Pro AVL MEA January-February 2020 by Blank Canvas Publishing Ltd

LIGHTINGRECORDING RECORDINGINSTALLATION INSTALLATIONAVAV BROADCAST POSTPRODUCTION January–February 2020 LIVE SOUND LIGHTING BROADCAST POSTPRODUCTION November–December 2019

OASIS GOES BACK ROUNDTABLE: WOMEN IN AUDIO TO SCHOOL OUT OF THE BOX AVANTIS FILLS RECORDINGS THE GAP FILLING THE VOID DOHA’S TRIAL RUN GITEX, PL+S ME, IBC and AES reviewed

COMPLEX SIMPLICITY GRAND VISION AV-over-IP at Rivers Church’s newest campus

Sharjah’s biggest mosque broadcasts to the masses Singapore: MICA (P) 065/05/2019

Singapore: MICA (P) 065/05/2019 Singapore: MICA (P) 065/05/2019 Singapore: Singapore:MICA MICA(P) (P)033/06/2018 033/06/2018 Singapore: MICA (P) 033/06/2018

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CONTENTS

Volume 17 Issue One January–February 2020

NEWS NEWS Focusrite acquires Martin Audio, PSAV buys eclipse

DISTRIBUTION DWR fills the gaps, Prolights continues ME expansion

APPOINTMENTS CT increases ME team, Nexo appoints STM specialist

SPECIAL REPORT ETC lights up Media City

FEATURES FAR AND WIDE Longbow powers a month of performances in Riyadh

KEY TO CONSISTENCY Dual events cause a logistical nightmare for Bad Weather 30 ELEGANT AUDIO Pioneer ticks all the boxes at Nammos Dubai

COVER: GRAND VISION Sharjah’s biggest mosque broadcasts to the masses

BACK TO SCHOOL Oasis Enterprises hones its auditorium fit-out skills

DOHA’S TRIAL RUN IAAF Championships proved a good test for the World Cup

BUSINESS LETTER FROM AMERICA Dan Daley on whether weather makes a difference

LETTER FROM EUROPE Phil Ward considers the value of keeping quiet

COMPANY PROFLE: DWR’s mission in creating a one-stop shop

COMPANY PROFILE: There’s more to Powersoft than just amplifiers

TECHNOLOGY Beneath the surface of Allen & Heath’s new Avantis console

TECHNOLOGY Matrox on the next phase of AV-over-IP

Editor’s note 2019 was a particularly busy year for many systems integrators, but 2020 is set to be landmark year for the Middle East. We might still have another two years before the World Cup rolls into Doha, but there’s no shortage of important fixtures on the calendar before we reach that date. Of course, you can hardly have made it through 2019 without hearing any mention of Expo 2020 – nearly every company in Dubai is playing its part in some shape or form. Somehow, the Emirate is still insisting that the new Dubai Creek Tower – still virtually non-existent in real life at the time of writing – and surrounding area will be completed in time for the Expo opening, all of which will require an extensive amount of AV infrastructure and spawn a flurry of impending orders. In Giza, the long-awaited Grand Egyptian Museum is set to open its doors, where more than 5,000 historical items will be on display. If I learnt anything from my visit to the National Museum of Qatar last year, it’s the power that audiovisual technology holds in bringing these exhibits to life. Elsewhere and making good on its promise of becoming a top-tier tourist and hospitality destination, Oman is set to complete construction of the new 14,000m2 Muscat Bay Village Square complex, which will also house the country’s first five-star Jumeirah hotel. While it was also originally due to open this year, the gigantic Mall of Oman in Muscat has been delayed once again until the beginning of 2021 at the earliest. And all this doesn’t even touch on the Kingdom of Saudi Arabia, by far the biggest performer for the regional AV industry in 2019. With no sign of any specific slowdown on the horizon, here’s to a prosperous 2020 from everyone here at Pro AVL MEA.

Email: sluckhurst@proavl-mea.com

CONTACTS Richard Lawn:

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GENERAL MANAGER rlawn@proavl-mea.com

NEW PRODUCTS The industry’s most comprehensive product news

ANALYSIS Meyer Sound discusses the importance of pro audio education

inside

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COVER: Sharjah Grand Mosque LICENCES: Singapore: MCI (P) 065/05/2019 All rights reserved. No part of this magazine may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording or by any information storage and retrieval system, without prior permission in writing from the copyright owners.

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PUBLISHED BY: 17 Upper Grosvenor Road, Tunbridge Wells, Kent TN1 2DU, UK

@ProAVLMEAMagazine Januar y–Februar y 2020 PRO AVL MEA 3

NEWS

Focusrite acquires Martin Audio

Focusrite founder and chairman, Philip Dudderidge, Martin Audio Managing Director, Dominic Harter, and Focusrite CEO, Tim Carroll WORLD Focusrite Group has announced plans to acquire Martin Audio, adding the British loudspeaker manufacturer to its growing

portfolio, which includes the Novation and Ampify Music brands, as well as relative newcomer ADAM Audio, which was bought

PSAV buys eclipse

in July 2019. Martin Audio has reportedly been on the radar of Focusrite founder and chairman Phil Dudderidge for several years. The deal is reported to be worth £39.2m. ‘I have known Martin Audio since its beginnings,’ Dudderidge revealed. ‘Founder Dave Martin and I became close friends in 1989 when I served as an advisor to him and non-executive chairman for a year or so as we prepared the company for sale to Tannoy Goodman International. Martin Audio is a close neighbour and their current management recognised that Focusrite plc was the obvious trade candidate to acquire the business.’ Mar tin Audio under went a management buyout in the summer of 2018 when LDC, the private equity arm of Lloyds Banking Group backed a management buyout from its parent company at the time, Loud Audio. LDC invested £12 million for a stake in Mar tin Audio to grow its business alongside investment from the team led by managing director Dom Har ter. As Focusrite takes over, Mar tin Audio will continue to operate from its offices

MEA

PSAV, a global company offering event experiences, has acquired the eclipse Group. Now a wholly owned subsidiary of PSAV, the group will continue to operate under the eclipse brand name. In addition, eclipse CEO Simon Ransom and his senior team will remain in place and continue to execute its growth plans in partnership with PSAV. The senior management team of both eclipse and PSAV will continue its UAE operations. Ransom will assume leadership of PSAV’s UAE operations as the group director, and work with Nik Rudge, PSAV’s managing director, international, and his team. The deal allows PSAV to continue building on business by expanding the breadth of its capabilities

throughout the GCC. PSAV is headquartered in Schiller Park, Illinois in the US. ‘eclipse is an exciting addition to the PSAV group of companies due to its extensive in-house venues and event production expertise, and strong alignment to our purpose and mission,’ said Rudge. ‘I am delighted

about what this means for PSAV and, more importantly, our customers, as we continue to focus on more ways to create amazing event experiences. ‘The entire eclipse family is eager to be joining forces with PSAV and establishing more impactful ways of serving our collective customer base.’ The PSAV family consists of approximately 14,000 professionals across 2,100 onsite venue locations and more than 50 branch offices. The company operates in more than 20 countries across North America, Europe, the Middle East, Australia and Asia.

extensive dBTechnologies portfolio. Products such as the es 802 entertainment system were highlighted as an ideal solution for corporate events market due to its on-board mixer. Overviews and listening sessions for product lines such as the OPERA range took place, concluding with a demo of the newly launched VIO X205, the smallest speaker in the VIO family.

www.martin-audio.com

Prolyte acquired by Area Four Industries

www.psav.com

UAE

The VIO L210 set up outdoors

www.focusrite.com

www.eclipse.ae

VV creates a stir with dBTech launch Over 75 systems integrators, rental and event companies gathered at The Jumeirah Creekside Hotel in Dubai recently at the invitation of VV & Sons. The distributor took on representation for dBTechnologies last summer for the UAE, Qatar and Bahrain, and chose to officially introduce the brand locally with an afternoon of product presentations, listening sessions and evening of live entertainment. ‘The acceptance we’ve had throughout the event has been a total joy,’ shared VV & Sons’s Vikesh Thamban. ‘This is a brand that is ideal for event companies. We’ve had guests from Qatar and Egypt as well as the UAE, it’s been a really nice mix.’ Among the team that had flown in from Italy was product specialist Marco Cantalù, who kicked off proceedings by outlining the

and factor y in High Wycombe under the leadership of Har ter. ‘In Focusrite we have an industr y neighbour of the finest pedigree; a global leader in its own right,’ Har ter commented. ‘Their culture mirrors our own and, getting to know the team, I sense a strong similarity with the deep-rooted values of our own Mar tin Audio Family. It is with great pride and enthusiasm that we take this next step; a momentous occasion as the Mar tin Audio brand enters its 50th year.’ Tim Carroll, Focusrite Group’s CEO, explained that his company is taking a targeted approach to acquisitions. ‘The acquisition of Martin Audio is a strong demonstration of our strategic aim to expand into new markets,’ he explained. ‘Martin Audio is also an established brand with solid financials that instantly add value. That we’re just a stone’s throw away will only further help unite us in achieving our common goal.’

‘I’d not heard a dBTechnologies system before, so it’s been a good experience,’ confirmed Arul Prasanna Kumar from Almoe. ‘The sound is clean and intelligible system. I think this will be ideal for rental.’ The event continued with guests invited to the outdoor demo area laid out with a line array encompassing 16 VIO L210 cabinets – eight per side – plus eight S218 subs set up along with three DVA T8s for front-fill. ‘This isn’t the first time we’ve been to Dubai but it’s the first time we’ve ever done something like this,’ dBTechnologies’ export sales manager, Gabriele Ferri, explained. ‘Tonight has confirmed that we made the right choice.

WORLD Just weeks after Prolyte Group announced that it could no longer guarantee the continuity of the business following its failure to meet financial obligations, the company has been acquired by Area Four Industries. As a result, Prolyte becomes the fifth brand to join Area Four Industries, along with Milos Structural Systems, Litec, Tomcat and James Thomas Engineering. The group was created in 2012 in order to combine and solidify the capabilities of all the brands it houses. While the group will restructure Prolyte’s management, production and strategy, it states that ‘Prolyte will keep its DNA intact’. ‘We will invest in the development of Prolyte as a brand, as well as in new ideas and products,’ assured František Zykan, CEO of Area Four Industries. ‘Our current partners remain equally important for us. I trust that in two years, Prolyte will be number one in customer satisfaction.’

www.dbtechnologies.com www.pro.vvsons.com

www.areafourindustries.com www.prolyte.com

4 PRO AVL MEA Januar y–Februar y 2020

PL lite series

DW series

Rental & Staging

Contact Absen:

Chelsea (Rental line)

chelsea.zeng@absen.com

+971 52 773 0180

+86 138 0227 1502

Absen Middle East DMCC UAE office and show room: Room 1705, Tower 2, Cluster X, JLT

series

A27 series

Fixed Indoor

Alina (Fixed line)

alina@absen.com

Twitter: @LEDAbsen Facebook: @LEDAbsen

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www.absen.com

NEWS

RCF acquires Montarbo ADI seeks Middle East expansion WORLD

The RCF Group has added another brand to its portfolio with the acquisition of fellow Italian pro audio manufacturer Montarbo. Going forward, the Montarbo brand will be operated and run by AEB Industriale, which will also oversee the distribution of its products. Montarbo joins DPA Microphones, EAW, AEB Industriale brand dBTechnlogies and RCF within the RCF Group. RCF Group CEO Arturo Vicari is delighted to welcome Montarbo into the fold. ‘It’s a historic brand that has contributed to the evolution of the music and professional audio industry in Italy and around the world,’ he said. ‘For anyone who, like myself, has followed the development of this market over the years, elite brands such as Montarbo have a special significance and, therefore, represent a wonderful opportunity for us to increase the value of our group. The RCF Group is

MIDDLE EAST

Arturo Vicari

one of the most dynamic organisations in the global professional audio industry, meaning Montarbo will be able to live up to its potential and continue to grow alongside us.’ www.montarbo.com www.rcf-group.it

UK-based LED screen specialist ADI is looking to establish a permanent base in the Middle East in order to facilitate expansion in the UAE and the Kingdom of Saudi Arabia. With this in mind, the company has begun actively recruiting for a number of commercial and operational roles, including video/LED technicians, project managers, account managers, and sales and operational support. During spring 2020, ADI will be working with existing clients to deliver LED screen services for live events in the UAE and KSA, something it is no stranger to, having already delivered several high-profile projects in the past. In 2018, ADI provided more than 650m2 of modular screens for the ABB FIA Formula E Ad Diriyah E-Prix as the international electric street racing championship made its debut in

the Middle East, marking the first major global sporting event to take place in Saudi Arabia. In late 2019, at the opening race of the championship’s sixth season, the company installed 19 high-resolution screens across the Ad Diriyah circuit with displays ranging up to 60m2, along with 18km of circuit-level fibre distribution to deliver HD feeds to every screen and a custom-made 4mm LED podium that travels to every E-Prix. ‘The live events and sports entertainment sector is growing at an incredible rate across the region. Having worked on some highprofile, historic events previously, we know where our expertise and innovative LED solutions can add value,’ commented Nick Robinson, screen rental director at ADI.

launched multiple products and redefined the business model. ‘Nextologies is uniquely poised to introduce enterprise-grade broadcast and OTT solutions at significantly lower cost than all its competitors.’ ‘We’ve been conducting business in MENA for years and felt it was time that we commit to the territory in a more significant manner,’

commented Nextologies CEO, Sasha Zivanovic. ‘We believe the media technology landscape in MENA will undergo a major restructuring and experience serious growth over the next decade and are confident that we will achieve our goals. .’

www.adi.tv

Nextologies commits to MENA with Dubai office UAE

Nextologies has opened a new office in the UAE that will serve as its regional base covering 24 countries. The office will be located in Dubai Media City and will be overseen by the new SVP business development, Elie Kawkabani. Kawkabani is described by the company as a television industry pioneer, having

successfully launched several pay TV businesses and supplied major TV operators in North America with multiple channels and products, as well as operating his own B2C platform. Most recently, he held the post of SVP business development at OSN, a Dubaibased premiere pay TV operator covering the MENA region. At OSN, Kawkabani

www.nextologies.com

DesignMax series debuts in Dubai ‘Bose has done a fantastic job executing their product launch,’ commented Saad Kaleem, audiovisual engineer at SIS and an attendee at the launch. ‘They have reinvented almost their entire product range this year. I was amazed at how well one of their smallest wall speakers, the DM5SE, performed. Only 4–6 units were enough to provide room-filling sound to the large-sized ballroom. It had excellent clarity and, despite its small size, produced good bass response without using any subwoofers. It only got better from there when Bose demoed bigger speakers with and without subwoofers.’

UAE Bose Professional organised The Installed Sound Expansion event recently in Dubai, which saw a successful turnout of more than 300 professionals from the industry witness the regional launch of Bose’s DesignMax series. The product range was initially introduced at ISE, and later at InfoComm in the US, but the event marked the first time that the solutions could be viewed in the region. Taking place at the Mandarin Oriental Hotel on Jumeriah Beach Road, the event was attended by distributors, consultants, systems integrators and end users. With the Installed Sound expansion, Bose now offers a wide range of sound products as part of its installed portfolio, and the scope of these products was evident from the assorted speaker solutions on show at the event. This increased head count aims to speak directly to systems designers and installers as they can now deliver complete Bose Professional sound systems into more spaces than ever before, and with more options – more loudspeakers, amplifiers, processors and more controls – to choose from. The emphasis is being placed on flexibility and how consultants and integrators can combine Bose Professional products to create tailored sound solutions that fit a greater variety

8 PRO AVL MEA Januar y–Februar y 2020

pro.bose.com

of spaces and client needs in this everchanging market. With an introduction of more than 50 new products for a variety of spaces, the audience experienced live demonstrations of the new DesignMax loudspeakers, MSA12X, ArenaMatch and ArenaMatch Utility loudspeakers. ‘We are excited to bring the newest DesignMax series to the region,’ remarked Nittin Dargan, regional manager, Bose Professional. ‘Along with the new PowerSpace amps and controllers, we can offer solutions for a variety of spaces and more market segments than before.’

NEWS

N&M invites industry to come2meet UAE

Neumann&Müller Event Technology (N&M) recently hosted its first come2meet event at its warehouse in Dubai Investment Park as part of efforts to inspire customers and offer a personalised service. The gathering showcased N&M’s new divisions – System Integration, Digital Media, and Information and Communications Technology – by making use of the same AV technology that it calls upon for client events. This included an augmented reality (AR) demonstration alongside interactive digital media and ICT and SI presentations. Transforming its warehouse into an interactive activation space, N&M used radio-frequency identification (RFID) concepts to welcome guests, with visitors’ names projected onto a purpose-built welcome wall suspended in the middle of the warehouse. ‘This gave guests a small taste of the incredible creative work being done at our MediaLab in Taufkirchen, Germany,’ commented N&M’s senior project manager, Sven Schuster. ‘N&M’s cutting-edge, interactive MediaLab is where we practically

demonstrate the links between various sensors – think RFID, QR codes, radarTouch, Kinect, infrared cameras, touchscreens and database links. By connecting immersive projections with interactive elements and multichannel sound installations, we can showcase several interactive options and potential new experiences to personalise events, congresses, trade fairs, permanent installations and exhibitions.’ While N&M received plenty of interest about the use of RFID and AR during the event, with the company’s head of media production, Klaus Ostermayer, flying into Dubai to do live AR and digital media demonstrations, Schuster was quick to point out that ‘while these technologies are not new by any means, the creative ways in which we are using them are’. General manager, Jens Gießler, added that ‘guests were also really impressed with our new RSI service, which we showcased officially for the first time at the event. This method allowed our head of development of the technical department, Florian Nürnberger,

The N&M Dubai team

to livestream his ICT presentation in German from Hanover.’ N&M’s RSI facility simultaneously translated his presentation into English via its remote hub in Stuttgart, before transmitting it back to Dubai through high-performance IT networks. ‘RSI represents a big step in the development of congresses and conferences, with interpreters no longer needing to be present at the actual event location,’ noted Gießler. ‘With this solution, event organisers increase their flexibility as well as the scalability of their

service, regardless of the language, location, duration or size of the event.’ The company hopes to host similar events regularly, inviting partners and customers to network and interact with the company’s most innovative offerings and ideas. ‘We work with such incredible audiovisual technologies, and we want to show our clients the amazing things they could be doing to take their events to the next level,’ concluded Gießler. www.neumannmueller.com

Yamaha’s latest and greatest Epson shines brighter UAE

UAE With Yamaha’s product offering growing almost as fast as Thomsun’s digital footprint recently, the distributor felt it was high time to introduce this growing portfolio to the UAE’s installation and rental community. With this in mind, Thomsun welcomed approximately 110 guests from a wide cross-section of the industry to the Jumeirah Creekside Hotel. The well-executed event was split into two distinct areas. On the ground floor, two separate, adjacent rooms offered listening demonstrations of Yamaha’s range of installation products. A selection of sound bars and smaller speaker systems were presented in one room, before attendees made their way next door to be greeted by Yamaha’s switching solutions and Danteenabled speaker systems, all intended for use in boardroom environments. This was coupled with expert demos and product knowledge throughout by Yamaha and Thomsun staff. Downstairs, a comprehensive range of Yamaha’s monitoring, headphone and smaller PA speaker ranges had been set up. Here, a dedicated demonstration of the new Stagepas 1K was offered. Attendees appeared impressed by the

solution’s quality of sound together with its simplicity and flexibility of use. Guests were then led into the hotel’s ballroom for the second half of the event where the manufacturer’s high-end, three-way DZR speaker range was introduced by Jan Crutelle, PA technical marketing supervisor at Yamaha. In order to demonstrate the qualities of the Stagepas 1K and the older Stagepas 600BT, coupled with DXS12 MKII, a ‘from the ground up’ demonstration detailed how easy it is to set up these compact solutions and explored the simplistic approach to linking the cabinets in order to produce a stereo signal capable of delivering enough sound pressure to adequately fill the large ballroom. The third and final demonstration, presented by Crutelle, focused on the DZR series of Dante-powered speakers, which included the DZR315D and DZR15D. Also on show were the CZR15 with the PX10, DBR15, DXR12, DXS18 and DXS18XLFD, as well as the VXL24 line array powered by the PX5 amplifier. mea.yamaha.com

Both eclipse and 3db have added Epson projectors to their growing inventories. 3dB has invested in a pair of 15K L1000 Series Pro laser projectors, while eclipse has added Epson EB-L1755U 15,000-lumen laser projectors to its rental fleet. The purchases were made through local distributor NMK Electronics. The 3db purchases are the first of several intended to take the company’s total 15K laser inventory to 10 as it replaces its older equipment. Having demoed Epson’s 12K laser projector approximately a year ago, 3db liked the unit but decided to wait until the launch of the brighter, 15,000-lumen model. ‘A lot of events now want LED screens, but we tend to favour projection as we believe that the resolution is a lot better. Especially now with the laser projectors available, the image we get is far superior,’ commented 3dB managing director, Eddie Mulrainey. ‘LED screens certainly have their place, but for projection mapping and widescreen edge blend indoors and stuff like that, it’s projection all the way.’

For eclipse, the latest purchase comes as the company upgrades its inventory to include laser projectors. ‘We are pleased to have expanded our extensive selection of state-of-the-art projectors with a new flagship model,’ explained Sacha Morazain, general manager at eclipse Venue Services. ‘The fact that the laser projectors generate less noise and heat than the conventional lamp-based light engines makes them a quieter and cooler choice, which equally minimises the impact on the environment.’ ‘It’s great to have rental partners such as eclipse and 3db who go all-in with Epson; they reaffirm why NMK decided to work with Epson,’ commented Dino Drimakis from NMK Electronics. ‘Not only does the brand provide value for money but also offers a wide portfolio to cater for any type of event. It’s great to see how the Epson brand is flourishing and that our partners trust that we are there to support them.’ www.3db-dxb.com www.eclipsevenueservices.ae www.nmkelectronics.com

eclipse’s six new 15,000-lumen EB-L1755U laser projectors

www.thomsunmusiconline.com

Januar y–Februar y 2020 PRO AVL MEA 9

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NEWS: PROJECTS NEWS

SpeakerCraft PRGdeltasound increases redundancy arrives at Midnight UAE

PRGdeltasound has invested in 48 channels of Shure’s Axient Digital wireless quad AUSTRALIA receiver through NMK Electronics as part The complex holds of Midnight a continued effort in to Canberra increase its show a inventory. combination of purchase studio andispenthouse The complemented apartments those seeking to buy with ADX1,for AD1, ADX2/KSM9 andor rent. Geocon, the construction company that AD2/KSM8 TX bodypack and handheld developed the buildings, them to be transmitters in additionwanted to three AXT600UK more ‘technologically integrated’ and called Axient Spectrum Manager systems. upon Integreat to equip 230 ‘We work onElectronics a lot of shows nowallthat apartments speakers and wireless need high with levels of redundancy, so the streaming amplifiers ADX1’s and ADX2’sfrom dualSpeakerCraft. frequency, along The equipment was supplied by Australian with the Showlink and Spectrum Manager, distributor, enable usAvation. to scan and have frequency ‘When purchaser were backups for singleevenings artists on theheld, samethere was considerable in the sounddirector unit,’ commentedinterest PRGdeltasound’s section,’ said Lachlan Freeth, managing

director of Integreat Electronics. ‘As there aren’t any competing apartments in Canberra with integrated audio systems, Geocon had frequently focused on the premium-quality SpeakerCraft audio in its marketing materials. They do a good job of creating unique, targeted developments, and one of today’s top trends is individuals and families that want their home to be as digitally connected as they of projects, Al Woods. ‘Ourare.’ clients are All the apartments equipped with a becoming more techwere savvy and understand pair SpeakerCraft A6 speakers the of implication of a Profile single point of failure. alongside a wirelessand streaming RF is no exception currentlyamplifier. no other The six top-floor penthouses were installed

manufacturer really offers a system with such redundancy. ‘Now when we double pack people with an ADX1, we not only have redundant hardware but the ability to frequency hop within each pack,’ he furthered. ‘The existing RF wireless spectrum is becoming more challenging day by day and the most efficient way to combat this is by adding a Shure Axient Digital System; we with a multi-zone audio system consisting are overwhelmed with the response that of three pairssystem of Profile a multithe Axient hasspeakers receivedand across the zone streaming amplifier. TheShure audioproduct systems Middle East,’ stated NMK’s in the restShajahan of the apartments were set up manager, KK. ‘It is without to allow residents control the standard amplifier question becomingtothe industry and connect their favourite music their clients are acknowledging thefrom benefits mobile device.

