iZotope, Nugen Audio and Waves plugins, a Blackmagic Design DeckLink 4K Monitor and a 200-inch microperforated cinema screen.

Yoo attributes KUMA’s decision to build its own Dolby Atmos HE facility to the proliferation of Dolby Atmos HE devices available to the general public. “As an institution dedicated to training professionals, we recognised the need for appropriate educational facilities for the format to produce immersive content, and constructed the studio within the graduate school,” he explains. “Through this educational facility, we aim to prepare for both the present and the future. We have established a close relationship with Music Metro, which has extensive experience in building Dolby Atmos studios in collaboration with Dolby Korea.” Music Metro has been a leading supplier of Avid in Korea for several years, and Yoo credits director Kim Young-sik and technical support team leader Cha Jun-yeop for their assistance with this project. “They placed great importance on acquiring speakers with sequential serial numbers, and their active support in meeting the stringent conditions of

this install has significantly contributed to completing our system,” he says.

The choice of PMC monitors came down to KUMA’s belief that the company has played a major role in defining music mixed in Dolby Atmos. “We wanted to establish a ‘reference studio’ for students so they could accurately monitor audio sources,” explains Yoo. “As the purpose was to construct a studio for Atmos home entertainment, selecting monitors suitable for OTT content and music was crucial. Through attending demonstrations, we experienced PMC’s wide dispersion angle and precise monitoring capabilities. Their stylish design and the relative ease of

servicing passive speakers influenced the studio’s overall design.

“Through their participation in Atmos music technology, we are also exposing future engineers to PMC’s technological expertise. Students love the sound of the PMC Dolby Atmos setup, and we frequently conduct demos for visitors including officials from other domestic and international universities, industry professionals and researchers. Our school also engages in collaborations with external parties, and we have prepared industry–academia cooperation projects for outsiders to work on at our facility. We’ve been calibrating the studio monitors every quarter, and the balance remains so accurate with minimal deviation. We’re thrilled that a short film worked on in this studio has been invited to compete at this year’s Jeonju International Film Festival. It’s particularly gratifying knowing that the results of our work can be accurately reproduced in film theatres.”

Last year, PMC’s senior sales manager Dan Zimbelman and producer David Rideau visited KUMA to host some training workshops on the new system which were a great source of inspiration for the students, according to Yoo: “While we regularly invite leading engineers from within the country for mentoring sessions, hosting world-class engineers from overseas is a first for us. Personally, I own recordings produced by David, and such experiences will undoubtedly leave lasting memories for both myself and the students.” Yoo’s journey in immersive recording continues apace, with the university collaborating on equipment design for surround recordings. “We have developed a 360° surround microphone and applied for a patent,” he reveals. “We consider it the most suitable solution for postproduction.” So it’s not just students at KUMA who will gain from its investment in Dolby Atmos. The work being carried out in immersive recording at the university could benefit the industry as a whole.

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KUMA believes PMC has played a major role in Dolby Atmos music mixing

Stellar expansion with Nexus

Richard Lawn visits a Stagetec Nexus upgrade at Korean broadcaster, SBS

ESTABLISHED IN 1990 AS SOUTH KOREA’S LARGEST private broadcaster, SBS continues to invest in current technology to stay ahead of the curve. Owned by the Taeyoung Construction and previously known as Seoul Broadcasting System, the flagship television channel commands a nationwide network of 10 regional stations and three radio networks. Having gained over 10 years’ experience at SBS, senior audio engineer Taesik Kim is overseeing the foundations of an impressive AoIP (audio over internet protocol) network at the headquarters.

The fourth-level broadcasting facilities at Prism Tower in the Sangam District includes a live on-air auditorium where musical performances are staged and recorded in an adjacent studio. Ten years ago, the broadcaster adopted a digital audio backbone across most of the studios. “Over time, the technology dated, and the console platform performance was increasingly affected by bugs following

DN1248 mic splitters and out to the control surfaces of the main, sub, FOH and monitor consoles. Kim noted at the time that the same setup would lend itself well to future Dante expansion.

To promote a plug-and-play ecosystem for external equipment during live shows, an open-source interface was sought to further expand the audio network. Following research and demonstrations, Kim was convinced that a Stagetec upgrade would best fit their current and future broadcasting demands. An AVoIP network would only require an upgrade of the main broadcast and recording console.

Reviews of the reliability and stability of the inputs and outputs of Stagetec’s Nexus technology were another primary factor in the specification. Broadcasters can configure bespoke routing, control and distribution systems by selecting Nexus Base Devices fitted with

The SBS headquarters in Seoul

The Stagetec Aurus 48-fader console was installed in early 2024

The insertion of Nexus XDIP interface cards into the I/O boards of the Nexus frames makes over 8,000 channels of bi-directional, redundant, AES67, Dante and MADI networking available. Significantly increasing bandwidth, flexibility and scalability, the addition of

modular, processing modules extends digital fidelity, low latency and uncompressed audio channels over the standard Ethernet network. In addition to flexible routing and distribution of separate signals across the entire Nexus audio network, each channel provides separate

gain control, adjustable impact sound filters and a phase inverter.

“By specifying the 48-fader control surface and using all three Dante, MADI and AES-EBU networks, we only needed to increase the number of microphone inputs,” says Kim. “The backup and FOH consoles did not require upgrading and, by adding IP-based sound cards into the Nexus Star frames, the analogue devices and splitters also remain in situ. I’ve been very impressed by the wide dynamic range and the high quality of the Stagetec microphone inputs.”

As well as this inadvertent cost saving, the upgrade also offered space-saving benefits. Mounted in three custommade wooden racks in the inner sanctum mixing area, an impressive outboard combination includes a Tube Tech CL 2A dual compressor, Avalon tube compressor, Eventide Harmonizer and a TC Electronic processor.

“The previous console compressors were outdated, so we relied on the outboard equipment,” explains Kim. “However, the higher quality of the Aurus compressors means we rarely use the racked outboard equipment.”

For recording, MADI signals are output to the three Merging Pyramix workstations in addition to a Universal Audio UAD-2 Live Rack for plugin effects. A MADI network is also required when the analogue microphone count is exceeded by adding a monitor console. During a live production, one engineer commonly resides over the SD7 controls in the auditorium, with another two engineers operating the Aurus in the studio for broadcasting and FOH operations.

“Aurus has greatly exceeded my expectations as the faders feel good, the A/D converters and microphone preamps are stunning and the digital layout is intuitive,” concludes Kim. “Aurus is now my favourite in terms of audio quality and ease-of-use operation.”

www.sbs.co.kr

www.stagetec.com

SBS engineer Taesik Kim at the Stagetec Aurus controls

Boom time

Caroline Moss visits Crastos Future Boom studios in Mumbai, the second facility for a talented sound designer whose advertising work required more space to keep up with client demand

SOUND DESIGNER ARUN CRASTO HAS RECENTLY opened the doors to a brand-new facility – his second – in Santa Cruz, at the heart of Mumbai’s advertising industry. Having provided sound design from an existing studio for the past decade, Crasto’s business has become so successful that he required extra facilities to accommodate the work of his five-person team.

“The advertising industry and most of its audio studios and video production houses are all based in this location,” he says, describing the Santa Cruz, Khar and Bandra hub in the north-west of Mumbai. “The industry is largely based in these three locations, which are all close together. Clients find it convenient to easily move between the video and the audio facilities. We are restricted to this location and the real estate and rental costs are very high. It’s a challenge today to find a good, well-maintained commercial building in this part of the city within the right budget.”

The search for a premises eventually took three years before Crasto located a suitable floor within a new commercial building. “This was a four-office unit, so we had all the walls removed and the whole place was reconfigured from scratch,” continues Crasto. The facility was acoustically designed by Kapil Thirwani from Munro Acoustics and its three new rooms installed with turnkey packages by Sound Team based around Genelec monitors, the SSL Big Six mixer and Lynx Aurora interfaces. Two near-identical stereo studios have been constructed, together with one Dolby Atmos setup which can also handle 5.1 and stereo work. “We specialise in sound design and this is what we love and are very passionate about,” he continues. “We try to bring in something new and unique in every project through creative sound design. Our clients entrust their projects to us expecting innovative and high-quality sound design solutions.”

A priority for Crasto and his team was the ability to offer quick changeovers between the studios. “In advertising, you usually complete a job in one or two days, but then, if a third or fourth day is required for changes and another set of clients is now working in that room, I can offer them an

identical studio with the same setup where we can carry out their requests.”

When it comes to technical setups in these mirrored studios, Crasto has kept things simple, offering a high-quality signal path and consistent equipment packages: “In advertising, due to challenging deadlines and changes, we often end up mixing in the box in Pro Tools, and we have good outboard gear available in all the studios. As there are a lot of freelancers coming in, it’s wise to keep the workflow very simple. You don’t want them to have to do too much patching up, but to let them arrive, power up and just get going on their sessions.”

This ethos of simplicity has been extended to the interior décor of the studios, where it’s clear that a good portion of the budget has been spent in designing a high-quality working environment which is also calm and non-distracting, with plenty of space and natural daylight. “We wanted to create a good vibe for the clients and directors when they come in,” he continues. “It matters a lot that they are comfortable when they come here, and we worked with an interior designer to achieve this.”

Although Crasto encountered Genelec monitoring extensively when he was working as a freelance engineer, his existing studio is installed with Dynaudio speakers.

Arun Crasto (second from right) and his team

One of the two stereo control rooms with Genelec 1237A SAM main monitors

“For the past 10 years I’ve been with Dynaudio but, when I started thinking about expanding, most of the freelance engineers coming in now are used to Genelec so I decided to try it,” he explains. “I met Shiv [Sood, co-owner of Genelec distributor, Sound Team], he gave me a demo and I was blown away. I immediately got the width, the transparency and clarity on the high ends. All the freelancers who come and work here are happy with the setup; they like the familiarity.”

The control room of the 7.1.4 Dolby Atmos studio, which can also be used for stereo and 5.1 mixes, has been installed with an L-C-R system of Genelec 8351B SAM threeway coaxial main monitors. Genelec 8340A SAM two-way studio speakers handle the four surround channels, with four 8330A SAM monitors for overheads. A Genelec 7380A SAM subwoofer and 9301B AES/EBU multichannel interface complete the Atmos setup. Sound Team has also supplied a Lynx Aurora audio interface with eight analogue I/Os, 16 AES/EBU I/Os and a TB3 port and an SSL Big Six mixer. The workflow also benefits from an Avid S1 DAW controller and a Thermionic Culture Rooster valve preamp/EQ unit.

This is Crasto’s first time working with the Dolby Atmos format, although he admits that, for the advertising sector, the demand isn’t there just yet. “A lot of studios are now wanting to show that they can handle immersive formats,” he asserts. “We are ready to handle 5.1 mixes even if we haven’t moved to Atmos as yet. The aim is to show that the studio is moving in a direction that is technologically ready and to assure clients that we’re keeping up with the times and have the facility available.”

“The Atmos monitoring system is fully digital, and we’re keeping the signal flow as good as we possibly can by using Lynx audio interfaces,” adds Sood. “The Lynx AES outputs go directly into the loudspeakers for Atmos monitoring, and the analogue outputs of the Lynx Aurora are configured for dub work or music production or anything else they are working on via the SSL Big Six.

Everything can be set up within Genelec’s GLM software so it’s literally as simple as flicking a switch to select a preset, and it’s fully scalable.”

The stereo control rooms have been installed with identical equipment: an L-R monitor system of Genelec 1237A SAM main monitors with a pair of 8341 SAM coaxials as nearfield monitors, SSL Big Six mixers, Lynx Aurora audio interfaces and mic preamps including Rupert Neve Designs The Shelford Channels and Universal Audio LA-610 tube channel strips. One of the studios also has a Maag Audio Preq2 dual mic preamp and the other a Chandler TG2 preamp. In the spirit of maintaining a pure signal path, high-quality microphones are available throughout the facility including Chandler Redd large diaphragm mics, Manley Reference Cardioid mics, AKG C414s, Neumann U87s, a stereo pair of Neumann KM184s and Shure SM7B, SM57 and SM58 models. Crasto has set up the studio workflow to enable a music director – who would usually have their setup at the back of the control room – to mirror their computer display and control at the engineer’s desk. Further audio connectivity is provided by allowing them to patch their own outboard gear directly into the studio equipment, giving them the flexibility to access their modules from the engineer’s desk. Music can be composed and monitored at the sweet spot, while studio equipment such as mic preamps, EQ units and compressors can be used to record instruments or vocals directly into the music director’s own DAW.

Working, as he does, with high-profile production houses like Nirvana Films, Chrome Pictures, Breathless Films, Equinox Films, Conversation Films, Love and Faith films and more means that keeping the clients happy is a very wise move for Crasto as he settles into his new facility.

www.genelec.com www.solidstatelogic.com

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All three rooms have SSL Big Six mixers

Mixing in the Dolby Atmos room

Filling the void

Richard Lawn visits a new Bangkok venue that’s relying on good audio quality to attract passers-by

SINCE OPENING IN 1985, THE GAYSORN AMARIN RETAIL complex in the bustling Ratchaprasong shopping district has often been referred to as the Times Square of Bangkok. A pre-pandemic redevelopment plan to refurbish the extensive five-level building has now been completed. Located on the second level, Raynue is a unique open-air venue, enticing foot traffic entering and exiting the mall with a high-power, digitally zoned audio system. Connected via a skywalk to Chit Lom Station on the BTS Skytrain network in addition to the other Gaysorn Village buildings across the bustling Phloen Chit Road, the Greco-Roman postmodern design stands out. When it came to audio, this prime real estate required a sensitive touch. Regularly credited for the acoustic design of Bangkok’s loftier skybars, Never2Late (N2L) was persuaded to descend to a lower level to become AV consultant for Raynue. N2L’s managing director Maarten Goetheer realised how the venue was compromised on his first site visit, despite its enviable location. “Raynue cannot outwardly portray signage to its potential audience of passers-by on the BTS skywalk, so I decided the power of music could alert and entice commuters and tourists,” he explains. “The owners appreciated the potential role music can play in drawing a crowd to the venue and keeping them onsite for more than one drink.”

Having landed in Hong Kong as a raw 20-year-old exchange student in 2004, Goetheer fell in love with Asia and extended his stay. Twenty years on, he has no intention of returning to his native Netherlands anytime soon. “I was enjoying DJing and promoting gigs, surviving by sleeping on friends’ sofas,” he recalls, nostalgically. “Building my career as a music producer, promoter and audio engineer, I started to forge an alternative career by DJing in Macao.”

Relocating to Bangkok, Goetheer today balances three careers as a self-professed one-man band. As an audio design consultant, he is happy to delegate installation works to trusted partners, including

Aura Visual System. Requested to demonstrate a proof of concept during the construction phase, Goetheer commissioned a range of Void Acoustic loudspeakers to be set up by his systems integration partner. “The higher-SPL designs such as Air Motion were quickly discounted from the running,” he says. “A nearby hospital made 20 calls of complaint during that demonstration, so this played a part in why I opted for the Cyclone speaker setup.”

The expansive venue attracts diners and drinkers with several F&B destinations, including Fatboy Izakaya, in the immediate vicinity. In addition to a zoned BGM network, Goetheer added the capacity to stage DJs and live performances at Raynue. To maintain a consistent audio output, Goetheer recommended a weatherised Void Acoustics Cyclone system that operates in rain, sun and high humidity. Powered by Void Bias amplification, a combination of

Cyclone enclosures is augmented by Cyclone Bass and Venu 215

“Consistency of voicing ranging from the 4-inch Cyclone 4 to the 10-inch Cyclone 10 was a key factor in this choice,” Goetheer explains. “The entire range is characterised by its stylish fibreglass enclosure, IP55 rating, durability, UV-resilient paint coat, stainless steel fittings and, most important of course, its great audio fidelity. To maintain consistent audio output I had to pay particular attention to filling the isolated spots, incorporating a blend of varying model sizes to create energy pockets where customers can enjoy a higher-SPL ambience. Raynue remains a work in progress, and I’m fine-tuning what I hope will be a more immersive experience in time with a more even distribution.”

Six Bias Q1.5 amplifiers power the Cyclones in the entrance area adjoining Gaysorn mall, wine bar, main bar, terraced area and peripheral seating areas. A Bias Q3 DSP amplifier powers and provides DSP control for three Cyclone 10 and three Cyclone Bass components fixed to the ceiling above the main stage where bands and DJs perform nightly. With a PowerPro distribution voltage protector guarding against surges and lightning strikes, a compact ChamSys QuickQ control surface operates lighting.

In addition to the hospital, offices above Raynue insisted on no noise pollution before 8pm. “It’s frustrating, because the emitting SPLs of the audio system are generally overshadowed by the trains and traffic, including emergency vehicle sirens along this major thoroughfare,” explains Goetheer regretfully, while conceding that the open-air concept is a magnet to passers-by.

To respect the neighbours’ concerns, Goetheer placed a rackmounted Allen & Heath AHM-32 32x32 audio matrix processor at the system’s core for level control and zonal management. He explains that a key requirement was to create distinctly separated audio areas without compromising an individual zone or the overall distribution across the venue. With varied entertainment staged

The venue’s prime seats are sensitively covered by programmed audio presets

Never2Late’s Maarten Goetheer on Raynue’s balcony

every night, a flexible yet simplified form of audio management was vital.

“Control, source selection, output and routing are integrated into the AHM-32,” he says. “The venue has no technical personnel working here, so the audio parameters can be managed on the front panel interface in the control room, which comprises four soft keys for volume control, source selection and recall presets. The venue

touchscreen, which has been programmed with a custom interface to include all the controls requested by the operational team. It is a very useful tool for operations manager Patrick Martens and his staff, as the volume can be instantly configured in the various zones while walking around. It is mostly used as a volume control with SPL parameters stored as presets. Additional sources can be plugged into different

parts of the venue in future, such as the addition of an SLink 128x128 expander card into the chamber of the matrix.”

Martens can easily select the music according to the time of day or changing mood. “It’s my duty to look at everything in the venue from a customer’s outlook,” he says. “Should a customer order a second drink, I am confident that they will remain for a third. With the venue being exposed to the elements, I am forever worrying whether it’s too hot, too cold, too sterile or too loud. F&B is all about P&L [profit and loss] so I am forever analysing customer feedback.”

Emphasising the vital roles of staff training and psychoacoustics, he continues: “We adjust audio levels according to the flow of customers on any given day at any hour. Owing to its location and sensitive neighbours, Raynue is a tricky venue where real-life levels, processing and fine-tuning need to be considered. Therefore, psychoacoustics is not merely about audio quality, as a customer will decide what is comfortable and what is enticing.”

Goetheer enjoys returning to the venue to fine-tune the evolving loudspeaker system. “The entry point to this venue is more critical than most and, with both the BTS skywalk to the front and the mall to the rear, we can achieve more here at Raynue,” he says. Despite his own DJ credentials, he is eager to remind fellow DJs with a “pump it up” attitude not to lose the audience before 8pm. “There’s a need to ease into that experience by increasing the intensity of the BGM and DJ as the night progresses,” he explains.

Having applied sensitive brushstrokes to this open-air canvas, Goetheer’s star will shine brighter as the venue asserts itself among Bangkok’s infinite entertainment outlets.

www.allen-heath.com

www.gaysornvillage.com

www.never2late.com

www.voidacoustics.com

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Raynue’s live performances attract passing Skywalk and Mall foot traffic

The peripheral zones are served by discreet Cyclone 4 enclosures

A letter from America

Dan Daley looks at the next iteration of major technological change and its potential threat to global governance

IN THIS INSANELY POLARISED WORLD, I KNOW WE’RE not supposed to talk about politics. But it’s also pretty much impossible to ignore the fact that much of the world is now in the process of rebalancing its governance, from the increasingly fraught US contest to the snap elections in France that have undermined the Macron administration, to resurgent right-wing momentum that’s impacting elections around the EU, to critical referendums in Malaysia, Hong Kong and elsewhere in Asia. (The UK is, happily, bucking that trend this election cycle, though not necessarily driven by totally altruistic motives.)

As this cyclical shift in governance is taking place, and as its direction appears to be leaning generally rightward towards authoritarianism, a parallel revolution is taking place. Artificial intelligence is changing the technology landscape as radically as the internet did a generation ago, and much more rapidly, with less guidance than almost anyone deems necessary. Groups of engineers and scientists have been wringing their hands publicly as AI rattles out pizza recipes that consider glue an ingredient. But the global AV industry should be alert to the convergence of generative AI and a new generation of digitally native leadership that might be inclined to use it for less than selfless purposes.

AI is migrating quickly from the lab into commercial AV products, creating an enigmatic intersection. AI’s potential for AV is enormous; as AVIXA’s sunny comments on the matter state: “AI is transforming content creation and delivery, enhancing audio and video processing, enabling intelligent automation and control, personalising user experiences, enabling predictive maintenance and diagnostics and raising ethical and regulatory considerations.”

On the other hand, how authoritarian regimes currently utilise AV is another story. Such regimes have already embraced the notion of “digital authoritarianism” which is promoted as a way for governments to control their citizens through technology, and inverting the concept of the internet as an engine of human liberation. AI simply supercharges that, with existing AV infrastructures as the conduit.

“Conduit” is a key word for this. As providers and designers of systems, AV professionals have good legal and moral buffers when those systems are used for purposes and applications that bend or break the law or challenge decency. For instance, the same sound system can be used for a fundraiser for hurricane victims or for a Klan rally. The system’s use case does not append to its provider or its manufacturer. It’s the same theory that undergirds the

A letter from Europe

increasingly controversial Section 230 of the US Title 47 Code specifying that “no provider or user of an interactive computer service shall be treated as the publisher or speaker of any information provided by another information content provider”; an invaluable defense for internet intermediaries.

But one wonders how well that interpretation will hold up under the onslaught of audio and visual deepfakes that AI-enhanced AV brings with it. Under authoritarian regimes, disinformation is already rampant. As global governance continues to lean in that direction, it’s not unreasonable to expect that to continue at an exponential level.

How the current cycle of governmental change plays out this year and next, combined with the growth and deeper integration of AI into media of all types, could create a landscape not seen for nearly a century, when certain new regimes used the novelty of radio to promote their versions of the truth. After Guttenberg’s printing press had already made media ubiquitous and brought it into the home, radio made it immediate; television added the credibility of visuals; the internet gave it interactivity. What AI does to information and its media, particularly in the hands of those less than scrupulous about its uses, could be its most inflective turn yet.

The historic home of Radio Luxembourg is being transformed into a venue; Phil Ward recalls his transistor radio days

NOT MANY EUROPEANS WILL HAVE HEARD OF VILLA Louvigny. However, a great many Europeans will have heard Villa Louvigny, quite literally. It’s in Luxembourg and, in the grand tradition of naming venues after important people, like the Albert Hall, this one was named after the Count of Louvigny, architect and governor of the original Fortress of Luxembourg, on this site. They’ll have heard it because for over 70 years it was the home of Radio Luxembourg – “Fab 208” as it was known during pop’s first heyday – which was allegedly audible from Scandinavia to Morocco, however faltering the old AM frequency may have been. It was also the headquarters of Radio Télévision Luxembourg (RTL), one of the most influential European state broadcasters, notwithstanding the diminutive footprint of its country. Hosting not one, not two, but four Eurovision Song Contests, RTL punched above its weight.

After the original studios were lost during German occupation, new facilities including an impressive auditorium and tower were built between 1953 and 1955, a real Luxembourg City landmark and, later, the place where once-household disc jockey names like Pete Murray and David “Kid” Jensen plied their trade in making the whole continent fab. Pop was ignored by the BBC at first, so it was left to pirate and private stations like this one to light the fire.

After RTL moved on – ultimately to Broadcasting Center Europe (BCE) – Villa Louvigny housed Luxembourg’s Ministry of Health. That’s gone too, and the city has announced inspiring plans to reinvent the site as a new cultural hub and legacy attraction.

“We’re talking about a complete overhaul and transformation,” said minister of mobility and public works François Bausch last July, promising completion by 2029. Alongside studios, offices and galleries, the Grand Auditorium will receive “all the modern technology required (audiovisual, ventilation, sound systems) without damaging either the architectural quality of the venue or its incredible acoustics”, according to the government.

“We have been working on this project for a long time, but today we are able to present the project for the redevelopment and transformation of the Villa Louvigny,” culture minister Sam Tanson added, pointing out that the villa has been a listed national monument since 2018 and that its reputation was founded during the 1950s and 1960s when it was used to broadcast concerts and rehearsals by the RTL Symphony Orchestra, “as well as fashionable singers such as Serge Gainsbourg, Michel Polnareff and Jean-Jacques Goldman – thanks to its large auditorium with exceptional acoustics”. I bet Je t’aime… moi non plus sounded phenomenal.

Furthermore, a parallel project has been instigated by Luxembourg–Brazilian researcher, director and “transmedia storyteller” Dominique Santana that will exploit her background as a filmmaker and “public historian specialised in digital media and immersive storytelling” in order to create a cavalcade of Radio Luxembourg archives. Spanning a website, a documentary film, radio shows and podcasts, touring and festival appearances and, onsite, an AR tour and 3D immersive experience, the project is throwing everything that modern AV can at the preservation of the myth. Veteran DJ Pete Murray has already been interviewed. Yes, still alive.

You can even participate yourself if you have any family or colleague connections that can help the research along, or even just memories of smuggling a transistor radio into your bedroom. Messages, digital files and contacts can be uploaded at https://radio.lu/en/help.

There is a far less grand tradition of naming people after important venues, including me. If family myth is to be believed, the Philharmonic Hall in Liverpool is at least partly responsible. I’ve kept it up though, always proud on any occasion to introduce my three children: Wembley, Olympia and Melkweg.

InfoComm Asia 2024

Richard Lawn reports on an enlarged, successful show as InfoComm Asia descends on the QSNCC for the second time

BOASTING A 43% YEAR-ON-YEAR INCREASE IN exhibition hall space with an added 21% surge in visitor traffic, InfoComm Asia has boldly staked its position as an annual event on the global AV exhibition stage. Undoubtedly, the 2023 relocation to the Queen Sirikit National Convention Centre (QSNCC) has been a catalyst for growth, as has the event’s timing, which neatly fills a gap some six months after ISE in Barcelona. Conveniently situated close to downtown, but away from the hustle and bustle of the Sukhumvit, the modern purpose-built halls are a delight for exhibitors and attendees alike.

InfoComm Asia’s three halls drew systems integrators, consultants, buyers, influencers and end users wishing to see, feel and hear products and technologies currently shaping AV. From advertising displays to extended reality (AR/ VR/MR), and from smart classrooms to location-based audio immersion, InfoComm Asia 2024 featured over 350 new-toAsia products. Visitors experienced AV solutions dedicated to industry sectors including education, entertainment, live events, hospitality, retail, healthcare, security and transport. No fewer than 99 new exhibitors pledged allegiance to the exhibition this year, by and large leaving Bangkok content in the knowledge that the show delivered a favourable ROI. However, Epson, Philips Professional Displays and Samsung were conspicuously absent.

In the wake of the pandemic, it has been impossible to ignore the dominance of UC and VC technologies at the previous two outings. The hybrid world is here to stay, but perhaps those previous editions of InfoComm Asia emphasised digital signage, conferencing solutions and projection at the expense of audio and lighting technologies. Although lighting was not present, this year’s exhibition assumed a more comprehensive appearance.

The stand-out audio brands made an impression among visitors, with Sennheiser’s demo room equipped with TeamConnect (TC) Bar and Ceiling systems pointing the way

P Audio and RDL.

LEDs may dominate, but projection sales continue to increase. The latest technologies from Barco and Christie drew specifiers from rental companies to museums with big budgets and ambitious projects in the pipeline. Slim 4K, indoor and outdoor LED walls from AOTO, Leyard, Planar and Unilumin, together with digital signage displays, drew a mix of regional visitors.

On the level above, the InfoComm Asia Summit 2024 offered a comprehensive conference programme with 53 sessions drawing 2,409 delegates – a 230% increase over 2023. Led by some 80 industry experts and thought leaders, the summit covered a wide range of critical topics, providing attendees with knowledge to navigate the evolving pro AV landscape.

to a wider variety of end users. Jector is committed to designing digital solutions that enable the best possible learning experiences for teachers and students. Returning to this exhibition is like a reunion with old friends. Most of the attendees we have met are from Southeast Asia, China and India. However, this year we have also had discussions with some visitors from the Middle East who did not attend in 2023.”

The bulk of new exhibitors declared their commitment to the 2025 event before departing. Despite having emboldened its sphere of influence beyond the ASEAN region to India, the Middle East, South Korea and Taiwan, the organiser cannot

consultants and integrators seeking audio solutions will be the focus of attention for AVIXA before the next edition. InfoComm Asia returns to the (QSNCC) in 12 months’ time where it will further cement its status as a rapidly maturing exhibition and summit.

2024 Dates: 17 – 19 July

2025 Dates: 23 – 25 July

Venue: Queen Sirikit National Convention Centre (QSNCC)

Total exhibitors: 180

Attendance: 8,817

Contact: www.infocomm-asia.com

consultants, production companies and systems integrators to build the right solution for their bespoke requirements. For users to gain confidence in designing a cloud-based solution, some education is required, and we are eager to receive user feedback including the perception of our cloud-based MyUniverso control management. By sharing real-world case studies, users better understand the benefits and feel confident enough to specify MyUniverso for their projects.”

partners including Sennheiser, Jabra and Netgear, Crestron is showcasing the collective technology to our regional channel partners, who are visiting the exhibition with their customers from the enterprise, government and education sectors. Crestron has showcased its technology predominately to Thai visitors, but I have been surprised to meet customers from Macao and Northeast Asia in addition to ASEAN countries. Compared to previous years, there are more regional customers and end users.”

L–R: Powersoft’s JinFu Chen, Arthur Soh, Davide Quarto, Luca Bertani and Francesco Fanicchi

L–R: Crestron’s Raymond Yeo and Georgette Ong

The Jector team from Taiwan

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From the show floor

Jey Wang, Planar: “The exhibition centre is close to downtown Bangkok, which is convenient for our customers because they come here to discuss their projects before heading out to a bar or restaurant. Compared to US tradeshows, where we meet specifiers and appoint new partners, Asian shows are composed of more end users who want to have conversations about their solutions. Despite experiencing an economic downturn, Southeast Asian countries have been specifying more LEDs for control rooms and video centres. Having reduced budgets for other departments, they have been investing more in security and defence.”

Indonesia, many of whom are attending the packed programme of seminars and workshops. Many Indonesians travel to ISE in Barcelona and sometimes we attend the US shows. Because this is a much more local show, networking is more important, and we can enjoy meaningful meetings with suppliers and distributors. By visiting the individual exhibits, I have the time to go deep into the products. The combination of a busy show floor and a full summit programme warrants us attending InfoComm Asia for the full three days.”

visitors are seeking collaboration solutions for hybrid meetings for simpler workflows. Our lineup includes solutions for control, production and business, including our wireless collaboration ClickShare technology that needs to be demonstrated to the uninitiated working in the corporate sector. We are also highlighting projection for image processing and technologies for visual experiences. The corporate workspace for collaborations is witnessing more people adopting Microsoft Teams and this is where the growth will be.”

capture-to-IP converters and streaming devices. Magewell has a limited presence in Southeast Asia, so we are seeking new sales partners including distributors and systems integrators operating in enterprise, corporate and education. Over the three days here in Bangkok, we have learnt a lot about the market and customer needs. By listening to visitors at the show, we are also building a brand awareness.”

Wenbin Tan, Sennheiser: “By focusing on the TeamConnect Bar and TeamConnect Compact with camera tracking, InfoComm Asia has been a great show for the Sennheiser Business Communications unit. Our demonstration room on the booth at InfoComm Asia 2023 was a great success, so we opted for a larger room this year including more UC products that showcase the capabilities we enjoy with our global alliance partners. Most attendees come from Southeast Asia, but it is heartening to see how the show is expanding its reach. We have met customers from Japan, South Korea and India, many from the corporate and education sectors. As a five-year-old show, InfoComm Asia is growing and maturing, which will lead to a wider range of professional audio technologies being showcased in future.”

Ling Lu, Jabra: “Jabra released two software updates this week, including our latest collaboration with Microsoft, which enables our Panacast 50 device to facially recognise the participants in our demonstration meeting room. We have met partners and customers operating within the government and public sectors from the entire Asian region including China and India. Having hosted Tech Talk discussions and booth tours, we have fielded many thoughtful questions and engaged in detailed conversations. An increasing amount of our solutions are being adopted across a wider variety of flexible meeting room layouts, so our task is to provide a consistent experience for all our users.”

from Southeast Asia and India, but we also met some from New Zealand, South Korea, China, Taiwan and Hong Kong. InfoComm Asia is probably the one show in the region that is succeeding in becoming an Asian show. I was initially concerned that the exhibition was too videocentric. Fortunately, our audio portfolio including LEA Professional, Martin Audio, NST, Optimal, Sonance, Surge X and TiMax has differentiated itself, and InfoComm Asia has been successful for us.”

L–R: Faith Lan and Jey Wang

L–R: Sennheiser’s Wenbin Tan, Teruishi Nagatomi and Alex Lim

L–R: Zongxu Too and Eudora Chen

Aurora CEO Paul Harris in mid-demo

L–R: Barco’s Josephine Chan and Erik Tanuwidjaja

From the show floor

“We have met a lot of visitors from across Southeast Asia and some from mainland China, India and Taiwan, so the show is taking on a more international feel. We have been talking to visitors seeking creative, innovative audiovisual solutions that will enhance experiences for their applications and audiences. As such, we are showcasing technologies such as projection mapping for immersive attractions including a large 3D model surface of a temple, and another for storytelling. We are also showing some of our LEDs, including our Core Series and MicroTiles. Most visitors come from the installation sectors, but we are also meeting some from rental staging.”

show. The education market is our focus this year and I have met many people coming from India, Indonesia and Vietnam. Hosting InfoComm Asia in Thailand is the best outcome because the tourism and travel infrastructure is very good.”

must grow.”

AD V ANCED MULTI-CORE PLA TFORM

L–R: Christie’s Chris Kee and Tsungyi Chan

Shared strengths

Industry insiders give their opinions on the convergence of broadcast and pro AV, and what it means for both sectors and their technologies

across various sectors. As the lines between traditional broadcasting and pro AV continue to blur, we can expect to see even more innovative solutions that leverage the strengths of both industries.

One of the most significant trends in this convergence is the integration of IT and IP into broadcasting equipment

and infrastructure. Standards such as SMPTE 2110 and NDI are crucial in merging broadcast equipment with pro AV applications. These standards enable the delivery of broadcast-quality performance within the AV sector, bridging the gap between the two industries. By leveraging IT and IP, AV professionals can now achieve the highquality, reliable performance traditionally associated with broadcast environments.

Another critical trend is the adoption of virtualised, software-defined and cloud-based workflows. These advancements cater to the growing need for flexible and scalable solutions in pro AV environments. Virtualisation and cloud technologies allow for more efficient resource utilisation and enable remote production capabilities, which are increasingly important in today’s dynamic and distributed work environments. As these technologies continue to evolve, we expect them to enhance the flexibility and scalability of AV production workflows.

At Ross, we have observed a significant convergence of broadcasting and pro AV in corporate, education and house of worship sectors, demanding higher production quality and robust streaming capabilities. Educational institutions are leveraging broadcast-grade equipment to enhance their remote learning experiences, while corporate entities use these technologies for high-quality livestreaming of events

Live productions are also benefitting from the integration of broadcast-grade equipment. Tools such as graphics systems, production switchers and routers are increasingly being adopted to enhance the viewing experience for audiences. These tools, which have long been staples in the broadcast industry, bring a new level of professionalism and quality to live event production. Such equipment ensures that live events are broadcast with high fidelity and the creative, dynamic graphics and elements that audiences expect from traditional broadcasting.

select video and audio sources, all while communicating directly with their crew from a single SmartPanel. The Riedel RSP-1200 series SmartPanel is essentially a multipurpose, all-in-one solution for control, monitoring and communication.

Simon Roehrs, director of sales – Asia, Ross Video

LEADING BROADCASTERS IN THE APAC MARKET

got an early start in investigating media transport over IP using SMPTE ST 2110 standards. However, the biggest shift in moving to IP is developing a knowledge base that goes beyond broadcast and video fundamentals, as well as common media workflows, to include networking expertise. While this challenge led to several false starts in early IP implementations, delaying adoption on a larger scale, broadcasters in Korea, Japan and other countries have expanded their knowledge of networking and IT and are leveraging lessons learned in other markets to make their own IP transition.

For new facilities and major events, SMPTE ST 2110 and the move to IP are seeing real investment and commitment by various broadcasters. As IP and ST 2110 become the foundation for modern broadcast workflows, standards and equipment from professional broadcast are making their way into pro AV, as well.

The transition to IP offers cost reductions, greater system density, straightforward scalability and fewer distance limitations while allowing an asymmetric balance between sources and destinations. With their shift to IP, broadcasters put ST 2110 on the map as the standard supporting interoperable IP-based media workflows, with a focus on addressing the stringent demands of live production.

Enterprise, government, medical, defence and others are increasingly taking advantage of professional-grade broadcast equipment and IT- and IP-based workflows. With this equipment and its capabilities, organisations are better positioned to deliver the live and streaming content their businesses and customers now demand. They can incorporate news-style graphics, slick transitions

into productions to enhance video content. But in using IP-based systems to do so, they come up against a new challenge: addressing fresh incompatibility between devices and systems that once were interoperable.

Prior to the rise of IP, connecting professional equipment to other systems was relatively straightforward. With

growing interest in AV-over-IP, compatibility has become a concern once again, and there is a need for more accessible standards. Built on the SMPTE ST 2110 standards for media transport over IP, as well as AES67 and NMOS, the newer IPMX (Internet Protocol Media Experience) standards and specifications were created to offer the pro AV market a more accessible path towards interoperable, standards-based systems and workflows. A readily scalable standard that supports multiple codecs, IPMX facilitates high-quality, low-latency video and audio transport at any bitrate, with compressed or uncompressed streams. The emergence and acceptance of IPMX across broadcast and pro AV is accelerating the industries’ convergence. As more and more IP-based solutions come to market, enterprises are finding it easier to stay in IP, from broadcast equipment to AV signal management systems to enterprise equipment. Serving a broader range of networking and media options, IPMX allows enterprise, government, medical, education, defence and broadcast customers and integrators more flexibility to adopt IP-based media routing and processing with greater confidence and

In Asia, leading LED display manufacturers are implementing both ST 2110 and IPMX in their products to maximise the media formats and networking options available. Ultimately, this commitment will ensure that all LED tiles in the market support both standards, allowing for integration into professional-grade environments – whether temporary, as for a concert, or permanently, in a broadcast facility – with less cost and complexity. This is just one example of how standards, and the interoperability they enable, are adding momentum to the convergence of broadcast and pro AV.

Sam Recine, vice president of sales, APAC, AV/IT Group, Matrox

THE WORLDS OF BROADCAST TECHNOLOGY AND enterprise AV applications have been quietly colliding for years. Our story begins in 2012 with a live event on the topic of…live events. As head of marketing at ISE, I was helping to produce a pre-show conference. The attendees told us: “The content about audio, video, lighting, rigging and staging is all well and good – but you forgot about broadcast!”

Broadcasting had been a component of live concerts for decades, usually under the remit of TV and outside broadcast. By the early 2010s, the ubiquity of on-demand 4K video replay in the home meant that event organisers wanted a piece of the action, and began integrating broadcast technologies into their operations. It should have been on our radar, and it wasn’t.

Fast-forward a year or two, when a journalist at ISE told me that “in the future, every company will be a content creator”. He foresaw a future in which video

THE DEMAND FOR 4K IN PRO AV CONTINUES TO rise, albeit with a more cautious approach to adoption post-pandemic where HD remains the backbone.

Customers are more aware of 4K’s benefits and less concerned about its technical demands, thanks in part to the education efforts of companies like ours, which offer products capable of both HD and 4K. For instance, conferencing and houses of worship are seeing increased 4K adoption. In regions like Southern Africa, where house of worship is a larger market, there is growing interest despite some limitations in distribution and online capabilities. In European markets, AGM conferencing and corporate events are leading the way, using 4K for higher-quality presentations while maintaining the ability to convert to lower resolutions for online delivery.

Customers have specific expectations for 4K solutions. Scalability is a major consideration, as clients want to maintain quality without prohibitive costs. We’ve focused on ensuring our products, like the ATEM switchers, offer both HD and Ultra HD capabilities at sensible price points, without imposing a premium for the higher resolution. Feature sets remain robust, with consistent performance in processing, media pools and image scaling, whether in HD or 4K.

Control systems are another key area, with universal control panels that work seamlessly across different resolution environments. Integration with third-party systems and standards like 6G and 12G-SDI is critical, making the transition to 4K smoother and more reliable. This is particularly important as more broadcast engineers join AV companies, bringing with them an understanding of these technologies.

content would no longer be “owned” exclusively by traditional broadcast networks, because the rise of streaming and OTT distribution across platforms like YouTube would enable companies to “narrowcast” content on their own.