‘Geocon tasked us with choosing the best components and design for their first “standard inclusion” audio system,’ Freeth explained. ‘We needed a solution that provided upscale aesthetics and high performance, so SpeakerCraft’s Profile speaker line wasshows an that the Axient system brings to their obvious choice. The stereo speakers fill the and productions.’ room with pristine sound whileAxient the in-ceiling PRGdeltasound’s complete system format and ultra-low profile of thevery grilles make was recently deployed on some the speakers virtually invisible. successful, high-profile events. ‘We have ‘With 224 it madewith sense for us a really goodapartments, business relation NMK to hand overand thetheir amplifiers in person Electronics support, which rather is than leaving them installed in unoccupied integral in this region, is great,’ concluded units for‘Unlike weeks other or months. We’re also going Woods. regions, technical to host short demos help residents requirements can be to very last minute set and up their amplifier. These allow us reactive, so flexibility andmeetings prompt reaction to talk the new we owners other time arewith something loveabout aboutany NMK.’ technologies, including expanding the audio system to a multi-zone solution.’ www.nmkelectronics.com www.prg.com www.avation.com.au www.shure.com www.speakercraft.com

SEIRES T MEZZO 1/3 PAGE

YADOT FO SGIG EHT RTHE OF DBETTER, ENGISEDSMALLER SOLUTION WORROMOT FO SWOHS EHT FOR ROF ANY TLIUINSTALL B APPLICATION

Soundcraft Vi series Lawo with Towers Coldplayadds Sopogoes Dellive Office Martin fixtures makes its Turkish debut JORDAN INDONESIA

enhancethe therelease ulos-patterned architecture To To celebrate of their new album, of the Sopo Del Office Towers and Lifestyle Coldplay performed two sets at Amman’s Center, a mixed-use development featuring Citadel in Jordan. Dubbed Sunrise and office the spaces, retail stores Sunset, sets premium were streamed live onand a hotel, PT recently state-ofYouTube withChayolite the aid of a Lawoinstalled mc256 mixing the-art Martin Professional lighting fixtures. console supplied by SR Films. The looking complexforconsists of afor 41-floor tower, When a solution the Amman a 28-floor tower and a shared Lifestyle broadcast mix, Coldplay’s audio designer, Center. Sopo Del’s architecture andturned design FOH tech and crew chief, Tony Smith, an interpretation North to showcases sound engineer Toby Alington,ofwho went to Sumatra’s Dirk Sykoraulos fromheritage, Lawo to representing discuss using and strength. console. The two sets anbravery mc256 mixing accentuate buildings’ ulos-inspired wereTorecorded livethe with Coldplay’s producer design immersive and soundwith engineer Rik lighting, SimpsonSopo and Del FOHhired lightingDan and Green. acoustic consultant PT LITAC to engineer deploy a cutting-edge The console used 192lighting inputsdisplay. to record ‘We wanted to DAW emphasise Sopowhich Del’s ulos on three separate machines, pattern LITAC’s Hestu were mixedand liveheight,’ on the said console for stereo broadcast. ‘It certainly wasn’t an event

38 PRO PROAVL AVL MEA ASIA Januar January–Februar y–Februaryy2020 2020 12

filmed to playback,’ said Sykora. ‘We really needed those 192 audio channels and we rigged an additional array of ambience mics around the citadel to capture Amman’s live “atmos” at dawn and dusk.’ www.lawo.com

Widinugroho. ‘This was done using Martin TURKEY Exterior Dot-HP LED fixtures and linear up-light systems with warm white colour, Soundcraft’s Vi Series of mixers made its givingina Turkey continuous flowingevent effect from debut at a training hosted theHarman body toProfessional the crown of by andthe itsbuilding. Turkish The dynamic Dot-HP accentuated distributor, Ertekinfixtures Elekronik. Attended the diamond shape 100 of the building, making for by approximately sound engineers, an exciting overall visual experience. One tour sound engineers and individuals from of thecompanies, challengesthe ourevent supplier faced during rental introduced the the installation was the placement of the new mixers before kicking off a discussion Dot-HP its fixtures in their precise locations around advantages over other mixers. The while protecting exposure.’ workshop was ledthem by Ed from Jackson, Harman LITAC designed and deployed a total of Professional tour sound application engineer. 510 Martin Exterior fixtures ‘It was a great event Dot-HP that wasRGB put on by on the and exterior of the Sopo Del buildings, Ertekin provided a perfect opportunity to illuminating ulos-inspired design‘It was introduce the their Vi console,’ said Jackson. and to iconic architecture. Dot-HP fixtures nice be able to talk about the new features offer 100 lumens unit. With we have added, but per the main job ofrugged a console is to be easy to use and to sound great. The

IP66 housing, they can withstand harsh weather, making them ideal for permanent outdoor installations and allow for long fixture runs with variable pixel pitches, enabling a wide variety of unique looks. The fixtures are driven by the Martin P3 System Controller family. The system was connected using 12 Martin RDM 5.5 Splitter units. ‘We required a lighting solution that could highlight the architecture’s cultural motifs,’ said a spokesperson for Sopo Del Office Towers and Lifestyle Center, adding that the solutions have ‘brought Soundcraft Vi has always done thatout at the top true of the building along level.grandeur I am looking forward to the nextwith event our heritage’. thatcountry’s Ertekin are putting on.’

www.martin.com www.ertekin.com.tr www.soundcraft.com

NEWS: PROJECTS NEWS

The Calile Hotel adds power Rotolight receives further funding AUSTRALIA

The CalileWORLD Hotel in Brisbane, Australia has had a Just Add Power (J+P) Ultra HD-over-IP Rotolight, which develops LEDinlighting for video distribution system installed its meeting cinematic, broadcast andDesign. photographic andthe event rooms by Soho Sound applications, secured a second round ‘When selectinghas a video distribution solution equity development forof the Calileinvestment Hotel, therefrom werethe some unique capital team at to SME investment project challenges consider,’ said firm Jason Octopus Investments. Roesler, owner of Soho Sound Design. ‘Not ofin-house the Octopus onlyPart would videoGroup, sourcesOctopus span two Investments first investedainfibre-capable Rotolight comms rooms, necessitating earlierbut in 2019. round of funding solution, two of The thoselatest sources would be is to support next720p stageVOD of Rotolight’s distributed to thethe hotel’s system whichTVs. has This seenmeant the forgrowth playoutstrategy, on hotel room opening offices the US and Holland. that scalingof was a keyinfeature required for It will also additional resources interlinking theprovide two video networks. To meet to Each video source has a VBS-HDIP-705POE protect thewe manufacturer’s portfolioPOE of ‘This has been a transformational year these needs, relied on J+P’sIP2GΩ/3G 2GΩ/3G transmitter. A total of 10 transmitters more thanand 50 receivers.’ patents and designs. for Rotolight,’ Rod Aaron Gammons, transmitters were installed insaid the walls and floor boxes in

the four-function room to allow HDMI sources Rotolight CEO.in.‘We the initial equity to be plugged Thesaw projectors, displays investment Octopus, growth in our and the VODfrom system are fixed with VBS-HDIP-

505POE 2GΩ/3G receivers, which allow control over the projectors via RS-232. For IR international team and theIRincredible control, two VBS-HDIP-IRD dongles are used reception to thethe Titan Weboardrooms. are investing for supporting TVsX2. in the millions of pounds research and hotels have ‘To compete in theinresort market, development orderproviding to createtheir products to go beyond in simply guests with industry-first withground-breaking, a bed for the night,’ commentedfeatures Taft that save sales time and andatenhance Stricklin, teammoney, manager J+P. ‘Spaces the forprivate filmmakers for creative businesspossibilities meetings and events are and photographers This to a must and it takesall theover rightthe AV world. technology isreally only set possible in the knowledge that our your offering apart. The Calile Hotel intellectual propertyWe’re rightsproud protecting is a great example. to helpthat power investment will be respected, andand thislook extra the guest experience at the hotel funding allow us to takeitsany actions forwardwill to accommodating future growth.’ necessary to ensure they are upheld.’ www.justaddpower.com www.rotolight.com www.sohosound.com.au

T SERIES 1/3 PAGE 1/3 PAGE DESIGNED FOR THE GIGS OF TODAY

BUILT FOR THE SHOWS OF TOMORROW

Sony’s Venice stars in Bollywood film Sheikh Jaber Al-Ahmad Cultural Centre employs FreeSpeak II INDIA

Venice, Sony’s full-frame digital motion picture camera, made its debut in Bollywood, capturing sports biopic film Saand Ki Annkh with its opulent colours and lavish song and dance sequences. Venice hit the Indian market just in time for Indian cinematographer and scriptwriter Sudhakar Reddy’s latest film and, to ensure that it was a perfect fit for Reddy’s requirements, a ‘look test’ was carried out with actors before shooting started. ‘The “look” test was important as it allowed me to test the Venice’s latitude, its eight builtin ND filters and wide dynamic range, which KUWAIT impressed me the most,’ said Reddy. Suppliedcolour by NMK Electronics, Clear-Com’s Venice’s science reportedly ensures has been II intercom solution a FreeSpeak soft tonal film look with natural shadows purchased by Sheikh Jaber Al-Ahmad and mid-tones, which was what Reddy Cultural had Centre, a multidisciplinary public space been looking for. ‘Saand Ki Aankh is a in Kuwait whosevarious leadersstages aim toof educate, story that spans life and,

Sudhakar Reddy entertain and inspire the local population with a range of music, theatre, film, workshops and spoken as such, make-up will beword one performances. of the most The five-channel, FreeSpeak II important aspectsfull-duplex which changes with the wireless intercom has been added storyline. This alsosolution means that the tone hadto

the centre’s inventory to support large-scale productions where technical staff members required untethered communications. The system was first tested in 2019 and found to be ‘reliable and easy to set up’. The venue has a vision of assisting in exploring Kuwait’s past, cultivating its present and imagining potential futures

while a cultureinpowerhouse that I functioning could shootas confidently low light and productive space for the region. The conditions.’ FreeSpeak II system supports Another positive for Reddy was in-house the variety theatre, and live use. events/ of lensesconcerts that Venice could Venice has a performances by connecting up toPL 25lenses native E-mount but accepts existing headsets as well as at stillonce. photography lenses. For Saand Ki KhalidReddy Al Sayed eventcompact Aankh, usedOmar, Zeiss head superof speed production atand theSupreme centre, commented prime lenses prime lenses.on the purchase: ‘The outcome is great. I have ‘Even with a suite of innovative features, aI found permanent in the Veniceinstallation very compact andnational easy to theatre with FreeSpeak master station. navigate. Theone OLED viewfinder is highly The second unit as a floating dependable and serves in Full HD.’ system for other venues. Reddy rackmounted leased the Venice camera and its For the waysystem we function, this solution extension (CBK-3610XS) from is RD perfect.’ Equipment, a rental service provider in

to be accurate,’ he explained. ‘Venice’s 15+ stops dynamic range, combined with Dual Base ISO of 500 and 2,500, meant

www.clearcom.com acquire Venice.

Mumbai, and the first company in India to www.jacc-kw.com www.nmkelectronics.com pro.sony.com

Januar y–Februar y 2020 PRO AVL ASIA 39 Januar y–Februar y 2020 PRO AVL MEA 13

NEWS

Maestro Baku’s AVTO Radio goes IP with AEQ projects its presence AZERBAIJAN

MIDDLE EAST Maestro Group has invested in 28 UDX w40K Barco projectors via distributor Martin Professional Middle East. They were used for the first time on a 3D mapping show at the Ritz Carlton in Riyadh, Saudi Arabia. Bilal Assidi, sales manager at Martin Professional Middle East, added: ‘We are looking forward to growing our future in KSA, and what better than having Maestro as partners to do just that. With the proper know-how and technological mindset, we believe that the future of the entertainment and pro AV industries lies in the hands of companies such as Maestro and hopefully we can be there to work to achieve this together.’ www.maestrogroup.com www.martinpro-me.com

SLS commits to Robe

Elie Battah from Robe lighting and Edwin Cheeran of SLS Production UAE Dubai-based event production company, SLS Production, has announced a substantial increase in the Robe lighting inventory that it holds. In addition to its existing stock, it has committed to 80 Spiiders, 60 MegaPointes, 12 Pointes and eight DL4S LED spots, with more purchases in the pipeline. ‘There’s a real demand for Robe and, when it comes to the international market, people are very specific with what they need,’ Edwin Cheeran, managing director of SLS, explained. ‘In recent times, it’s also become more rider driven and we’re seeing increased Robe gear being carried on the riders.’ While Cheeran points to 90% of the inventory currently being used in Saudi Arabia for the growing festival and concert markets, having local support was crucial in his decision-making, as Elie Battah, general manager of Robe Middle East Trading, confirms: ‘We hold stock here so, if there is a need for something, we can deliver immediately. If there is a problem or there is a show going on, we won’t let SLS down.’ www.robe.cz www.slspro.net

14 PRO AVL MEA Januar y–Februar y 2020

Private Azerbaijani radio station AVTO Radio has chosen products from Spanish manufacturer AEQ for its new IP radio stations. The AVTO Radio technical team has placed the Spanish manufacturer’s Capitol IP digital console at the heart of productions for these new channels and selected AEQ’s Phoenix audiocodec as the main communications medium. With its central studios based in Baku, AVTO Radio is described as a generalist radio station marked by a youthful character and offers numerous sports, entertainment and informative programmes. It has a licence for commercial broadcasts on 107.7 FM, with coverage all around the country. Leading the upgrade project on behalf of the broadcaster was AVTO Radio technical manager, Illkin Eshad Maharramov, working in collaboration with Rustam Rzayev from AEQ’s local partner, Saffron Media, and AEQ commercial manager, Sergey Alekseev. In addition to the Capitol IP console, Phoenix

Alio is used for outdoor broadcasts, in particular sports events, for which it has been specifically designed. The Alio audiocodec can connect to other manufacturer codecs thanks to the SIP communications protocol, according to the N/ACIP EBU Tech 3326 standard. But, when connecting to another AEQ codec, users are able to take advantage of an exclusive set of tools that the manufacturer states will

make the establishment of communication and the control of the unit a simple task. Additionally, the broadcaster has acquired an AEQ Venus 3 audiocodec system for its central studios, allowing presenters to handle two independent simultaneous communications. The 1U Venus 3 rack unit is a dual IP stereo, full-duplex audiocodec system that enables the establishment of two bidirectional stereo or four mono (to one or two different locations) feeds. Like Alio, Venus 3 was designed to meet the international recommendation of N/ ACIP EBU Tech 3326 and includes the option of an adaptive buffer in order to absorb network jitter, DHCP allowing the automatic configuration of the IP network parameters, FEC and automatic reference clock adjustment in order to synchronise both extremes of the communications. www.aeq.eu www.avtofm.az

Absen sees success in South Africa SOUTH AFRICA Absen solutions have been gaining in popularity in the African continent in recent months and two new rental companies have now added the Korean manufacturer’s solutions to their inventories. Pretorian supply company Eventech has selected Polaris 3.9 indoor/outdoor LED screens, which have already been used in several productions, while Vereeniging in the Vaal-based rental company MagiCo SA has added a PL3.9W Absen LED panel screen. Both purchases were made throughout DWR Distribution. ‘We did months of research, considering the pros and cons on the vast variety of products out there but, in the end, it all came down to DWR and Absen,’ said Wynaud Veldsman from Eventech. ‘Absen is a market leader and we could not overlook the local product suppor t and after-sales ser vice delivered by DWR. To have LED suppor t 24/7/365 is key in this industr y.’

MagiCo’s PL3.9W screen in use at a recent event

After receiving the screens, Eventech quickly shipped them off to Durban for an event at the International Convention Centre. ‘The screens have been used

Eventech’s curvable Absen units

non-stop, from creating narrow LED strips to large formats, diamond shapes and other crazy ideas for both indoor and outdoor events,’ commented Veldsman. ‘Absen has unlocked a fresh breath of creativity for the Eventech team. The panels cater for it all, with features that stand out including concave/convex, indoor/outdoor, great brightness and greyscale, not to mention the weight and ease of ser vicing the panels. The cross compatibility of the 1,000mm x 500mm and 500mm x 500mm panels makes them dynamic on setups. The bulk of our panels are the 1,000mm x 500mm and this has made set up much more efficient – two panels instead of four per square metre, halving the cabling and time.’ Over in Gauteng, MagiCo owner Ruan Vermaak decided to invest in a screen after purchasing a Bose sound system and DiGiCo consoles. ‘Ruan and I had been discussing LED panels for a while

and the need for MagiCo SA to have a rental par tner became key,’ said Schalk Botha from DWR. ‘The turning point came when a large quantity of PL3.9Ws came into the market and enabled Ruan to invest in the same batch, adding to the rental pool. It’s always good to have friends in the industr y who you can depend on when you need quantity.’ These screens were used at events such as the Emerald Resor t and Casino’s 21st bir thday, Alber ton Day Festival and the Vaal Mall’s Bridal Expo. ‘The Absen PL3.9W panels work really well for outdoor events, and we have successfully used them at concer ts and festivals,’ Vermaak noted. ‘The cur ve feature included, considering the price of the panels, is great.’ www.absen.com www.dwrdistribution.co.za www.eventech.co.za

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NEWS

Jeddah gets the Marvel experience SAUDI ARABIA

called on for Dome One and Two, while the smaller Domes Three and Four were treated to the French manufacturer’s Syva cabinets. A combination of both was deployed in the fifth and final dome. For lighting, equipment from Ayrton, Robe, Clay Paky and MA Lighting was spread throughout the five domes in addition to the entrance plaza and exterior. This included Robe DL4X Spots, Robe Lightdomes and Studio Dues LED City Colors for the exterior and entrance, Pointes for the entrance and third dome, Spiiders for the first three domes, Clay Paky A.leda B-EYE K0s for the first dome and Clay Paky Stormys for the second dome. Three 400 FT Haze Machines were also supplied. ‘Since Marvel is a travelling show, it has a very specific rider and does not like to deviate from the standard kit too much,’ Naik added. ‘SLS aimed to stick to the rider as closely as possible and made large investments in a new kit to achieve the best results.’

In addition to assisting the video team with setup and managing the entire production, SLS Production was called upon to supply the audio, lighting, rigging and power equipment when The Marvel Experience came to Jeddah recently. The event is a unique themed concept devised by Hero Ventures and Marvel Entertainment that tours the world and comprises a 4D motion ride, 3D animated feature and digitally projected animations, all housed inside a multi-dome complex. ‘This cutting-edge experience can best be described as a “first-person” Superhero adventure through the Marvel Universe,’ explained SLS Production project manager, Anuj Naik. ‘The themed attraction is a “popup” spectacle nearly the size of two football fields, featuring dozens of Marvel’s fabled Superheroes. It leverages state-of-the-art interactive technology, allowing guests to be part of the action instead of simply watching.’ The audio setup deployed by SLS in Jeddah drew on several products from L-Acoustics’ inventory. X8 loudspeakers and SB18 subwoofers powered by LA4X amplifiers were

www.slspro.net

Nexo styles its sound SOUTH AFRICA

Due to its long association with Nexo as well as requests for recent line arrays from its clients, Sound Stylists director Kevin Glover decided to invest in GEO M6 and M10 compact and mid-sized line array systems. They have already been used at a couple of events in South Africa. For a corporate event at Thornleys, Sound Stylists installed a stacked configuration of GEO M10 mid-sized cabinets. The setup for the main PA consisted of eight M1012s, two M1025s and four MSUB15s, while the delays comprised four MSUB15s, four LS18s and six M6 compact cabinets. Two

NXAMP4x2MK2s powered the M10s, while an NXAMP4x4 was used for the LS18s and an NXAMP4x1 for the M6s. ‘They worked really well in a stacked configuration,’ commented Glover. ‘We used the wide box at the bottom of the stack. The one major requirement of this show was that the PA couldn’t be in front of the LED screen. Even though the PA was out wide, we still had really good front coverage. The M6s were used as delays for speech reinforcement.’ The M6 loudspeakers were also used for another corporate event at Sun City. Here, the main PA consisted of six GEO

M6 cabinets paired with eight LS18 subs stacked in two blocks of four, alongside four ID24 cabinets, two for front-fill and two for delay. ‘The PA per formed spectacularly, replicating the tiniest nuances from the violins to AV content, along with thundering bass for the DJ,’ Glover added. ‘We packaged our M6s in boxes of six with accompanying rigging gear, including flyware, and stacking these creates a really useful one-box solution that suffices for most needs.’ www.nexo-sa.com www.soundstylists.co.za

Kudadoo finds its audio pulse MALDIVES

Kudadoo, named ‘the world’s best new luxury hotel for 2019’ by Luxury Travel Intelligence, is a tropical island resort in the Republic of Maldives. Pulse Middle East from Dubai was hired to build a sound system to support both BGM and live music from a range of sources around the resort, while remaining easy to operate for nontechnical staff members. Pulse Middle East managing director Joe Chidiac led the project, which saw the team design a Dante audio network managed by a Symetrix Radius 12x8 EX DSP. This system serves the bar, restaurant, pool area, spa, salt room, games room and restrooms. ‘The main difficulties at Kudadoo were the logistics, the hotel being on an island in the Maldives, and timeline,’ said Chidiac. ‘The system was installed and integrated in a three-day stay and, due to the surrounding water body, many measures had to be taken in order

16 PRO AVL MEA Januar y–Februar y 2020

to complete everything on time and have a lasting result.’ Pulse’s head of audio, Andy Morris, revealed that designing a user-friendly interface that could be operated by anyone while still providing options for different sources and volumes in each zone presented another challenge. ‘One way we got around this was to use logic automation within the Symetrix Radius EX so that certain events, such as a band starting to play from a certain Dante adapter, would cause the background music to automatically fade out in the concerned zones, gradually fading up again when live input is no longer detected,’ he explained. The audio network’s sources include a Pioneer DJM900 DJ mixer with CDJ2000s, connected via an AVIO adapter, and a Midas M32 console with a DN32-Dante card. Several TV receivers are also plugged directly into the Radius 12x8 EX. Powersoft

amplifiers drive a variety of TW Audio and Martin Audio loudspeakers. Pulse Middle East deployed Cat-6 cabling throughout the facility, routing the inputs from portable devices via Dante connection points to the Symetrix Radius DSP and from

there to the amplifiers. Symetrix ARC-3 wall panels provide control for volume, mute and source selection. www.pulse-me.com www.symetrix.co

WHERE WILL IT TAKE YOU?

NEW A SERIES LINE SOURCE The new A15 and A10 systems deliver renowned L-Acoustics concert performance and reliability for audiences from 50 to 5,000. Mounted on a pole, stacked on the companion KS21 or flown in vertical or horizontal arrays, the new A Series combines plug-and-play ease and international market acceptance. This versatile solution, with adjustable directivity, scales with the needs of your company and is your gateway to the L-Acoustics rental network. A Series can take you anywhere you want to go. l-acoustics.com GROW !

NEWS

Clair Brothers goes to the Fairground TUNISIA

The Fairground Festival in Tunisia brings together EDM artists across the globe. For its 2019 edition, Clair Brothers loudspeakers supplied by Pro Audio & Light (PAL) were installed on the main stage.

that really deserve its power and delicacy – like Fairground,’ said Yasmine Bejaoui, stage manager of PAL. ‘The festival was spread over two days, in a huge arena called Ecovillage, so it gave us the opportunity to install

A total of 32 Clair Brothers C8 line arrays, alongside four CS118 subs, formed the main stage system. Onstage, four 1.5AM monitors were set up in tandem with a DiGiCo SD12 console, all powered by Powersoft X-Series X4 and X4L amplifiers together with a Waves MaxxBass bass enhancer processor. ‘The C8 is one of our best systems, if not the best. We only propose using it for big events

our entire inventory of C8 boxes. We’ve all been waiting for this and, since we introduced the Clair Brothers 1AM and 1.5AM stage monitors at events in the past, these speakers have become everyone’s favourite monitors.’