In AV, we have seen this prediction come to life with brands livestreaming experiential activations, then making them available for viewing on-demand. But the use cases now extend far beyond events. Some of them, such as Digital Out Of Home (DOOH) networks and command/control rooms, are not new, but are being enhanced by broadcast technologies. Others, such as eSports and immersive experiences like the MSG Sphere in Las Vegas, couldn’t exist without them.

A key case is the enterprise broadcast studio. AVIXA’s Market Opportunity and Analysis Report (MOAR) into how AV is being bought and used across every market vertical has shown such studios to be in the top five for investments ever since the pandemic, when companies first realised the importance of adding broadcast production capabilities to their collaboration platforms. A Teams or Zoom call involving hundreds of remote attendees can get very boring, very fast; turn it into a TV show, and you have a decent chance of keeping employees’ attention.

The challenge for the broadcast technology vendors and the AV community is that we don’t know enough about each other. Just over a year ago, AVIXA began working with IABM, which represents broadcast vendors, to address this issue with a series of events called UpStream.

As the learning process continues, we at AVIXA expect growing numbers of broadcast technology vendors to exhibit at tradeshows such as InfoComm and ISE, to gain exposure to these parallel markets. Some firms, such as those providing broadcast cameras and mics, production switchers and indoor LED walls, are already there. Others, providing cloud video editing and publishing, content servers and delivery networks and digital asset management, seem certain to follow.

one solution for smaller venues and applications, such as music venues and houses of worship.

Looking ahead, we are committed to offering solutions that are both HD and 4K capable, encouraging futureproofing in customer installations. Our development roadmap includes specific AV solutions with 4K at their core, integrating new technologies like 2110 for IP-based workflows.

As technology evolves, the once-distinct workflows and equipment used in broadcast and AV are merging, creating new opportunities and challenges for professionals in both fields and reshaping how we process, transmit and consume audio and video content.

There are several culprits, starting with IP everything, because sending signals over dedicated cables was just too darn easy. The shift from SDI to IP-based systems has been a gamechanger, allowing for more flexible and scalable infrastructures in both broadcast and AV environments. Another is higher-quality expectations: 4K, 8K and whatever comes next. Consumers now demand broadcast-quality experiences in AV installations, pushing professionals to adopt broadcast-grade equipment and techniques. Meanwhile, the pandemic has accelerated the adoption of remote workflows which rely heavily on IT and IP-based solutions common to both industries, while the move away from hardware-dependent setups to software-based solutions has increased flexibility and reduced the gap between broadcast and AV technologies. But beneath all the jargon and new acronyms, there’s actually some sense to this madness. Increased flexibility means you can now run a TV studio from your basement. Broadcast companies can expand into AV installations, while AV integrators can offer broadcast-quality solutions. Both industries now use similar methods for routing and distributing signals, often relying on IT infrastructure, while broadcast automation and AV control systems are becoming more alike, with many offering cross-compatibility. Both sectors are leveraging cloud technologies for production, storage and distribution, allowing for more collaborative and efficient workflows. There is also a cost benefit: when industries collide, prices tend to drop for both industries. And the merger of technologies is driving new product development and creative solutions.

But it’s not all good news. The learning curve involved means your skills just became obsolete. Again. Compatibility can be a nightmare, with interoperability between broadcast and AV equipment remaining an ongoing challenge. And as systems become more interconnected, cybersecurity becomes increasingly critical.

The bottom line is that broadcast and AV are converging. It’s happening whether we like it or not. Maybe we don’t need to overcomplicate it but take the best of both worlds without turning our workflows into a tangled mess. At the end of the day, we’re still just trying to get audio and video from point A to point B. All this new tech should make that easier, not harder. So let’s embrace this convergence, but let’s do it smartly. Keep it simple. Focus on what matters. And try not to trip over all the cables – oh wait, they’re all in the cloud now.

The man with a 10-year plan

Richard Lawn meets an experienced entrepreneur whose career cycle appears to move in 10-year phases

JAA SYSTEMS MANAGING DIRECTOR DAVID CHAN IS reflecting on the past decade of his career. The current pause mirrors other significant turning points that have chartered the entrepreneur’s career, often at 10-year intervals. Overseeing the finishing touches of his first JAA.S Experience Centre, Chan has come a long way since taking on two established German digital console brands. The creation of this highly visible and welcoming space, however, serves as the only clue of this current evolutionary benchmark.

Having graduated in R&D engineering, Chan cut his pro audio teeth at Klotz Digital, working with an international team on projects such as the Putrajaya International Convention Centre. His first 10-year plan was enacted in 2004, co-establishing Salzbrenner Stagetec Asia with a fellow ex-Klotz Digital employee. Over the next decade, he was allowed to implement a long-term strategy that would build the profile of the German digital console brand by adding compatible broadcast products to the portfolio, including Jünger Audio.

The decision to step down as managing director for Salzbrenner Stagetec Asia marked the start of his second 10-year plan in 2015. The timing coincided with an approach made by Jünger Audio Asia’s GM Kim Poh Tan to manage its Malaysian subsidiary. “We had distributed Jünger Audio for six years, so I was familiar with their quality products and the respect they commanded in the broadcasting market, and I agreed to develop their distribution business in Southeast Asia.”

JAA.S’s business portfolio reveals an eclectic mix of products that can provide a full turnkey solution for TV and radio broadcasters in addition to pro AV designers. Differentiating itself from JAA in Singapore, the Malaysian subsidiary in which the “S” stands for systems was primarily established to provide regional support for Jünger Audio customers, including Astro MEASAT. Currently based in One City USJ, a team of experienced engineers conducts a multitude of operations on three of the four building levels. Reflecting on his early days at JAA.S, Chan insists he was not shopping for broadcast brands to complement Jünger Audio. Attending Broadcast Asia for the first time as a non-Stagetec Asia representative had mixed emotions for Chan. However, a new door opened with a brand that Chan was familiar with. “The owners of Spanish brand Prodys, Javier Lizuain and Jose Valladares, approached me to distribute their products at the same show. I’d previously represented Prodys audio and video IP compression products, so I was honoured to be reunited with the brand in Malaysia and Indonesia.”

Malaysian distribution agreements for Merging Technologies and Orban would soon follow Klotz Communications. However, it was Calrec, which would enter the picture shortly afterwards, that would define the fledging company’s future. Impressed by the attractive price performance features of the Brio36 during the NAB launch in 2016, Chan was approached by sales director Ian Staddon from sister company DiGiCo. “I thought he was joking initially, but Ian asked me if I wanted to distribute Calrec,” recalls Chan. An excellent demonstration of the same control surface by Anthony Harrison at IBC made him less reluctant to promote large-format consoles, and Chan was enamoured of the fact the broadcast console was pegged at a Yamaha price point. “The price tag is a limiting factor for most Malaysian broadcasters, so to be shown a desk with broadcast features at a competitive price was a new sensation for me.”

Prior to Brio36, Chan insists that Malaysian broadcasters could not easily afford a full broadcast digital board. “The affordable analogue formats and live sound digital mixers that were available then lacked capacity and broadcast-centric features. With 36 faders designed for compact applications, Brio changed this. Not only did it offer a high channel count with lots of I/Os and sufficient DSP, its networkable design allowed broadcasters to expand the platform with more I/Os when needed. Within a year, JAA.S had sold its first Brio36 to the Astro Awani news channel and, today,

Chan decided to take on responsibility rather than outsource this, taking on Italian brand Telesat in 2018. With a view to upgrading its large, outdated transmitters across 12 sites, Cats FM in Kuching made contact. “The works had to be completed in a much shorter period than normal because of scheduled local elections,” Chan explains. “Having listened carefully to customers, we engineered an effective solution for their future requirements including real-time monitoring and control warnings to trigger an app should there be a lightning strike or a blackout, for example. This created efficiencies in addition to helping us reduce resources onsite.” Subsequently, the company upgraded more transmitter sites for Manis FM and KK FM.

JAA.S entered the video domain shortly after this, following an approach from NewTek. “An increasing number of clients were specifying video production systems including green screens, smaller switchers and streaming technologies. During the pandemic, we learnt more about the technology by experimenting with a demo setup at our office. When we knew it was acceptable, we could confidently promote this to our customers.”

Following the initial sale of a NewTek TriCaster standalone system to Astro Arena, soaring demand has seen JAA.S take on more video brands to create a complete ecosystem.

“To date, we have successfully completed various video systems projects including at Bernama BCP, a delay system for Astro Video, a video encoding system for SMG and we’ve recently completed Spotv Media’s facility,” says Chan. “Engineers possess

enquiring minds, and we are passionate about the technology and

collided, AVoIP protocols such as Dante and Ravenna were initially hard to understand. Once we had sufficiently studied, we shared our knowledge of the AES67 protocol with our customers, such as RTM, in the hope that it may help guide them.”

Having understood the benefits associated with AVoIP networks, JAA.S was commissioned to upgrade the infrastructures of nine RTM stations. This included the installation of IP components such as Calrec Type R IP-based mixing systems, which adopt standard networking hardware and soft panels. Operating with Calrec Assist for mixing in the cloud, the three hardware panels combine to create a variety of systems for up to three independent mixers. “By understanding our customers, we can recommend which protocol design is best for each one’s individual needs, whether it’s an MCR or a studio. Once they have bought into the concept of IP, our clients are on the right track as future upgrade expansions, support and service maintenance are simpler and more cost-effective.”

The 24/7 remote monitoring and management support capabilities that IP technologies offer has further developed the business for JAA.S. “Our remote support and helpdesk operations are conducted from the entire upper level of our Subang Jaya headquarters. By locking into the client’s system, we can instantly identify problems. It may only be a minor error, but it could also be something such as a power surge or a cable breakage. Our clients are happy as we don’t have to travel several hours to fix what may only be a minor problem. In addition, we can coordinate software

L–R: Jünger Audio’s Peter Poers, Kim Poh Tan and David Chan in 2017 – the roots of JAA.S

JAA.S founder and MD David Chan is celebrating the company’s 10th anniversary this year

JAA.S carried out a significant audio upgrade at RTM Radio Perlis

maintenance and firmware updates from our office, usually after midnight when the station is closed.”

Acquired in 2018, the current headquarters may only be six years old, but the once-abundant space is already fully utilised. Growing pains have led to the next phase of development, as the recently furnished JAA.S Experience Centre bears testimony in the modern building opposite. “Over the last 10 years we have evolved from audio, to video, to transmissions, OTT and AVoIP, so this point marks the transition into the next decade of development.”

Having primarily relied on business from the larger broadcasters, JAA.S is now expanding its target audience towards prosumer customers such as YouTubers. “It is not only expanding; the traditional broadcast audience is also changing,” states Chan. “An increasing number of smaller organisations are approaching us as they want to adopt audio and video streaming for applications such as books and podcasts, to appeal to a wider audience.”

Having successfully grown the company from one-man operation to the fully staffed, expanding, four-level headquarters, Chan sometimes feels overwhelmed. However, he is reassured by the support of his peers. “I have a great team working with me. We collaborate closely, fostering a family-like environment. They provide me with strong support and, in return, I mentor and develop them to advance their careers. Our organisation offers numerous career opportunities. I want everyone working here to have the opportunity to develop their career, so they can grow the business and take it to the next level.”

Having reflected on the past decade, Chan is suitably reassured that the road ahead is heading in the right direction. “First and foremost, we are a solutions provider for major projects. However, the JAA.S Experience Centre now allows visitors to both envisage and conceptualise how we see the future.”

The investment represents the first step towards JAA.S branding itself at a more prosumer level, and this will be followed by adopting a direct sales business. No longer on pause, Chan is already building the foundation that will serve as the basis of his 2034 evaluation.

www.jaasys.com

Celebrating their 10-year anniversary with Calrec by hosting a seminar at RTM

Ton up for the tone masters

Celestion has published A Century of Sound, a commemorative book of words and archive photography celebrating its centenary. Jerry Gilbert, who played a major role in the research, takes us through the company’s history, which has navigated a world war, the Great Depression and countless twists, turns and takeovers

FOR 100 YEARS, CELESTION HAS FOCUSED LARGELY on manufacturing one item: transducers. During that time the company has rewritten the loudspeaker lexicon, introducing phrases such as “brownsound” (immortalised by Hendrix and Van Halen) as well as “Creambacks”, “Pre-Rola Pulsonic Greenbacks” and “Alnico Blue” – all classic guitar speakers –with chat forums attracting fanboy guitarists aplenty, debating the minutiae of chassis and significance of ciphers. The company has also pioneered technologies that made bookshelf hi-fi suddenly affordable for the masses, latterly redefining transducers for large-scale pro audio.

It was during the austere pre-war year of 1936 that the most famous legend of all, the Rola G12 general-purpose permanent magnet radio speaker, unceremoniously appeared. A quarter of a century later, in newly minted form, it would provide the signature sound of the British beat boom as the idiom’s first dedicated guitar speaker. The magic behind the iconic Vox AC30 guitar amp and Marshall 4x12 stacks enabled guitarists to deliver harmonic destructive distortion as they drove their sound into gloriously saturated, sustained overload, shaking the Mullard valve circuits to within an inch of their lives. The alchemy that lay behind this was off the grid and, like so many inventions, was the result of a happy accident.

The company’s journey has seen it pivot into munitions during WW2 to help develop the British government’s prototype proximity fuse, capable of detonating an anti-aircraft shell when German V1 rockets came within lethal distance. Later, the parent company’s frivolous diversions into toy ducks and exotic ladies’ underwear provided a lighter touch.

Celestion’s stand at NAMM, underpinning the company’s quintessential Britishness. Elsewhere, mock red telephone boxes served a similar purpose.

Mackintosh to secure patents on “free-vibrating edge” and later “clamped edge” speaker design principles.

Two years earlier, Marconiphone vintage wireless equipment had led to a tidal wave of applications for experimental broadcast licences. The British government issued just one: to a consortium known as the British Broadcasting Company Ltd, the forerunner of the behemoth that would become the BBC, which appeared in 1924. In a landmark year for broadcast, Big Ben and the Greenwich Time Signal rang across the airwaves for the first time and King George V’s voice was broadcast.

Enter Celestion. It was a third French brother, Ralph, who would coin the name; somewhat delicate for a utilitariansounding plating company. Prior to the formation of the Celestion Radio Co, “the Celestion” had been the name of a product launched in early 1925 housing radiophone loudspeakers with fabulously ornate fretwork, which went on to become highly sought-after.

By 1928 Celestion Radio Co was folded into the newly incorporated Celestion Ltd, quickly expanding into larger premises at 145 London Road, Kingston-upon-Thames and diversifying into reproducers for ships. When in 1931 it capitalised on the birth of the phonograph, the adventure was in full spate. Celestion successfully fended off the impact of the 1929 Great Depression before the boom era was brought to an abrupt end with the resignation of Cyril French and departure of Mackintosh in 1935.

According to current and longest-serving MD Nigel Wood, the centenary year is disappearing in a heartbeat. Starting with the North American NAMM Show in January, a celebratory roadshow has travelled to ISE in Barcelona, Prolight + Sound Guangzhou and PALM Expo India in Mumbai, with an upcoming visit in October to Shanghai’s Music China via a party at the Ipswich HQ in September. An iconic red London double decker bus adorned

It’s unlikely that company founder Cyril French would have been aware of how significant 1924 would prove in the world of broadcast. Along with brothers Leonard and Edgar, he had taken over the Thames Valley Plating Works at 29 High Street, Hampton Wick, converting it to the Electrical Manufacturing and Plating Company. In the year that the moving coil principle was patented, he was improving the design of fellow pioneer Eric

Through the second half of the 1930s, British Rola – an offshoot of the American Rola Company – had been operating in lockstep with Celestion, making small speakers fitted inside the radios themselves from its facility in Park Royal, northwest London. When war broke out, British Rola began supplying the Air Ministry, while production at Celestion changed to munitions work. With the coming of peace, British Rola transferred from Devon to Ferry Works at Thames Ditton and, in August 1946, acquired Celestion, the two company names joining as Rola Celestion Ltd. But the company tumbled into administration, to

In 1931 the company capitalised on the birth of the phonograph

L–R: company founders Cyril French and Eric Mackintosh; the original premises at Hampton Wick

be taken over in 1949 by tape recorder giant Truvox, chaired by the colourful Danny Prenn.

Incorporated as Rola Celestion in 1951, the company began production of coaxial speakers and re-entrant horns for industrial use, followed by the Ditton portfolio with the birth of the stereophonic LP. And it was at the start of the 1960s that the company would really make its name, thanks to the legendary Vox AC30 guitar amp. As the decibel levels created by screaming fans became ever higher, Shadows’ guitarist Hank Marvin needed something more muscular than the AC15’s speaker handling. So JMI/Vox’s Dick Denney worked with Celestion head engineer Les Ward to “beef up” the G12’s construction for this new application. This led to the G12 T530 alnico blue – a development of that old 1936 console radio speaker.

Meanwhile, across London, Marshall Amplification worked with Ward on developing its own G12 variant. The JTM 45, the

company’s first closed-back cabinet, was uprated to four G12s, and the 4x12 stack configuration was born. A constellation of backline producers, including Laney, Orange, Selmer, Carlsbro, HH Electronics and Simms Watts, followed. With demand for the coveted formula outstripping the ability to supply, Celestion became virtual gatekeepers.

The hefty British Celestion magnets also attracted the attention of Charlie Watkins, founder of WEM, responsible for the first recognisable PA systems. Via Celestion, he set sail with his Wall of Sound slave PAs. Meanwhile, the success of Ditton at the Thames Ditton factory necessitated a transition to a bigger facility in Ipswich. At the same time, a reverse takeover

of Weingarten Brothers clothing company by Truvox created the new publicly listed Celestion Industries plc.

Although the UK’s 1973 three-day week further blighted growth, Celestion continued to focus on industrial speakers in addition to the G12s, as well as affordable Ditton hi-fi. Then in 1982 came the revolutionary SL6 hi-fi speaker, which owed much of its success to the company’s forward-thinking investment in laser interferometry, enabling the fine vibrations of small sections of the speaker cone to be measured.

That same year, with the new roller disco trend infesting British nightclubs, Celestion designed a bespoke sound system for the UK’s biggest roller disco. The massive system was the

The Ferry Works, Thames Ditton premises in 1949

Rola Celestion began producing re-entrant horns for industrial use

company’s first move into loaded systems which, by the end of 1986, would yield the SR Series; the same year as Celestion released the classic Vintage 30 to the retail guitar market. The dual 8-inch concentric full-range SR1 came with separate crossover, injection moulded cabinet and integral aluminium dome. The evolved series would also introduce Aerolam, appropriated from the aerospace industry, a new surround called Flexirol and, later, another new technology, Paraflow. The SR Series gained currency when Yes’s Rick Wakeman started using them for keyboard monitoring and Robbie Gladwell and Paul Airey created Celestion house band, Spank the Badger.

By 1988, a group of City-based investors headed by Charles Ryder took over and, four years later, Celestion Industries divested itself of the loss-making loudspeaker division entirely. Hong Kong-controlled venture capital investment company Kinergetics Holdings (UK), whose majority shareholder was Gold Peak, acquired both Celestion and fellow hi-fi giant KEF Electronics, with manufacturing united under KH Manufacturing. The move to Gold Peak brought many advantages, and markets were reassured when the parent company announced a long-term investment commitment while enabling Celestion to remain uniquely British.

Celestion pressed ahead, its ongoing hi-fi drive taking early advantage of the company’s latest investment in Finite Element Analysis (FEA) software, introduced in 1992. At the beginning of the new century, its Partners in Tone programme brought a stellar lineup of endorsees to the guitar speaker brand, building on an earlier American initiative. Getting Slash onboard provided the turning point, while Eddie Van Halen’s influence brought a completely new sub-brand to the company with the EVH.

Since Celestion had already transferred nearly all its raw frame speaker manufacturing to the Gold Peak factory in Guangdong, downsizing in the UK became essential. Moving across Ipswich to Great Blakenham, the company streamlined production and test areas, installing a new laboratory complete with a hemianechoic chamber and a purpose-built listening room while further embracing FEA capability. Advanced coaxial and compression driver design became its mission, Mark Dodd’s initial CDX driver having been expanded into a sizeable product range, leading to the AxiPeriodic CD with a neodymium magnet, titanium diaphragm and much wider bandwidth.

Celestion continued to attract high-profile OEMs including Martin Audio, Turbosound and Funktion-One, eager to embrace Celestion technology (and FEA) for their PA systems, just as Charlie Watkins had in the late 1960s.

Celebrating his own 20-year anniversary, Nigel Wood had arrived soon after the move to Great Blakenham. An industrialist with long-term vision, he was immediately parachuted into the Frankfurt Musikmesse where he observed that: “Celestion were trying to serve many different markets – they were too spread and not focused.” He wasted no time pulling the company – which had already exited hi-fi – out of systems entirely, enabling it to promote core OEM assets, free from competing with its own customers. Adopting a simple formula, he has steered a steady course through the noise and clutter of two decades. As he succinctly puts it: “100 years ago we started making speakers; 100 years later we are still making them.”

There are other mantras, such as: “Compression drivers are complicated to make, so not everyone can do it. But that complexity is our friend.” And: “If it says ‘Celestion’ on the label, then we made it. We own our factories, which stops people cloning.”

China is where Celestion’s high volume commercial items are produced whereas hi-tech, lower volume and prestige production and “specials” remain firmly in the UK. To that end, it recently moved into the large-format woofer space,

Asia and shipped them over, the freight cost would be really expensive, so we might as well build them locally.”

The same principle prevails at Celestion’s recently acquired factory in Thailand which will initially manufacture midperformance, large-format speakers for the mass market. With two factories in Asia, it is significant that Celestion is also on the verge of expanding sales activity in APAC, according to Wood. Running in parallel throughout, Celestion has fed generations of guitarists with its legendary sound. This legacy programme was right in engineering director Paul Cork’s wheelhouse, with faithful versions of iconic speakers being created via the Heritage Series, and newly conceived products using latest

technologies to achieve higher power handling while preserving the hallowed tone. It ensures Celestion’s stock remains at the highest level.

Away from the visceral world, the company recently embraced the need for digital emulations with the new Impulse Responses – faithful representations of classic guitar speaker tones – followed by the launch of software compatible with the new generation Dynamic Speaker Responses (DSRs) which take IRs to the next level.

“There’s no change, we keep doing what we do,” says Wood, matter-of-factly, when asked about legacy. And while not strictly true as Celestion constantly strives to innovate, most recently venturing into patented waveguide technology,

An iconic red London bus and telephone boxes on the Celestion stand at the NAMM Show 2024

An SR system on the QE2

Laser scanning hi-fi cabinets in 1989

Operating 1986 chassis presses

Part of the robotically assisted production line in 2024

Unleashed power in a black dress.

1000W RMS - 132.5 dB SPL

8-Channel Integrated Mixer

HF: 12x 3.25” - 1” V.C. full-range drivers

LF: 2x12” - 3” V.C. Woofers

DISPERSION: 120° H x 60° V

All in one portable PA featuring an onboard Mixer easily managed through its integrated display or the official app (available for iOS). Experience maximum versatility and performance. The Nettuno 10 is the ideal companion for professionals for multiple applications: live performances, DJ sets, corporate events.

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Objectify this NEWPRODUCTS

FletcherMachine Version 2 includes both a software and firmware update and a host of new features

FOLLOWING ITS launch in 2022, Adamson Systems Engineering’s FletcherMachine Spatial Audio Rendering Engine has received a V2 upgrade and a raft of new features. Available in three versions, FletcherMachine Virtual is a free, standalone application for Windows and macOS that allows users to design immersive environments on-the-go. FletcherMachine Stage is a 3U hardware unit with a 5-inch colour touchscreen, offering up to 128x128 I/O at 96kHz sample rate and 1.3ms latency. FletcherMachine Traveler brings the functionality of the Stage engine to a more portable format, offering a maximum of 96 channels with variable I/O counts. Meanwhile, FletcherMachine Remote pulls everything together as a portable application for Windows and macOS.

At the core of FletcherMachine is an object-based rendering engine that uses both amplitude and time localisation algorithms to position sound sources more accurately in a three-dimensional space. This approach is said to enhance the listener’s ability to

perceive both the direction and distance of sound sources, resulting in an improved and more realistic immersive experience. FletcherMachine V2 includes improved speaker management which allows for both 2D and 3D setups in the same session; connectivity tools including dedicated DiGiCo and AVID plugins and onboard ADM-OSC for interoperability with other mixing desks and audio workstations; a binaural renderer which can be assigned to any output channel and a dedicated headphone output for AVB and MADI versions; up to three reverb engines; improved snapshot section for more accurate show control; more efficient external protocol handling (MIDI, OSC, PSN, rttrpm) for improved integration of tracking systems and other third-party applications; and expanded object grouping and linking for mix automation. Users can also benefit from new housings for both Traveler and Stage engines as well as hardware redundancy available for Stage engines. A new delay matrix allows for easy routing of any input to any output with user-assignable gain and delay. Time code, stereo pairing function and variable I/O have also been added.

Available as a free download from its website, ArrayIntelligence V1.2 is a software platform from Adamson that allows users to design and deploy systems from a single interface. V1.2 introduces a range of features such as Sub Array Optimisation, VGt and Delta Time Simulation, as well as system performance enhancements. The inclusion of Adamson’s VGt flagship line array allows users to include it in simulations and evaluate the optimisation feature. Pilot partners will be able to fully control their systems and utilise either cardioid or omnidirectional patterns. Meanwhile, Sub Array Optimisation simplifies the design and optimisation of subwoofer arrays and allows users to automatically generate optimal delay settings for a given horizontal subwoofer array deployment. V1.2 also introduces a Delta Time Simulation feature for precise timing adjustments and simulations, enhancing the accuracy and coherence of sound systems, a mute lock function and new buttons for better touchscreen control.

www.adamson.ai

Party time

DESIGNED SPECIFICALLY for the entertainment and KTV market, Optimal Audio has launched its Party Series of onwall loudspeakers. The series comprises 10-, 12- and 15-inch full-range, two-way passive loudspeakers which can be flexibly mounted for simple installation.

Premier KTV rooms require sonic warmth, clarity and smooth response to support the vocal presence and elevate the karaoke experience. With that in mind, Optimal Audio has designed the series to provide ample bass and mid-band, with vocal clarity and high note projection for karaoke performers.   To combat space constraints in KTV rooms and allay the need for subwoofer support, the loudspeakers are rear-ported, coupling their lowfrequency output to walls or ceilings to produce enhanced bass output.

manufacturer’s Amp series and the internal crossover network technology has been designed to protect the low- and high-

frequency drivers for an uninterrupted karaoke experience.

Unveiling what it describes as its “most significant WebApp update so far”, WebApp 1.3 has been upgraded for both its WebApp and ZonePad controllers. Compatible with any device and designed to unlock the capabilities of Optimal Audio’s Zone controller, WebApp aims to make the setup of multi-zoned commercial sound systems straightforward. Its ZonePad 4 is now configurable as a single zone controller with up to four routine triggers. This allows venue staff to trigger pre-configured groups of presets at the press of a button. ZonePad 1 has also been updated to allow routing of its local mic input to the system mic, making this

Robotic reach a reality with Tx Series modules

DESIGNED TO complement its range of robotic line arrays, the Tx Series is a set of intelligent, multipurpose point source modules from PK Sound. Fully configured and controlled via PK .dynamics software, PK loudspeaker systems overcome unique acoustic challenges by allowing users to mechanically configure and optimise system

your brand” soundtrack player, which is licensed for business use and has more than a thousand

coverage remotely and in real time. The Tx Series expands PK Sound’s Trinity range to provide users with what the company describes as “an unprecedented degree of control and optimisation via PK .dynamics software”.

The Tx Series includes the Tx26, which features controlled 100° conical directivity with a frequency response of 55–18kHz and 133dB peak SPL. Its pair of vented 6-inch Tetracoil transducers with custom phase plugs manage low-frequency response, while a 1-inch HT polymer diaphragm compression driver handles high frequencies. The larger Tx14 offers controlled 50° x 70° directivity with a frequency response spanning 50–18Hz and

Range IS expanding

ITALIAN SPEAKER

has broadened the variety of installation possibilities of its IS Series of passive loudspeakers with the introduction of three IP55-rated models: the IS210L line array module, point source IS120T and IS115S subwoofer companion.

Designed for larger venues like arenas, performing arts centres, houses of worship and clubs, the IS210L is the first high-output line array in the IS series designed specifically for permanent installations. Its symmetrical design includes two 10-inch woofers with 2.5-inch voice coils with a 1.4-inch (exit), and a 2.4-inch voice coil compression driver mounted on a waveguide. The IS210T point source loudspeaker is equipped with the same transducers and has a 90° x 40° rotatable horn. Using the same accessories available with the VIO X310, the versatile IS210T can be flown or pole-mounted. Meanwhile, dbTechnologies says the IS115S flyable subwoofer provides the best low-frequency extension for the IS series. All three are available in white or black.

www.dbtechnologies.com

As a floor monitor, the Tx14 has a natural inclination of 35°, extendable to 55°. Both are easily mounted or flown with a variety of rigging accessories, making them suitable for both portable and installed applications. Meanwhile, PK Sound’s two-channel VE15 1,400W Class-D amplifier maximises headroom for each Tx module, while onboard DSP and AVB end points are routed through the world’s first implementation of Neutrik’s DR Series of IP65-rated connectors. The development is in partnership with ACT Entertainment.

www.actentertainment.com www.pksound.live

The rigours of outdoor

life

80-200/T plus-EN54 voice alarm speaker from ic audio is suitable for a wide range of outdoor applications. Whether it’s enhancing the guest experience in amusement parks, providing

with a 200mm woofer and a 25mm tweeter, the DA-SG provides crystalclear audio said to enrich any setting. Its 360° sound dispersion technology gives an even sound distribution, creating an immersive auditory experience across the entire area. Engineered to withstand the rigours of outdoor environments, the DA-SG

loudspeaker provides protection from the outdoor elements. Its robust ABS plastic construction, coupled with high-quality materials like the polypropylene chassis, are said to provide a reliable performance in various weather conditions. An intuitive rotary switch allows users to adjust power settings and optimise audio quality to suit specific needs. Safety is paramount with the DA-SG. The speaker is equipped with a cable junction box, a ceramic terminal and a thermal fuse, to provide secure and dependable operation. Installation is said to be versatile and straightforward, with options to bury, cast in concrete or simply fix with screws. This flexibility reportedly allows the DA-SG to seamlessly integrate into any environment, providing optimal performance without compromising on aesthetic appeal.

www.ic-audio.com

138.5dB max SPL, all driven from a premium

Tx Series plus T8

Party Series

IS210T

A PRO high five

PITCHED AT the premium end of the commercial market, Pro Audio Technology (PRO) has debuted the first five models in its PRO Commercial model line of loudspeakers. Having built a reputation for loudspeakers and DSP amplified loudspeaker controllers that address the needs of high-end residential installations, the PRO Commercial loudspeakers are designed for installed and portable installations and described as “high-output yet refined loudspeakers that can be installed virtually anywhere”. The CF-46.2 is a quad 6-inch, two-way, multi-use loudspeaker with an ultraslender profile providing 120° conical coverage; the CF-28.2 is a dual 8-inch, two-way, multi-use loudspeaker with 80° x 60° elliptical horn; and the CF-112.2 is a single 12-inch, two-way, multi-use loudspeaker with an 80° x 60° elliptical horn. The CF-212.3 is a full-range multiuse loudspeaker with a built-in subwoofer,

which features a dual 12-inch and dual 8-inch, three-way multi-use loudspeaker, and its compact enclosure is only 10 inches deep. Finally, the CLF-212 is a high-output, compact, bass-reflex subwoofer with dual 12-inch 1,400W woofers and is sonically matched to the CF-46.2, CF-282 and CF-112.2.

All have ergonomic handles, multiple fly points, industry-standard mount points and pole cups. Optional PRO SplitYoke multipurpose mounting brackets can be used to install all PRO Commercial loudspeakers on walls, ceilings, floors and other surfaces. In addition, both the CF-212.3 and CLF-212 subwoofer can be fitted with the PRO Caster Kit for portability. PRO says this is ideal for DJs, corporate venues and hospitality events where big, clear, full-range sound is www.proaudiotechnology.com

Electro-Voice brings in the next generation

COMBINING SEVEN standard EVID-C-G2 ceiling speakers with five additional entr y -level EVID-EC models, Electro-Voice Complete has refreshed the EVID C series. Collectively the 12 new models provide price-performance options. Configurations range from 3-inch full-range to 8-inch two-way and subwoofer models, including dedicated models for specific applications, such as low-profile, high-ceiling/highperformance, CSA/ULC-S541:2016 and EN54-24 EVAC-certified models. The 3-inch IP45-rated EVID-EC3.1 is suitable for high humidity spaces. All C-G2 and EC models are UL 1480A and UL 2043 certified.

The latest SwiftLock System (C-G2 models only) supports quick, precise and secure attachment to the ceiling with a push-and-lock mechanism. An easy-access front-baffle wattage tap and side-access terminal blocks promote simple adjustments and connections of the 70V/100V models.

The C-G2 and EC models feature the same three cut-out sizes and outside diameter sizes

in 7-, 11- and 13-inch formats. With the same cut-out holes, the standardised sizing simplifies multi-model and retrofit installations. All models

(Signal Synchronized Transducers) technology. The patented approach to time-aligning the low- and high-frequency transducers allows a larger waveguide to fit inside a more compact

include bezel-less magnetic grilles in a paintable white finish. Adding further flexibility, black-finish grilles are available as an accessory and square grilles are available in white for the 11-inch size. All models benefit from Electro-Voice’s SST

Work Pro transmits to Neo

EQUIPSON BRAND

added the Neo 5 Air to its Neo range of fixed installation loudspeakers. Combining Hi-Fi audio within a compact design, the Neo 5 Air distinguishes itself from the other Neo enclosures by integrating a wireless digital audio transceiver. This addition allows the loudspeaker to broadcast where units can be deployed within a master or receiver setup.

Connected to a source player via Bluetooth or a wired line input, the Neo 5 Air Master can transmit audio to an unlimited number of Neo 5 Air receivers. The inclusion of a channel selector controlled by dip switches

capabilities by delivering more output and an extended low-frequency response. The updated RX5 (90° x 70°) and RX6 (90° x 70°) models both have improved mounting options and an improved crossover and horn design for better offaxis response.

enclosure, resulting in enhanced acoustic performance and pattern control for full-range intelligibility.

www.electrovoice.com

channels, so that music from a variety of sources can be output to specified receivers in

the system. Together with an active subwoofer, the full Neo range includes passive and twoway active loudspeakers, some of which are IP-rated for outdoor use. The cabinets can be fixed horizontally or vertically on specially designed brackets in either low impedance or

The Integra DSP Series has similarly been extended with a 16-channel DSP matrix. The Integra 16S provides 16x16 balanced analogue inputs and outputs and features line/mic inputs with +48V phantom power, adaptive feedback control, automatic noise suppression and gain compensation. Additionally, the rear of the unit incorporates four GPIO ports and a USB interface for playback and recording. The 16x16 matrix is delivered with the Integra S native management software. Parameters including input and output gains, expander, compressor, parametric equalisation,

In brief, Fulcrum One 1.1 brings the ability to import and export industrystandard DXF files, simplifying workflow for individuals using CAD tools other than SketchUp. In addition, the update has brought several new internal enhancements and bug fixes to improve productivity and stability.

www.fulcrum-acoustic.com

limiter and anti-feedback on each channel can be controlled.

Designed for complete programming with the Integra 8S and 16S units via the software, the WC 3U Wall Control unit sports an OLED screen and a built-in rotary button/push button. The aluminium unit features TCP/IP and UDP communication capabilities and operates over PoE.

www.workpro.es

Same sound, more coverage

EXPANDING ITS ARA Series of monitors, speaker specialist DAS Audio has launched the ARA-P12.115 and ARA-P28.115 point source systems. Both models offer 100° x 50° coverage and complement the ARA-P12.74, ARA-P28.74 and the ARA-M210 models launched earlier this year. All five models in the series share a number of technical features. They are equipped with the same 3-inch M78N compression driver to provide tonal consistency across the range.

The ARA-P28 is a self-powered point source system with a dual 8-inch configuration and a 3-inch compression driver. The ARA-P28.115 offers a frequency range from 70Hz–17kHz

and 100º x 50º coverage, compared to the ARA-P28.74’s 70º x 40º coverage. The system reaches a maximum SPL of 140dB.

The ARA-P12 is another self-powered point source system from the ARA series. Equipped with a 12-inch speaker and the same 3-inch compression driver, the ARA-P28.115 offers a frequency range of 63Hz–17kHz and a coverage of 100º x 50º compared to the ARA-P12.74’s coverage of 70º x 40º. It too provides a maximum SPL of 140dB.

The ARA-M210 is a self-powered stage monitor with a dual 10-inch driver symmetric configuration and a 3-inch compression driver. The waveguide design provides a horizontal dispersion of 50º and an asymmetric

Getting down over PoE

FIVE YEARS after the launch of its Smart IP range of active loudspeakers, Finnish speaker specialist Genelec has expanded the range with the 3440A PoE subwoofer. Measuring 475mm x 475mm x 220mm and weighing 14.5kg, the compact 3440A features a 6.5-inch driver, a 70W internal Class-D amplifier stage and dual reflex ports to deliver low-frequency performance from 35–120Hz. The 3440A’s proprietary internal power supply technology stores enough power to produce 106dB of short-term SPL whenever needed, while Genelec’s power-saving Intelligent Signal Sensing (ISS) circuitry provides further efficiency by activating a low power “sleep” mode if no audio is detected for a defined period.

As well as receiving both power and audio-over-IP, the 3440A’s RJ45 connector also provides access to Genelec’s Smart IP Manager configuration software, enabling installers to configure rooms, zones, loudspeakers and audio channels. It includes system organisation, status monitoring and a room equalisation tool set including adjustment of the 3440A’s crossover frequency. Available in black or white finishes, the 3440A also supports analogue connectivity via a Euroblock connector, and can be positioned on the floor or mounted on a wall or ceiling via an optional heavy-duty bracket.

vertical dispersion of 40º downwards and 30º upwards. This monitor operates in a frequency range of 55Hz–20kHz and features a Class-D amplifier capable of delivering

Providing power, audio and management features via a single standard Cat cable, every model in Genelec’s Smart IP range can be freely combined on a network and is compatible with both Dante and AES67 streams, deriving power via PoE or PoE+ formats.

www.genelec.com

CREATED FOR residential or commercial installations, Theory Professional has developed the DLC distributed loudspeaker controller platform. Incorporating the DLC-250.4d, DLC-1500.4d and DLC-250.8, the three models offer between four and eight channels of intelligent power, a full DSP matrix and TCP/IP control through a wired connection, or directly via its onboard Wi-Fi access point. In addition, the DLC-250.4d and DLC-1500.4d add Dante and AES67 audio-over-IP digital I/O compatibility.

With channel-pair power sharing of up to 250W, the DLC-250.4d four-channel loudspeaker controller offers the flexibility to power any system size. The ½U model includes a rack kit, but an optional surface-mount kit provides a discreet appearance when installed under a table or behind a TV. The DLC-250.8

a

www.dasaudio.com

Meyer Sound unveils ultimate Ultra with the X80 flagship

WITH THE release of the Ultra-X80, Meyer Sound has revealed the most powerful member of the Ultra loudspeaker series. According to the Californian manufacturer, the point source enclosure can provide the power, clarity and performance of multiple line array loudspeakers in a single box.

The Ultra-X80 draws on both the acoustic lineage of the existing Ultra-X40 and Ultra-X20 models, and technological features inherent within the Panther large-format linear line array loudspeaker deploy package. For maximum flexibility in coverage, an Ultra-X82 variant offers a more tightly focused 50° x 40° dispersion pattern and delivers a total linear peak output of 142dB SPL.

Designed for its versatility of use, an electroacoustic focus on a smooth response across the frequency range, directional control, phase coherence and fidelity enable it to pair with products at any scale in the Meyer Sound ecosystem. The X80 model features the Ultra Series’ concentric-driver design, coupling two 12-inch neodymiummagnet cone drivers to a rotatable 95° x 40° waveguide married to a 4-inch high-frequency compression driver.

Taking advantage of the Nebra integrated software platform, the Ultra-X80 and Ultra-X82 incorporate both analogue and Milan connectivity as standard. The Class-D amplifier technology contributes to deliver a total linear peak output of 141dB SPL in a 59kg cabinet.

the same power per channel and power sharing capabilities as the DLC-250.4d with four additional channels in a 1U chassis. Designed for high-output distributed or surround audio systems, the 2U DLC-1500.4d four-channel or 4Ω

1,200W continuously and 2,400W peak, ensuring

maximum SPL of 143dB.

Sound first

AUDAC HAS added its 8-inch VEXO108

Controlling spaces in more places

RMS power of 200W and a maximum power of 800W. The frequency response (±3dB) starts from 75Hz and goes up to 20kHz

and the sensitivity (1W/1m) reaches through to cabinets.

www.audac.eu

Hopping to the point

just 518mm x 190mm x 273mm – the HOPS7-Pro is a high-output, two-way, full-range unit featuring a 1.75-inch mid/ high ring-diaphragm neodymium driver

AIMING TO provide better audio coverage in more specialised environments, US audio manufacturer Biamp has unveiled two speakers that are designed to meet the needs of bigger spaces as well as the unique acoustic needs of aisles and concourses.