In a bid to connect with the artists that make up the burgeoning live music community in the UAE, Sennheiser and Neumann hosted an open mic event supported by local partner Venuetech. Bar Co Sounds Day, which took place at Bar Co Studio just outside Abu Dhabi, showcased the capability of Neumann and Sennheiser products in a live and very hands-on setting. Bar Co’s owner, Sean Barcoe, was excited at the prospect of the partnership. ‘Although the Sennheiser team is fantastic at explaining their products, the Neumann and Sennheiser names already say it all. They believe in helping artists, which is refreshing to see and an honour to be a part of.’

stand in the middle of the room to enable a quick A/B comparison. In order to capture the instruments that were being used in the live room, a combination of MKH-8000 condenser mics and a pair of MKH-8040 cardioid mics were attached to the stands and metal work, with cables fully integrated into them. In the space to the rear of the live room that also doubles as a chill-out area, a compact monitoring control room was erected, featuring a pair of Neumann KH-80 DSP monitors and KH-810 7.1 active sub, a Yamaha MG124c mixer and HD25 and HD26 headphones. In-ear monitoring was supplied by the relative newcomers to the product range: the IE 400 and IE 500.

www.facebook.com/PAL-Pro-AudioLight-256836801037435

MIDDLE EAST

18 PRO AVL MEA Januar y–Februar y 2020

UAE

www.clairbrothers.com

MediaCast on the power of plug-ins MediaCast, Universal Audio’s distributor for the Middle East, recently hosted a plug-ins seminar in Dubai for musicians and music producers. Titled The Power of Plugins, the workshop took place at MediaCast’s new experience centre in Dubai Barsha Heights. The event was divided into three sections. The first consisted of an overview of Universal’s UAD and its plug-ins and was led by Gustave Miranda, senior product specialist at MediaCast. This was followed by a panel discussion with music composer Khalil Ghadri, mastering engineer and producer Theodore Danso, and DJ and owner of Inkognitorecords, Tom Noize. The discussion included debates

Hands-on at Bar Co

around topics such as the evolution of digital technology in relation to the Middle East market, factors to consider when choosing products, the role that plug-ins play, challenges in this field and the future of music production. ‘Educating musicians about technology behind the brands or products they choose, hearing the feedback from the industry and local professional musicians who use the products and what led to that choice is equally important and makes these events really exciting,’ said Khadija Khalid, audio sales and marketing manager at MediaCast. www.mediacastsys.com

Sean Barcoe

As Barcoe and his studio offer a range of services, such as solo and band recording, song writing, mixing, mastering and artist promotion, he found it a rewarding project for both him and his artists. ‘Hearing our artists through their mics was fantastic. They couldn’t stop talking about how much they enjoyed the experience. The fact that Sennheiser took the time to help a new studio, sat with artists, listened to what they wanted and gave them options to try out made it more intimate.’ With the studio opening just over a year ago, Barcoe and his partner Andy Brookes share a common vision for Abu Dhabi and the wider UAE live music scene. ‘Andy and I both felt that we could offer great value to the many talented artists that are in this country, both locally and from the ex-pat community. We both felt that Abu Dhabi didn’t have a place where artists could go and record or meet other artists to collaborate with.’ With every area of Bar Co enjoying the Sennheiser/Neumann treatment, the range of products on offer was impressive and offered an ideal opportunity for artists to get to grips with the manufacturers’ diversity of microphones and headphones. Starting out in the foyer area, a small but perfectly formed podcast area was set up that included Sennheiser MK-4 and MK-8 microphones, as well as HD-280Pro and HD-300 Protect headphones. The studio’s live rehearsal area was set up with a wireless E965, while Neumann TLM-102s and TLM-103s were featured on the same

The already well-treated main control room was equipped with a pair of Neumann KH-310 monitors, while in the vocal booth, session singers benefitted from a pair of Sennheiser HD-200 Pro headphones together with a Neumann U87 microphone. ‘We believe strongly in customer centricity and it becomes very important for us to be a part of our customer’s journey and experience and make sure they are satisfied,’ commented Sennheiser trade marketing manager, Shraddha Mukul. ‘Events like this Bar Co Sounds Day give us an opportunity to interact with our customers, understand their requirements and establish stronger relationships.’ Ryan Burr, head of technical sales and application engineering at Sennheiser, was positive about the results gained from the successful event. ‘The biggest takeaway is the look on artists’ faces when they hear the difference between what they currently use and something of better quality, particularly when switching between dynamic mics and condenser mics. Also, the Neumann KMS-104/5 could be the best vocal handheld on the market, according to those who tried it.’ Burr was also resolute in his vision for future events: ‘We need to engage more with local artists and the music industry, and this event proved that. We will be looking at how we use what we have learned to perhaps put on some of our own open mic nights next year.’ www.sennheiser.com

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NEWS: DISTRIBUTION

DWR fills the gaps SOUTH AFRICA

DWR Distribution has added two new brands to its portfolio recently as it continues its path to becoming a one-stop shop distributor. Firstly, the company has been named as the new authorised partner for intercom manufacturer Clear-Com in South Africa, selected as a result of its growing reach in the local live and house of worship sectors. It’s also been named as the sole distributor in South Africa for Magnimage’s display control solutions. ‘The DWR Distribution team has a well-earned reputation for excellent technical knowledge, honest advice and outstanding customer service,’ stated Richard Palmer, Clear-Com’s regional sales manager, Southern Europe and Africa. ‘We are pleased to work with them as we continue to extend Clear-Com’s footprint in the region.’ ‘Our clients would like a one-stop shop and there was a need for a communications system to fill the gap,’ added DWR’s Duncan Riley. ‘We did a lot of research considering price point versus versatility and quality, and Clear-Com was the clear choice. We are really looking forward to this new opportunity – there’s already excitement in the air to present a robust and flexible communications system to the people working on live performances.’ Chinese manufacturer Magnimage specialises in manufacturing display

control solutions for LED/LCD and DLP displays and is gaining a reputation for delivering high-quality products at an attractive price point. Magnimage sales supervisor Lee Harry was enthusiastic about the new partnership. ‘Magnimage’s range of consoles, scalers, switchers and processors are well suited to the South African market,’ he said. ‘Our products are used extensively by the government and other highprofile clients in China, and we have invested significantly in R&D over the past 10 years to elevate our products to comply with the highest international standards. DWR is one of the leading companies in the region and they are as committed to customer satisfaction and after-sales support as we are. We have every confidence that DWR will provide the level of local servicing and support needed to keep our customers in the region happy.’ ‘We are confident that the partnership we have established with Magnimage will enable us to continue to meet our customers’ needs by delivering complete digital display solutions for the rental and permanent installation markets,’ added DWR product manager and digital display expert, Schalk Botha. www.clearcom.com www.dwrdistribution.co.za www.magnimage.com

SIXTY82 gets an Unusual new partner MIDDLE EAST Unusual Rigging & Engineering has been named as the new partner for SIXTY82’s full trussing and staging product range in the UAE, Oman and Saudi Arabia. Established more than three decades ago as an experienced provider of rigging and stage engineering solutions, working around the globe, the company opened up in Dubai in 2009.

Unusual Rigging & Engineering is a perfect fit to meet the needs of our ever-expanding customer base.’ ‘We are delighted to take on the role of distributor for SIXTY82 in the United Arab Emirates, Oman and Saudi Arabia,’ added Denis Bramhall, managing partner at Unusual Rigging. ‘By adding their products to our portfolio, we are offering our

Denis Bramhall, managing partner of Unusual Rigging and Fokko Smeding, CEO of SIXTY82

The Unusual Rigging team all originate from the production side of the entertainment business, boast a wide range of disciplines and are said to be highly passionate about what they do. ‘At SIXTY82, we share this passion for the industry,’ commented Fokko Smeding, CEO of SIXTY82. ‘We therefore believe that

customers in the region something new and something that complements our current range. The quality of SIXTY82’s products is second to none, and we are proud to have formed this new partnership with them.’ www.sixty82.nl www.unusualrigging.com

GALA PROAV expands portfolio UAE

Italian transducer manufacturer Lavoce took the oppor tunity at the Prolight + Sound Middle East show to announce GALA PROAV as its new distribution par tner for the UAE market. Lavoce first exhibited at the show in 2017 and, according to Alex Kroworz, its EMEA sales manager, had been looking for the right par tner in the region for a while. ‘I star ted talking to Sanjeev Singh at AVISS over a year ago and there was a ver y good chemistr y and understanding of our brand and products,’ Kroworz explained. ‘When Sanjeev decided to launch GALA, which would be ver y focused on pro audio, plus his connections outside the Emirates, it seemed like a per fect fit.’ ‘Lavoce is a one-of-a-kind manufacturer,’ said GALA PROAV manager, Rukshan ‘Rukie’ Jumath. ‘They’ve got a great range

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of products and Alex has also given us excellent suppor t. We’re expecting some good business development over the coming years.’ The Dubai-based distributor, which was founded in December 2018, has also taken on ARX and plans to expand and take on more brands in the coming months. It will distribute ARX’s complete por tfolio of professional USB audio inter faces and signal processing solutions in the UAE. ‘GALA is ideally placed in the UAE to strengthen our brand and to build sales in a market where we see a great potential for growth,’ commented Colin Park, managing director of ARX Systems. www.arx.com.au www.galaproav.com

L–R: Rukie Jumath from GALA, Lavoce’s Alex Kroworz and Sanjeev Singh from AVISS

www.lavocespeakers.com

NEWS: DISTRIBUTION

Prolights continues ME expansion TURKEY

Prolights continues to appoint new distributors in the Middle East region, with the most recent being A+SF, which will represent the Italian manufacturer in Turkey, and EcmaPro Systems in Morocco. A+SF calls itself the largest AVL company in Turkey, having been formed as a result of the merger between Asimetrik and SF. EcmaPro Systems, on the other hand, provides audio, lighting and accessories for the professional events market as well as LED technology for the architainment lighting sectors.

‘I have known both Asimetrik and SF for years and have always been impressed by their reputations throughout the market and the calibre of projects they would get involved in,’ said Paolo Albani, international sales manager at Prolights. ‘Now that they have joined forces, I am sure that they are the perfect partner for Prolights in Turkey and that they will cover every aspect of the market.’ ‘I’ve also known EcmaPro since they started in the entertainment industry,’ he furthered. ‘I’ve liked their positive attitude and way of

thinking since the first time we met. They are a young, professional group of people who are highly motivated and work hard. We look forward to the exciting future that this partnership will bring. Our portfolio combined with their professionalism are the best formula to succeed in such a unique market.’ Gorkem Celikbilek, VP at A+SF, is impressed with the global reach that Prolights has established in recent years. ‘At the heart of what they do is customer service – what can be made better for a user,’ he said. ‘That is really special to us as a group, as we address every segment from distribution to project engineering. We want to ensure that every project has the very best tools and solutions available. We are excited to be named Prolights’ distributor and are looking forward to seeing what the future brings for us both.’ ‘The fixtures that leave the Prolights factory are consistently innovative, reliable and robust, and use the very best that technology has to offer in this industry,’ concluded Federico Colella, sales manager of EcmaPro. ‘We are very excited to be working with Prolights and proud to be part of the network.’ www.asf-avl.com

K-array ZIGZAGs into Armenia

Armen Khachatryan ARMENIA K-array has appointed ZIGZAG as its new exclusive distributor in Armenia. Founded in 1995, ZIGZAG operates 10 stores in Yerevan and Abovyan, in addition to providing integration consultation, installation and postsales support from its service centre. ‘The philosophy of ZIGZAG is to make life more comfortable by offering high-quality products and services to every customer we serve,’ stated Armen Khachatryan, ZIGZAG managing partner. ‘K-array is an obvious addition to our portfolio and we are excited to offer such a high-end audio solution.’

www.ecmapro.ma

Fabio Sorabella, Federico Colella, Paolo Albani and Omar El Assri

www.prolights.it

www.k-array.com

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NEWS: APPOINTMENTS

New promotions at dBTech CT expands ME team MIDDLE EAST Creative Technology (CT) Middle East has expanded its team with two new appointments. Lee Forde will become the new general manager of the CT branch in Dubai and Rob Turner will become the networks technical manager. Forde has 33 years of technical and managerial experience across areas in the events industry while holding several senior management positions throughout his career so far. For his new role, Forde will be overseeing the daily operations while assisting Andy Reardon, the managing director of CT Middle East, to enhance and expand the company. ‘It is an exciting time for the Middle East as we continue to grow and expand our

Giovanni Barbieri with Arturo Vicari MEA dBTechnologies has promoted Giovanni Barbieri to the role of general manager in addition to appointing Luca Bocci as sales manager for Africa and the Middle East. Barbieri first joined the Bologna-based pro audio manufacturer in 2009 as its export sales manager, becoming business development manager in 2011 and serving as sales and marketing director since 2012, while Bocci served most recently as the manufacturer’s export sales manager. In the 10 years that Barbieri has been a part of the RCF Group-owned manufacturer, revenue has tripled, as has the worldwide distribution of its products with dBTechnologies solutions now reaching more than 160 countries. Barbieri reflected on how dBTechnologies was a smaller company, both in terms of turnover and workforce, when he joined a decade ago. ‘What we have achieved and will achieve is mainly thanks to the team we have built, which lays the ground for other challenges and further growth,’ he said.

‘For this reason, I am honoured with this new assignment and I would like to thank Mr Vicari and the entire dBTechnologies team. Additionally, Luca’s appointment is part of a bigger strategy in redesigning our export sales’ game plan, and is further evidence of our commitment to enlarge dBTechnologies’ base of users in burgeoning markets.’ As Middle East and Africa sales manager, Bocci will report to head of export sales Flavio Malpighi. ‘When I joined the company I immediately realised the huge potential of dBtechnologies’ product series, especially the touring series VIO,’ commented Bocci. ‘Now I look forward to working closely with an established network of distributors to develop some strategic new partnerships, which for sure will take advantage of the many plus points that our professional audio systems have to offer to both rental companies and audio integrators.’ www.dbtechnologies.com

Nexo appoints STM specialist WORLD

Nexo has appointed Bertrand Billon to the role of engineering support specialist, where he will take responsibility over the company’s line array systems with a particular focus on the STM series. Billon began his engineering career as a PA technician and engineer for Dispatch, which became known as Dushow. This was followed with a role as the head of sound at Stage Entertainment where he gained experience in managing technical and crewing aspects of the events staged in the Mogador Theatre. ‘Coming to Nexo gives me the opportunity to focus once more on PA systems, which was my first occupation and passion,’ said Billon. ‘A great support engineer should be a very good listener, reacting to customer requests and feedback, not only able to fix their problems, but able to avoid them in the first place through proper training and communication.’ www.nexo-sa.com

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Bertrand Billon

Rob Turner

team of professionals,’ said Reardon. ‘I am looking forward to working closely with Lee and wish him all the best going forward.’ Turner has joined CT to develop the newly established communications and networking division to deliver communication projects. He has over 24 years of AV experience, 10 of which were within the fields of communications, networks and radio sounds at Delta Sound. Turner added: ‘I am very much looking forward to getting involved in this new project. With the backing of CT, I really think we can bring something new and exciting to the comms/network market.’ Lee Forde

www.ctme.co

GatesAir hires MEA regional sales manager MEA

Graham Lay has been named as the regional sales manager covering the Middle East and Africa at GatesAir. The appointment comes as the manufacturer of wireless, over-theair content delivery solutions continues to strengthen its global presence in the MEA region. Lay is based in Dubai and will report to GatesAir’s EMEA managing director, Andy McClelland. His primary role will be to build the manufacturer’s market share and brand visibility across the Middle East and East Africa. ‘Graham has invested a substantial amount of time and effort in building his customer base, and his knowledge of regional trends and cultures makes him a perfect fit in this new role,’ explained Rich Redmond, president and managing director, international at GatesAir. ‘In the bigger picture, Graham’s appointment represents GatesAir’s continued commitment to strengthening our local and regional teams in every international region, and positioning the company for long-term global success.’ Lay relocated to Dubai in 2015 when he became the MEA business unit leader for IEWC’s Argosy Cable brand. ‘GatesAir has built a reputation for expertly managing high-volume business opportunities and many of the world’s largest digital transition projects,’ Lay commented. ‘Their recent establishment of a new business

Graham Lay

and manufacturing centre in Europe, and aggressive sales and business development expansion, has magnified GatesAir’s presence throughout the EMEA region. I look forward to working with the greater EMEA team to strengthen our brand in the Middle East and eastern Africa. We see enormous opportunity to help broadcasters refresh FM radio infrastructure and drive large, national digital TV and DAB radio transitions that generate new revenue and service opportunities for our customers.’ www.gatesair.com

Professional Audio and Communications Solutions The Bosch Communications Systems family of brands offers the worldâ&#x20AC;&#x2122;s most complete portfolio of professional audio and communications solutions. At ISE 2020 we will present our latest innovations including: Bosch Public Address, Bosch Conference & Discussion, Bosch Commercial Audio, Dynacord Professional Electronics, Electro-Voice Professional Loudspeakers & Microphones and RTS Intercom Systems.

11-14 February 2020 RAI Amsterdam, NL. Hall 2 booth 2-B70 and 2-B80

NEWS: APPOINTMENTS

Kramer names new CEO Digital Projection appoints ME regional manager

WORLD Itzhak Bambagi has taken over the role of chief executive officer at Kramer Electronics. Bambagi’s background includes key executive roles at IBM and Digital/Compaq over the course of nearly two decades. Bambagi possesses vast experience in software and cloud developments and this will be key in driving Kramer’s strategy of

gearing products towards tighter integration, software and cloud-driven functionality. ‘Bringing software and cloud components further into the pro AV arena is the next step,’ commented Bambagi. ‘By allowing remote support and management, we can bring standard uniformity to multisite installations, wherever they are in the world. Hassle-free solutions and an outstanding user experience are key and my IBM experience will assist in delivering technology that behaves in ways that are wholly familiar to – and expected by – IT departments.’ Dr Kramer, who serves as president and chairman of the company he founded, commented: ‘We are incredibly excited to share this fantastic appointment. Itzhak’s decades of experience in sales, service and operational management paired with his deep understanding of advanced networking and cloud technology will be invaluable assets as Kramer meets the continuing challenges of the converging pro AV and IT industries.’ www.kramerav.com

First female interns join eclipse

MIDDLE EAST Nizar Nasser has been appointed to the role of regional manager for the Middle East at Digital Projection. He will be helping with the company’s expansion and client support programme in the EMEA region. He has spent 10 years working at Crestron as a regional sales manager for Saudi Arabia and Kuwait and a business development manager for the Middle East. ‘Digital Projection has a unique position in the region, with state-of-the-art technology to offer a comprehensive range of solutions to customers,’ said Nasser. ‘Being in a supportive work environment is vital in providing the right customer experience and I have been welcomed to Digital Projection with open arms. I am looking forward to developing the fantastic opportunities the

ME region has to offer and gain even more traction for the brand.’ www.digitalprojection.com

QSC promotes Ron Marchant EMEA

QSC has promoted Ron Marchant to the role of senior director for sales and marketing in EMEA. He now takes responsibility for all QSC sales and marketing in the region and continues to report to Markus Winkler, QSC’s SVP for Asia and EMEA. ‘I am thrilled to have Ron in an expanded role,’ said Winkler. ‘He has

been invaluable in developing the QSC brand and working closely to enrich our relationships with our partners, and I look forward to his continued effort and teamwork to increase our presence throughout EMEA.’ www.qsc.com

Mathieu Pobeda joins Active Audio and APG Georgia Griffiths and Amelia Norcup-Brown MIDDLE EAST As part of its annual internship programme, eclipse has welcomed Georgia Griffiths and Amelia Norcup-Brown, the first female interns to work at the company. Both have recently graduated from universities in the UK. Griffiths completed her studies in Audio Recording and Production at the University of Hertfordshire and Norcup-Brown has an FdA in Live Events Production from the Backstage Academy. ‘We are ecstatic to welcome our first female interns,’ commented Shiella Manzano, group human resources manager at eclipse. ‘We feel that the addition of these two young, aspiring ladies in a male-dominated industry is a strong statement of our commitment to building an inclusive and diverse talent pool not only within the company but to the industry as a whole.’ Both interns will be assigned a mentor to aid them during their six-month placement.

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‘Our goal is to equip those who are keen to pursue a career in live events production with the skills necessary to get a solid foundation in the industry that prepares them to grow, prosper and find their success in the real world,’ said Richard Bearpark, head of video at eclipse Staging Services. John Parkhouse, eclipse Staging Services’ head of audio, added: ‘The internship at eclipse has been a fantastic opportunity for us to bring in the next generation of audio technicians. The fact that we have employed two previous interns full-time, both of whom have deservedly earned and been promoted to audio engineer status recently, is a true testament to the progressive environment and high level of concentrated training we undertake.’ www.eclipse.ae

WORLD Mathieu Pobeda has joined Active Audio and APG as the new R&D director for both companies. He will oversee the development of new products, with a strong emphasis on acoustics and transducers. Pobeda’s career stretches back 20 years. For the last eight years, he worked for Nexo, designing complete systems as an electro-acoustic engineer. He also recently completed a master’s degree in Business Unit Management at the ESSEC Business School in Paris.

‘Active Audio and APG’s vision – which was explained by CEO Régis Cazin – was very appealing to me,’ explained Pobeda. ‘I know there to be a lot of clever and talented people at the company; some of whom I have been in contact with for the last decade. From a personal point of view, the prospect of being able to use both my technical and my recently sanctioned management skills was a key factor in accepting a new challenge.’ Pobeda added that he doesn’t want to make big changes right away at Active Audio and APG. Instead, he wants to immerse himself in the companies’ philosophy and methodologies. ‘Nobody wants to drop straight into a company and start changing everything overnight, especially when the structure has been established for some time,’ he explained. ‘You need to make sure that the changes you want to implement are valid and will stand the test of time. I’m very confident that I’ll be backed up by the top management in that mission.’ www.activeaudio.fr www.apg.audio

one trusted manufacturer.