The CCA-80 is a constant coverage loudspeaker that Biamp says delivers an industry-first asymmetric, rectangular coverage footprint with a longer throw distance. Claiming to reduce the required loudspeaker count in large-scale deployments, the CCA-80 is designed to solve the acoustical challenges presented by long aisles and concourses found in spaces like warehouses, sports complexes, shopping malls, hotels and themed entertainment venues by minimising reverberation. It features full-range 100Hz–12kHz performance, and is available

larger R SERIES speakers. Use cases include short-throw sports field applications, stadium concourses, warehouses, gymnasiums and other highly reverberant spaces. The Community

R.15-3696

and dual 6.5-inch neodymium ultralow distortion cone drivers, with a high power handling of 1,000W (AES).

In line with its siblings, the HOPS7-Pro features CODA’s latest DAC (Dynamic Airflow Cooling) technology, said to dramatically improve heat dissipation, reducing power compression and increasing maximum achievable SPL to

In contrast to the standard HOPS range which has fixed directivity, all Pro models, including the HOPS7-Pro, come with instafit rotatable waveguides behind a quick release grille, the removal of which requires no tools. This allows the flexibility of adjusting directivity with 80° x 50° and 120° x 60° options in portrait or landscape orientation. The HOPS7-Pro shares the technologies and qualities of the N-Series, ensuring that combined systems of array and point source are easily partnered.

Weighing 9.2kg, the HOPS7-Pro comes with a range of hardware. Easy to mount on an M10 threaded speaker pole, the compact speaker is suitable for smaller venues and applications without compromising on power. The cabinet design adds further flexibility by enabling the unit to be used as a compact highoutput stage monitor.

www.codaaudio.com

CCA-80

transformer input. The company says its asymmetric coverage pattern delivers extended throw, better down-fill and a more uniform horizontal coverage. Additionally, a CCA-80D variant is available to accommodate various warehouse configurations and mounting heights, with back-to-back mirrored dual speakers that come pre-mounted on a bracket.

The company has also introduced the Community R.15-3696 loudspeaker, augmenting its Community R SERIES with a speaker designed for shorter throw distances than

R.15-3696 is a full-range, three-way, triaxial loudspeaker that prioritises high sensitivity and output in the critical voice intelligibility range, while still providing fuller bandwidth than basic paging horns. Its compact size makes it ideal for large installations, while its symmetric waveguide and adjustable U-bracket mount offer more flexible positioning and pattern control to cover large

In addition, Biamp has added to its Voltera family of networked amplified loudspeaker controllers. The Voltera D M series features an integrated TesiraFORTÉ DSP to combine amplification and processing into a single 1U unit for small-to-medium sized venues such as hotels, restaurants, retailers and houses of worship. Available in five models, the Voltera D M’s DSP capabilities ensure ample headroom for hosting full Tesira-based systems which Biamp says was previously unavailable in this segment. The Voltera D M requires fewer devices to connect and configure, and requires less cabling. Meanwhile, Tesira 4.9.0 is now available for download and provides added support for Voltera D Series amplified loudspeaker controllers and software blocks.

www.biamp.com

Mixer amplifier to get you in the

THE CLOUD 46-120MK2 and 46-240 are four-zone, 2U rack-mountable audio mixer amplifiers designed for multi-zone applications like pubs, restaurants,

inputs with priority option, a utility output with mic and music gain control, remote music level and source selection and two facility inputs for Zone One (either Zones

bars and clubs. Featuring 4x120W or 4x240W Class-D outputs per zone (4Ω/8Ω/70V/100V), the 46-120MK2 also boasts power sharing in 70V/100V modes. Both models provide limiters on each zone, six stereo line inputs, two microphone

One and Three, or all) and for Zone Two (either Zones Two and Four, or all). The units also feature aux outputs which are zone assignable as Zone One and Zone Two.

www.cloud.co.uk

Rider-ready with the SBX118F

ALTHOUGH DESIGNED to rig directly to its NTX Series, US loudspeaker designer EAW says the SBX118F single 18-inch powered subwoofer can be u sed t o e nhance any EAW full-range enclosure. Rounding out EAW’s NTX product range, the SBX118F is a high-

transition bar couples the sub and the KF210 in the same flown array using one flybar and one rigging point. The SB818 is powered and processed by the brand’s UXA4416 amplifier package that provides networked audio and control via EAW’s Resolution software.

output, mid-size subwoofer system. It uses a 4-inch voice coil and can be ground-stacked, flown by itself or arrayed with the NTX210L. A ground-stack adapter supports flexible, compact and safe ground-stack arrays of the SBX118F and NTX210L.

Like the NTX210L, each SBX118F includes patented OptiLogic technology which automatically detects adjacent SBX118F subwoofers and NTX210L line array enclosures, improving setup times and eliminating errors related to cabinet identification and array configuration. OptiLogic technology also provides automatic configuration of cardioid mode. Audio transport can be provided with Dante input and loop-through or analogue inputs. It is configurable either via its back panel interface or through EAW’s Resolution software. Developed to pair with the KF210 passive line array, EAW has also introduced the SB818 and SB828 subwoofers together with two UXA amplifier racks (UXR216 and UXR316). The SB818 single 18-inch flyable subwoofer is a mid-sized subwoofer system that can also be deployed as a flown standalone or arrayed with the KF210 speakers. Flexible options include a ground-stack adapter for supporting safe stack arrays, while a

The SB828 dual driver subwoofer has been designed around a low turbulence port based on fluid dynamic research. The US manufacturer claims that ultra-linear suspension behaviour and symmetric flux density result in exceptional impulse response and output. In addition to 16 M10 mounting points, the SB282’s compact height and depth promote the subwoofer for deployment in multiple room types. The UXR216 and UXR316 amplifier racks complete the EAW line of professional production products including the brand’s UXA4416 amplifier, a network switch and interfaces. Based on two and three UXA4416 amplifiers respectively, the UXR216 and UXR316 can physically connect racks into vertical and horizontal blocks. UXR racks come complete with rigging for suspending one or multiple racks from the optional flybar. Each UXR has a Luminex switch to support Dante audio transport and networking and a second switch can be added should redundancy be required. A custom AES and analogue input panel provides inputs and loop outputs for maximum flexibility.

www.eaw.com

AS THE first amplifiers to feature its patent-pending Power Share feature, the CLA Series from AtlasIED allows for controllable power levels to be accurately applied to different zones, regardless of the load impedance. An analogue multiselect knob on each amplifier allows for simplistic power share modifications; each pair of channels can share the power load in four pre-determined increments, and power-sharing is configurable between each pair of channels, regardless of the load on individual channels.

Designed for a range of commercial distributed systems and sound reinforcement lowimpedance applications such as restaurants, presentation rooms, classrooms, conference rooms and retail environments, the CLA Series consists of four models. The CLA804 and CLA404 are 800W and 400W four-channel amplifiers, while the CLA402 and CLA202 are 400W and 200W two-channel models.

Allowing integrators and end users to remotely monitor and manage installations, AtlasIED has also advanced its audio processing and control platform with the development of Atmosphere Cloud. Designed to enhance communication and improve the ambience in public spaces, Atmosphere combines digital audio processors, amplifiers, graphical user interfaces, programming software and controls for digital audio systems. Saving time and resources, the addition of Atmosphere Cloud expands upon the established flexibility offered by the existing platform.

Atmosphere Cloud offers a wide array of capabilities, including support for multiple user accounts, granular access controls, a device dashboard to monitor device health and incident

monitoring including alerts and notifications. With direct access to local configuration GUI, the platform can perform specific device actions such as rebooting and the application of firmware updates.

The US brand claims that the key differentiators of the Atmosphere system are ease of programming and user-friendliness of the interface. Atmosphere Cloud now allows users to configure sources, create zones,

program wall controllers, schedules, messages and user accounts, and customise every detail needed for each specific installation’s sound system.

www.atlasied.com

MARTIN AUDIO has expanded its iKON range with the iK41 four-channel

reduces the energy drawn from the mains supply and ensures the power reserves needed to deliver signature sound under arduous conditions.

BILLED AS providing “more of everything”, Lab Gruppen’s Lake LMX Series audio processors build on the success of the company’s LM Series. Consisting of two models, the LMX 48 and LMX 88 provide a combination of input/output signal flexibility and fail-safe operation. The LMX 48 provides 4x8 analogue I/O, 4x8 AES3 digital I/O, 8x8 Dante networked I/O and two interfaces of AES50. The more powerful LMX 88 provides an 8x8 analogue I/O and 8x8 AES3 digital I/O. Audio inputs

well as on connectors for AES3 digital and analogue.

Key features include scene presets for console switching, which allow audio professionals to adapt to different setups and environments, preprogramming signal flow and recalling presets

Software. Enhanced input/output capabilities provide easier integration into complex audio systems, and the LMX Series also has individual Asynchronous SRCs on every digital input to

have improved damping factors to control loudspeaker overshoot. The updated

components and circuitry have been designed to help enhance the longevity of the products. However, the MKII range will keep the same fundamental philosophies as the original MP amps, such as durability and ease of maintenance.

to specific user requirements, while dedicated contour modules can optimise loudspeaker performance across diverse applications. Both models provide 16 input routers which can be independently configured with up to four input failover priority settings. The output of any of these input routers can go to any of the modules via the Module Input Mixer, and can also be patched directly to any analogue, AES3, Dante/AES67 or AES50 output without using any module processing channels.

www.labgruppen.com

intelligibility.

Unlike many wireless intercoms that rely on a fixed base station, the Digi-Wave ACM (Advanced Comms Module) designates a centralised unit

as a flexible access point. Ensuring seamless coverage, the full-duplex ACM supports up to four subgroups (or channels) and offers customisable subgroup naming as well as pre-programmed names. Key features include an All-Call function for simultaneous communication with subgroups and a Private Call function for direct messaging by a team member to a leader.  Williams AV’s infrared product line now includes the SoundPlus T3. Offering the ability to control and monitor the device using Telnet commands via Ethernet, the infrared transmitter integrates with third-party room systems. Utilising the latest generation LEDs, the T3 reportedly provides 50% greater coverage than the existing T2. The compact footprint enhances its use for assistive listening and language interpretation in commercial spaces, including conference rooms, assisted living facilities, theatres, classrooms and courtrooms.

www.williamsav.com

Clear-Com ships Gen-IC Virtual Intercom

CLEAR-COM HAS begun shipping its Gen-IC Virtual Intercom, a system it describes as a significant breakthrough in cloud-based communication technology and one that can seamlessly integrate with existing hardware ecosystems or function as a standalone software solution. Its scalability allows users to add virtual clients as needed, with the flexibility to integrate with Clear-Com’s hardware infrastructure over LAN, WAN and the internet.

Addressing latency challenges inherent in virtual intercom systems, Gen-IC can be deployed on selectable regional targets, ensuring minimal latency and seamless communication for mission-critical productions.

Gen-IC Virtual Intercom is user-friendly when paired virtual clients such as the Agent-IC mobile app and Station-IC virtual desktop client. Integration with hardware ecosystems can also be achieved through Clear-Com’s LQ Series of IP interfaces.

While being scalable and flexible are important, security is also critical. In this regard, Gen-IC and the Station-IC and Agent-IC companion apps support AES128 encryption to ensure reliable and secure communications between various endpoints.

Elsewhere, the manufacturer has also announced enhancements to its Arcadia

become an indispensable tool across multiple sectors, including broadcasting, live events and theatre. Offering new connectivity and expanded device support, features include I.V. Direct Interfacing, allowing effortless interfacing with LQ, Eclipse E-IPA and other Arcadia systems over LAN, WAN or the internet.

HelixNet HXII-DPL Powerline Device Support expands intercom capabilities with enhanced support for HelixNet devices. Additionally, the increased capacity for FreeSpeak II digital wireless system beltpacks and IP transceivers means that Arcadia now supports a significantly higher number of these devices, accommodating larger teams and more complex communication requirements with ease. Furthermore, Arcadia doubles the number of supported HelixNet user stations, making it an ideal solution for larger and more demanding communication setups.

www.clearcom.com

Digi-Loop 104

Digi-Wave ACM

Subs left on the bench Neutrik brings Dante to the end of the network

BOASTING THE largest Air Motion Transformer the company has ever developed, German monitor manufacturer EVE Audio says its SC3010 and SC3012 monitor upgrades enable them to serve as main monitors without needing an

additional subwoofer. Featuring a new generation of double-coated, lowresonance metal diaphragm woofers, the SC3010’s 10-inch woofer delivers a low frequency of 29Hz, while the SC3012’s 12-inch woofer drives it down to 25Hz. In addition, filter adjustments on the speaker’s amplifier section now deliver a total amplifier output power of 1,300W.

The SMART-knob, a trademark of all EVE Audio studio monitors, allows users to adjust volume and room parameters such as Low Shelf, Mid EQ and High Shelf filters, with settings precisely displayed by an LED ring. The silver centre module housing a 5-inch midrange driver and AMT RS6 tweeter can be rotated by 90°, allowing users to set up the speakers either horizontally or vertically.

www.eve-audio.com

NEUTRIK HAS introduced the NA-2 DLINE series of line I/O to Dante and Dante to line I/O interface boxes. The end-of-network devices provide breakout solutions for analogue and Dante signal paths and have been designed and specified for all manner of media production applications, including live sound, location media acquisition and outside broadcasting.

The series comprises three models. The NA-2O-DLINE and NA-2I-DLINE are respectively Dante to two-channel line output, and twochannel line input to Dante interfaces. The NA-2I20-DLINE is a simultaneous Dante to twochannel line output and two-channel line input to Dante device, enabling this tiny box to feed analogue audio signals into a Dante network while at the same time receiving a mix from another Dante source.

With a miniature form factor and rubber encased metal housing, the NA-2 DLINE series devices are said to be robust and able to withstand the more extreme demands of a range of live performance, media production and acquisition environments.

Rugged construction and adherence to standards allow these interface modules to be used in harsh climatic as well as electronic environmental conditions. Lockable chassis connectors are featured for both the line audio and network I/O connections.

Dante audio streams are provided at 44.1kHz, 48kHz, 88.2kHz and 96kHz sample rates, at 16-, 24- and 32-bit resolution, over 100 BASE-TX Ethernet. Network connection is via an

etherCON chassis with a SYS/SYNC status LED indicator ring. NA-2 DLINE devices are also AES67-compliant, supporting their use with other networks like Ravenna, Q-LAN and Livewire. All three models operate in conjunction with a Power over Ethernet (PoE) switch or injector.

www.neutrikgroup.com

line to microphone and the DC power input adopts USB-C connectivity to generic plug-top power supplies. Main features include mic/line switchable inputs on XLR or Phoenix connectors, independent 48V phantom power, variable input gain controls and network connections via a single etherCON Halo connector.

Waiting to Connect

LEA PROFESSIONAL has unveiled a line-up of Connect products, including the Connect Series Touch wall controller and Advanced DSP versions of its Connect Series amplifiers. The Connect Series Touch controller is a wall-mounted control panel designed to provide remote control of LEA amplifiers. Features include source selection, volume adjustments and the ability to mute by individual zone. Available in black or white versions, the controller is PoE-powered and features a colour touchscreen with a rotary knob.

version, and UDP control via a separate Dante or Ravenna/AES67 network connection. The front panel also includes 16 individual channel meters plus a single hi-res meter for setting individual channel level and a ¼-inch headphone socket for the monitoring of all input or output channels.

Windows remote app. When multiple units are employed, Dante/AES67 network connectivity is relied upon to simplify the installation and increase the reliability. With twin etherCON connectors supplied for the copper connections and SFP slots for fibre, the unit includes redundant PoE and a local 12V power option. The “P” in DARK8MAIP denotes Phoenix connectors

Having designed Vittoria as a Dante 32-channel unit, a Ravenna 1U unit is now available as Vittoria 64. With an increasing demand for a higher channel count, Vittoria 64 provides a 64x64 (@ 96kHz) network audio bridge with Dante or Ravenna modules. A choice of sample rates from 44.1kHz to 192kHz can be accommodated (32x32 @ 192kHz) and the two independent network interfaces are isolated from one another. Comprising primary and redundant network connections on copper and SFP fibre, power is

Series 350W, 700W and 1,500W models with D-units providing Dante and AES67

phase FIR crossover filters with 2048 taps per channel, 4s of input delay, www. leaprofessional.com

Making a connection

WP-BKT is designed for surface-mount installation, avoiding the need for a tabletop enclosure.

For use with the Velocity Control System, the Atlona AT-VTP-700VL is a 7-inch

DELIVERING A plug-and-play opportunity to demo the advantages of different guitar cables, the 5 in 1 Guitar Test Loom from Klotz AIS aims to help musicians find the specific guitar cable that complements their sound, or match a guitar to a certain amplifier. Featuring five cables that cover a spectrum from 65–115pF/m, the 4.5m guitar test loom features both KIK and PRO ARTIST cables, the FunkMaster high-end bass cable, the LaGrange and the EUpatented Titanium cable. All individual guitar cables are held in position by an outer nylon mesh tube and the cable harness is fixed in place with heat-shrink tubes, providing a splice length of 30cm on both ends.

The manufacturer has also expanded its product range with a series of BNC video patch panels for professional broadcast applications. Suitable for the transmission of 12G UHD/4K video signals according to SMPTE ST2082-1 standard, high-resolution 3G or 1.5G signals in addition to analogue video signals can also be transmitted via the VIP.UHD series.

VTM can also be mounted on a meeting table or lectern with an optional tabletop mounting kit. With Power over Ethernet (PoE), a single network connection can provide both data and power, and room maintenance. Finally, the AT-OME-CS31-SA-C supports switching between one USB-C input and two HDMI inputs to a single HDMI output. The third product in the company’s

Consisting of 20 or 24 fully insulated 75Ω Klotz BNC UHD/4K panel mount sockets, the black UHD video patch panels come in 10 different versions. Alternatively, they are available in a choice of four colours with insulated Damar & Hagen BNCpro connectors. The panel mount sockets are also known as BNC bulkhead adapters or back-to-back BNC socket. Like the BNCpro, the Klotz UHD BNC connector is fully compatible with all standard BNCs on the market for UHD/4K video applications. All connectors have been tested for compliance with electrical values up to 20GHz.

Designed to be robust, yet lightweight, the 1U torsion-resistant UHD video connection panels are made from powder-coated extruded

aluminium. A self-adhesive LSTR-500 labelling strip can be attached to the front, while a recess at the top edge of the panel promotes precise positioning and a clean appearance. Enabling strain relief and cable organisation, the preassembled, stainless steel tie bar at the rear can be removed when required.

König & Meyer’s premium microphone stand transmits analogue and digital signals thanks to its internal cabling with the Klotz OT1000 OmniTRANS cable. The high-quality AES/EBU cable is drawn in by hand at the Klotz factory in Vilchband/Wittighausen and is assembled with robust 3p XLR metal connectors by Klotz

Omega series, the AT-OME-CS31-SA-C was developed to support the growing desire for USB-C connectivity inside collaborative environments. The OME-CS31 switchers add special capabilities for education applications that ensure important lesson material and announcements can be heard clearly. This includes audio ducking which lowers programme audio levels when the instructor speaks into a microphone system connected to the balanced audio input. The digital signal processing capabilities also allow mixing a variety of audio sources to the amplifier, line and USB audio outputs as well as acoustic echo cancellation to automatically eliminate echo for remote USB audio. For USB routing, OME-CS31 models support switching between two host devices and include a four-port hub for connecting cameras, speakerphones, interactive displays or other peripherals. Automatic display control provides automated system operation over Ethernet, serial and CEC, or the switchers can be integrated into environments with an Atlona Velocity control system.

www.atlona.com

Easy transmission

DMX CABLES are becoming increasingly important in a variety of operational situations, such as the transmission of digital audio signals, the control of stage lights and the management of numerically controlled industrial machines. Tasker offers a wide range of products starting from very small cables such as the TSK800 which is suitable for small patches or the C800 and C801 which are designed for premade DMX cables.