NEWS: SPECIAL REPORT

ETC lights up Media City When seeing is believing, getting solutions directly in front of customers is essential. ETC’s new Media City location looks to make that a reality, as Stuart Todd takes a tour FROM HUMBLE BEGINNINGS BACK IN 1975, a then 18-year-old Fred Foster began a journey into entertainment technology that would create an indelible legacy continuing to live on long after Fred’s time had passed. That culmination of continued determination and hard work ethic was realised with the opening of ETC’s new purpose-built studio. Sitting slap-bang in the middle of Dubai Media City, ETC Dubai – The Studio offers an unassuming entrance that gives way to all manner of bespoke product demonstration zones, training facilities, meeting spaces and smart design quirks. It’s a not so subtle nod to the company’s expertise and standing in the industry, but also offers probably the largest single collection of ETC and High End Systems (HES) products outside of the company’s home US market. Upon arriving at the reception area to the studio, I was given two clear options: left would take me to the inner reception area and meeting space, while the path to my right would take me to a high-ceilinged space dubbed the Black Box – so called due to the blacked-out floors, walls and ceiling so as to optimise the lighting that would be cast onto it. On the left-hand side of the room, two architectural control systems from ETC are on display – a Paradigm and Echo – while over on the right side of the room, an HES Road Hog 4 console was being expertly demonstrated in conjunction with HES TurboRay, SolaWash 1000, SolaFrame 1000 Ultra Bright and SolaFrame 1000 High CRI fixtures. In the middle of the room on a low-level truss was an array of ETC’s prized

lighting solutions being controlled via an Ion XE20. These included ETC Source Four LED Series 2 Profile, ColorSource Spot and Relevé Spot moving heads. At the far end of the Black Box, there was a great deal of attention being paid to a Gio@5 controller which was controlling the

Desire D60 house lights together with three HES SolaFrame 750s by way of ETC’s new Augment3d software. This was especially interesting as the 3D modelling software was able to interact with most other lighting manufacturers’ hardware and would in turn offer an increased amount of control over an

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assembled lighting installation. As the name suggests, the program draws on augmented reality in order to accurately reproduce the stage or space that you are working within. It’s intended to be flawlessly used in conjunction with an Eos console but other options are available and more are in the

NEWS: SPECIAL REPORT

The building is located in Dubai’s Media City

new demonstration facility here in Dubai. It’s the culmination of a year-and-a-half’s work, from finding the right location and the right property, to fitting it out how we wanted.’ Larcombe goes on to explain the goal of the studio. ‘We want to be able to show customers around our studio and what products we have, and ultimately encourage clients to attend our various training courses and product demonstrations. The whole premise of this space is to be as if you are walking into a permanent trade show environment. The first light that hits you is an ETC light, there are no standard light switches here, everything is controlled by ETC.’ With the Middle East market being a new priority, there was a slight gap in the hands-on services that ETC offered its customers. The studio is seen as a direct result of this need, yet training is also of huge importance to ETC. ‘As equipment gets more and more complex, and the more people are familiar with the equipment, the more they will use it and, to demonstrate it effectively, the right environment is key.’ ETC currently enjoys great exposure in the UAE at the likes of Dubai Parks and Resorts, Dubai Opera House, the Burj Khalifa, Warner Brothers in Abu Dhabi, the Royal Opera House in Oman as well as the upcoming

Dedicated workstations have been created for all of the company’s console models Expo 2020. When you consider the scale and variety of this facility and the depth that each room goes into, the fact that every single lighting element of the ETC studio is made using ETC products is truly impressive. The manufacturer intends to maintain a wide selection of ETC and HES products in house and, when new products are launched, guests will be able to experience those first-hand straight away at The Studio. www.etcconnect.com

Mark Larcombe takes attendees through workflow on the Gio@5 console works. Comments from LDs touring the facility were that the fluidity of the software and the tactile use of the Gio controller really showed off its capabilities and it was clear that this would soon become a go-to solution for many clients. The Black Box was the perfect place to demonstrate this and also simulate real-life scenarios in which to train. Even the transition to the meeting room next door is a continuation of the tour, with the entrance adequately lit by two Arc Pro One Cells controlled via an Echo proximity sensor. Moving in further to the reception were Echo Inspire button stations and an EchoTouch controller, while in the main meeting area a further Echo Inspire button

station controlled Irideon FPZ and WLZ lighting fixtures suspended from a DataTrack Backbone. A Source Four LED Series 2 with Fresnel adaptor lit a window that was placed high up on the opposing wall and offered a unique point of conversation. Due to it being so high up on the wall, it instantly draws the gaze and again gives a subtle nod to the company’s theatrical roots. This was an inspired design addition to the room and really helped to give a unique sense of space and depth. Moving round this wall to the actual meeting table, I was able to catch ETC’s regional manager for the Middle East, Mark Larcombe. ‘The reason behind this event is to formally open the

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FEATURES: LIVE

Far and wide

Loud N Clear’s Longbow system has powered a season of events in Riyadh, discovers Simon Luckhurst IMAGINE 70 DAYS OF CONTINUOUS ENTERTAINMENT, IN 12 different zones, all in all totalling more than 100 events in the span of just three months. If you thought we were talking about Dubai you’d be forgiven; the above slogan actually belongs to Riyadh Season. Starting from the middle of October 2019 and running through till 15 December, it’s part of the Kingdom of Saudi Arabia’s attempt to make Riyadh the capital city for entertainment events in the Middle East as it strives to achieve the 2030 vision laid out by Crown Prince Mohammad bin Salman bin Abdulaziz Al Saud. Riyadh Season is in fact the biggest cultural and entertainment programme ever undertaken in the country’s history. The Kingdom has welcomed an increasing number of international artists to perform in recent months. While it was not her first Saudi gig, popular Egyptian singer Sherine Abdel Wahab performed at the Abou Baker Salem in mid-November alongside Lebanese artists Walid Tawfiq and Ragheb Alama to an audience of more than 8,000. Having worked successfully in the past with the event organiser, Benchmark, Beirut-based live production company Loud N Clear was brought in to handle the audio portion of the Sherine concert and other events taking place at Abou Baker Salem during the season. In recent months, an increasing amount of the company’s projects have shifted to Saudi Arabia, to the point where Loud N Clear keeps a sizeable amount of local stock on hand to cater to last-minute requests. And as one of Beirut’s biggest audio specialists, it’s certainly no stranger to working on events of this pedigree – Guns N’ Roses, Bryan Adams and the Red Hot Chili Peppers are just a few of the high-profile names gracing the company’s portfolio. ‘Benchmark is one of the biggest companies in Saudi Arabia for festivals and we first started working with them quite some time ago,’ recalls Loud N Clear owner, Roger Bou Farhat. ‘They

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Loud N Clear had to accommodate a complicated stage setup with an 80-person orchestra approached us to work on these latest events, not only because of our experience on big concerts, but also because we’re one of the few companies in the region with enough stock to cover concerts of this size.’ Martin Audio’s Longbow, the latest large-scale line array offered from the British manufacturer, has quickly become Bou Farhat’s system of choice. With no specific requirements from the client, Loud N Clear was free to design a system of its choosing.

‘Through my experience with Martin Audio, especially the longbow cabinet, we found it to be the most suitable choice for this event. With the entire festival lasting nearly three months and the venue being outdoors, the system had to be able to withstand the elements,’ he expains. ‘Additionally, the sound of the Longbow is very powerful and clear, particularly at the back of the venue where you can hear all the frequencies. Longbow is able to reach right to the back, 80m away, without the use of any delay towers.’

FEATURES: LIVE L-R hangs of 12 per side Longbow W8L cabinets formed the main PA. These were augmented with eight W8LM mini line array enclosures lining the front of the stage for front-fill and 24 S218 double 18-inch subwoofers for low end. Four S218s provided side-fill for the 60m-wide venue. ‘Originally, we had intended to use a central cluster flown above the middle of the stage; however, the stage was approximately 40m wide which meant we weren’t able to due to the weight. We added more points to the front-fill in order to solve this problem and I was very satisfied with the result.’ However, it was the stage setup where things started to get complicated. The three artists were backed by an 80-strong onstage orchestra that required Loud N Clear to provide more than 70 DPA d:vote 4099 instrument microphones for audio capture and 80 Shure in-ear monitors for orchestra foldback. A further 50 stage monitors and a combination of Martin Audio LE100s and LE200s were deployed onstage. Managing the setup at FOH and monitors were Midas ProX and Pro9 consoles, together with a DiGiCo SD10 and Yamaha CL5. The audio wasn’t the only impressive technical aspect to the event. The entire length of the large stage, which was fully constructed with LAYHER scaffolding accompanied by Super Mega Truss from James Thomas Engineering, was adorned with approximately 800m2 of ESDLumen 4mm pixel pitch LED screens creating an 8K output, alongside two IMAG screens flown out wide by Dubai-based Resources Stage Technologies (RST). Novastar 4K processors, a Blackmagic Ultra 4K, Green Hippo Hippotizer V4 media servers and Resolume Arena 7 software served up the video content. Also tasked with supplying the complete equipment and design for the lighting setup, RST called on a wide selection of fixtures from Claypaky, including Sharpy Plus, Sharpy Wash, Mythos 2, Alpha profile 1500, Scenius and B-EYE K20 models. ‘I was very happy with the setup and would only choose to do something differently if it was demanded by either the technical riders or the venue,’ concludes Bou Farhat. ‘Loud N Clear’s engineers were mixing the majority of the artists,

Egyptian singer Sherine surrounded by LE200 monitors

A Midas Pro9 at FOH for audio and grandMA2 full-size for lighting

Ragheb Alama takes to the stage but notable engineers like Assem El Sayed, Yasser Anwar and Nasreddine Haddad that used our setup were very happy with the result of the Longbow. The feedback was also very positive from our client – they were so impressed that they made the decision to keep the same sound system at this

venue until the end of the festival, one month longer than was originally planned.’ www.benchmarkksa.com www.loudnclear.me

INSTALLATION GOT EASIER 1/2 PAGE

with

available in black or white

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FEATURES: LIVE

The key to consistency

Delivering two international festivals on either side of South Africa over the same weekend can be a logistical nightmare. But working with trusted partners ensured that Bad Weather could do just that TAKING PLACE OVER THREE DAYS IN CAPE TOWN AND one day in Johannesburg, Rocking the Daisies and In the City are festivals that attract a world-class lineup to South Africa. While the events take place on either side of the country on the same weekend, they share a lot of similarities. Rocking the Daisies is the larger of the two and offers performances on multiple stages. In the City essentially mirrors the Cape Town festival’s main stage with an identical lineup and technical setup. Managing the production for both events is Bad Weather. The Bad Weather team has been working on both events for a number of years and, over that time, has developed preferences for the equipment it uses and the companies it works with. For the 2019 editions, it meant that the PA across all of the stages came from d&b audiotechnik. ‘It was quite a feat to pull off everything just on d&b, but it was definitely worth our while, that’s for sure,’ says Jonathan Bandli, creative director at Bad Weather. ‘We had four rental companies but there were a lot of people sub-hiring inside of that as well, so pretty much everyone with d&b stock was involved. For Cape Town, it was Eastern Acoustics for the CANDO Main Stage, with Ampere and ULTRA handling the Visa Beach Club and Johnnie Walker Jungle, respectively. And for Johannesburg we used Blue Array. Having the same PA across multiple stages means that if one rental company needs to go to another rental company, the conversation is pretty straightforward. I just never think about audio, because I know that with d&b, we spec it out and that’s the end of it.’

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While the German manufacturer’s rig met the technical rider requirements of the touring acts, there were also other reasons behind this selection. ‘It was consistency in knowing that we are getting a certain type of quality,’ reflects Bandli. ‘We’ve never been let down by the d&b system and we prefer the sound of it to be honest. The other thing that separates that PA from a lot of other competitors in this country is that it is simple to use and the people know how to use it. There’s a lot of education and support behind the system from Stage Audio Works. ‘I mean a box is just a box, there’s a lot of other great boxes out there, but if it’s not set up correctly and you don’t have the people with the right education behind it, it’s not going to give you what you want,’ he continues. ‘We just get a consistency of sound across the festival, consistency of quality and, if you tell any artist they’re on d&b, there’s never any question about it because it meets all international spec.’ The system used for both festivals goes down as the largest either has ever had. ‘We’ve used J Series in previous years, but it’s always been on smaller scales like eight, 10 or 12 per side, but this is the first time we’ve gone for a full 16-a-side with J and enough subs,’ says Bandli. ‘It’s just been so much more adequate this year and it was definitely noticeable. The festival invests a lot of money into putting on a world-class performance and booking a world-class lineup and I think the audience noticed a difference, especially from an audio standpoint.’

Hidden out of sight: 16-strong hangs of J Series supported the main stage

PRODUCTS FEATURES: LIVE

TASCAM Allen & Heath expands its appeal FOLLOWING THE launch of GX4816 the Dante-enabled I/O boxes, Allen & Heath has expanded its ‘Everything I/O’ ecosystem with the addition of two new remote audio expanders. Designed to be a high-channel-count remote expander, the 96kHz GX4816 is a central hub for all stage I/O that connects via a single cable dynamic of 116dB and link to SQrange and dLive systems. crosstalk at 119dB. Each Incorporating 48 dLive mic channel also a singlepreamps and includes 16 XLR d&b outputs Double ground-stacked subs were deployed at both sites control compressor in a 4U analogue chassis, the GX4816 The move to this with true bypass for managing is equipped with unified two DXsonic portssignature has taken time, but it for appears be something that isa working for the festivals. hot inputtosignals and or creating further expansion bridge ‘It’s been audio a journey to get here,’ states Bandli. ‘We’ve been smooth input. True bypass connection to an ME personal L–R: Rocking the Daisies IMAG director Simon Wilkes with working with the director is available on festival aInper input basis. mixing system. addition, theto try and convince them Bad Weather’s Jonathan Bandli and Nathan Ihlenfeldt from toDX012 use theis and trust us to make the right A pair ofright ainstrument/ 1Usuppliers output expander Stage Audio Works decisions when it comes to audio, and everything microphone combo on thelighting that feeds IEMs andinputs amplifier DT168 and DT164-W. Larger configured for access to multiple else. of course, there’s the financialsystems implications, so it’s pretty packed with ourpages full Blackmagic frontAnd, panel allowDX012, users toDX168 plug racks. A second can also be facilitated by control or zones.Design Once system and about the long-term investments rental media servicecomplete, as well.’ the configuration is in mics, guitars an array ofwith partners or DX164-W canand be cascaded the DXand Hubthe expander. partners as well. It’sa one of the few shows do where While havinguploaded all the right is the important, getting it to other Six balanced to theinstruments. unit, while redundant Inwe other news,the the manufacturer toequipment the core of TH-06 festival director say only so released even to people the right location for events on either side of for the country can mic/line inputs can be“Ifound on d&b” connection canwill be made to want has Custom Control, system, the MixRack, ready XL monitoring headphones with to get the gear interfaces. Usingnot the twobe S/MUX like can hear The and current see They’re justfor as much of a challenge. ‘With 20running hours thethem, rear. they Each microphone inputthe difference. compatible hardware. a cross-platform control app deployment. Any device at the same time, all an bass response’ saying “get meoptions theswitched cheapest PAthe around”,outputs they’re saying “get from Cape Town toCustom Johannesburg, it’s verylog challenging,’ has individually +48V array of I/O includes dLive systems. Users can design the‘enhanced Control appallcan eight Series 8pfaces Dynatailored channels reach the smooth, lows me the best PA around” half the battle’s won then.’ smiles ‘The actual time fromdeep theuser artists land to phantom power for useand with 48kHz AR2412, AR84 and AB168 multiple inter to Bandli.to into the system with awhen given be sent at the upand to 96kHz for producing in sure that the Away from the PA,S/MUX itSQ was also thecan biggest setup getting to theneeded site is really tight. point So, music tothe make condenser mics. audio racks formain QuDual and digital different levels device types. profile, at which correct optical have outputs berack, festivals hadcan for also aDX32 variety of other equipment. ‘It was (four channels at 176.4kHz orand genres such as is EDM, hop, between both setup is as identical structurally andhip technically mixers, the modular Access to all levels, mutes user inter face downloaded located the rear, enabling use done one ofportable theon biggest shows we’ve with this sheer 192kHz). metal and R&B. sites with gives the artists a lot of comfort and lets the DX168, thethat wallsends is provided, together and displayed. This allows for us know that, as a front-end expander for number of consoles,’ Bandli. DiGiCos for selection Thetwo Japanese manufacturer withinhas a tight turnaround, coveredand all the bases. mount DX164-W for notes SQ and dLive‘We had preset recall, source both kiosk we’ve applications www.tascam.com S/MUX ADAT-equipped the artist or Russ, twoDante-enabled DiGiCosaudio for Tash Sultana and one DiGiCo also developed the TH-06 Bassneed constant ‘We communication with the technical team systems and the and metering. Tabs can be BYOD use. and one SSL for The 1975. So, the front of the house was about if there’s a change here, an additional line that needs to

Finally, V1.4 firmware for the SQ series has been unveiled. Three new audio tools – Multiband Compressors, Dynamic EQ and De-Esser – allow SQ users to have up to eight instances that can be inserted on any input channel, group or mix. V1.4 also introduces an offline mode for SQ’s MixPad app, which is now being released for PC and Mac. Offline mode DX012 allows engineers to create show files without The Rocking the Daisies main stage the need for an SQ, manage shows and scenes offline, run through there, if there’s powerand conversion and soover forth,’ andasend receive shows he continues. ‘These small thingsorcan really get in the way a wired wireless network. of pulling off a perfect show. I think that’s a new skill that us production managers need to adopt in understanding how to www.allen-heath.com get things from A to B in a fast manner and seeing how we can support the artists.’ Custom Control Reflecting on the events as a whole, Bandli is keen to stress that having all the technical elements working in harmony is the key to the success of the show. ‘Our opinion is, it could be the best-sounding thing but, if it looks rubbish, then it is rubbish. And then it could look the best but, if it sounds rubbish, then it is rubbish. So, to make the show work endto-end is the golden goose egg that we’re trying to chase. You want people to say “Wow, I’ve never heard anything like that, I’ve never seen anything like that, I’ve never experienced anything like that”. Those things have to always work together.’ www.badweather.co.za

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www.datavideo.com 39 41 Januar y–Februar y 2020 PRO AVL MEA 31

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Elegant Audio

Nammos is located inside the Four Seasons Resort at Jumeirah Beach

Pro AVL MEA goes behind the scenes at the new Nammos restaurant in Dubai

The central ‘pod’ where volume levels increase as the night goes on NAMMOS VILLAGE ON THE GREEK PARTY ISLAND OF Mykonos is known for its reputation among the rich and famous, and has welcomed a number of celebrities through its doors in recent years. So, when it announced that the Nammos concept would be heading to a beachfront location in Dubai, expectations were naturally high. It’s a little piece of the Greek island blended with Dubai’s unique vibe. Housed inside the Four Seasons Resort Dubai at Jumeirah Beach, the venue is divided into several concept areas and will be open to guests all year round. The luxurious new space comprises a Mediterranean restaurant, Beach Bar, the Nammos Beachfront with its signature blue and white umbrellas, and an extravagant, one-of-a-kind bubbly room for champagne aficionados.

32 PRO AVL MEA Januar y–Februar y 2020

Like its bigger brother in Mykonos, guests can expect to dine in the restaurant on a Greek-inspired menu or sip on an array of classic and signature cocktails created by master mixologists at the Beach Bar. This multifunctional space required audio reinforcement capable of ticking several boxes at the same time, and the owner turned to UAE-based integrator Levels for assistance with the design, supply and integration works. Like many restaurants in Dubai, energy levels tend to increase as guests while away the hours, so a system capable of staying out of sight during restaurant hours, but in your face at night, was key. ‘Nammos approached Levels because they were looking for a proven entertainment-focused AV integrator to help with everything – the design, supply and install of the entire sound

system,’ recalls Levels managing partner, Hassan Alwan. ‘The brief was for a top-tier sound system in terms of acoustic performance, and one that gave the owners the flexibility to run both lounge-level events for their brunches and lunch, and, at the same time, have the capability to turn up the system during the evening programming to create a more lively atmosphere for bands and DJs. We worked quite early on with the architects of the building and interior decorators to ensure our design would work well aesthetically.’ More than just the system’s audio credentials, the brand- and image-conscious venue was keen to find a solution that would also be recognisable by its clientele. ‘I was already quite familiar with Pioneer’s DJ systems, so it was great to pair that with the speakers and see that whole element coming together as one piece,’ commented Nammos Dubai general manager, Nick Comaty. ‘I think it’s a great brand, internationally recognised, and works very well with all the different elements we have here and the different brands that we are aligning with in order to create an amazing experience.’ The new system powering Nammos consists almost exclusively of models from the manufacturer’s XY Series. ‘The reason we chose Pioneer for this installation was because the product is very well priced and it sounds exceptionally good – it’s an acoustically flat box so it requires very little manipulation to get it going before you start EQing it into a space,’ explains Daniel Ball, Levels’ managing partner. ‘So, it’s a natural solution for a project like this, where we had lots of functionality to deliver to the client, power that needed to be on-demand and, if anything, a nice, elegant-looking solution to integrate into the aesthetics as well.’ In total, 56 12-inch Pioneer XY-122-W cabinets have been distributed around the restaurant and outdoor terrace, as well as a further four 10-inch XY-101-Ws and four 15-inch XY-152-Ws. Low-end support comes from nine Pioneer XY-118 single 18-inch bass-reflex subwoofers. ‘We selected just a handful of products from the Pioneer range,’ adds Ball. ‘The reason behind that was effectively to keep the simple philosophy of using the same speaker almost everywhere. That being said, we have 10-, 12- and 15-inch tops, all complemented by 18-inch single bass-reflex subwoofers.’