The main product in this family is the TSK1038 which has a 2x0.35mm²

and Neutrik. The flexibly adjustable gooseneck enables ideal alignment of the microphone to the sound source. The connection between the gooseneck and the microphone stand is fixed precisely with the supplied sleeve over the XLR connectors. This sleeve, for which Klotz AIS has applied for utility model protection, firmly encloses the two XLR connectors, preventing loose contact during live operation. The PUSH lock on the XLR can be easily operated at any time and the gooseneck can be easily removed.

www.k-m.de/en www.klotz-ais.com

aluminium screw connection including a stainless-steel strain relief mesh. Oil-repellent to standard oils, UVresistant and highly flexible even at low temperatures, it is also suitable for

The company says that while wellmatched for (semi)professional PA/sound systems and large sound reinforcement systems such as the L-series from L-Acoustics, an individual combination of the cores also makes it possible to run smaller sound systems. The SCELEPHANT SPM3215 can also be used as a control cable for machine and robot

www.sommercable.com

section, a double shielding made of aluminium foil and a tinned copper braid. The cable comes with different external sheaths such as PVC, PUR and LSZH, and is CPR Cca approved for fixed installation in public places where particular attention to fire resistance is required.

The C862 is a five-pole, highly shielded DMX cable with internal Kevlar traction elements that significantly improve resistance and make the cable suitable for installations that require suspension load via the cable. It is available with a PVC sheath for internal use and a PUR sheath for outdoor use.

A series of hybrid cables made with different combinations of DMX and power cables is also available, combined in a single soft PVC sheath, which is said to make them particularly suitable for the creation of professional cables. In particular, the C283 is a soft cable composed of a DMX pair and a 3x1.5mm² power supply. Customers can also choose from the C284 soft with double DMX and the C290 soft with increased power up to 3x2.5mm².

www.tasker.it

Craving Maven Wall to wall control

Prodigy series in a compact 1U platform. Designed for use in live sound, installation, remote production, studio recording and broadcast, Maven is fully compatible with the Prodigy.MP audio processor and supports a variety of audio network formats including Dante, AVB/Milan, Ravenna/AES67 and SoundGrid.

Compatible with both the Prodigy and the Maven platforms, DirectOut has also unveiled the USB.IO, the first DirectOut product

range from 44.1–192kHz. Usable in Class Compliant mode or with RME drivers, the module expands usability into any USB-C computer or handheld device. The USB.IO benefits from the inclusion of RME’s TotalMix FX software, which offers a range of mixing and routing options, and also extends DirectOut’s EARS technology into any DAW used on a connected computer.

www.directout.eu

AIMING TO simplify sound system setup and control, Bosch has expanded its Praesensa ecosystem with the introduction of the PRA-WCP wall control panel and the availability of v2.0 of the Praesensa Public Address and Voice Alarm (PA/VA) system software.

The PRA-WCP wall control panel is a compact, IP-networked panel with a 4.5cm colour TFT display and a single-knob rotary/push encoder to allow authorised personnel to adjust the volume of background music and select audio sources for specific zones. Systems designers can configure minimum and maximum volume settings according to the needs of each zone, while support for Unicode characters enables the display of

Super-sized network management

DESIGNED FOR professional AVoIP installations with high node counts and complex channel management, the Symetrix Server D100 is a digital signal processor for use in environments like campuses, transportation hubs, performing arts centres and museums. It ships with 256x256 Dante channels, 64 AEC channels, 32 media playback channels, eight media record channels and flexible open architecture processing to tie it all together. On-demand software upgrades

zone names and music channels in various languages. Boasting Power over Ethernet (PoE) capability, the PRA-WCP comes with interchangeable front covers in white and black to integrate into a variety of room aesthetics. Bosch says in larger installations or areas requiring multiple control points, several PRA-WCP panels can operate within a single zone while maintaining synchronised control settings across each of the displays. Meanwhile, the Praesensa software v2.0 is available for free download from the Bosch

384x384, AEC channel count to 96 and media playback to 128 channels. The Server D100 platform includes a proprietary operating system, a performance audio engine and new AEC algorithms. Meanwhile, an xIO USB audio AVoIP endpoint for the processing of USB audio

simplify integration of the Server D100 into conferencing environments and supporting all applications that utilise desktops, laptops or attendee-supplied devices (BYOD).

The xIO USB endpoint features front and rear USB-C connectors, two channels of

Waves roll out SuperRack LiveBox MADI

DEDICATED MADI-READY units of SuperRack LiveBox native live processing units are available from Waves. Launched earlier in 2024, the SuperRack LiveBox enables access to studiograde VST3 plugins, from Waves and other producers, running natively in a simple turnkey solution. Supporting 64 MADI Coaxial and 64 MADI Optical channels, the latest SuperRack LiveBox MADI features low latency and PSU redundancy in a 2U chassis. The latest addition to the SuperRack series includes the SuperRack Performer audio plugin host, the WavesLive bundle with over 50 live mixing plugins and MADI connectivity.

By simply connecting LiveBox to a console, LiveBox’s combination of hardware and software is optimised to run plugins efficiently and reliably. Promoting an ease of setup in any live or broadcast setting, the SuperRack LiveBox also incorporates Dante connectivity. Optional dual power supply provides power redundancy for extra reliability in any setting.

The Waves SuperRack Performer plugin host included in SuperRack LiveBox is the

same plugin control software used by live sound engineers. Including all the features of SuperRack Performer, SuperRack LiveBox offers control of VST3 plugins.

An updated version of SuperRack Performer in both the LiveBox, and the standalone software, includes Waves’ ProLink integration. Designed to integrate with DiGiCo and Lawo systems, the

transmit/receive over USB and two channels of transmit and receive for AVoIP. It can use PoE or DC power connections that enable charging of user devices like laptops and phones. Crucially, the device also includes HID synchronisation to maximise integration with Symetrix control devices. It fits in a ¼-rack space and can be surface-mounted in either a vertical or horizontal orientation.

www.symetrix.co

redesigned protocol promotes a faster console integration of the SuperRack Performer system. This includes session and snapshot integration, plugin and tempo control.

The company has also announced improvements in its Cloud MX Audio Mixer. By addressing the evolving needs of broadcasters and media networks, these upgrades are said to reduce time-to-deployment and complexity, particularly benefiting IT DevOps teams tasked with managing these environments.

An enhanced version of StudioVerse has been released. The update – part of the V15 update of the Waves plugin catalogue – adds instrument chains to StudioVerse via the new plugin StudioVerse Instruments, allowing users to play, browse and audition thousands of custom-designed instrument presets from the StudioVerse library.

Finally, Waves V15 has been designed to deliver more power to all users’ current collection of plugins, and includes MIDI mapping, a parameter locking feature, additional features in specific plugins and recently released plugins added to major bundles.

Media encryption added to Dante

AUDINATE HAS announced the addition of Dante Media Encryption to the evolving security features and benefits of the Dante platform. Dante Media Encryption protects the content of media flows using strong AES256 encryption, safeguarding media from interception or unauthorised access.

Designed with security at its core, Dante offers device, network and media-level protections for pro AV manufacturers to integrate into their products and system solutions. The accelerating convergence of AV equipment and IT network technologies has increased the need for integrators and manufacturers to provide network protection for system users with security-conscious designs and adherence to emerging IoT (Internet-of-Things) network regulations.

Dante systems and endpoints implement a multilayer security architecture that provides threat and vulnerability protection to the network and connected devices. The multilayer security architecture provides a solid foundation for manufacturers and systems integrators to follow

best practices when configuring Dante and their products to meet new regulations. The addition of Dante Media Encryption enables pro AV equipment manufacturers to upgrade qualified Dante firmware and software in new or existing

designs. Dante Media Encryption capabilities are fully compatible between updated devices in managed Dante networks.

Aiming to extend the reach of Dante AV across a wider range of products, and without incurring

additional licensing costs, Audinate’s Dante Ready licensing allows original equipment manufacturer (OEM) products to ship products with Dante installed but not activated. In addition, Dante Ready also brings Dante audio and video channels to cameras, encoders and decoders already shipping and installed in the field with a firmware update. Dante Ready allows customers to incrementally invest in their system as it grows with more Dante channels and features, expanding the connectivity and interoperability of Dante AV-over-IP for both OEM partners and end customers, even after the initial purchase.

Dante Ready channels are activated using the Dante Activator feature in the Dante Controller application for Dante audio and video subscription management. In addition to Dante AV-A and Dante AV-H, Dante Ready licensing is available for Dante Embedded Platform, Dante Application Library and Dante IP core audio solutions.

www.audinate.com

Spatial reverb for TiMax Up to the challenge

SPATIALISED AUDIO and showcontrol

specialist TiMax has introduced two product integrations for its SoundHub and TrackerD4 products. Available on all existing FPGA-equipped

Reverb engines

adjustment of desired reverb styles under highpressure tech rehearsal conditions. TiMax TrackerSP has also been added to the TrackerD4 and is a software add-on for

TiMax SoundHub spatial processors, the company has added four individual one-in/ 16-out reverb engines to give sound designers full control of all parameters, as well as access to an advanced 3D room reverb-builder application. Aux sends to each reverb engine can be driven by TiMax TrackerD4 stagetracking so that performers’ mics or effects can be crossfaded between different reverb effects, or similar presets spatially configured to be consistent with their localisation onstage. A parameter “morphing” function facilitates the selection and

integrated lighting and media control. Developed in collaboration with Stage Precision, TiMax TrackerSP enables TrackerD4 to intelligently direct and focus groups of moving-head light fixtures using Art-Net and sACN networked DMX. TiMax TrackerSP operates seamlessly for synchronised groups of fixtures across multiple tracked objects and opens the door for further Stage Precision integration with videomapping and camera control, as well as Unreal and Notch control.

www.timaxspatial.com

ALCONS AUDIO has launched its passivefiltered WR20 stage monitor sound system. Through the implementation of the Alcons RBN702 pro-ribbon transducer, the WR20 offers a non-compressed, identical tonal balance at any SPL, which, according to the company, offers up to 90% less distortion and reduced listening fatigue.

The system’s impulse response, compression-less principle and flat frequency response reportedly offer a 3–6dB improved gain-before-feedback over traditional systems (even with the most sensitive microphones) without steep tonal corrections, which leaves the original signal unchanged. At the same time, it also caters to the high intelligibility required in acoustically challenging applications.

The pro-ribbon’s peak power handling of 1,500W results in a 1:15 RMS-to-peak dynamic range which, according to Alcons, gives virtually unlimited headroom.

The multiple-patented 45° x 60° (HxV) dispersion of the RBN702 offers a controlled and consistent projection up to the highest frequencies. Mounted in a symmetrical tightpack configuration with the two woofers, the projection control is extended down to the lower frequencies, while maintaining a relatively small footprint.

JBL Professional adds HDMI and Bluetooth to Pro SoundBar

BY ADDING HDMI and Bluetooth digital source inputs, JBL Professional has expanded its Pro SoundBar line-up with the release of the PSB-2. Engineered to deliver focused audio while minimising sound transfer to adjacent rooms, and specifically tuned for human speech, the PSB-2 integrates a front-facing speaker that outputs enhanced fidelity out of television speakers. The manufacturer claims

improved clarity at low volume levels, while a two-position volume limiting switch provides further control. HDMI and Bluetooth digital inputs together with a single source control button on top of the speaker simplify switching between sources. The PSB-2 supports volume control through CEC from the TV or directly from the Bluetooth device. Automatic Bluetooth pairing management

The two Alcons purpose-designed 10-inch woofers feature Active Coil technology for low-distortion LF reproduction. The woofers are loaded by VelocityVent ports for optimised breathing while extending the usable LF response down to 44Hz.

An integral part of the Alcons ecosystem, the WR20 is driven by the ALC amplified loudspeaker controller. Through the integrated VHIR processing, 192kHz AES3 digital inputs and audiophile amplifier stages, the ALC makes the WR20 deliver a natural sound quality with maximum output and operation reliability.

www.alconsaudio.com

of each PSB-2 enhances the management of multiple PSB-2s. Integrated into the PSB-2’s durable exterior, a lockout plate concealing tampering. www.jblpro.com

Dante Media Encryption

DESIGNED TO expand connectivity and control options for a broad range of applications, Q-SYS has added the QIO-FLEX4A, QIO-LVR4 network I/O expanders and PSTSCG3 touchscreen paging station kit to its product portfolio.

Comprising four Flex audio channels, GPIO and RS-232 serial ports, and two amplifier outputs for compact loudspeakers, the QIO-FLEX4A features audio and control I/O in a consolidated network peripheral. The QIO-LVR4 offers four contact closure relays to enable control integration of third-party lighting systems, motorised shades and other parameters. The PS-TSCG3 touchscreen paging station kit pairs with the TSC-G3 Series touchscreen and the Q-SYS Control engine to promote live paging, pre-recorded message playback and BGM management. The paging station is available as either a desktop model (PS-TSCG3-G) with a gooseneck microphone and push-to-talk button, or a wall-mount model (PS-TSCG3-H) with a handheld microphone and push-to-talk button.

AUDIO-TECHNICA HAS launched its first USB audio mixer designed for livestreaming. The AT-UMX3 is a compact desktop mixer with an all-in-one interface equipped with one Neutrik XLR/¼-inch combo microphone input, two line inputs for guitar and keyboard, and a headphone jack for monitoring. Its loopback function allows users to mix mic and instrument audio with sound from their computer into

Forming an intrinsic part of the Q-SYS Platform, Q-SYS Reflect’s cloud-based monitoring and management capabilities have received new features and a pricing structure for easier deployment and scalability. By adding comprehensive monitoring into a fullstack AV platform, the power of AI, data and a cloud-manageable architecture of Q-SYS can be harnessed. Performance features such as real-time health monitoring – including data for all connected Q-SYS products and third-party devices – are available to every connected Q-SYS system. It also offers customised realtime alerts with email and messaging integration to ensure the right notifications.

Expanding on the standard features of Q-SYS Reflect by providing optional enterprise-level remote system management and control capabilities, Q-SYS Reflect Plus allows administrators to directly assist systems from

a single stream, making it possible to play background music while streaming or to stream game sounds and voices at the same time.

Features include a microphone mute function as well as a microphone monitor mute function to mute the mic audio only in the mix sent to connected headphones, and the mixer is also equipped with 48V phantom power. Its A/D converter provides resolution

any web browser. In addition, it offers the ability to configure and adjust system settings remotely, deploy firmware updates, manage files and connect Q-SYS system data to IT management platforms via the Q-SYS Reflect API. Simplifying the ability to expand the system when necessary, the pricing structure for Q-SYS Reflect Plus has been reengineered on the number of Q-SYS systems, rather than connected devices.

Enhancing the visibility of participants in the room, Q-SYS VisionSuite is now certified for

Microsoft Teams. Providing a more natural viewing experience for remote attendees and enabling teams to feel connected and engaged, Q-SYS VisionSuite features presenter tracking, driven by this newly certified AI-based accelerator appliance, intelligent audio-based automatic camera switching, flexible camera options and vision-driven room automation. In brief, Q-SYS Designer Software v9.10.2 and v9.4.7 LTS are now available.

www.qsys.com

up to 24-bit/192kHz. The AT-UMX3 provides plug-and-play connectivity to a computer or mobile device with no special driver installation required, and is compatible not only with Windows and macOS, but also with iOS, iPadOS and Android OS. Audio-Technica has also verified compatibility with major livestreaming apps and online chat apps.

www.audio-technica.com

REPLACING THE MXE5 predecessor, Dynacord has released the MXE5-64 Matrix Mix Engine featuring 64x64 Dante audio channels. In addition to the standard 12 analogue mic/line inputs and eight outputs, the MXE5-64 now boasts a total channel count of 76 inputs and 72 outputs. Building on the previous open DSP architecture for customisable configuration, the v1.4 version of the Sonicue Sound System software introduces advanced DSP blocks and includes efficient scene handling. The new DSP blocks consist of an Auto Mixer with gain sharing, Ambient Noise Compensation (ANC) that dynamically adjusts sound system output in response to ambient noise levels and Automatic Gain Control (AGC) for balancing loudness variations across different input signals.

Additionally, Sonicue v1.4 enhances the TaskEngine by incorporating scene handling by adopting a drag-and-drop functionality from the software’s control flyouts for scene creation. The integration and control of third-party devices are improved by a web viewer option, which is available for creating control panels in Sonicue. This feature allows for the integration of external websites of third-party devices or software applications via the Sonicue Control panel designer to be run as standalone apps or the TPC-1 touchpanel controller.

AMETEK SURGEX’S Vertical Series+ smart power distribution unit (PDU) pairs the manufacturer’s power protection and conditioning technology with the cloudconnected power quality analytics, fleet management and risk prevention capabilities found within the SurgeX Connect platform. The solution has been designed to allow partners to improve their service offering and save time and money by diagnosing power quality issues and monitoring installations remotely, reducing the need for expensive service call outs. The series comes in eight, 16 and 24 outlet configurations to offer integrators a versatile and space-efficient PDU solution that can be installed with or alongside rack-mounted

equipment. It features analytical software and sequencing and monitoring capabilities, including remote power down and reboot, sequencing, power cycling, advanced scheduling and AutoPing. The Vertical Series+ smart PDU is also compatible with a range of popular control systems for integration in professional applications.

As an addition to the SurgeX Protect + Connect line, the Vertical Series+ is compatible with SurgeX Connect, allowing integrators to monitor and manage an entire fleet of SurgeX Protect + Connect devices in a single, centralised dashboard.

PSI eliminates room modes

PSI AUDIO has launched the AVAA C214 active bass trap, expanding its AVAA (Active Velocity Acoustic Absorber) family with a digitally controlled variant of the original C20. The C214 is more compact and can be adjusted in its sensitivity through a remote app. It can be placed on the floor or mounted to walls or ceilings, depending on where it operates optimally. The technology eliminates room modes, acting like a black hole that hoovers up resonant modal frequencies before they are bounced back. As it does not use anti-sound, the acoustic impression is changed for the better in the entire room, not just a small sweet spot.

These individual resonances of a room are one of the biggest challenges in acoustic design. While passive absorbers require a

The perfect storm

WYRESTORM HAS introduced its MX-0808-SCL HDMI matrix switcher which is designed for a variety of applications including corporate training rooms, hotel meeting spaces and academic classrooms. The device features an integrated 4K60 scaler on each HDMI output, scaling from 480p to 2160p. It

seamlessly with WyreStorm products. Using a single USB-C connection to power the dongle and transmit 4K30 video, its auto-installed app enables 4K wireless video and USB HID support for cameras and microphones, making it suitable for conference rooms, boardrooms and educational spaces. The APO-DG2 dongle also provides wireless

lot of material or resonant absorbers need to be tuned to a specific frequency, the AVAA eliminates resonant frequencies between 15Hz and 160Hz reportedly as effectively as a passive absorber 45 times its size. It does not affect the direct sound from the speakers, as room correction devices do, and it does not work with anti-sound.

For the first time in the company’s history, the C214 features a DSP chip, overcoming the challenge of reaching a latency below 0.2ms.

The digital technology makes the AVAA products more flexible by virtue of its app that allows users to adjust the device’s sensitivity, plus it can be switched on and off either individually or in groups.

www.psiaudio.swiss

screen and has four analogue audio outputs to enhance connectivity for audio distribution and integration with external audio systems. Features like automatic video input and output detection and built-in scalers on each output enable the matrix to deliver high-quality video tailored to the resolution of each connected display. With support for de-embedded audio from HDMI inputs to balanced output ports, independent audio switching enables precise audio routing independent of video signals. This flexibility allows for the creation of customised audio experiences tailored to the unique needs of the space.

Turning any USB-C computer into a wireless casting device, the APO-DG2 wireless casting dongle supercedes the APO-DG1 and pairs

Feeling more secure with updates

AIMING TO help protect data and conversations, Shure has announced a reinforced commitment to security with a system-wide update for all its Microflex Ecosystem devices and compatible software applications.

Designer 6.1 delivers improved foundational security technology, enhanced authentication, encrypted audio and customisable device configurations across the Microflex Ecosystem portfolio. Users now have the power to fine-tune and manage devices to match specific room requirements and limit service access to only what they need. Meanwhile, IntelliMix Room 6.1 Audio Processing Software now features Stereo Acoustic Echo Cancellation (AEC) to create immersive meeting experiences by detecting and eliminating echoes. Stereo AEC provides left and right loudspeaker support, catering to the positional and spatial audio needs of attendees in the room and allowing for future enhancements in meeting experiences. Other Microflex Ecosystem security updates include 802.1x, a network access control protocol requiring proof of identity and authorisation; Service Control, which enables users to customise network behaviour by enabling or disabling specific protocols and functions; Secure Boot/Package Signing which protects against the loading and execution of modified or rogue software on a device;

Secure Storage and Secure Remote Password functionality; and an Encrypted Audio Network, which is an AES-based audio encryption to safeguard audio sent over the network from eavesdropping or interception.