PRODUCTS PRODUCTS FEATURES: INSTALLATION FEATURES: HOSPITALITY

Razor-sharp Extron makesquality a switch

bespoke desks clear possible and weand compensate for as some of as these cable losses wanted to damping ensure that the interpretation maximise of subwoofer drivers.’ was fully into the solution,’ Page.in Theintegrated X Series amplifiers are mostlyadds installed Elaborating on handling the camera setup, Page the control room the high‑power areas, COMBINING CONTRAST ratio, and continues: ‘We wereoutdoor looking fordurability a flexible such as theHAS bar and terrace, whileofthe EXTRON added to its DTP range affordability, the APSthe Series of 3LCD laser camera system that could integrate with the Quattrocanalis serve other areas where products in AV switching environments. projectors from Christie Shure sound system output 6,500 automated less is needed –and thedelivers arcade, restaurant, Firstpower off are three transmitters. ISO and aFBfive‑year mixed camera views based on what virtual bowling andTkids zone. Thelumens, DTP2 202 is a two‑input Each user has a smart desk comprising a and 10,000‑hour warranty, lobes were active from the MXA910 Pulse has also a Midas M32mics. console transmitter thatinstalled sends DisplayPort, PC and three screens whichever comes first. The Once learnt about theirupintegration with in the we control room. Governing the high‑power HDMI, audio and control to 100m LWU650‑APS andmain LWU530‑ E-participants had to be a key consideration the MXA910 and tested out the AVS system, zones, this offers control alongside a pair APS have been designed for weofrequired. in the construction of the digital courtroom. this out functionality of TWgave Audio C5the speakers capable monitoring classrooms, boardrooms ‘We used a Polycom group series 700 codec Using theany 1 Beyond any zone, input orcamera the M32system monitorallowed output or small‑space solution with Skype for Business integration. usother to ‘If choose the digital codecup weinneeded itself. the technician is sitting the environments. Theyus feature To manage all the AV devices, we installed a androom didn’t to any manufacturer AV andrestrict they’re trying to get something or an efficient laser illumination Crestron technology.’ working, maybe one of the inputs is a bit noisy,TLP Pro 525Ccontrol system integrating all these system and patented systems with customised GUI on wired and Withcan the courtrooms designed over to 100 they just select thatoptical adapter, listen the Powersoft X smudge‑resistant Series and Ottocanali amplifiers light design wireless iPads. The install also included a yearspath agothen for paper-based the real input and theythat canuses turn litigation, it up and listen to with scratch‑ and installed in the main equipment room only one motor. ‘The patented dedicated roomoffers inside the courtroom challenge was to repurpose the‘Using courtroom it on the monitors,’ says Morris. Dante, Corning Gorillacontrol Glass and optical light pass design litigation, while separated a glass wall,data housing for paperless electronic access to AC orbyUSB power, and the changes the the excitation lightof the hearing a broad language booths withIt aisShure/DIS maintaining aesthetics varietytranslation of AV connections. spot round spot to a IR solution for the audience. It had to roomshape designfrom and amaking it functional. ‘This described as ideal for court AV applications rectangular shape disperses the as energy DTP2 T 202 FB AVand be a asimple system to use and flexible for was beyond any hardware project we requiring CableAV Cubby touchpanel on wheel, which and improves theto various type of hearings,’ hadthe to phosphor integrate the software services with a customisable interface.notes Riyaz. FHD553-X reliability of the courtroom phosphor wheel,’ explained Opus1200C 2, whois has been deploying paperless create digital that part of the The NBP over a ashielded CATx cable to aisDTP‑ a furniture‑ Jim Hall, platform,’ senior product manager, Christie. mountable trial technology into traditional eCourts Page. enabled product. Itadds is compatible Cable Cubby enclosurecourtrooms panels do not have was radionofrequency ‘Featuring flexible input/output an whichThe forhas the seven years, stranger to Omnix tasked with the AVoptions, integration. with all was DTP Systems products and alast Network Button Panel functionality, so noor unauthorised users can on‑board 16Wsenior speaker andand omnidirectional this type of project itslid. tests. Abdul design engineering can beRiyaz, configured to send video and integrated directly into the It To maintain access system –hearing adding room, an extra layer of design and operation, the aesthetics of the it worked manager at whisper‑quiet Omnix,plus explains how thethe APScombines embedded audio, bidirectional AVthe control, connectivity and security.’ Series provides razor‑sharp image closely with architects Perkins+Will. collaboration came about. 2quality came uppower, RS‑232 and IR signals, to ‘Opus an HDBaseT‑ and works with all Extron Pro Bespoke The FHD553‑X flatand panel has beendesigned designed whether a presentation, or then furniture for the courtroom with the it’s entire design concept. We were enabled display. The DTP2 Tdataset 203 Series control systems HCwas 400also to replace the FHD552‑X and handmade features an video.’ and prototyped in London and in given the concept and functional is a three‑input withdecided an requirement Series products. Features include Interestingly, the switcher Levels team to ultra‑narrow bezel flat panelvolume with full HD Abuon/off, Dhabi. input documents tospeaker review and propose the integrated DTP2 transmitter for sending display switching, dedicate every its own amplifier resolution, high pixel density an wanted a contemporary detailed solution, along with ancontrol itemised billcontrol‘The DisplayPort, HDMI, audio and andADGM a flip‑up button panel withandMiddle channel, leading to the deployment of 30 screen. The panel Eastern feel toLED thebacklit hearing room rather than of and ourautomatically understanding. Opus 210 customisable, upquantities to 100m. It can soft‑touch buttons Powersoft Quattrocanali 4804DNT four-channel can berooms installed either the traditional you in see around provided great insight functional switch between video sources and is that are backlit for wooden operation in low‑light amplifiers into two nearbyinto rackthe rooms. The bowling area landscape mode the world inspiredportrait by the or English legal system. and operational requirement alongamp with compatible withPioneer’s all DTP receivers and environments. As well as being preferred and comes with a floorplan, three‑year With such large and complicated Working witha marble, glass and unique lighting technologies and vendors. team solution, its Armonía software Our paiddesign dividends labour warranty. Pulse opted to design aand custom interface made it parts challenging on control various levels,’ then checked the requirement, contactedthat features during the integration. ‘Armonía is something decadethat after using the Symetrix Controla Server provides elaborates Page. Nearly vendors and finalised the offer for approval we find sets apart Powersoft products from the the launch Christie The interior design requirements posed some complete control of all of theof various zones from to the ADGM. After a couple pre-awardBall. other competition in the market,’ofcomments strain on the physical installation of the AVfor a smartphone orMicroTiles, tablet. ‘You the can manufacturer choose, meetings with thesimple, ADGM powerful IT team and very ‘It’s a very intuitive, has launched example in the bowling areas, toMicroTiles change the stable software. The DSP engines that are inside LED. The smaller, brighter, level of the sound effects, or the outside zone, the amplifiers are very easily manipulated from powerful moresub‑ where you’ve gotmore control of eachand different the software and it gives engineers like myself DTP2 T 203 flexible LED version zone, as well as volume control, anddelivers control of plenty of flexibility and power to implement the P3 colour space, inputs complies HDR‑10 and all of the different suchwith as the TV, the DJ DTP‑enabled products. The DTP2 T 204 right EQ, time alignment and other settings.’ Mirage 304Ka Pioneer The is surrounded by individual is for broadcast or suitable the live band playing outsets, on thecorporation terrace,’ says is a restaurant four‑input switcher for system sending Additionally, XPRS has been booths, each reinforced with its own TW venues, museums, retail, stadiums, arenas Morris. ‘All of these features are only possible HDMI and controlas upa to 100m.solution It deployed by Levels portable for Audio speaker higher It includes low‑ and The Mirage 30,000‑lumen, 3DLP, and because theeducation. whole system runs off aDante routes HDMI304K video atadata rates performances, to be is used either as aupnear-field profile, QuickMount system 4K projector combining a compact becauseADA‑compliant of the super matrix on the Symetrix ittowas really easy to with connect these AVform rooms 18Gbps, along HDR, Deep DJ monitoring system for the DJ booth or to be so displays can be created in any shape and factor, light powerful Radius devices.’ together. We cooperated with embedded the hotel’s Color up to weight, 12 bit, monitors 3D and set up as stage floor inprocessing any one IT of and the Smaller 10-inch XY-101-Ws the size, including 90° corners user‑friendly features such asAllbuilt‑in Needless to say, a inside/outside project ofcomplement this scale and department who gavevenue us a designed separate VLAN HD lossless audio formats. three locations around the for warping livefor main cabinets and both concave convex curves. ‘There and nearfield communication complexity was not and without its challenges. AV inblending, Wavehouse, whichvideo is alsoresolutions accessible over transmitters support musicians. monitoring and an at‑a‑glance were somefor long ondistribution,’ this project, recalls because of the network and achieved apreview latency of just up toresult 4K/60 4:4:4 chroma sampling networking thedays audio TheWi‑Fi is aat slimmed-down version of the Inside the ADGM hearing room www.christiedigital.com screen. Based onHDCP thethat industry’s only the sheer scaleallowed of the to venue the speed with 0.5ms.’ and comply with 2.2. Ball. ‘We were use and a single amplifier Greek Nammos Village retains all the4K, 1200C true projection and equipment as the positioning of from the which everything had to be built. Wethe went Morris also credits the amplifiers Opus 2, we capable gave our recommendations and The120Hz DTP2 R 211 is a Powersoft twisted for too, everysuch speaker, giving us utmost original elements that helped buildsystem its name. TheNBPchannel featuring Christie’s TruLife electronics, ceiling due totofor some large lighting an empty nightclub this intricate multi‑ with some useful features that aid started the implementation phase.’ pairproviding HDMI receiver that supports ability tomicrophones control the venue system optimisation but powerful but discreet audio system stays out the Mirage 204K has been built for Video distribution was aand critical of the also fixtures overinthe main area. had arearemodel space 12 on weeks,’ thealso head of to audio the Wavehouse installation. ‘First off there’s transmission of HDMI multichannel itjust based the‘We fact that they’ve got of sight during dining hours but stillelement commands omnidirectional deployment andRS‑232 canavailable install due to the various information do a lot ‘Getting of areas virtualall enhancements recalls. of the various contractors for the power heincrease. says. ‘This enables, for audio, as well as bidirectional numerous inaudio which they could set to upget a live attention assharing,’ the levels be mounted operated inable anyto within processing that needs toa be to expected level of performance andon had thethe cabling and the time example, oneand amplifier beinstallation and IRcourtroom signals, to to 100m over adrive performance or put asupport DJ in.’ in place and ‘What makes theup Nammos special orientation. made available to every delegate/counsel as some challenges sourcing pre-defined size was challenging. subwoofer, butwe then on allowed another channel itthis can shielded CATx cable. The stereo output Withreally Pioneer looking to carve out a bigger is the fact that were to design The Series ofspeaker. flat panels ‘There alsoaudio over 100 speakers here, per their needs and role. desktop monitors. However, withinthe in-house have aSecure lower powered Using theorpowerDMPniche is selectable between de‑embedded for are its pro solutions thein bars system using best practices and best-known 64 Plus has been developed government, ‘It was not a analogue straightforward so we to show theregion, contractors every single team ofhad programmers and support from sharing calculator from Powersoft, can stateeasily and pass‑through audio. restaurants in the a top-tier install audio philosophies. Wefor were ablevideo toyou utilise corporate or military environments, or the matrix as sources available for Featuring pointas and exactly where ofand, the as cables vendors, we were able toeach overcome any physical see howswitching, much power available across six DSP input channels Next istechnologies the TLP Prois 525C, 5‑inch such Nammos is important, such, of-the-art like fully a redundant Dante other that top distribution onlyrequire around eight and had with the needed go to identify which room they’d installation challenges,’ comments Riyaz. amplifier andare distribute it TouchLink to the various AEC in atohalf‑rack space, theAV final Cablefacilities Cubby Series/2 Prochannels manufacturer worked closely with Levels security at allavailable times. The first to be made on more than 70 pulled the DMP cables and just keep checking According to Page, the new digital ADGM as required.’ product is the 64from, Plus series touchpanel with a flip‑up touchscreen throughout the design and installation process two are the SUHD551‑L displays. counsel and judge had theirof compact theensure entire process. were here‘It’s every dayand for design holds amatrix number of benefits both in Themodels Italian Armonía+ platform digital processors built into Every anmanufacturer’s all‑metal cable access to there wereWe no hitches. really and SUHD651‑L include own localused source monitor andfirst then twoduringwhichimportant about month.’ outside theus room andAudio could was also by and Pulse for the time comea of with ahearing flexible mix Pro matrix, a toimprove enclosure. It has a high‑resolution, for as Pioneer work OPS slot, UHD resolution and Once again, theboth cooperation between additional monitors centrally litigation efficiency by our over 33%. Riyaz also the configuration and for tuning of the distributed system. USB very audio interface and 6x4installers analogue 800x480 capacitive touchscreen built closely with andisend USB playback. ‘Customer Pulse Middle East, Solutions and sources choose from the WyreStorm confident thatAT more regions the UAE will be ‘This wasto really useful because it allowed us connectivity. The models caninLeisure be users,’ affirms Pioneer’s Jamie Gomez. ‘We’ve requirements forspeaker a solution, its contractors has resulted in the years flawless AVoIP decentralised the NHD 400 powered keen to PoE+ upgrade their government buildings. to position each on a layout drawing,’ by and provide been working with Levels for32x16 many now, professional secure display execution of another multi‑faceted audio system. series was a‘As perfect fit recommended by Dante ‘As an integrator, are starting to see says Morris. we were going around and connectivity forwe popular Dante virtually since Pioneer wasalready born. The flexibility of without RF arethough going largely ‘I think we arecoming all quite proud ofreally what we judicial have Opus 2. Even it wasthe ourdelays first largesimilar needs up for most of well our tuning the system, changing and microphone arrays and other Dante the range suits this application and unmet,’ said Jimjust Hall, achieved here Wavehouse,’ concludesisMorris. scale distribution as opposed customers.’ the EQ,AVoIP we could clickproject on a speaker and devices, while the at V to models adding Nammos our listinclude of references great senior product manager, to our the traditional matrix thanks adjust settings for thatsolution, component very to up toforeight VoIP lines for collaboration the brand.’ Christie. ‘This www.omnix.ae www.atlantisthepalm.com/things-to-do/wavehouse our long expertise in really digitalimpressed signage and intuitively. We’veseries been withIPTV theapplications. includes compliance with www.opus2.com www.powersoft-audio.com technologies, we were prepared toofadapt an differences between the old version Armonía www.levelsav.com Single 18-inch Pioneer XY-118s strategically MicroTiles LED current requirements. DTP2 RTAA 211 www.perkinswill.com www.pulse-me.com AVoIP very adds Riyaz. and thesolution new Armonía+.’ www.extron.com placed to provide lowquickly,’ end www.pioneerproaudio.com

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May–June 2019 PRO AVL MEA 51 November–December 47 Januar y–Februar y 2020 July–August 2019 PRO PROAVL AVLMEA MEA 33 59 September–October 73

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Seeing is believing

The UEA’s second biggest mosque required a way of transmitting prayers and events to the wider population. Broadcast Solutions ME rose to the challenge HAVING ACQUIRED VIDELIO MIDDLE EAST AS PART OF A strategy to increase business throughout the Middle East and Africa region, Broadcast Solutions ME has taken the wraps off its first large integration project conducted under the new identity. While still firmly focused on the broadcast side of the signal chain, the integrator’s renewed local strategy is in part being built upon with the ability to provide services into new niche markets, something that Videlio is more than accustomed to. With this in mind, rather than the familiar crowded and cramped setting of an outside broadcast truck or IBC, Pro AVL MEA took a trip to an impressive new construction on the outskirts of the UAE’s Sharjah Emirate. Located at the junction of Emirates Road and the road to Mleiha and officially opened in May 2019, Sharjah Grand Mosque is the long-awaited vision of the emirate’s ruler, Sheikh Dr Sultan bin Muhammad Al Qasimi. Drawing aesthetic inspiration from Ottoman architecture, the AED 300m construction occupies an impressive 185,806m2 and is capable of accommodating more than 25,000 worshippers via its front hall, side lobbies and outdoor terrace areas, thereby making it the second biggest in the country after Abu Dhabi’s Sheikh Zayed Grand Mosque. Such is the importance of the building to Sharjah that a commemorative coin was launched by the government to mark the construction when it opened. Inside, the building’s main prayer hall features arched windows with stained glass, walls decorated with verses from the Quran, a large chandelier in the centre and a premium red carpet covering the floor. Outside, the building has a multitude of domes, minarets and columns designed to reflect Islam’s unique architectural style. To call it impressive would be an understatement. Unsurprisingly, the building will play host to several prominent Islamic events throughout the year. As such, it required an audiovisual system capable of broadcasting these prayers and events to the masses with minimal human resources. The client was adamant that the solutions be simple to operate and unobtrusive yet still capable of providing broadcast quality. While the onsite audio reinforcement is handled by multiple Bose column array loudspeakers, the broadcast feeds created by Broadcast Solutions ME rely predominantly on equipment from Canadian manufacturer, Ross Video. ‘The Sharjah Broadcast Authority [SBA] was appointed by the Sharjah Government Planning Department as a consultant to recommend a systems integrator capable of building this broadcast infrastructure,’ explained project manager Salah Ayoub from Broadcast Solutions ME. ‘We were recommended to SBA by another systems integrator who we had worked with several times in the past and were ultimately handed responsibility for the entire broadcast systems integration at the mosque. ‘But one of the major challenges we had was the timeframe,’ he adds. ‘SBA would be broadcasting the opening ceremony from inside the prayer hall just two weeks after we began working on the project. Everything had to be completed during that time: shipping, installation and configuration.’ The interior design of the mosque is without doubt its most impressive feature and was something that must be left untarnished by the kilometres of fibre cabling they would conceal. But without the ability to effectively and coherently transmit prayers to followers, such interior grandeur would serve little purpose. To create the broadcast feeds, the SI opted to install a grid of 12 white Ross Video PIVOTCam-SE PTZ cameras throughout the mosque interior, six of which are located in the main prayer hall, that can be controlled centrally using Skarhooj PTZ PRO controllers over Nevion fibre channel links from the spacious first-floor broadcast control room. However, the equipment that Broadcast Solutions has installed here is only being used when

34 PRO AVL MEA Januar y–Februar y 2020

FEATURES: WORSHIP

The first-floor control room there is a programme being shot inside the mosque. This is backed up by the total lack of any kind of IMAG inside the prayer hall that could disrupt its immaculate interior design. Ross Video is no stranger elsewhere along the signal chain. A 36-input Ross Video Carbonite Black CBF-236PLUS switcher takes pride of place in the control room alongside a Carbonite Black 2S control panel. A pair of large Carbonite multiviewers display the PTZ camera positions in front, while SHC-9642 SDI to HDMI converters from Ross feed into Blackmagic Design SmartView4Ks used for audio monitoring. Ross Video ULTRIXFR132x32 routers are used to connect different sources and destinations with each other. ‘This allows the staff to route different sources to the video switcher inputs, giving flexibility according to the shooting requirement,’ notes Ayoub. ‘It’s also used as a backup for the vision mixer in case of any problems.’ Content Generation also stays entirely within the RV domain and is handled by Xpression Studio graphics engine software running on Ross’ XPN-2RU-M7 2U Xpression hardware rack. Elsewhere, three Ross Video openGear racks provide modular signal processing and distribution. In addition to the fixed PTZ camera positions, a camera crew can be brought into the mosque to augment the in-house setup

The primary Ross Video Carbonite Black production switcher

A PIVOTCam-SE PTZ camera located at the Imam position

for prominent events as required, and for which a patch-in panel installed in the prayer hall accepts video inputs. ‘Apart from the PTZ cameras installed from Ross, we’ve also deployed four Grass Valley camera control units in the control room desk,’ says the project manager. ‘Inside the hall you can connect the cameras with our systems for control. Any broadcaster, let’s say Sharjah TV or Gusto 30, if they wanted to bring their cameras and just connect to that wall box, those cameras can still be controlled remotely from the control room.’ To assist communications between these teams, Broadcast Solutions has installed an RTS ODIN16NOCORD Odin16-port intercom system for crew talkback which can be controlled via one of five KP 4016 keypanels. ‘The control room is totally out of sight, there’s not even a glass screen or anything that can see into the prayer hall,’ notes Ayoub. ‘So, it’s important that the camera crew has a means of communication with engineers.’ Four G4 wireless microphone units from Sennheiser take care of the audio input for programme presenters and moderator applications and are mixed with the Imam’s microphone feed and any other local audio inputs by a Yamaha DM1000VCM 48-channel digital mixer fitted with an MY16-MD64 MADI I/O card in order to provide the audio mix for the broadcast feeds. Sennheiser IE 40 and G4 Pro in-ear monitoring systems have also been deployed. ‘Aside from the core equipment, we’ve got a selection of multiviewer displays, as well as six big NEC screens dotted around and several sets of Yamaha MSP5s for audio monitoring,’ explains Ayoub. Also joining the long list of equipment for the broadcast systems are Leader LV-5600 SDI and IP waveform monitors, several HP EliteDesk workstations, Ross SRG-2200 signal generators and NTP-2200 Network Time Protocol servers, Ross UDA-8705A analogue video distribution amplifiers, an ADDERView DDX30 30-port KVM matrix, Atomos Shogun Studio 4K/HD recorders and a Datavideo HDR10-A Highlight replay recorder. While the Grand Mosque control room surely houses an impressive collection of equipment, sometimes it’s the small details rather than the major aspects that make all the difference. As Ayoub opens the door to the large equipment racks at the rear of the control room and slides the access panel off the bespoke LundHalsey console furniture, he beams with pride as row after row of immaculately organised cabling emerges – all cable-tied neatly and colour-coded according to function. ‘For me, this is one of the most important aspects of our job,’ he describes. ‘Aesthetics were very important to the client, which is one of the reasons why we took the decision to manufacture our own discreet mounts for the PTZ cameras inside the prayer hall. We also completely engineered the cabling before the integration started. Everything was planned thoroughly from the outset and that is required in order to provide this level of attention to detail.’ All of this work had to be achieved in the two weeks before the opening ceremony would take place. The 12-strong Broadcast

Video signals travel over Nevion fibre channel links

Immaculate attention to detail was paid by Broadcast Solutions, right down to the cabling Solutions team together with a variety of contractors pulled out all of the stops to keep its promise. ‘There was still no intercom, but we managed to get 70% of the setup ready for that broadcast,’ says the project manager. ‘Easily enough to get the job done properly.’ The remaining weeks have been spent integrating the final 30% of the systems while ironing out any kinks in the workflow. ‘We’re currently in the process of completing all of the documentation before we do the final handover to the client. Additionally, we will conduct handover training sessions and some knowledge transfer sessions where we show them how everything works, because the operators might be used to working with other video equipment and brands. We show them what features are present and how they can make the most of them.’ While, most importantly, the Broadcast Solutions systems ticked all of the important boxes for its client, SBA, the project also now serves as a showcase of how the company’s vast experience in broadcast can be leveraged for more diverse purposes than it is traditionally known for. www.broadcast-solutions.me www.rossvideo.com

The audio mixing position

Januar y–Februar y 2020 PRO AVL MEA 35

FEATURES: INSTALLATION

Returning to the stage

Oasis Enterprises has taken charge of another full AV fit-out at a brand-new auditorium in the UAE. Simon Luckhurst takes to the stage HAVING BEEN HANDED TOTAL RESPONSIBILITY FOR THE construction of a brand-new auditorium at Al Mawakeb School earlier in 2019, Dubai-based distributor and systems integrator Oasis Enterprises had already proved its capability far exceeded the simple erection of a ceiling-mounted lighting bar. Like several other companies in the region, the distributor’s remit has broadened significantly in recent years as it evolves beyond pure distribution to a full-service business model. Oasis’ all-encompassing work on the previous project clearly did not go unnoticed. With a similar desire to hold its own large-scale productions and events in-house, the Al Ain English Speaking School (AAESS) approached Oasis with grand visions of its own. The result is another completely new auditorium construction, with Oasis serving as overall general contractor and handed free reign over all aspects of the design, from acoustic absorption right through to the seating materials and carpet pattern. ‘In this digital age, schools and universities are increasingly integrating cutting-edge pro AVL technologies in auditoriums in order to modernise the campus experience for their students,’ notes Oasis GM, Basel Al Aref. ‘As a company, we take total responsibility in delivering that.’ While Oasis had surely learnt some lessons at the previous site, the new auditorium at AAESS came with an additional set of constraints and challenges. Senior project manager of Oasis’ professional projects division, Wessam Abd El Wahed, steered operations through to completion from the outset. ‘Having seen the result of our last fit-out, our client appointed us to create

36 PRO AVL MEA Januar y–Februar y 2020

a similar experience at AAESS,’ he explains. ‘We first stepped inside the new building at the beginning of April, which meant we had just a couple of months to complete everything – the gypsum ceiling and acoustic walls, the seats, carpets, wooden stage flooring, curtain system, stage lighting and AV systems. It’s easily been the fastest realisation of a project ever for Oasis Enterprises.’ The parallels between the two projects are great. From an AV perspective, the designs are remarkably similar, just with a different set of equipment accomplishing the end result. Yet, the extra time constraint, in tandem with negotiating with a multitude of subcontractors, meant that a copy-and-paste-type methodology would never work. ‘In April, we began arranging and placing orders for all subcontractors so that the work would start on time,’ notes El Wahed. ‘We had many meetings with our subcontractors to discuss issues and avoid any mis-planning. It was important we applied the proper pressure to everybody, and I was in control to avoid any slipping of the timeframe. This has enabled us to complete the whole project in less than 100 days and without any delay.’ With the acoustic treatment forming one of the costliest aspects of such a project, some changes to the materials were made to meet budget requirements, resulting in the selection of 25mm-thick WoodWorld acoustic foam boards wrapped in Cara fabric from Camira. To retain upgradability, Oasis has also provided provision behind the panelling for additional speakers and power lines for future system upgrades.

L-R loudspeaker hangs comprise FBT Mitus

ETC SourceFour and ColorSource fixtures are flown overhead of the audience

FEATURES: INSTALLATION

Hall 7 | Stand E226

Deepu Surendrau, Anwar Hussian, Wessam Abd El Wahed and Benzigar Raj from the Oasis Enterprises projects team

Oasis designed a bespoke iPad control interface that pairs with an Extron IPCP Pro 50

From a user perspective, audience members are greeted with a sophisticated interior design that doesn’t detract attention from the per formers onstage. This is combined with power ful audio from the L-R hangs of five FBT Mitus 206LA line array elements and Mitus 118FSA subwoofers per side to cover all 506 seats, with management from a BSS Soundweb London BLU-100. A pair of FBT StageMaxx 12MA monitors provide onstage foldback.

from the audience lighting bar that fires onto a motorised 7m x 4.4m screen from Best Vision. All the Cat-6 cabling from the lighting is fed into a Cisco SG300-28P PoE switch. An integrated Extron IPCP Pro 50 processor was selected for centralised AV control of the venue and pairs with an 8x2 BlackBox AVSC-0802H presentation switcher. Control system inputs feed a Linksys 24-port PoE switch connected to a dual-band N600 wireless access point enabling full control of the AVL systems to be achieved from an Apple iPad running a bespoke Oasis user interface. Additional equipment includes a Datavideo PTC-140TH PTZ camera and H.264 USB recorder, as well as Black Box HDMI splitters that connect all of the patchbay’s HDMI connectors back to the switcher. The resultant theatre bears all of the signature hallmarks of Oasis’ other noted references. ‘Everybody at the school has really embraced the new space and is asking how this project was finished in such a short time,’ says El Wahed. ‘I explain to them that this is the way that Oasis works: we plan properly, we follow up properly and we study all of the details. That’s why we always reach the end of projects on time and without any major problems.’ The school recently got the first chance to make use of the new auditorium. All 506 seats were occupied, while an additional 200+ excited schoolchildren filled the aisles. ‘The auditorium was full of people and served its purposed perfectly,’ the project engineer concludes. ‘The school now has this large, fully equipped auditorium to use as they choose, and the client has been really impressed with our work. As they are building another school in the near future, there is a high probability that we will work together again.’