Shure has also upgraded its WL Series with the low-profile WL18Xm professional lavalier condenser microphones – including the cardioid WL185m, supercardioid WL184m and omnidirectional WL183m – for use with wireless

bodypack transmitters. Designed for speech and presentation applications in corporate, education and worship environments, the product line has been designed with lower self-noise, improved RF immunity, higher dynamic range and improved max SPL. The WL18Xm range is 8mm shorter than its predecessor, making it lighter, lower profile and easier to use. For flexible placement on speakers, presenters and performers, each lavalier is available in either

HDMI outputs and seamless switching, making it ideal for modern meeting spaces. It enables users to wirelessly screenshare from their laptop, phone or tablet by using Apple Airplay or Miracast. Up to four wireless devices can be connected at the same time and shown on connected screens in a picturein-picture layout.

Dual switching outputs can promote connectivity of multi-screen conference rooms, while its HDMI outputs can be matrixed independently or mirror content. Its built-in USB 3.0 hub allows local connection of peripheral devices such as a conference speakerphone.

black or white with LEMO or TA4F connector options. The microphone’s tie clip can be rotated in 90° intervals for accurate positioning. The manufacturer’s wireless systems – including BLX, GLX-D+ and SLX-D – will be available bundled with the WL18Xm later this year.

www.shure.com

ADDING WHAT it says are the “most commonly requested features from our fantastic digital community forums”, Allen & Heath’s CQ Firmware V1.2 update introduces a host of features. At the top of the list is the addition of four DCAs, each capable of controlling the level of any combination of inputs, outputs and FX for single-fader control of multiple channels. The addition of four Mute Groups enables operators to mute and unmute multiple channels at once via a single button, while a configurable Custom Layer allows users to set up the four channel tabs with any combination of channel strips for a personalised mixing experience and accelerated workflow. Additional features include a two-band EQ on FX, remote MIDI control and custom colours for outputs in the GUI.

The manufacturer has also announced integrated creative FX and workflow enhancements to its mixing platform with the release of dLive firmware V2.0 and the new RackUltraFX card. At the heart of the workflow improvements is an overhauled Cue List System, aimed at simplifying cue list creation with manual and auto renumbering options, as well as custom MIDI recall, designed for fast-moving performances, heavily automated shows and theatre applications.

and dynamic processing – to any dLive system without consuming inputs, busses or FX slots. Additionally, the update includes features such as studio-quality pitch correction, shifting and gridding which can all be achieved on the console, without the need for external hardware or third-party software. Vocal Tuner is designed for natural sound pitch correction, Vocal Gridder produces faster, less natural-sounding pitch correction and Vocal Shifter alters vocals with formant and pitch shifting for doubling, widening and unreal robotic and ageing effects. Three harmonisers have been added for live vocal processing. Quad Voice Harmoniser generates up to four voices of natural-sounding vocal harmony. Dual Voice Auto Key Harmoniser adds up to two voices of harmony with AutoKey mode which can determine the key of the performance in real-time. MIDI Harmoniser creates harmonies based on an external MIDI input.

Holoplot has a new Plan

THE LATEST version of its Plan 2.0 sound system design software has been unveiled by German manufacturer Holoplot. The release introduces a cornerstone of the company’s second-generation software capabilities, kicked off by an upgrade to its operating system to OS2.0 earlier in the year. While OS2.0 enhances the system’s core technology, Plan 2.0 builds on those enhancements with a new user interface and workflow improvements that are said to make designing and simulating

conference with multiple zones, all with a single button click.

With the Beam Library, users can now generate an unlimited number of beams, all manageable through the new library view. Creating multiple versions of a beam simplifies beam management and removes limitations on creativity. All beams are optimised directly inside the software, making Plan an integral part of the Holoplot workflow. Lastly, the integration of configuration and simulation into a single 3D view port with SPL heat

entire beam layout of the venue, transforming the system from live performance to cinema or from single-language conference to multilanguage

Two new reverbs include Spaces Reverb Designer, an algorithmic reverb dedicated to recreating physical spaces with realism, as well as Plate Reverb Designer which is dedicated to replicating the characterful build-up and tail of a plate reverb, with the choice of several plate materials.

Completing the collection are two distortion effects. Saturator delivers five analogue

Powered by the RackUltra FX card, the RackUltra FX collection brings together 10 algorithms, with benefits including low-latency integration and no licensing. Fitted as standard to all new MixRacks and available as an upgrade for existing MixRacks, the card adds eight RackUltra FX engines – including dedicated stereo send and return channels plus PEQ

saturation models, covering everything from smooth and subtle tape drive to germanium and valve crunch. Amp+Cab Distortion models the harmonically complex characteristics of guitar and bass amplifiers and emulates various classic speaker cabinets.

www.allen-heath.com

distribution and clarity.

www.holoplot.com

K-array launches K-CLOUD

ITALIAN MANUFACTURER K-array has added to its growing suite of software products with K-CLOUD. Expanding on the brand’s K-CONTROL platform, K-CLOUD allows for remote control, monitoring and management of K-array’s Kommander amplifiers from anywhere in the world, giving integrators control of the volumes, presets and matrices. Alongside the control capabilities, K-CLOUD customers can also use the platform to monitor their systems and will receive alerts in case of system errors, while viewing signal presence meters can also be carried out remotely. K-CLOUD is also compatible with other leading control systems from manufacturers such as Kramer, Crestron and Crestron Home, AMX, Control 4 and Q-SYS.

now offer their clients the system control tool on Apple devices.

Already available on the Google Play store, the manufacturer has also announced the expansion of K-CONTROL to iOS, meaning integrators can

In other news, the Kayman-KY102 has now been implemented with Electronic Beam Steering (EBS). Thanks to EBS, each of the eight woofers in the KaymanKY102-EBS can be independently processed through FIR filters. This allows for dynamic control and manipulation of the sound beam, directing it precisely to the desired listening area. K-array believes that EBS provides a level of accuracy and flexibility that is crucial in adapting the system to diverse environments and applications, in particular in environments where the risk of sound leaks or dispersion is high, such as reflective halls where traditional speaker tilting is restricted. The Kayman-KY102EBS has a dedicated eight-channel amplifier: the Kommander-KA-18 with FIR-EBS firmware implementation onboard.

www.k-array.com

V10 delivers 32

WITH FEATURES including 32-bit float recording, streamlined functionality and more flexible audio routing options, Sound Devices’ free v10.0 firmware update for its 8-Series mixer-recorder incorporates a variety of userdriven requests.

With the aim of eliminating clipping irrespective of gain settings, Sound Devices says the ability to record ISO tracks in 32-bit floating point is useful when recording audio sources that

include a Daylight mode which includes a brighter LCD colour scheme to make it easier to see information and navigate menus, while Record folders can now be renamed directly from the 8-Series Record Folder Options menu. Users also have the ability to choose whether playback audio goes to all outputs or just headphones, and the SD-Remote companion app has a Routing Matrix tab with an overview of all input, channel, bus and output routing on a

DESIGNED TO simplify the configuration, management and monitoring of MilanAVB networks, d&b audiotechnik and L-Acoustics have launched the brandagnostic software platform Milan Manager. Immediately available for download, the free-to-use software aims to promote the universal acceptance of the stable and open Milan-AVB networking technology.

The clean, tab-based interface creates efficient access to all essential functions while delivering clear, real-time network status reporting. Milan Manager automatically discovers units and allows users to name them, set sample rates and manage media

More outputs, more personalisation

WITH THE addition of 16 free outputs to its L-ISA Studio, French sound specialist L-Acoustics has unveiled its v3.2 update to its L-ISA immersive production platform. The additional outputs aim to enable more immersive monitoring setups at a lower cost. The company says this will be beneficial not only in theatrical environments where L-ISA v3.2 enables immersive playback opportunities for plays and musicals, but also in education where immersive audio is often taught in theory but difficult to implement in a cost-efficient manner.

L-ISA v3.2 also delivers integration of Mixhalo’s AI-powered services with the L-ISA Processor II. Activated via a subscription model and with usagebased pricing, Mixhalo is an on-device, real-time streaming platform for live events. It allows event

clocks. Channels can be mapped from talker devices to output streams, connecting them to listener devices. With constant access to updates on network health, issues can be proactively addressed and optimal performance maintained.

Through this collaboration, d&b audiotechnik and L-Acoustics underscore their commitment to promoting broader acceptance of MilanAVB as the industry takes a significant first step towards seamless Milan-AVB integration. Both companies are currently developing further features for Milan Manager.

www.dbaudio.com

www.l-acoustics.com

Streamlining sports for social media

BOASTING THE ability to crop video to various aspect ratios from a single user interface, Vizrt says its Viz Libero 8.3 update is a first for sports analysis. The highlight enhancement tool now enables users to create one project and publish multiple versions to other platforms during live games or post-match. Operators only need to select the preferred aspect ratio and add analysis, and export clips in a variety common aspect ratios for different publishing platforms. The Viz Libero social media crop tool is also preconfigured to track players to speed up analysis for social media. Operators can select the aspect ratio, click on the player and the software will automatically track and crop.

The feature enables broadcasters and sports leagues to extend their sports rights and engage new audiences using shorter snappier clips via social platforms. Viz Libero is deployable in the cloud with a flexible licensing structure which means customers can use it across broadcast teams in a traditional manner before handing

Described as a new native NDI Bridge multichannel video conversion tool, Vizrt has also launched Viz Connect Tetra, a compact live production workstation that enables multichannel 4K video and audio connectivity with a simple network connection, anywhere in the world. The solution has been launched to help meet the everchanging demands of multi-camera, on-location, live productions and offers four flexible channels supporting up to 4K. Tetra’s I/O channels can be used up to 12G NDI to SDI, 12G-SDI to NDI or even NDI to NDI – at home in a server room

rack as it is on a desk or on location. Audio flexibility is said to be a standout feature of the platform, with support for NDI, SDI, ASIO and WDM virtual SoundCards. For the very first time in a Vizrt product, each of the four I/O channels support 16x16 audio routing for patching on the go – making it easier to respond to live production requirements.

organisers to create personalised experiences that visitors or audiences can access on their own device from anywhere within the venue. Features include Mixhalo Translate, which provides access to live, simultaneous content in dozens of languages, while Mixhalo Live gives the ability to stream up to 16 channels of personalised immersive content directly to attendees’ smartphones. Mixhalo Moments enables users to record videos with professional quality audio from Mixhalo for their social stream. Other updates to L-ISA v3.2 include improvements to the Room Engine, additional features and refinements to the Snapshot Engine, as well as improvements to the L-ISA audio bridge for Windows.

www.l-acoustics.com

Featuring access to NDI Bridge join-mode in the device’s user interface, the converter can send and receive NDI for remote production anywhere in the world, enabling capabilities with cloud and remote productions without the need for additional hardware.

www.vizrt.com

Viz Libero 8.3

More functionality with V3.5

BROMPTON TECHNOLOGY has unveiled a V3.5 software update to its Tessera LED processor that introduces features like Frame Store, Hidden Markers and Dark Time Insertion. Frame Store adds the capability to store and recall 24 bitmaps which can either be captured from a live video source or uploaded directly to the processor. The feature is integrated into Tessera’s existing Test Pattern function and enables users to access significantly higher-quality test patterns, complete with alpha channels to be used as overlays.

Hidden Marker functionality allows markers to be displayed for a fraction of the frame period, which means users can send any image they want and use Brompton’s patented ShutterSync

function to display it only when the shutter is closed. Since the image is now stored within the panels and not generated by the LED processor, it does not impact the processor’s network capacity. Also using Brompton’s ShutterSync technology, Dark Time Insertion aims to deliver benefits for viewers by allowing users to specify Dark Time within the frame period, reducing motion blur and enhancing the viewer experience in applications such as simulators or eGaming. It can be defined in milliseconds or as a percentage of the frame period.

Following successful integration with Mo-Sys’s camera tracking system, V3.5 also offers its digital tracking markers functionality with stYpe’s RedSpy tracking system. Brompton

users can also now choose Custom Markers within the same interface, which can be uploaded remotely via a USB key or through the API. Finally, an Enable Brightness Limit feature allows users to set a maximum brightness limit in Global Colour that is either equal to, or less

than, the maximum panel brightness. Brompton says this becomes particularly valuable when granting brightness control through the API or remote access to the Tessera LED processor.

www.bromptontech.com

AV STUMPFL has unveiled what it says is its most powerful media server hardware to date for the PIEXERA four, which is now optionally equipped with NVIDIA’s Ada GPU architecture. The Ada upgrade enhances PIXERA four’s efficiency by allowing it to tackle much more demanding workloads. With 48GB of VRAM and a single-precision performance of up to 91.1 TFLOPS, the new Ada card brings creative projects to life with double the rendering capability.

Whether working on 3D scenes or viewing 2D playback, the Ada upgrade allows PIXERA four users to harness the performance of the world’s most powerful graphics cards. Alongside this update, AV Stumpfl has also announced a new option for its hardware fleet to support the SMPTE ST 2110 standard for media over IP, which will be released in the coming months.

www.avstumpfl.com

Five live PRODUCTS

US-BASED LED specialist Absen has announced the debut of five display products as part of its AbsenLive brand catering to the live event and staging industry.

With pixel pitches ranging from 1.5–5.2mm, the Pixel Reality RGB W Series extends Absen’s Pixel Reality Series of LED walls for virtual production. All the necessary virtual production features – such as frame multiplication, frame remapping and high frame rate content – are supported.

Meanwhile, designed specifically for rental and staging environments, the Jupiter Pro Series is an ultra-lightweight, high-transparency display boasting up to 4,500 nits high brightness, a 10,000:1 ultra-high contrast ratio and features like hanging installation and compatibility with building ceilings of

virtual production studios. Also unveiled is the Jupiter V2 Series which features a composite

structural design that enhances strength and reduces weight, introduces an L-shaped

display with flexible connections and has a transparency rate of 35%.

Designed to complement Absen’s NT/PL V10/ PL V2 series, the sleek, curved aesthetics of Absen’s Flex Series allows for large-angle concave or convex shapes as well as cylindrical or 90° arc shapes. Finally, the company’s Saturn (SA) Series delivers a brightness of up to 1,500 nits, 16-bit grayscale, a 1:8 scan ratio and a 7,680Hz refresh rate. Designed for high-end product launches, public and corporate events, its composite design means panels are a lightweight 19kg/m² while maintaining robust durability. The SA Series is capable of being mounted up to 10m for hanging installations and up to 5m for stacking installations.

www.usabsen.com

FOLLOWING THE introduction of the TruePix indoor LED videowall range in 2022, Barco has expanded the portfolio with the TP-I family. The 16:9 tiles combine a unique mounting technology along with the Infinipix Gen2 image processing system. With pixel pitches ranging from 0.9–1.9mm, the LEDs are designed for faster and more accurate installation, promote colour accuracy under

a standard and mid-brightness E-range, the TP-I range adds 1.2mm and 0.9mm products in respective TAA-compliant versions. Outputting high brightness levels exceeding 1,000 nits, TP-I has been designed to deliver captivating visuals in challenging lighting conditions. With the inclusion of the Infinipix Gen2 processor, performance at very high or severely dimmed brightness is reportedly assured. With the inclusion of common cathode and flip-chip technology, the manufacturer claims that the TruePix TP-I has reduced the power consumption by more than 45%.

ClickShare’s latest concept feature with smart camera and audio switching combines the meeting room camera with the integrated laptop cameras of in-room

participants. Depending on the dynamics of the in-room conversation, the AI-powered capability switches between the room view and the close-up views of the speakers. The features included in the latest Smart Meeting Flows provide a more inclusive meeting experience for local participants. In addition, PresentSense is an ultrasound proximity detection for laptop meeting room connections, while HostFlow automatically guides participants at the start of a video

WITH THE VDS Complete, Leyard has developed an all-in-one LED video solution based on its latest LED product using MicroLED Chip-on-Board (COB) technology. Suitable for a variety of applications, including board rooms, meeting rooms and public areas, the simplified solution comes in predefined packages including the LED cabinets, controller, mounting solution, trim, processor, cables and spares. Five sizes are available –108-, 136-, 163-, 196- and 217-inch – in 16:9 or 32:9 aspect ratios and in Full HD, 4K and dual HD resolution. The pixel pitches range from 0.7–1.8mm and wide viewing angles promotes their use for both close viewing in intimate settings and larger-scale audiences. Each option comes with a 4K controller, enabling content from multiple sources, including native 4K and Full HD, and images can be scaled or cropped, or picture-in-picture if required. The MicroLED COB high contrast, low power consumption technology can be optionally touch-enabled, and 5G technology ensures simplified cable management. By adding an optional trolley, the VDS Complete can also be transported from room to room as desired.

The manufacturer has also released the Luminate Ultra W Series of MicroLED videowall displays, designed to bring fine-detail

imagery at close viewing distances to outdoor environments. The displays combine the latest advancements in LED technology with a 16:9 wide aspect ratio. Fine pixel pitches support viewing from as close as 2.5m, making it ideal for Full HD/4K cinema and sports media, information signage, retail, hospitality and highend residential applications.

The use of MicroLED technology produces enhanced black levels, colour uniformity and high brightness, even in direct sunlight. The addition of waterproof Glue-On-Board (GOB) technology and an IP65 rating means that the panels can withstand harsh weather conditions, while increased energy efficiency produces less heat at the same brightness.

Available in 1.2mm, 1.3mm, 1.5mm, 1.6mm, 1.8mm and 2mm pixel pitches at a minimum 3,000 nits, the Luminate Ultra W’s front installation and maintenance reduce the overall footprint of the videowall, and virtually eliminates the need for servicing space behind the wall. Luminate Ultra W Complete pre-configured off-the-shelf LED videowalls are also available in 115-, 145- and 173-inch Full HD resolution, and 231-inch 4K resolutions to reduce configuration time, cost and complexity.

www.leyardhk.com

meeting. Ensuring remote participants remain part of the conversation, ConferenceView shows content and people side-by-side on the meeting room display. With further developments in control room software, together with LED and LCD videowalls, the introduction of the Barco CTRL software and hardware platform has been designed to simplify workflow and provide added security. The platform is continuously enhanced with new features via software and firmware updates (currently v1.3). Having been awarded ISO/IEC 27001 certification for its control room solutions, the brand continues to put security first.

www.barco.com

Pixel Reality RGB W Series

Captivate Series now available in 4K

FEATURING AN all-in-one chip-on-board (COB) platform boasting 4K resolution clarity, the Nanolumens 4K Captivate Series measures 165 inches and includes tighter pitches. The 0.9-pixel pitch creates images on Nanolumens displays that feature smoother borders and finer detail, allowing viewers to stand closer to the screen without the distraction of individual pixels. Available in four unique sizes, ranging from 120 to 180 inches, and with a system depth of just 2 inches, the Captivate Series is designed to aesthetically integrate into a variety of applications.

The manufacturer claims that the Nanolumens displays consume significantly less energy per m2 compared to conventional digital displays. Reliability is reportedly

ensured with the series’ 100,000-hour lifetime, while the manufacturer’s turn-key installation process ensures integration and optimal performance within four hours.

Featuring an ultra-tight radius and narrow pixel pitch, the Nixel Series adds flexibility for seamlessly curved displays. Unlike traditional displays that rely on rigid panels, the Nixel Flex Series is designed to bend and arch to create both convex and concave curved displays. The unique design of the Nixel Series ensures that the displays are 100% seamless and provide aesthetics from 360° when viewed up close. Building on the Nixel Flex platform and boasting 100,000 hours of display

A Genius on ePaper

DESCRIBED BY PPDS as the latest evolution of its ePaper with Android SoC signage range, the 13-inch Philips Tableaux 4150 is designed for businesses looking to introduce or expand a digital signage network with full-colour ePaper displays. It adds to Philips’ 25-inch 4150 and 32-inch 5150 models and has been developed with PPDS’s longstanding technology partner E Ink to bring the same “zero power” features and Android-powered functionality as the larger 25- and 32-inch displays. Available with a white bezel design and weighing just 1.3kg, its sunlight-readable imagery can be indefinitely displayed without using a single kilowatt of electricity, requiring power only during image changes. With a 1600x1200 resolution and 16GB internal memory, the 4150 requires no external media player either; users can plug into a power source to upload new static content for instant play via USB, LAN or Wi-Fi connections. All Philips Tableaux displays can operate entirely unplugged, making them ideal for locations with limited or no access to power sources. Meanwhile, content updates can be managed manually (including via USB) or remotely via a range of certified thirdparty control and management partners,

life, the latest curved display incorporates patented True Curve technology. The tightest true curve offers a bend radius of 11.5 inches, in a 1.56mm pixel pitch

www.nanolumens.com

Wave enables businesses to securely switch out content from any location, with firmware upgrades, playlist creation

After a year in development, PPDS has also unveiled Philips Genius, its first in-house educational software designed to enable

The writing is on the wall for AMX

DELIVERING LOW-LATENCY video streaming with Dante AV-A, AMX has revealed the SVSI N2600D wallplate encoders and decoders. Designed to transmit both live video and detailed content, all N2600 models feature support for the 4K60 4:4:4 MWC codec. Additionally, Virtual Network USB 2.0 Hub technology provides video preview images from a built-in web interface or touchpanel, low-power mode for energy savings and support for high-security networks. Fullbandwidth USB 2.0 routing allows USB devices such as cameras and conferencing soundbars to be easily integrated into room solutions. Virtual Network USB Hub technology allows the USB signal from up to

four decoders to be combined and delivered to a USB host on any encoder.