A motorised screen from Screenline can be deployed as required for AV presentations This is joined by four channels of SLX4 wireless mic systems from Shure to support presenters onstage and is mixed from the rear control room on an Allen & Heath Qu-16 via 5-inch FBT J5A monitors. Dual Shure UA844 and UA874 antennas ensure there is no loss of signal throughout the venue, while several connection panels have been integrated into the stage to provide PC, audio – via a 16-in/ eight-out Allen & Heath AB1608/X AudioRack – and HDMI patch-in capabilities. Elements onstage are highlighted via a selection ETC fixtures, including seven ColorSource CYCs, 10 ColorSource Spots, 16 ColorSource PARs and 10 SourceFour Zooms mounted both on bars above and to the side of the audience as well as directly above the stage. These are controlled via an ETC ColorSource20 AV console located in the control room. Finally, Oasis has hung a Hitachi CP-WX9210 projector

www.aaess.org

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Allen & Heath’s Qu-16 is flanked by a pair of FBT J5 monitors in the rear control room

MADE IN GERMANY

www.oasisppd.com

Januar y–Februar y 2020 PRO AVL MEA 37

NEWS: PROJECTS FEATURES: BROADCAST BUSINESS NEWS: PROJECTS

Trial run

EZpro equips Fuzhou Strait Brompton processes Culture andRapture Art Centre theatre Eminem’s CHINA: The newly built Fuzhou Strait Culture and Art Centre is designed to represent the five petals of a jasmine blossom. Each petal is an individual building serving a different purpose. There’s a 700-seat multi-functional theatre, as well as a 1,600-seat opera 1,000-seat concert HONGhouse, KONG: aBoth A-Team Plus our performance expectations in hall, an art exhibition hall and a and Show Bros, providers in rental both these areas, and when we saw movie centre.and Shenzhen EZpro broadcasting production how easily Bolero can be integrated Sound & Light Technology equipped equipment in Hong Kong, have each with legacy two-wire systems, we the multi-functional theatreBolero with invested in two of Riedel’s were sold. My team loves Bolero’s awireless sound system comprising EAW intercoms, which include plug-and-play capabilities, and speakers and Symetrix processors. beltpacks and antennas. we look to using it in our ANZ: Eminem’s Rapture tour driven byforward Brompton Technology The theatre wallsenvironments, are covered ‘In our live event upcoming projects.’ broke several attendance recordsa Tessera SX40 4K LED processors with bamboo blocks, cut broadsolid range of coverage David managing director throughout Australia and for Neweach and XD Chan, 10G data distribution into shapes that conform to both apron, while multiple EAW CR72z antenna and long beltpack battery at Show Bros, added: ‘We had Zealand with five stadium shows, units, supplied by NEP Worldwide acoustic and visual requirements. cinema surround monitors serve as life are key factorstickets in ensuring been on the lookout for a reliable including 80,708 sold a subsidiary Big Picture. They simultaneously reflect and fills around the audience area. seamless production,’ said Ray and robust wireless intercom for the gig at Melbourne Cricket ‘We were able to have a central diffuse sound, enhancing the The Symetrix Jupiter 4allaudio Mok, managing director A-Team solution. Weposition evaluated of the Ground. A total of 1,494at LED panels processing with multiple acoustics for the audience. DSP system manages theafter sound Plus. employed ‘Riedel’s Bolero exceeded major manufacturers but, were as parthas of the set, XD locations around the stage, a EZpro mounted EAW JFL213 system, with four analogue inputs displaying cinematic visuals and minimising cable runs,’ explained two-way line IAAF arraysWORLD to the left and and four analogue outputs. Jupiter WHEN THE CHAMPIONSHIPS scenography. These panelsATHLETICS were Jeremy Moore, head of displays at right of in the stage. four the competition provides a variety arrived Qatar for In itsaddition, 17th edition, made of EQs, FIR filters EAW MK Series andseen other headlines for all passive, the wrongtwo-way, reasons. It was byprocessing many as options. Its full-range have turnkey somewhatloudspeakers of a trial run for thebeen upcoming85 2022 FIFA apps World simplify set up flown on the side walls of the for mixing, routing, Cup. Several people had doubts about the gulf state’s abilitycrossovers

for sound reinforcement and Big Picture and crew chief for the loudspeaker management. An tour. Rapture’s video rig comprised embedded web server hosts a large upstage wall formed from Symetrix’s Arc-Web browser-based 620 ROE Carbon panels, four tower interface for managing the system screens of 144 panels and two on smartphones, tablets and IMAG screens, each with 360 panels computers. of ROE Visual MC7 for a total of ‘We chose the Jupiter 4 due to its more than 13 million LED pixels. incomparable flexibility, input demo of Riedel’s Bolero,4x4 we made The SX40 LED processor offers a and output control, and optimised our 4K decision in only resolution two hours.with We full 4096x2160 audio solutions apps forchoice specific know we made the right zero-latency scaling, ChromaTune venues andbecause systems,’ explained with Bolero it provides colour correction and network-based EZPro seniorbenefits marketing our manager, exceptional end control. The XD data for distribution Mei Hong. ‘The audio quality isteam users. The time that the unit receives a 10G inputRiedel from the superb, as we have come totoexpect spent explaining the system us SX40 and distributes to the fixtures from Symetrix.decision Anothereven reason we validated more, via 10 1Gour Tessera Protocol outputs. chose Symetrix is thatthat thetheir Fuzhou and it’s good to know ‘We needed something user-friendly Strait Culture and Art Centreaway.’ support is only a phone and reliable,’ said Moore.call ‘Using is an extremely important and the SX40s allowed us to provide prestigious venue where system www.ateam-plus.com seamless processing and data failure is not an option, and we www.riedel.net distribution, with zero issues all tour.’ knew we could count on the Jupiter www.showbroshk.com to perform reliably for years to www.bigpicture.com come.’

EAVP andjoins Nexo Unilumin join school forces with theatre Barco

WORLD: Unilumin will be AUSTRALIA: Elite Audio Visual After running acoustic simulations collaborating with Barco after Productions (EAVP) has installed of the space, the EAVP team stakeholder andline controller a Nexo Geo S12 array of determined that in addition to two Unilumin, Mingfeng Lin,Joy signed system in the 900-seat main PA hangs, front-fill speakers an agreement which Ar transfers Shepherd Per forming ts theatre were required at the front of the million shares School held for at 45.89 St Hilda’s Anglican orchestra pit and delay speakers within theth. company to Barco at Girls in Per The venue ser ves were needed above the dress RMB9.16 per share. This partnership will also This collaboration will give Barco the opportunity to increase improve Unilumin’s core competence as well as promote its global competition by its development by optimising taking advantage of Unilumin’s the shareholding structure, competence in product facilitating global expansion system building, intelligent as a backup. In addition, vertical an LT750 KOREA: Munhwa Broadcasting alongside accelerating manufacturing and NPP Expert system was used at Corporation (MBC) was the official integration and horizontal Gwangju technology. Both companies will Women’s Gymnasium broadcaster for the 18th FINA World expansionUniversity in the LED display for also combine their competences the opening ceremony. Championships in Gwangju. industry. as well as work together The in the With Korean president Moon Jae-in broadcaster employed LaON Genie development of LEDadisplay in attendance, LaON distributor intercom system for critical wireless www.barco.com solutions and the promotion of SynkOn Production handled the communications at the solutions. competition www.unilumin.com cinema LED display communications setup, also venues, the Municipal Aquatics employing a Genie BS1000 and Center and Yeomju Gym. as the school’s main auditorium circle to deliver the desired A pair of Genie intercoms were linedin Qatar Genieright BS850 base stations with 45 exciting time for sport having a base www.bromptontech.com for activities and productions, coverage.now Theand solution installed to an RTS Adam matrix in each of beltpacks. here puts in prime position to be involved such great while also catering to us external ultimately includedinsix Geo S12 www.eaw.com MBC’s 4K UHD OB vans. Two Genie the future.’ events whenevents hired. in The old top boxes and two 18-inch LS18 www.ezprointl.com www.laon-tech.com remote antennas order were deployed INDIA: Mumbai-based rental ‘Thethe S10 isper small size and toted successfully deliver track projection, it was sound systemInhad star to subwoofers side,inalong with www.symetrix.co at both venues, with one serving company Sound.com has made weight withNaturally, the sound essential the stadiumwww.synkon.co.kr was dark. switching develop problems andthat didn’t three ID24 speakers forand front-fill its third investment in Adamson output of larger system,’ to host such a prestigious event with no prior experience. But the stadium lights a televised showabove is not provide the even coverage andoff during and fourpower moresports asadelays production D’Souza continued. ‘It is a great loudspeakers this year. The latest these were purely logistical reasons. Typically, eventsquality like has been something broadcasters are comfortable with, so Weber power needed for the theatre, the balcony. The entire system is purchase, made through distributor which had a commissioned filla when used inthe conjunction with these attract negative coverage for eithernegatively political oraffected technicalrecently in CT on to deliver VR by model Khalifa Stadium negative impact driven two of NEXO NXAMP4x4 Malaysia as miss companies theproduction E-Series amplifiers, and proves to Sonotone, comprises 24 S10 reasons, spectators can’t see or hear the action and that have not featuring athletics apparatus, overlay andhoused theholdin external hires. Therefore, EAVP four-channel INDIA: The Mahatma Mandir Unite AP4 access no transmitters or recievers hung andbeyerdynamic been willing to invest in worldloudspeakers, bringing the rental its own, even when used as once-in-a-lifetime chance to see a record being broken. At Doha, proposed LED screens track projection to present to a CHINA: Established in 1997, performances at the banquet. was commissioned to design and new racks behind the proscenium. Convention and Exhibition point transceivers. These are down below the ceiling. class above lightingall,fixtures standalone system.’ company’s to asystem total of it Chinese was the athletes that wereStarsing upset, criticising, the due to the broadcasters understood the concept. It quickly record company The MA-808 inventory wireless PA install the new solution. to ensure they ‘The new sound system now gives Centre in Gandhinagar been to the Dante The solutionbecame was anadopted eight- as a key connected price.Stadium. With few 72 units.the signals, reproducing ‘Sound.com isthat a leader in the lack of spectators at thehas Khalifa pre-production tool for thenetwork IAAF as Music recently celebrated its International received Theatre manager David Spooner us the flexibility we need in Athletes are projected onto the track during the openingchannel, ceremonymultilingual transmission equipped with new wireless and discreetly installed on also theKaran is hoping to increase ‘The marketplace audio industry,’ commented live viewers, broadcasting events out to the rest pre-visualisation of the entire 22nd anniversary with acoverage banquetof the‘Stanley the sounds of theserecognition instruments put together ita allowed project for brief for the venue,’ saidstadium. Spooner.It ‘There microphone and interpretation ceiling to cover the entire room. system formed from two production standards for the production company then tasked thethat specified andallappeal forthroughout the Adamson S10creating Nagpal, director of locations Sonotone. ofinthe world took on an increased importance this year. assistedthe theneed NEP team camera around Beijing. for toNEP hearwas the with hall. EAVP for in pre-planning is more than enough headroom in systems fromcompetition beyerdynamic. Also installed at Mahatma The 10-day is oneThe of the largest sporting events entertainment industry inbroadcast feeds that would be handed over to the event’s ‘Their continuous support of to– continues toMA-808 grow,’ said Warren thecould venuebeand even individual camera andand lens specifications A Mipro MA-808 portable ‘The Mipro worked a system that flown the equipment I never have 2 auditorium seats 2,000 up to athletes 6,000m Mandir were some 1,000 Unite MALAYSIA: Kuala in the world sawLumpur-based nearly from 209 Malaysia, as countries internationaloverall showsbroadcast facility provider, ITN, via its client Blessed D’Souza, of Sound.com. Adamson is indicative of to the patha visiton requirements and overall broadcast costs. wireless PAand system was employed perfectly inowner this environment,’ from the roofreducing to savesite space push the system. I’ve yet have 6,000 people and required an RP bodypack receivers with 1,000 AVtoand lighting rental house, compete. It also commands an impressive opening ceremony require world-class lightingProductions.commented As a member the NEP Group, CT and the NEPground; could ‘It seems that every engineer they see the live sound market To enhance the experience for those spectators inside reinforce the speeches given a of Starsing Music facilitate all customer complain that the system interpretation system fortop-level eight sporting sets of DTWe 22 headphones, 28 Unite ofor curveable 4.8mm Sound Innovations, has invested to rivalmusic that ofperformed any other event. IAAF fixtures, suchevent as the Robewere BMFL,’ able to spokesperson. share resources andportable work in tandem on manner several of events, that uses the system becomes heading. are very pleased subwoofers and eight S119 the stadium, CT subs deployed over 500m and during ‘Its from school was too loud not loud enough, languages. CC-36P cockpit charging cases, LED screens to display all the sports presentation content, inthe 40event, Robe BMFL wash beam presentation manager Florian Weber was responsible for said Joshua Seow, business aspects of the project. an immediate admirer. This box with our ongoing partnership anda at the start of the year. A couple of while an ACT-7 design reduced the time needed assemblies to rock concer ts; or that they were unable to hear The project brief also called for an SIS 122 control unit, seven SIS including event information, live video feeds, athlete lighting fixtures. The purchase was the athletics presentation concept and challenged Creative development manager at Tegas ‘Our local office fully supported the wider CT team with both has the opportunity for way more look forward to it growing in the months later, it followed up with an narrowband series wireless to configure the system and it could ensure even coverage presenter. Something that would Dante connectivity and specified 1202 double interpreter stations information and live results at key locations throughout the facilitated by Tegas Broadcast & Technology (CT) to deliver a projected track-athlete introduction Broadcast & Multimedia. human and technical resources,’ notes Irum Ashraf, CT’s dynamic range, way more clarity future.’ investment in 30 E15 line arrays, microphone system with ACT-72H covered the whole place evenly throughout the auditorium, on the happen regularly with the system that the new the system not and 14 DT 394.SIS interpreter stadium. Eight mobile LED monoliths that Multimedia. that covered entireshould running track, entertainment lighting, Middle East general manager. ‘Having been and high way more punch, that we part keepof several six E12 and enclosures, 64 E119 handheld transmitter was used with intelligibility.’ system picked up and transmitted ground the balcony; and wasbattery-powered that we replaced.’ interfere with the auditorium’s LED headsets. www.robe.cz www.adamsonsystems.com could be positioned anywhere around the athletics arena Sound Innovations owner Stanley LED athlete entrances for both track and field positions, and athletic meetings held in Doha over the last year, CT’s local needing more and more of them.’ subwoofers, 24 M15 monitors and for capturing the spoken word audio from guitars and traditional from a reputable brand with easy screens, Wi-Fi ceremony or UHF frequencies. A AP4 access www.online-sound.com displayed live for athletes’ names and country flags were Edward decided invest in theon top www.soundinnovations.co an LEDvocals. medal podium of the usual event office playedwww.mipro.cn a Sound.com pivotal role in providingbought knowledge of the local originally 12Unite S7 line arrays withpoint fourdata S118 www.eavp.com.au and ThetoACT-7 wireless Chinese string instruments during access to par ts and technical transceiver from for thethe ceiling www.beyerdynamic.com In addition, the client asked that www.tegasbroadcast.com.my www.sonotone.in also used first timewww.nexo-sa.com at such an event. Robe fixturescontrol due toand feeling thatrelay screens. presentation stadium International market, which48 helped with our successful delivery. It’ssuppor a veryt. hung S10 cabinets with 16 E119 subwoofers.

A-Team Plus and Show Bros MBC casts Genies commit to Riedel during FINA World Championships

CT and NEP brought the recent World Athletics Championship to life, both inside and outside of Doha’s Khalifa Stadium. PRO AVL MEA heads to the blocks

Sound Innovations Sound.com purchases further S10s invests in Music Robe celebrates Starsing Uniting languages at Mahatma Mandir with Mipro

1/4 PAGE 32 PRO AVL ASIA September–October 2019 38 PRO MEA Januar y–Februar 22 November–December 2019 38 AVL ASIA July–August 2019y 2020

FEATURES: BROADCAST

Over 100 21,000- and 31,000-lumen laser projectors were called on

The highlight of CT’s involvement was undoubtedly the track projection, with over 100 21,000- and 31,000-lumen laser projectors deployed to project custom content across the entire running track. Over a year in planning, CT hired a local athletics track close to its headquarters in London to undergo a feasibility study, measuring the required light levels for good image visibility and monitoring the colour of the projected image on the track surface alongside other LED display devices. The projector placement and required light levels were then modelled in a VYV Photon media server to work out how to project a single continuous image, while taking into consideration environmental and structural constraints of the stadium as well as other stakeholder requirements. CT provided cameras and switching to ensure a seamless delivery of the sports presentation content for the stadium LED screens, which included EVS playback, custom graphics, and real-time edit and playback for production highlights. In all, 24 broadcast and dedicated camera feeds were fed into the PPU and sent out via the switcher as four separate HD video outputs, each fed to the stadium control system over a Riedel MediorNet wide area network (WAN). Communication and audio feeds were also transported along with the video signals via the MediorNet WAN. The German intercom specialist was also the brand of choice for the event presentation and broadcast production teams’ comms requirements. The event presentation setup was built around a Riedel Artist 128 matrix, featuring 16 comms panels and 12 ways of Riedel C3 beltpacks. Also managed through the Artist matrix were 20 Bolero wireless beltpacks for the floor management team and four CCP-1116 commentary units. As a backup, CT supplied 50 duplex portable radios. For the

More than 500m2 of curveable LED screens were deployed inside the stadium

broadcast rights holders, 150 portable radios with 18 duplex talkback channels linked with the stadium via an audio-overfibre solution. Given the publicised issues at the event, the broadcast perhaps took on an even more important function than normal. ‘CT were awarded the inside contract themselves while we got the broadcast contact,’ explains Jimmy Parkin, NEP senior broadcast sound engineer. ‘But because we’re both under the same group, we ended up working on some aspects jointly where possible.’ To cover the action, NEP deployed a grand total of 97 video cameras and more than 150 mics from Audio-Technica, Sennheiser and Sony, and created 10 production galleries onsite outfitted with flyaway equipment. ‘The high number of galleries was due to the temperature in Doha, which meant the organiser had to stack all of the competition in the evening,’ notes Parkin. ‘Usually the field events would be spread out across the morning, afternoon and evening but this wasn’t possible in Doha. We had to cover a lot of stuff all happening at the same time.’ In terms of creating the broadcast audio feeds for the competition, the setup favoured by NEP bore a striking resemblance to that used by NEP at the Wimbledon Tennis Championships held each year in London. It included three Artemis, five Summa and two Brio audio consoles from British manufacturer Calrec Audio, all interconnected over its proprietary Hydra2 network. ‘The Hydra2 network is crucial because it gives us the benefit of input sharing with mic gain and phantom control,’ shares Parkin. ‘Nothing else yet allows you to do this on a Calrec desk. The gain at the top of the fader channel is the head-amp

gain for the shared I/O. We have to control mic amp gains and there’s a lot of moving and shuffling about of equipment. With Hydra, anyone can get across anything. The world feed desk, for example, needs to be able to see everyone’s output in order to know what to fade up and make live.’ Full-size Calrec Artemis consoles were deployed in the World Feed and Track galleries, with an Artemis Lite preferred for the IAAF Presentation gallery. The five Summas and the pair of Brios took care of the seven Field galleries. NEP deployed approximately 150 microphones to capture the track and field action. Models included Sony’s ECM77, Sennheiser’s MD40, MKH 416, MKH 418 and MKH 816, and Audio-Technica’s AT-897, AT-4029, AT Pro-42 and AT Pro-45. It would be easy to assume that a big production company like NEP follows a tried-and-tested method working on large important events. ‘The beauty of flyaways is that you can trial new stuff,’ says Parkin. ‘If it doesn’t work properly, it doesn’t really matter, unlike a truck where everything has been fully integrated. The ability to change stuff on the fly as we’re fed different information about the event can be very useful.’ The attendance issues at the event garnered international attention, and video clips from inside the Khalifa Stadium were duly disseminated to news organisers around the world. Despite initial setbacks, local attendance did pick up in the competition’s remaining days and, from a technical standpoint, the games went off without a hitch. Nothing stands in the gulf state’s way as all eyes focus on the upcoming World Cup. www.ctme.co www.nepgroup.com www.worldathletics.org

DANTE NA2-IO-DPRO

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The NA2-IO-DPRO is a 2IN, 2OUT breakout box designed to

connect legacy audio equipment with the Dante® network. It features high-quality microphone preamps and 2 Dante®

ports for either redundant setup or daisy chaining. Audio parameters are adjusted by the DPRO Controller app.

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Januar y–Februar y 2020 PRO AVL MEA 39

BUSINESS: COMMENT

A letter from America

Dan Daley looks at whether or not the weather makes a difference

THOUGHT YOU COULD HIDE OUT IN YOUR SNUG LITTLE techo-universe from the controversy over global warming? Think again. As live events continue to grow in importance – we all have election seasons coming up – and revenue (Donald Trump’s rallies actually show a profit, though in part because he simply fails to pay some vendors), their sheer scale is moving more and more to the outdoors or into uncovered stadiums. And it’s no fun being at the mercy of the weather when the weather is becoming increasingly merciless. This has been going on for a while now, and sports venues and their AV systems have already been feeling the effects. Back in 2016, for instance, US Bank Stadium, the home of the Minnesota Vikings and host of the 2018 Super Bowl, had some of its exterior zinc panels start to peel away due to extreme weather. Eventually, one panel was ripped away entirely by high winds from the roof of an NFL stadium that was designed specifically for the region’s harsh winter climate, engineered to reduce snow and ice buildup. Repairing it required an additional 4,000 fasteners and took the better part of a year. Weather has become far more treacherous in recent years. The 2011 Indiana State Fair disaster, in which seven were killed and 58 injured when high winds collapsed the stage

during the band Sugarland’s set, has been the dark gold standard against which both the event production industry and increasingly volatile weather have become measured. But while safety for people is always of paramount importance, once that’s been addressed – and the Event Safety Alliance has done a lot of great work in that regard – the ability to keep the mechanics of live events protected has become of increased importance as a result of these sorts of incidents. Some systems manufacturers have been addressing inclement meteorological conditions for a number of years now, weatherising outer coverings and exposed elements of speaker cabinets. In recent years, though, a few have become more forthright about how climate change may be accelerating how weather affects outdoor sound system installations. Bose Professional, for instance, emphasises that its relatively new ArenaMatch series, which had its first sports venue installation at the 35,000-capacity Philips Stadium in Eindhoven, Netherlands in January, achieves an IP55 weather rating via features that include a three-layer stainless steel grille, a water-resistant woofer cone coating, industrial polyurea exterior coating and a moulded input cover. ‘We’ve had water-resistant products in the past, but it’s definitely been getting wetter out there,’ Aaron Niemann, mid-Atlantic territory sales manager at Bose Professional,

informed me. ‘Integrators that work on outdoor sports venues have been telling us that they want [speaker] boxes that can stand up to the elements as they become more intense.’ Rodger Von Kries, VP at Technomad, which offers lines of IP56 weatherproof speakers and waterproof sports PA systems, as well as IP66 waterproof outdoor amplifiers, said at the Infocomm Show in 2019: ‘There’s no doubt that the demand is growing for weather-resistant and weatherproof sound systems and [related] elements. The market for that kind of product just keeps growing.’ Danley Sound Labs is a standard for outdoor point source PA systems in college and NFL stadiums, and its speaker boxes use a number of weather-resistant properties, such as IP-rated wood and moulded plastic coverings. ‘Those kinds of venues have another thing that can really eat away at sound systems: salt,’ explains Mike Hedden, Danley’s president. ‘The more snow and ice you get, the more salt finds its way into the venue and onto the systems.’ The discussions around climate change continue to be contentious, but as the wind and the rain and the snow continue to pound on the fields and the roofs, the makers of the sound and video systems that have helped define this generation of live event environments are starting to take a closer look at how to keep those systems intact and working.

A letter from Europe

Phil Ward considers whether keeping quiet is the best policy SOMETIMES YOU JUST HAVE TO KEEP QUIET. BOTH SIDES of Europe are right now marking 30 years since what the Germans call the ‘Mauerfall’ – the fall of the Berlin Wall – both literally and in the political imagination. And if you’ve ever wondered how small, individual decisions by modest people are connected to sweeping world history, this is a perfect example. On the night of 9 November 1989, Stasi Lieutenant Colonel Harald Jäger was on duty at the Bornholmer Straße checkpoint in the north of Berlin. Disgruntled with his life and faced with thousands of clamouring East Berliners who had heard (wrongly) that the borders were now open, he repeatedly phoned his superior officers for advice. When one of them insulted his bravery in a conference call, unaware that Jäger was listening, the lieutenant colonel decided to say nothing and resolved, there and then, to open the border in defiance. He could not have known the enormity of that decision. Romania is one of the many countries to have been affected by the changes in Eastern Europe that, while evolving over many more years before, seemed to be encapsulated in that single night of breaking point for

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one individual and an entire regime. So much so, capital Bucharest even has its own Hard Rock Café. I know, freedom brings many responsibilities. And a good deal of polyunsaturated fat. And here, in Bucharest, we find another tale of how to let sleeping dogs lie. During the process of upgrading the Hard Rock Café’s audio system – a mouth-watering combination of Powersoft zoning and amplification and 23 Martin Audio loudspeakers – the consultant insisted on individual control of all 23 speakers so that every single table could, in theory, decide its own acoustic experience. This necessitated not one but three of Powersoft’s prestigious Ottocanali 4K4 eight-channel zoning amplifiers in the inventory, thank you very much. As you might imagine, installer Marius Craiu of Constanta-based AudioVision was delighted – not least because the generous payload of top-grade Italian amps was effectively superfluous to requirements. The Martin Audio speakers arranged throughout the restaurant are over 3m above the burgerconsuming covers, such that every table receives the output of at least three of them at the same time. To control them individually makes no difference whatsoever.

Did Marius point out this discrepancy, thereby reducing his invoice by two-thirds? I’ll leave you to decide whether he did or not, any more so than the Britannia Row LD who could have explained to a major pop star that the moody solo spot effect he so loved during one particular number was not, actually, deliberate: the generator had failed and all the lights but one had gone out. In truth, the whole atmospheric tableau was a complete accident. At least, as far as Marius is concerned, he now has a favourite consultant in Romania that he hopes will be involved in as many projects as possible. And the LD in question from Britannia Row has gone on to enjoy many more successful tours with this particular artist. It’s doubtful whether any walls will crumble or governing ideologies will fall as a result of a Hard Rock Café paying over the odds for zoning, or a singer giving credit where it wasn’t due for a creative production decision. But it does prove a couple of things: firstly, audio is way more critical than it’s often assumed, because if the PA had failed in a similar way during that infamous song there most certainly would not have been a congratulatory slap on the back for the FOH engineer; and secondly, whether it’s border patrols or burger joints, you’re not nearly in as much control as you think you are.

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BUSINESS: COMPANY PROFILE

Mediatech’s 2019 booth put conversation and networking at the forefront with an ‘in-the-round’ format

DWR’s main offices in Honeydew

SuperSport Studios got a complete DWR makeover in 2018

The relationships that are built

The company’s product demonstration room

Starting life as a modest lighting distributor, DWR Distribution has charted an exciting path in its goal to becoming a one-stop shop for entertainment and architectural fields, discovers Becky Abel

FOR THE PAST 13 YEARS, DWR HAS PUT PEOPLE FIRST. Despite a rocky start launching the company and attaining its first brand, DWR has flourished as a South African distributor, consistently broadening its portfolio of brands to offer all-new solutions, and even going so far as to directly support the local entertainment industry through the creation of the SOS Charity. None of this would have been possible without the vision of an amazing team, headed by Duncan Riley. After 11 years of working at Electrosonic, still the South African distributor for Harman’s Martin Professional brand to this day, Riley made the decision to resign from his role as a director and set his sights on something new. His garage at home quickly became the office and, in 2006, DWR, an abbreviation of Riley’s initials, was born with help from wife Sherryn and local freelance technician Nick Britz. But everything hinged on the support of one person, Robe’s international sales director, Harry von den Stemmen. As the main rival to the Martin brand in the region, von den Stemmen

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and Riley were already well acquainted. ‘Harry was our biggest competition; however, he wasn’t selling much because we were doing such a good job on the Martin side,’ jokes Riley. ‘Whenever he’d come to South Africa, we’d always make time for a drink together at the pub of rental owner Mike Jones from MJ Event Gear, even though we were competitors. Over the years, he’d asked me several times whether I would be interested in working with Robe.’ Counting on von den Stemmen’s support, Riley was working on a project for Metallica who were per forming in South Africa when he called Harry and asked if he was ready to distribute Robe. At first, von den Stemmen thought he was joking. ‘I was quite taken aback by Harry’s response. I was thinking, oh my gosh, my daughter’s just been born, I’m unemployed and I’ve got no real plan. It was a worrying time.’ After realising Riley was serious about taking on Robe, von den Stemmen invited him to the factory in the Czech Republic

to meet co-founder and CEO, Josef Valchar. The rest, as they say, is history. In the years since, DWR has been successful in helping specify Robe on all kinds of projects in South Africa, while growing to encompass 60 permanent staff members. ‘Everyone who works at DWR is a cool, sociable person that’s easy to get on with.’ This includes Riley’s partners, technical director Bruce Riley and sales director Robert Izzett. ‘Robert and my brother Bruce are two of my most important guys in the business,’ he comments. ‘DWR wouldn’t be what it is without these two, the staff and all the other people that make it work.’ As the company started to become more successful, it quickly moved to warehouse premises in Strijdompark, Randburg and is currently based in a 3,000m2 unit in LaserPark, Honeydew with additional offices in Durban and Cape Town. ‘The lighting side in the early days grew really fast and we were approached by quite a few manufacturers because word got out that we were doing a really good job,’ Riley adds. ‘We’ve associated ourselves with

BUSINESS: COMPANY PROFILE ourselves with some nice brands, always with the manufacturer approaching us, and everything has all just fallen into place.’ This is surely the result of the personal approach DWR takes to doing business. Relationships have always been important to Riley and his team, so much so that it has become the company motto, It’s all about the people. ‘The relationship with your client, the relationship with your supplier, it’s all a people thing,’ he adds. ‘Equipment comes and goes but we need to maintain relationships with our clients. At the end of the day, we are here to protect their interests and, if you look out for them, hopefully their business will come back to you.’ After 10 years focused on lighting distribution, DWR took its first steps into the world of professional audio in 2016. Ian Staddon, VP of sales at DiGiCo, was in South Africa searching for new partners. Staddon saw several rental companies on his trip and, when he asked who he could talk to about potential distribution, was recommend DWR by each and every company. That a manufacturer like DiGiCo threw its weight behind a distributor with no audio experience shows the power of DWR’s personal approach. The partnership came on the condition that someone would be appointed to ‘do the product justice’. Riley approached Kyle Robson, who was already working with the brand for the previous distributor, and brought him under DWR’s wing. However, this was just the beginning of DWR’s venture into audio. In 2018, it became the South African distributor for L-Acoustics, another high-profile audio brand that commands a lot more than simple box shifting. This was on the recommendation of Gearhouse’s Ofer Lapid, one of the French manufacturer’s biggest users in Africa. As with DiGiCo, Riley sought a dedicated DWR representative that could nurture the brand, and one of Sound Harmonic’s owners, Richard Smith, was quickly brought on board.

DWR helped support the first South African L-ISA production on The Voice earlier in the year

Bruce Riley, Duncan Riley and Robert Izzett DWR’s portfolio of audio products was starting to become a heavyweight. But when it comes to the biggest projects and events, there was still a missing piece, a flagship communications system. ‘People here in South Africa really want a one-stop shop,’ states Riley. ‘They want to stick with a supplier that they feel comfortable with and we had nothing in our inventory for comms.’ With a couple of possible options on the horizon, it was another personal relationship that sealed the deal. ‘I was supposed to meet with Richard Palmer from Clear-Com at Mediatech last year, but the deal was sealed over a phone call after the event,’ says Riley. ‘There’s just something about Richard that came through in his personality. I felt good about the company and the person I was speaking to.’ The enviable selection of brands the company has amassed over the years has seen it involved in many of the popular and high-profile events gracing the continent, originally in theatre and houses of worship, but increasingly on prime-time television programmes like Idols, a project it has been involved with since the beginning. DWR has also worked on shows such as The Voice South Africa and will be working on Family Feud in the near future. ‘It’s so awesome to walk into the show and, because we have supplied every single piece of equipment, it essentially

feels like a our showroom. The most exciting thing for me to this day is to go to a show, see my clients and see your kit. It’s just something special.’ DWR takes its role in supporting the local AVL industry a little more seriously than most, and, in 2016, co-founded the SOS Charity Fund. Staddon had made Riley aware of a charity in the UK that provided assistance to individuals working in the entertainment industry that had fallen on hard times, for whatever reason. After recognising that a charity such as this was needed in South Africa, DWR established the SOS charity. ‘We get phone calls about the SOS Fund all the time and it’s such a wonderful thing to be involved with. It’s not all about business and money, it’s about helping people.’ Once again, as Riley jokes, it always comes back to the people. But that really is the essence of DWR – a company that is quite literally the product of the many personalities it’s home to. If he questioned whether he was making a sensible decision to go it alone back in 2006, Riley should be humbled at the fruits of his hard work. ‘It’s been a wonderful ride,’ he smiles. ‘I wouldn’t change anything and I’m looking forward to what the future holds.’ www.dwrdistribution.co.za

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Januar y–Februar y 2020 PRO AVL MEA 43

BUSINESS: COMPANY PROFILE

The band plays on

In the beginning: Luca Lastrucci, Claudio Lastrucci and Antonio Peruch

Twenty-five years later and still going strong

As Powersoft reaches its silver anniversary, the company’s founders reflect on how it’s more than just amplifiers that have powered the company

POWERSOFT’S COLONISATION OF THE PROFESSIONAL power amplifier arena would take time to explain to an industry outsider. Dominated by a host of C-initialled manufacturers, the amplification landscape of 1995 was inhabited by heavy toroidal transformers offering industrial strength weights and designs with a varied track record of reliability. Today, the brand may be synonymous with power amplifiers and modules, but this is no indication of where its onward mission will take it. It was all very different during those formative years at PLASA and Prolight + Sound Frankfurt. Together with his companion, Luciano Ciappi, Powersoft founder and president Carlo Lastrucci would receive bemused looks while promoting the company’s sleek Digam models. Channelling the energy levels of his products, Lastrucci remained unfazed, committing himself to taking the brand to unimaginable peaks – without clipping. The cornerstone of Powersoft’s success has always been based upon full ownership, which has allowed the company to pursue a passion for engineering. However, when brothers Luca and Claudio Lastrucci graduated from their electronics engineering degrees, Luca, the elder by two years, was absorbed in software and the possibilities of artificial intelligence, while electronics engineer Claudio was fascinated by power management and hardware. Although the brothers shared a passion for music, playing drums, piano and guitar together in pubs and bars, there was little to bind them together in terms of business. Having decided to start a company with Claudio’s long-term friend, Antonio Peruch, the trio looked at their wide-ranging skills and interests, and elected to try a little of everything. ‘It was supposed to be an engineering company,’ recalls Claudio. ‘It was the three of us collecting projects from various customers and doing the designs for many strange things. Not only audio devices, but automatic voice recognition systems, software, power conversion technologies and supply systems, conducting the installation of software and so on. Then we stopped and thought about what we could do.’ The name itself was easier to choose, reflecting the partners’ twin interests of power and software. ‘It was fun because we gained an insight into many different topics and technologies,’ adds R&D director Claudio. ‘We came to understand how to approach different technological problems and how to solve

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Musicians from the beginning, the future business partners play a gig in November 1983 them.’ Reflecting the fact that it has always seen itself as a developer of technology, at no point did the fledgling company decide to align itself exclusively to audio. However, Claudio and Antonio went on to pioneer the amplifier side of the company and its associated production processes, while Luca helped to revolutionise the public transport mobility system across much of Italy. As time progressed, ideas often flourished that would sow the seeds of patented technologies. Power Factor Correction (PFC), Differential Pressure Control (DPC) and other innovations hatched around the company’s humble kitchen and the Lastruccis’ dinner tables overcame new brand scepticism. However, it was the development of Switch Mode Amplification that clearly marked Powersoft’s arrival in the professional industry. ‘When we saw the potential of Class-D, we knew that we could attain huge power ratings,’ states Luca. Applying it to the professional market changed the rules of professional amplifier design. Although not a new technology, its application within the audio domain had been stunted and lacked a finished product until the Digam series was unveiled. ‘Nowadays, if you don’t have a switch-mode amplifier then you are virtually out of the market,’ explains Claudio. ‘But at that time it was a huge leap of faith. As a young company, we knew what we had was unbelievable and I was sure that within

two years the whole world would be working with switch-mode technology. It did eventually happen, but it was more than 10 years later.’ It’s hard to believe that Powersoft has now been in existence for 25 years. But the relatively short, yet impressive, time span has been enough to convince users that green, Class-D power in a 1U chassis was an investment worth making. ‘It was difficult in those early years because audio engineers are quite conservative with a fear of failure of new technologies,’ recalls Claudio. ‘The word “digital” 25 years ago was worrying because it was still in the early stages of adoption within the audio business. That design was an analogue modulation, but a fear existed that it could destroy the performance of the entire sound system. Education was vital in allaying those fears. You’re asking someone to trust you, but if they don’t understand you, it won’t work. Therefore, you have a duty to explain how your software, processing and other specific product behaviour operates and what benefits they bring. An amplifier is more than a datasheet – it’s a complicated piece of machinery that requires a lot of training. Without it, your brand development is stunted.’

The management team on the factory roof, complete with Deva units

BUSINESS: COMPANY PROFILE

Powersoft’s Scandicci HQ at night

The striking X Series As a family business, the market turbulence perhaps motivated Powersoft to power on to greater fortunes. The yesteryear C-initial manufacturers have largely been either cannibalised or consumed by larger brands. Perhaps Powersoft was simply more ambitious and opted to invest when others were cashing in. ‘We switched from THD to SMT technology as it provided more reliability and quality in production,’ says Antonio. ‘Then, in 2007, we increased the gap with our competitors by becoming the first manufacturer to introduce on-board DSP in our products, together with intelligence, firmware and software as we continue to create a smart product. In the past five years, we have introduced powersharing capabilities within our products that can be accessed via the Armonía system manager software. Ultimately, this will create an ecosystem for our products, while greatly benefitting our customers in the field.’ Without stopping to rest on its laurels after the success of Digam and the K Series, Powersoft’s innovations have since escaped the conventional modules and chassis in the form factors of the networked multimedia Deva, together with M-Force and Mover, making earth shaking an art form. However, as a force of innovation, the next stage of the company’s evolution remains unclear. ‘Both M-Force and Deva are good examples,’ continues Claudio. ‘We like to develop ideas that are allied to, but nevertheless outside of, the amplification niche.’ Deva, the manufacturer’s solarpowered tour-de-force of technologies, incorporates an 8-inch speaker and Class-D amplification for BGM and paging, plus video surveillance capabilities, Wi-Fi and GPS in addition to other features. The system is unlike anything else in the market. ‘But it’s still within our core competences,’ reasons Claudio. ‘With our mobility division, the software, our systems knowledge and audio, of course.’ Described by the company as a true push–pull moving magnet transducer, M-Force is based on switch-mode

The company floated on the Italian Stock Exchange in December 2018 principles with the added benefits of 25 years of improvements in technology, new materials, increased DSP power and the creation of Differential Pressure Control. When used alongside the accompanying M-Drive to create the M-System, it can form the backbone of a highly unique subwoofer. ‘We believe that M-Force is a revolutionary technology for subwoofers,’ explains Luca. ‘It will be like Class-D – everybody will eventually use it.’ Powersoft did not devise M-Drive as its entry into the woofer and transducer business, however. ‘Both our strategy and our interest is to provide the technology, rather than the final product,’ explains Luca. The direct descendent of M-Force, Mover, was unveiled in 2019. ‘We identified a gap in the market that was available and decided to fill it,’ he adds. With attention on the rising Tuscan star mounting, sales rose as its distribution network expanded. Less akin to empire building and more to managing unprecedented growth, the modest Scandicci office on Via Enrico Conti has expanded beyond the original no.5 and now continues to the end of the street. Satellite offices were established in Singapore and New Jersey from 2008 to provide localised servicing, sales and technical support for the Asia Pacific and North America markets, respectively. ‘The K Series was really our passport into the US and, as such, we had to increase our level of support there,’ confirms Claudio. Similarly, the company’s Florence-based workforce has taken on a more international flavour over the past decade, with renowned technical, engineering and sales support. ‘Powersoft has been continually growing and we need to find the right resources,’ adds Luca. ‘However, as a technical company, you cannot rely on Tuscany to find the right people with wide skill sets, so we looked outside of Italy. All we ask of them is to learn Italian and enjoy eating Italian food!’ Likewise, the expanding manufacturing capabilities had to mirror the company’s ambitions – a formidable task kept in check by production engineering and project management director Antonio. ‘The main plant near Bologna produces phase-out rack amplifiers and PCBAs [Printed Circuit Board Assembly] for Quattrocanali, Ottocanali and Duecanali models, while the modules are manufactured in the north, close to Gorizia,’ he explains. ‘Another plant to the south of Tuscany is equipped with PCBAs for production and there is another highly automated plant based on Lean production close to our headquarters in Scandicci. Here, we conduct the final assembly and testing phases prior to shipping.’

As a respected amplifier manufacturer, collaboration with other producers remains pivotal in the company’s ongoing success. ‘We have always considered a sound system as one unique thing,’ explains Claudio. ‘The fact that we don’t build speakers doesn’t mean that we don’t take care of what’s inside a speaker or what transducer behaviour is, so it’s important to have cooperation both with customers and other manufacturers to provide a better solution.’ The fact that Powersoft is still perceived as an amplifier company doesn’t frustrate him. ‘Once you know what goes into an amplifier with processing software, hardware, power, compliances, speaker knowledge and so on, you become quite qualified in understanding other technologies and problems that need to be addressed in the signal chain.’ There appears to be no secret formula for staying ahead of the technological curve. ‘No general method can be applied, but you can stimulate the careers of people with different skill sets,’ explains Claudio. ‘We work with universities and with specific companies that provide new technologies, while continually developing within Powersoft. When combined, they will reap benefits at some stage over the next 10 years and hopefully break conventional engineering.’ Twenty-five years on, Powersoft continues to be a family business, but everything changed in late 2018 when it was listed on the Italian Stock Exchange. ‘This was a challenging project, but it was also very important for us,’ recounts Luca. ‘We decided that we needed to be armed with a trigger that would allow us to jump into the future, to change our culture internally and our internal processes in order to prepare the company for future challenges. Rather than being the end of an era, it’s a new start, offering transparency for our partners and customers.’ As the company that started in a garden shed looks to relocate to new, bigger, purpose-built premises in 2020, its founders’ discarded musical instruments appear to have gathered dust. ‘The three of us started with an idea and, after 25 years, we’re immensely proud to be where we are now – a leader in the professional audio market,’ Luca comments. But it would seem that success comes with a price. ‘We loved playing music together, but we have no time for that now,’ he adds. ‘Perhaps in the future there will be the opportunity to play together again.’ Given the momentum that Powersoft has maintained, this unique ensemble is more likely to be generating pink noise rather than light jazz. However, Claudio can’t resist a nostalgic glance at his kit. ‘Maybe it’s time to get back to the drums,’ he remarks, suggesting that among all the ingredients contributing to Powersoft’s success, the musicality of its founders is not to be underestimated. www.powersoft-audio.com

Januar y–Februar y 2020 PRO AVL MEA 45

BUSINESS: TECHNOLOGY

Filling the gap

Richard Lawn travels to Cornwall to meet Allen & Heath’s new digital console, Avantis

Managing director Rob Clark

CELEBRATING ITS 50TH ANNIVERSARY IN 2019, Allen & Heath marked a distinguished half-centur y in the enter tainment technology industr y with a notable product launch. As an early pioneer of analogue mixers, the company began its digital journey in the mid-1990s. By focusing on affordable, quality audio without sacrificing per formance, the brand found a successful gap in the market and has since gained increasing recognition as a pioneer of digital console technology. Following several changes in ownership over its long histor y, Allen & Heath is now under the stewardship of Audiotonix alongside Calrec, DiGiCo and Solid State Logic, making it well poised to meet the challenges of the next half-centur y. Having significantly invested in its

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R&D director Andy Bell

Cornish R&D team, Allen & Heath continues to listen to its growing database of users by developing products with a ready-made market. Its third 96kHz digital mixer, Avantis, is a 64-channel/42 configurable bus console with twin full HD touchscreens, extensive I/O options and processing from the company’s flagship dLive mixing system. Remarkably, the console’s origins only date back to early 2017, when managing director Rob Clark threw down the gauntlet to R&D director Andy Bell to plug the gap between the successful dLive and SQ platforms. ‘At the outset, the internal development name for this project was “Bridge”,’ explains Bell. ‘We knew from our customers exactly what was needed – a console that

Product manager Nic Beretta

could handle higher channel and mix counts than SQ but was accessible at a lower price point than dLive. ‘Meeting one of those criteria would be simple, but meeting both would not. So, I started sketching out different concepts, trying to find a winning formula. The first key decision was to integrate the I/O and processing in a single unit, which immediately sets it apart from dLive, which has a more flexible, mix ‘n’ match architecture. Initially, Avantis took a lot of inspiration from SQ but, as we got further into new ideas such as screen integration along the bottom edge and the channel strips migrating onto the glass, it rapidly took on an identity of its own.’ The first simple 3D creative of Avantis was a 1:1 cardboard model with printed graphics glued to its

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BUSINESS: TECHNOLOGY exterior. This visual basis allowed the extensive R&D team to add their input into the initial design. Of the 55 engineers in the depar tment, 20–25 of them worked on the Avantis project. ‘The team got around it and knocked the corners off it,’ recalls Bell. ‘They were asking: “where does this button go?” or “how do I get that feature?” So even before anything had been built, we were tr ying to balance economics with materials and to stimulate new creative ideas.’ Input was also received from working audio engineers throughout the process. ‘Ever y detail was discussed and challenged along the way as we advanced through increasingly sophisticated prototypes,’ continues Bell. ‘The decision to substitute a normal rugged plastic with the diecast metal chassis that is a distinctive feature of Avantis was made ver y early on. So it was a journey, which it always is, but we’ve ended up with a console that is close to what was initially intended, despite a few wrong turns along the way.’