Based on Dante AV-A technology, the N2600 models promote audio interoperability including signal routing,

configuration and IT-level management with other Dante products. In addition to the low-latency 4K60 4:4:4 MWC stream, standalone box and card models with the “S” designation add support for a high-

educators to create and deliver lesson plans and collaborative teaching experiences to any classroom and on any interactive display. Accessible on a single platform, PPDS says the application enables educators to create lesson plans either directly on an interactive display, remotely via a web browser or on a dedicated app. Content is saved to a personal Philips Genius account/library and can be retrieved and displayed on interactive displays within seconds of the educator entering the room. Logging in is fast and secure via an onscreen QR code or using a username and password.

Educators also have access to a wealth of applications and third-party content, as well as the ability to import/embed YouTube videos, PDFs, Word documents, Excel spreadsheets and PowerPoint presentations. When used with the Philips Collaboration 4152 and 3152 interactive displays, Philips Genius also brings the familiarity and functionality of a traditional whiteboard, allowing students to share their ideas and workings directly onscreen or via their own device. Tools include digital pencil/ pen, highlighter, eraser, images/shapes and lines, ruler, set square and protractor.

www.ppds.com

compatibility, low-bandwidth 1080p H.26x secondary stream. The encoder models can simultaneously encode both MWC and H.26x streams and the decoders can decode streams of either type.

Available in wallplate form factors in both US and UK/EU styles, the N2600D encoders and decoders are finished in either black and white faceplate inserts and wallplate covers. Supporting audio, video and USB 2.0, the wallplate encoders include both an HDMI input and a USB-C input. An open API allows seamless integration, making it possible for any control system or application, such as Zoom Rooms, to control the device.

www.amx.com

Tableaux 4150

Blackmagic keeps users connected

FEATURING A 36mm x 24mm 6K sensor with 13 stops of dynamic range and dual CFexpress media recorders, the Blackmagic PYXIS 6K is a next-generation digital film camera. Finished in machined aerospace aluminium, the customisable camera can attach to rigs including cranes, gimbals or drones. In addition to the multiple ¼- and 3⁄8 -inch thread mounts on the top and bottom of the body, the PYXIS 6K has a range of side plates that further extend their ability to mount accessories such as handles, microphones or even SSDs. The full frame sensor with a native resolution of 6048x4032 can adapt to shooting in bright sunlight or in almost no light at all. Thirteen stops of dynamic range with dual native ISO up to 25,600 provide low noise images in all lighting conditions. Capable of shooting in all standard resolutions and frame rates from HD up to DCI 4K and even 6K, a choice of L-Mount, EF or PL lenses extends the PYXIS 6K’s compatibility with a large selection of cinema and photographic lenses. The L-Mount model works with the latest full frame lenses from Leica, Panasonic and Sigma but can also accommodate lens adapters. The EF model can be paired with photographic lenses including DSLRs.

stabilisation. Editors can work directly with transcribed audio to find speakers and edit timeline clips, while colourists can produce film-like tones with the ColorSlice six-vector palette and cinematic images using the film look creator effect. Now in a spherical

Available as mini and rack-mount models, are available. Designed to integrate SDI equipment into 2110 IP broadcast systems, the 2110 IP Converters conform to SMPTE ST 2110 standard for IP video. They can also re-sync SDI inputs to a common PTP clock or external equipment can lock to the

reference output generated from the PTP clock. Supporting all SD, HD and Ultra HD formats up to 2160p60, the rack-mount

router panel. The 2110 IP Converters are available with RJ45 connectors for Cat6 copper cables or SFP sockets for optical fibre modules and cables. When working in larger SMPTE ST 2110 systems, video equipment can be connected to an Ethernet switch.

www.blackmagicdesign.com

WITH A legacy of camera quality, Vaddio has unveiled its first all-in-one 4K video conferencing solution for all scales of meeting rooms. The Venture VideoBAR and

presenter’s position accurately around the room, without adding distracting video motion. Enabling the camera to follow the action in the room without relying on cropping abilities, an

sensor, a 110° wide horizontal field of view, 3x digital zoom, a six-element beamforming microphone array and a hi-fi speaker system with integrated DSP. With a microphone pickup range of up to 6.5m, the Venture VideoBAR can be further boosted by a further 6.5m of range in larger room scenarios by adding the optional Venture TableMIC expansion microphones.

The Vaddio Venture VideoBAR features manual PTZ/ePTZ control and tracking technology in three modes: group framing, speaker framing and gallery view. Using facial tracking and speaker tracking algorithms, it accurately frames a group of participants. The beamforming microphone array can pinpoint and track a single

HDMI output and a confidence display allow presenters to monitor what the audience can witness during presentations and video conferences. Additionally, the Venture VideoBAR can be used as a speakerphone for voice calls or to listen to music via a Bluetooth connection. In larger rooms, the Venture TableMIC connects to the Venture VideoBAR via a single Cat6 cable and up to three microphones can be daisy-chained for full microphone coverage in larger boardrooms. The microphones feature a universal mute button and a status light for control near participants.

www.legrandav.com

AVOIP SPECIALIST Just Add Power has announced the latest solution in its MaxColor series with the MC-TXWP1 wall plate. The product supports HDMI 4K60 input and distribution of source devices, making it suitable for BYOD, UC&C and huddle environments.

The solution provides integrators with an HDMI port that natively supports computer and video resolution at 4:4:4 and deep colour of up to 36-bit. It distributes 4K UHD video from connected 4K BYOD sources with

no downscaling or subsampling over a Gb managed network using a Cat5e/Cat6 cable. It delivers switching and HDR management while supporting all lossless audio formats and HDR10, HLG and Dolby Vision. Other features include control of endpoints with CEC and the ability to view a live MJPEG stream of up to 30fps, as well as a snapshot image in any browser or control system at up to 10fps.

www.justaddpower.com

and 3D spherical

Venture VideoBAR and TableMIC

PYXIS 6K

2110 IP Converter

Ki Pro GOes again

AJA HAS launched the latest evolution of its Ki Pro GO multichannel HD/SD recorder, the Ki Pro GO2. It offers users four channels of H.265 (HEVC) or four channels of H.264 (AVC) recording to USB 3.0 drives or network storage, with redundant recording and single channel playback. In addition, it includes four 3G-SDI and four HDMI inputs for compatibility with a wide range of video sources.

audio inputs, mic/line/48V switchable and an Ethernet LAN port.

The HD/SD recorder also incorporates realtime recording to network storage, onboard exFAT drive formatting, built-in frame syncs, support for HDMI and SDI multichannel matrix monitoring and HDMI and SDI, enhanced Super Out for monitoring timecode, media status and audio levels.

compatible with standard web browsers, front panel device buttons and an integrated HD screen. Other features include five USB recording media ports, compatible with off-the-shelf USB 3.2 Gen 1 media, four 3G-SDI inputs, four HDMI inputs, four 3G-SDI outputs, a 3G-SDI monitoring output, an HDMI monitoring output, balanced XLR analogue

recording settings with five options, timecode SDI RP-188 Input Support: Time of Day or Timecode Value, LTC Support which is available using a single channel of Analog Audio In, two channels of embedded audio per video input, a compact 1⁄2-rack width and 2U height.

www.aja.com

DESCRIBED AS one of the more unique products the manufacturer has released in recent months, Panasonic’s Silky Fine Mist is “providing a new type of canvas for visual artists to explore”. Suitable for use both indoors and out, the solution uses pressurised water and compressed air to create a small particle mist air and then projects beams of light onto it to create a hologram-like, 3D effect. The solution has already been used in immersive exhibitions like TeamLab’s Massless Clouds at Superblue Miami, and allows designers to use projection is areas previously unthought of.

Also new from the Japanese manufacturer is the PT-REQ15 projector, the first 1-Chip DLP 4K Projector to offer 15,000-lumens brightness. It was unveiled alongside its counterpart, the PT-REZ15, which delivers 15,000-lumens with WUXGA (1920x1200) resolution. The unit’s optical engine and laser light source module comply with the IP5X Dust Protected standard, while the backup input and multi-laser drive engine allow it to operate reliably in harsh conditions. Both models are TTA-compliant.

connect.panasonic.com

EYEING UP the LED installation market for semi-permanent indoor applications, ROE Visual’s Jet LED panel system features a brightness of 1,300 nits, a lightweight design of 10.3kg per panel and the capability to add curves from 5° convex to 5° concave. The company says its refresh rate of 7,680Hz makes it more adaptable to market challenges, especially houses of

makes it up to 50% lighter than conventional LED panels, but without losing strength. It features a lock equipped with a magnetassisted function which locks panels together with a push of the handle. Coupled with the user-friendly horizontal locks, the system delivers freedom for fixed installation areas and the design can be easily changed to suit special occasions. Meanwhile, its high-

Multiviewer widens the horizons for Visionary

DEVELOPED BY Visionary to extend the capabilities of AV-over-IP systems, the MV5 IP Multiviewer is an advanced scaling and multi-windowing appliance. The first in a family of next-generation multiviewers, the

picture-in-picture, the MV5 IP boasts zero frame loss during window and video transitions for smooth and uninterrupted playback. The combined output video can be encoded into a single stream and sent to one or more PacketAV

Ensuring the highest-quality video output, the enhancement satisfies the demands of modern AV applications in terms of clarity and precision. Supporting a variety of default presets, such as quad view, side-by-side, full screen and

deliver a more visually dynamic effect with higher impact, Elation’s IP65rated Pulse Panel and Pulse Panel FX units combine a strobe, bright blinder, high-output wash light and creative eye candy effect

Unlike traditional multiviewers, the MV5 IP can be rack-mounted at greater distances from the source.

www.visionary-av.com

CW strobe LEDs. Customisable zone control of both the RGB and cool-white LEDs provides more design flexibility, and both fixtures include a library of customisable RGB and CW strobe effects along with variable dimming modes and

controllable RGB and cool-white LEDs with 1,152 1.5W RGB LEDs establishing the foundation, 288 5W cool-white LEDs at its centre and 96 1.5W RGB LEDs at its core. A further 144 5W cool-white LEDs line the perimeter. When combined, output is over 100,000 total lumens.

The company says it added the cool-white LEDs on the outer edges to offer more output and visual impact, and then capped those with a custom linear prismatic lens originally developed for Elation’s Proteus Rayzor Blade fixtures. A single line of RGB LEDs at the centre adds extra colour or can be set to mirror the centre

The Pulse Panel FX can pan or spin its LED panel in an endless 360° rotation and features a 180° tilt. The fixtures can be controlled via DMX, RDM, Art-Net, sACN and KlingNet protocols, and both fixtures also feature proprietary Aria x2 wireless device management for simplified system setup and maintenance. The Pulse Panel FX allows for two separate universes to control the fixture – one for fixture movement and another for LED control –allowing users to control the LEDs from a media server or separate content control device.

www.elationlighting.com

CLAIMING TO be the world’s first IP65 hybrid moving head with a phosphor-

rotating gobos as well as two combinable effect wheels with six prisms, ovalisers

Pulse Panel FX

Updated Hog software

ETC HAS announced two software updates for its Hog 4 console’s operating system. The Hog 4 operating system v3.21 and v4.1 are bridging releases with export and import features to get old show files into Hog desks which are running v4.x software. Hog operating system v3.21 is required for users who wish to import or export existing show files. These can now be exported to an XML format which allows for easier transitions between software versions where show file compatibility may be limited. Section 4.12 of the Hog operating system v3.21 help manual offers users details on how to use the show import/export feature. Additional features of this software update include cloning per type palette rules for fixtures when change type is used and a dedicated timecode frame rate option for lists.

Hog operating system v4.1 can facilitate importation from exported v3.21 data into the v4.x operating system. Section 4.12 of v4.1 also has details on how to use the show import/export feature. Additionally in v4.1, the SPD view of the physical tab in the Colour Picker Window has been simplified by removing the selected emitter info section and Locked Physical Function tray area and a new “optimise palettes” button has been added to the show manager window. Pressing this button starts a background task which scans all the palettes in the show for repeated per fixture values and rolls them up per type rules when possible. This reportedly improves performance in editors and playback.

www.etcconnect.com

Give us a CLU

ELIMINATING THE need to physically access individual devices, NETRON CLU is a user interface from Obsidian Control Systems designed to discover and manage NETRON data distribution devices across a lighting network. NETRON devices can be discovered regardless of their current IP address, and all NETRON features can be centrally configured. Its Windows-based NETRON CLU app monitors network status and indicates devices’ online or offline status on the user interface. NETRON CLU also includes integrated firmware update management, allowing users to upgrade multiple devices to the latest firmware release simultaneously and with a single click. The company says it is especially helpful when deploying networks that use multiple nodes or when working with nodes that lack integrated screens.

Further products have also been added to the NETRON range. The NETRON EP1 is a compact device that functions as an Ethernet to DMX gateway, featuring a single RDM-compatible port. Designed for integration into single-gang wall mounts, trusses or standalone setups, it offers configurability via an integrated OLED display and encoder, or via internal web remote access. With its internal network switch, the EP1 efficiently

manages incoming network traffic, making it suitable for distributing sACN and Art-Net traffic across different stage locations.

The NETRON EN12i is a high-density Art-Net and sACN to DMX gateway that boasts 12 RDM-compatible wire terminals or RJ45 outputs. It offers easy configuration through integrated presets and advanced merge and routing features, making it suitable for permanent installations requiring numerous physical DMX ports.

The NETRON WP1DO/WPIDO-EU feature a five-pin DMX Output connector within a Decora insert plate, along with integration flexibility with various DMX options for seamless integration into any DMX infrastructure. The NETRON WP1CAT6/ WP1CAT6-EU have been designed to simplify integration into Ethernet or DMX setups and offer a Cat6A-compliant locking RJ45 connector within a Decora insert plate for a “tidy and efficient” installation process. The NETRON PCB5P provides a standard D-Size DMX Output connector on a small PCB, while the NETRON PCBCAT6 presents a standard D-Size locking Cat6A RJ45 output connector on a compact PCB, catering to custom integration needs.

www.obsidiancontrol.com

CZECH LIGHTING manufacturer Robe has unveiled several new solutions, including the FORTE Fresnel PC, T32 Cyc Slim, iFORTE LTX FS and the iProMotion Landscape and iProMotion Portrait. Additionally, full network capabilities have been announced for its RoboSpot remote follow spotting system, meaning it can now be integrated with IP networks.

The FORTE Fresnel PC is a new variant in the FORTE range and is described as a high output wash luminaire for TV, theatres and concert stages. It purportedly makes a true replacement for a traditional 2.5kW HMI Fresnel light, something lighting designers have long requested. The fixture has an in-house designed, developed, patented and manufactured TE 1,000W XP (Xtra Power) white 6,700K LED engine said to deliver an intense light output of 40,500 lumens (Fresnel) and 41,000 (PC).

The T32 Cyc Slim is a low-profile variant of Robe’s T32 Cyc light, an interconnectable, asymmetrical cyclorama fixture for covering any

be exceptionally quiet, making it great for drama theatres or orchestral venues with L3 18-bit dimming for refined fine-tuned fades to black. The colours are said to be perfectly rendered, with ratings of CR:96 and TLCI:97, and RGB or CMY colour mixing, with individual emitter control for advanced users offering faster programming.

The IP65-rated iProMotion moving head effects and video projector is now available in both landscape and portrait configurations for indoor and outdoor use. It’s intended for use in advertisement, retail promotions, shops, car showrooms, clubs and bars. The fixtures offer 1,000 ANSI lumens of output with a long-lasting LED source, with RGB and CMY colour mixing capabilities, digital gobos, graphic effects, images and videos, plus a range of in-built effects.

Lastly, the new iFORTE LTX FS is described by the manufacturer as the ultimate long-throw, high-output, all-environment LED WashBeam, and features an integral camera for use with the RoboSpot system. The iFORTE LTX FS has a Full HD digital camera mounted on the head, with parCoat lens protection to ensure a clear picture even in inclement weather. The IP65-rated camera features 32x optical and 32x digital zoom, and is suitable for low light levels down to 0.05 lux.

www.robe.cz

NETRON CLU

AV’s time to shine

QSC chairman and CEO Joe Pham shares insights on what the recent AI goldrush means for the future of enterprise AV

THE OPENING KEYNOTE DELIVERED BY JOE PHAM from QSC at this year’s InfoComm Las Vegas clearly struck a nerve with the 700+ crowd packing out the room. If you had to pick one topic that has dominated technological conversations over the last 12 months, it would without a doubt be artificial intelligence (AI). Sorting the wheat from the chaff, though, can be a daunting endeavour. There’s still an awful lot of buzzwords flying around, and understanding how the “big picture” conversation will extrapolate down into various practical aspects of our life still feels like a mighty big hurdle to wrap your head around. It’s been the hot topic ever since Open AI unleashed Chat GPT3.5 on the world back in November 2022. Some 21 months later and, with the help of Pham’s crystal ball, answers are beginning to

of controlling sight and sound – the two most important senses for human connection. We, as an industry, need to shape AI to enhance human connection and elevate experiences. How we do that is through technology.”

Relating this back to AV, Pham can foresee an imminent future emerging where a “full-stack AV platform” becomes the natural outcome for the AV industry. “You’re already carrying one in your pocket,” he proclaims. “Our smartphones are a full-stack consumer technology platform, yet AV doesn’t have one. Our industry is always a little bit behind the rest of the technology world.”

Pham’s full-stack AV platform would be a holistic system integrating hardware, software, data management and cloud services made up of three main parts: a multimodal I/O

the full-stack AV platform and leverage all the great AI tools that will come into play.

the AV industry. You could see neurons firing in people’s brain as the hour progressed and the implications of it all came into view. And so, keen to not let the conversation end there, Pro AVL Asia went back for more, picking Pham’s brains during a brief stopover at the Q-SYS Experience Centre in Surrey, UK.

Aside from the impending implications of AI, it is the sheer speed of technological change that is starting to become challenging for humans. Unfortunately, Pham has bad news here. “Get used to it,” he jokes. “Most people haven’t come to terms with exponential numbers; however, the exponential pace of technology that we’re now experiencing today, and is leading to this moment of AI, changes our world forever. Almost more importantly, our industry is so uniquely positioned to leverage this power of AI to do what we’ve always wanted to do, which is to connect human beings and elevate experiences.”

Describing the current times as a “phase-shift moment” on par with the invention of the printing press, electricity and the internet, Pham believes that AI holds immense potential for our industry.

“There have been three phase-shifts in our life so far – the internet, mobile and AI – and my belief is AI will be the biggest one,” he says. “To me, the most interesting part is how it will intersect with the real world. And we sit in that intersection because we’re in the industry of human experiences, with the unique point of view

“The benefits are enormous,” he continues, “and are going to be really critical for enterprises in this exponential age. It’s going to be easily upgradable and updatable – because it’s softwarecentric and connected to the cloud, it will be scalable with futureready architecture, designed with AI integration in mind, and it will be interoperable with a unified data approach, since it integrates with a broader ecosystem.”

Harking back to the nature of exponentials, and how fast this transition is likely to come to fruition, how can companies negotiate the ever-changing technologic landscape we’re barrelling towards?

“We can’t predict where the world will be one year from now, or even six months, because progress is moving very fast and we never know where the next wave of innovation will come and take us by surprise,” he explains. “The only thing we can do as humans is build the skills to be resilient and flexible to change. I think one of the most important things is the curiosity to learn, so that no matter what happens, you are able to adapt.” Right now, AI progress is still very much a conversation dominated by the big boys of tech, whose computing capabilities have positioned them front and centre. As the gatherers of audio and video data, Pham argues that AV is no less important, and the time for our industry to willingly take a back seat is gone.

“I want to encourage our industry that this is our moment to step up to centre stage, and we’re going to do great things in the coming years,” he concludes. “Especially since the world needs human connection more than ever before, not only for human joy, but enterprises with hybrid work. We’re never going to go back to a world where we’re not playing with AI, it’s only up and to the right from here on.”

Joe Pham

QSC’s Joe Pham kicked off proceedings with the opening keynote at InfoComm Las Vegas

Simon sat down with Joe Pham at the Q-SYS Experience Centre in Surrey