The console’s origins only date back to early 2017, when Rob Clark threw down the gauntlet to plug the gap between the dLive and SQ platforms Allen & Heath has made much of the technology platform underlying its current generation of 96kHz digital consoles. First seen in its dLive series and later miniatured for use in SQ, Avantis is the third mixer to benefit from the company’s XCVI FPGA core. ‘Console designs previously incorporated a number of discreet chips, each one processing eight channels of audio with a number of limitations,’ explains product manager, Nic Beretta. ‘Now, it’s all integrated into a single FPGA core,

for which the single chip is pretty much the size of a stamp. Yet it’s incredibly power ful, providing dLive and Avantis with an ability to mix all the input channel counts and all the processing with only 0.7ms of system latency from input to output. I don’t think there’s another competitive console on the market that can achieve this with the same amount of processing. In addition, all the mix outputs are phase coherent, regardless of the path that you take internally in the console.’ Encased in its alloy shell and tubular frame, the Avantis control sur face is centred on two full HD touchscreens with corresponding rotar y controls. ‘Having two touchscreens isn’t a new concept, but we realised we could use it to unlock exciting new possibilities,’ explains Bell. ‘This led us to develop the Continuity UI. Within seconds of getting hands-on with Avantis, engineers appreciate the seamless flow between the physical controls and the on-screen software. You can work gains and pans on the rotaries, then, at the touch of a soft key, switch to EQ or dynamics across the whole strip. The console also provides a highly configurable FastGrab tab on the right-hand side of each screen, offering another way to quickly and easily access control of aux sends, EQ, compressor and FX on the currently selected channel or spot channel. With Continuity UI, the user decides how they’d like to work – not the mixer.’ For a digital console to make

its mark, intuitive features are a prerequisite. ‘Upon their first inspection of Avantis, engineers often ask where the select key has gone,’ Bell continues. ‘However, within two minutes, they realise it’s all within the touchscreen user inter faces, where you can do so much more. It’s extremely intuitive with pre-post switching, safes and freeze layers in Continuity UI, and the large symbols indicate whether it is locked or unlocked. The large propor tion of touchscreen real

48 PRO AVL MEA Januar y–Februar y 2020

estate created many challenges for us, such as stress testing the glass. We spent a lot of time sourcing the right products from the right component manufacturers to ensure it’s reliable.’ Within the Allen & Heath R&D labyrinth, several testing rooms pose as tor ture chambers for those par ts auditioning for a lead role in future console designs. Here, the components including the touchscreens are subjected to real-world tests for long periods, including dust, sand, heat, humidity, sticky liquids, fizzy drinks, vibrations and drop tests. ‘Over the past few years, we’ve star ted simulating touring abuse and anything that will end up at some stage within a console chassis. As a result, we are confident that the consoles are reliable and fit for purpose. You don’t expect the customers to drop a console, but you need to develop a good stress test for such an eventuality.’ Given the ver tical market sectors that Avantis aims to penetrate, flexibility is paramount. While many users will choose to pair Avantis with the 48-in/16-out GX4816 audio expander, Avantis is also par t of Allen & Heath’s Ever ything I/O ecosystem. This allows an operator wishing to build a compact system or a rental company with existing Allen & Heath stock to connect to a large range of audio expander hardware. Avantis is also compatible with the ME personal mixers and IP hardware remote controllers. For local I/O, Avantis is equipped with 12 XLR analogue inputs, 12 XLR analogue outputs plus AES (stereo in and dual stereo out). ‘Ever ything I/O is a concept we’re fully committed to,’ explains Bell. ‘If a customer already has Allen & Heath I/O boxes such as the AR2412 and AR84, we want them to have the option of using these with Avantis. Equally, with por table expanders like the DX168, they can easily add more I/O wherever it’s required, or maybe they need the output-only DX012. Altogether, there are 10 different compatible I/O boxes, including wall-mount I/O for installs, which gives Avantis a great deal of flexibility.’ With the integration of the S-Link por t on the rear, users can access the full range of audio expanders and system solutions including the ME1, ME500 and ME-U hub from the ME personal monitoring suite. With the addition of two additional I/O por ts, each capable of providing 128 bidirectional channels at 96kHz, Avantis can draw on a full range of current dLive option cards. Fur ther expanding the scope for system integration, FOH/monitor splits and multitrack recording, popular dLive cards include Dante (64x64 and 128x128), Waves, gigaACE and superMADI. Avantis incorporates processing tools including compressors, EQs and the Cornish innovator’s RackExtra FX units with 12 slots. The optional upgrade to dPack expands Avantis fur ther with additional dLive processing

BUSINESS: PRODUCTS TECHNOLOGY

AKG is on the move

TASCAM

including the Dyn8 dynamics engine, DEEP compressors Avantis fits the classic FOH, monitor or broadcast mixing looking for in this area, the more certain we became that and the Dual-Stage Valve preamp. For a one-off payment, application per fectly.’ we needed a new solution. Avantis brings next-generation dPack purchasers automatically receive all future DEEP Looking back over the two-year Avantis journey, Bell performance across the board. Technicians in venues, and FX updates free of charge. Differentiating Avantis recalls when those first concept sketches took on life. houses of worship, touring and the rental market are going AKG has from SQ and dLive, the dPack element of Avantis took a ‘Continuity UI recently was central to the design but, as it was to be seriously impressed by how well this ticks theHARMAN boxes. BRAND K361 K371 long time for the software engineers to conceptualise, on and paper, I was anxious as to whether it was going It’s a really exciting mixer at a compelling price.’ released the all professional studio headphones. Bell admits. ‘All these tools are included as standard to work. We were attempting to create a seamless Tasked with advancing sales of Avantis, Beretta applauds feature a what you see on the screen and the with our flagship dLive systems, while on SQ the user blend between how the in-house engineers managed to completeThe headphones foldable, compact design which I was sitting there looking at it on can buy individual add-ons. For Avantis, we’re offering physical controls. the two-year tightrope challenge. ‘In terms of the key usersworr to create the convenience of a one-time key for access to all the paper, ying if our users were going to understand differences, we see dLive as a much more flexibleis said to allow content, whether in powered it up, I could see it all come additional processing.’ this. When we first distributed system. dLive is not only more scalableprofessional in the studio or together on the move. The fact that the head mechanical engineer at the on the display. It worked, and ser ved as one of terms of inputs, outputs, channel count and bus count, The K361 and K371 are the when you realise that you’re on the right company was previously an army tank commander goes those moments but also in terms of the distribution of different processing first ofaAKG’strack.’ professional some way to explaining why Avantis further distinguishes and control elements where you can mix with or without dynamic of 116dB to have anflicker oval of electrical energy sparking up the itself from range the pack with itsand all-metal chassis frame. With that control sur face. With dLive, you can mix and matchheadphones from crosstalk at 119dB. Eacha super-strong tubular frame, earcup shape to 15.6-inch reportedly touchscreens, the bridge had been built, ‘Avantis is encased within twin a range of seven different rack engines and six different also includes a singleprovide a comfortable fit and orchannel exoskeleton, and a die-cast chassis,’ Bell continues. the gap filled. sur faces and then start building a system around them control analogue compressor better frequency response by ‘That gives it a lot of rigidity during transport, while adding with controllers, GPIO inter faces and networking cards. bypass for managing aligning withwww.allen-heath.com/avantis the geometry of a with very true dynamic, distinctive aesthetic look. Not only does Avantis distinguishes itself more as a standalone mixing signals creating a has arrived to depart it hot lookinput stunning butand I feel the time console. By incorporating the mix engine and the the human head. The earcups smooth audio input. True bypass also have a 90° swivel to from plastic, which is becoming a relevant environmental control elements together with the XCVI core, is available on a may per input basis. allow single-ear monitoring. topic. The market be used to plastic, but there is A pair of instrument/ The manufacturer is hopeful a lot of negativity surrounding it. This is our microphone the that the adjustable headbands opportunity to combo replaceinputs plasticonwith front panel allow users toand plug paired with slow retention foam something that is stronger in mics, guitars and an array of pads will provide a perfect fit for more durable.’ K361 other users. Both headphones feature As anyinstruments. R&D directorSix willbalanced testify, TH-06 mic/line an over-ear, closed-back design to bridging theinputs gap iscan onebeoffound the on the K371 sports titanium-coated XL monitoring headphones with interfaces. Using the two S/MUX the rear. Each microphone give users sound isolation in loud trickiest acts to balance. ‘Theinput diaphragms ranging from 5Hz to outputs at the same time, all an ‘enhanced bass response’ has individually +48V environments. mission from the switched outset was to 40kHz. The K371 headphones are eight Series 8p Dyna channels to reach the smooth, deep lows phantom power for use with The two models are equipped breathe some excitement into the also in tune with AKG’s Reference can be sent at up to 96kHz needed for producing music in condensermixer mics.space, Dual S/MUX with 50mm drivers and pure 64-channel which can also be Response curve, an acoustic (four channels at 176.4kHz or genres such as EDM, hip hop, oxygen-free copper voice coils that isoptical litteredoutputs with 48kHz old-school located on the Bell. rear, ‘In enabling use target that outlines widespread 192kHz). metal and R&B. are said to achieve clear sound consoles,’ says many ways, as a front-end expander for to create The Japanese manufacturer has hearing and listening preferences. and acoustic precision for users. maybe it would’ve been easier www.tascam.com or ADAT-equipped audio SQ toalso The K361 uses an extended 15Hz a S/MUX scaled-down dLive or scaled-up fill developed the TH-06 Bass to 28kHz frequency range, whileAvantiswww.akg.com this space, but the more we examined what customers were with the GX4816 audio expander

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67 Januar y–Februar y 2020 PRO AVL MEA 49 Dante® is a registered trademark of A udinate Pty Ltd .

BUSINESS: TECHNOLOGY

The next phase of AVoIP

Matrox shows its first AVoIP products at InfoComm 2012

Samuel Recine, sales director at Matrox, discusses interoperability, brand competition and a brave new AV world with open standards THE AV MARKET HAS BEEN STREAMING VIDEO FOR many years. The entire video telepresence market, for example, was based entirely on finely tuned, high-quality video in optimised low bitrates. Even though streaming video and audio-over-IP was in heavy use for large facility and multi-site applications, it wasn’t until around 2010 that first-movers in the AV industry began to speak about replacing core onsite AV infrastructure from baseband analogue and digital audio/video extension and switching with an AV backbone that functioned entirely over IP as well. As with any disruptive changes, many leading incumbents in the market resisted the notion. Selling proprietary switches was far too lucrative. So, for several more years, the market was treated to public discussions about the resolutions, quality, latency and other performance characteristics that could or could not be achieved over IP. But customers had eyes and ears and could see for themselves that it was clearly possible to achieve the same level of content quality and performance using IP instead of hardwired baseband technology such as VGA in analogue or HDMI and HDBaseT in digital. Before long, every major AV manufacturer had launched some products that could support AV extension and switching over standard IP. Corporate, government, military, medical and other end users were also simultaneously experiencing advances from the IT world and using everything from Netflix for entertainment; to YouTube and Facebook for training and marketing; to Skype and Zoom for collaboration and corporate communications; and to video management systems like Panopto, Kaltura and Brightcove to build, maintain and deliver both live and ondemand, user-originated content. The end users were exposed first-hand to the billions upon billions of dollars that had poured into R&D budgets from the IT world to advance things such as audio and video encoding and decoding and codecs for compression. The amazing progress in both real-time and on-demand video delivery over bandwidth-constrained environments revealed to users the inevitable convergence of their data, communications and performance AV applications over a common communications protocol.

50 PRO AVL MEA Januar y–Februar y 2020

is an application that demonstrates that some users are comfortable at 100ms. Almost 100% of users do not feel the latency at 50ms. So, the amazing, better, best-latency story over IP also died off sometime in early to mid-2018. And so by ISE 2019 and InfoComm 2019 in Orlando, you could see that just about every manufacturer had product lines or entirely migrated portfolios of products to support highperformance audio/video extension and switching applications over standard IP. In fact, many companies had granularities of uncompressed-over-IP, lightly-compressed-over-IP and highlycompressed-over-IP products in order to give customers choice for their applications. Uncompressed and lightly compressed AVoIP products tend to use less processing power (so cheaper chips) and therefore tend to have lower selling prices. When environments require a high density of endpoints and wireless is in play and data, communications or AV are being mixed and leveraged together, when the distances for AV applications are very large, or when the AV needs to traverse portions of network that have potential bandwidth bottlenecks – which is especially common when leveraging cloud or public internet – the products supporting maximum performance at very reduced bit rates are at the fore. Regardless of the quality, latency or other performance requirements of an application, the market is already serving AVoIP solutions for every application and the market is unquestionably migrating from baseband to IP. So, what comes next? As the industry’s knowledge of the impact and usefulness of IP-based AV matures, the second wave will clearly centre on open standards, interoperable ecosystems across competing brands and value pushed away from individual widgets and onto technologies and services that create useful interoperable environments that fully leverage the converged world of data, communications and performance media over IP. This breaks down into two topics: open standards and interoperability.

Open standards

Illustration of quality versus bandwidth While ‘quality’ has both mathematical and objective measurements as well as subjective elements, one thing the market could clearly benchmark was ‘bandwidth’. The resulting comparison of quality versus bitrate is a matter of fierce debate and can vary by user and by application. But, across a spectrum of users and applications, the graph above shows that for a significant majority of AV applications, the best codecs from all bitrate levels can produce quality levels well above the target zone for text and video quality, and acuity. Because of the exceedingly low differentiation available over quality versus bit rate, the next argument that surfaced was to slice and dice ‘latency’ again in zones of performance that exceeded customer needs for most applications. When the source and the destination are in the same field of view, such as a performer onstage standing in front of a jumbo videowall, there is some room for debate about the perceivable threshold such as one frame of latency – ‘glass-to-glass’ – that is, from camera lens transported and displayed on the screen. But, here again, the vast majority of AV applications are not like that. So, what is the acceptable metric for latency? IP-KVM is a good example. Having the PC several kilometres from the keyboard, monitors, mouse and audio speakers is an application that adequately tests if users can feel the separation when using their favourite applications. This

This topic refers to the long-term viability of proprietary technologies, whether that means proprietary uncompressed encoding techniques, proprietary codecs or proprietary transport and communications protocols. As markets such as 2D/3D graphics, live two-way communications and so forth have shown, no proprietary technology controlled by a single vendor has long-term sustainability. There are too many stakeholders that have different technological and commercial dependencies for this to ever be viable. 2019 saw the first major discussions in the AV market about potential long-term open standards that can guide the development of technology and products to assure the needs of the maximum number of products, services and user stakeholders are met. While the discussion has only really begun amidst shipping products, some of which are based entirely on open standards and others based on proprietary technologies, at least some viable alternatives were laid down for the first time last year. For example, AIMS started a Pro AV Working Group to engage with the community of end users, manufacturers, systems integrators, application developers and service providers to establish if the open high-performance media standards recently adopted by the live broadcast industry could be enhanced and adapted for open standards and interoperability in AV. The group of standards being presented by AIMS is encapsulated by the larger standard known as SMPTE 2110. This consists of multiple sub-standards to regulate encoding, video parameters, audio parameters, asset discovery on networks and security. 2020 will likely see the lively discussion about what existing, enhanced version of existing or entirely new standards will serve the needs of the industry for the next decade.

BUSINESS: TECHNOLOGY SMPTE 2110 already has provisions for low bandwidth environments all the way up to 25Gb/s (widely expected to be the next super node), 40Gb/s, 100Gb/s and beyond. This satisfies the most enhanced use cases for 4K, 8K and onwards. So, again, open standards deal with engaging the long-term requirements of all the stakeholders and is mainly about making investment decisions into things that have a viable future.

Interoperability Open standards just ensure that the core technology itself is supportable and continues to evolve with the necessary ingredients to meet the requirements of the market over the long term. Interoperability deals with hardware and software products playing nicely together. Some products in the market work with other brands. Sometimes this even includes competing brands. For example, an IP camera produces a standard H.264 stream. The codec and streaming protocols are based on open standards. But then, if the camera vendor only wants their own decoders to be able to decode and display the camera, this device cannot participate easily in ecosystems of products using third-party decoder software running on PCs, decoder appliances or IP videowalls. Or, if the camera has been developed so that it can be integrated into an ecosystem to maximise its usefulness, then it can work with the aforementioned software and hardware products. Interoperability is ultimately a manufacturer’s choice. Sometimes products are locked down to only work within one brand’s product line. Perhaps the manufacturer is taking responsibility for product interoperability within its family and causes restrictions to reduce its scope of quality assurance testing, technical support and warranty support. But these exclusions come at a price. When customers want to use the best encoder from vendor A or the top videowall from vendor B, and the leading recording

Matrox’s Samuel Recine and video management system from vendor C, they are precluded from doing so by products that are locked down and blocked from working with each other intentionally. Multi-vendor/cross-brand/cross-product interoperability is therefore a step above products based on open standards. You cannot build interoperability without open standards. But you can have products that are based on open standards that are not enabled to be interoperable. Many customers in AV express their goals in plain terms: ‘I want the kind of performance and interoperability I had with VGA in analogue and HDMI in digital. But I want to take advantage of IP to remove the barriers to the number or types

of devices of my ecosystems and barriers to distances of the devices on my ecosystems.’ This level of both open standards and interoperability is what the live broadcast industry is shooting for with SMPTE 2110. This is in part possible because the end customers in broadcast are very large and hold considerable sway over manufacturers. In the long-run, it seems inevitable that the AV world will need to adopt a significant amount of interoperability to engage the maximum usefulness of AVoIP to end users. It’s the customers themselves that will demand this. But it’s not immediately the case in the AV industry. AVoIP is de-facto accepted as the way to go. But interoperability is still in its starting stages in AV. Manufacturing resistance is one barrier. Skills in the integration, installation and services channels to create interoperable ecosystems over IP is another. Improving cooperation and collaboration between AV stake owners and IT stake owners is another piece that must evolve in tandem. In the end, imagine what it would be like to have emails that only work from one brand to itself. The market would simply not stand for that synthetic limitation. But maximum usefulness will not be achieved in AVoIP in one bite. This ecosystem needs to be built by customers, channels and manufacturers. Ironically, it’s the resistance by some key players to help advance interoperability that has large corporate and government end users looking at alternatives for their workflows and applications. I don’t think AV companies quite realise just how much software and hardware companies rooted in the IT world are coming on strong with useful products for a myriad of AV applications. Instead of merely competing with each other, I expect AV manufacturers are going to continue to let in other products and schools of thought until they put aside their differences and work towards common goals that help advance the industry and give end users the utility they are paying for. www.matrox.com

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UNLEASH YOUR CREATIVITY.

Januar y–Februar y 2020 PRO AVL MEA 51

Visit us at NAMM in boot h #17907 and hear our speakers live at the Hilton Lobby Bar. See us again at ISE hall 7 stand S224.

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NEWS: EDUCATION

INSTALLATION • AV • LIVE SOUND • BROADCAST • POSTPRODUCTION • RECORDING • LIGHTING A–ZCONTENTS

dLive training delivered across China

AJA HDR Image Analyzer 12G/Kumo 6464-12G 84 AKG Lyra 68 Alcons Audio BF121 59 Altman Lighting AFS-500/AFS-700 83 Amate Audio N12PR/N15PR/N18WPR 54 Antelope Audio Auto-Tune Synergy 77 Apantac Mi-16-UHD/Mi-8 12G UHD 80 APG iX series 54 Attero Tech Synapse D32Mi/unIFY v3.4.0 65 Audio Precision APx500 Flex 78 Austrian Audio OC818 68 AV Stumpfl Fullwhite 82 of support offered by our partners and it gives Avid S4/Media Composer 2019 72 Axiom Pro Audio AX1012 56 me great confidence that we’ll start to see B-Tech AV Mounts BT7007 84 more Allen & Heath solutions in the region.’ B&C Speakers DCM414/15DS100/18DS100 60 BAE Audio 73EQL 73 Those in attendance were also able to get Burl Audio B4 Mic Pre/BAD4M 73 hands-on with some of the equipment, using BXB VDM 4010/VDM 4020 65 Christie Eclipse 82 multitrack distributed via a Dante network. Danley Sound Labs FLX-12/J7-95 54 The course covered both live sound and DiGiCo Chilli 6/Mustard 74 DSPPA LA1512S/MP135M/MP30W 58 installation applications for the dLive system. Dynaudio Sub RCC 60 ‘Léon led our clients to explore many of the EAW RSX208L 58 Ecler VIC Series 60 powerful tools that dLive provides,’ said Tao Eventide Omnipressor/Rotary Mod 78 Cheng, director of the rental department at Exterity ArtioInsight 78 Léon Philips providing training in Beijing Extron IN1804 DI/DO 66 EZPro. ‘They were also greatly impressed by GatesAir VHF Band III power amp 64 CHINA the hands-on tips and techniques that Léon Genelec 4430 53 Grass Valley GV Stratus One 84 Allen & Heath recently partnered with its offered. This certified training was incredibly Harman CloudworX Manager 76 INDIA HH Electronics TNA series 56 Chinese distributor, EZPro, to conduct a series successful in helping our clients have a deeper High End Systems TurboRay/SolaWash 1000 QSC’s distributor for Western India, Dev JBL EONfirmware of dLive certified training courses in Beijing, updates, recording capabilities, 89 understanding of the series.’ One 54 Just Addavailability Power Instant appeditors and remote 80 Electronics, recently conducted a Xi’an, Chengdu, Shanghai and Shenzhen. ofInstall offline Lab.gruppen PDX3000 60 www.allen-heath.com demonstration of the manufacturer’s The sessions were led by the manufacturer’s apps.Venue 2-941 Lectrosonics 66 Mackie ProFXv3/SRM-Flex solutions in the live demo room at its technical marketing manager, Léon Philips, The event reportedly received a positive 72 Marshall CV503-WP 84 Mumbai headquarters. Sound engineers Martin Audio who provided a complete overview of the dLive response attendees engaged with the 77 Vu-Net as 2.2.0 Modulo Pi KineMotion and technicians from a variety of market ecosystem over two days in each city. solutions on show. ‘Dev Electronics and 80 Neutrik NA2-IO-DPRO 84 segments attended the event, which focused ‘The sessions were very lively and we are committed to providing the latest80 NewTek QSC NDI version 4 Penta prompt 720/Penta 721 in large part on QSC’s range of TouchMixNTP Technology spent a lot of time going through the range technology, customer service and 66 Optoma ZU606TSTe/ZU606Te/XH606e 82 mixing consoles. Dev Electronics also used of on-board DEEP processing, the Dyn8 up-to-date knowledge,’ said Dev Electronics’ Panasonic AJ-CX4000GJ/AK-SHB800 86 62 THE NEW processor, 4430 two-way active methods and produced from recycled the event as a launch pad for the new Pascal U-A1/U-A1D multi-band the FX racks and director, Dilip Devjani. ‘These kinds of with device discovery, a versatile Philips Collaboration with Exterity/MediaSuite 80 installation loudspeaker fromreal Genelec aluminium. 4430 is available in region. PixelFLEX KS118The active subwoofer in the their sonic applications in the world,’ initiatives are very useful and recommended room equalisation tool set, system FlexUltra XT 82 PR Lighting Aqua 580 BWS/Aqua 580 Beam 86 is a compact enclosure, compatible black, Those white or selection of 120 in aattendance were introduced to the as a must-visit for every pro audio explained Philips. ‘The engineers had awith very organisation and status monitoring Prolights eclipsePARFC/eclipsePARTU 86 bothstandard Dante and AES67 IPcompetence audio streams custom RAL colours. is availableQSC KS118 various features The and speaker I/O options high of technical and professional.’ functionalities. In addition, the 4430’s 59 RCF Business Music Solutions series/TTW 4-A 62 and deriving power from PoE andofPoE+ compatible Genelec’s range on the with TouchMix desksexisting and were able to get were keen to explore the flexibility the dLive APIs support the hooks allowing for RME SteadyClock FS 64 www.develectronics.com via a proprietary internal power of mounting accessories, which allowscoveredRobe Esprite hands-on with them. An overview surface layouts and different wayssupply to control external control via third-party software 89 Robert Juliat ZEP2/Maestro 88 The Shanghai session www.qsc.com thatsystem. helps with thetodelivery of 104dB oflevel and it to be ceiling-, wall- or trussthefloor-, consoles’ compatibility, the latest the I’d like thank EZPro for the hardware or training house automation. Rohde & Schwarz BSCC/Tx9 64 short-throw SPL thanks to a pair of 50W mounted. Supporting up to eight channels of Roland V-60HD v2.5/V-1HD v2.0/V-02HD v1.1 78 Ross Video Gator-Toolbox/NWE-IP/MC1 UHD 82 Class-D amplification stages that feed ‘Our research into IP loudspeaker audio across a stream, with sample rates Rotolight Titan X2 88 the woofer and tweeter. More importantly, between 32kHz and 96kHz and 16- or technology dates back to 2005, and RTS RVON+/PAP-5032 74 Sennheiser/Neumann Igloo Shared VR 74 24-bit resolution, the 4430 enables the 4430 is the first Genelec model to the response to the preview of Smart IP Solid State Logic Origin 72 streams to be managed by either the feature the Finnish manufacturer’s new at ISE back in February [2019] was so Sonarworks Reference 4.4 76 WORLD Sonifex AVN-AO16 66 Dante Controller or Dante Domain Smart IP technology, which is designed overwhelmingly positive that we knew Sony UWP-D21/UWP-D22/UWP-D26 70 AVIXA’s president learning, Amanda Audiovisual and Integrated Experience Manager software, wellreview as legacy diagrams, photosasand questions. that this toThe offer scalable power, audio and valuable work would nowand, allow coverage of AV technologies at the Sound Devices 833vice portable compactof mixer/recorder 66 SoundTube IPD-Hub 2/TS81-EZ 62 Association (AVIXA) has directed the CTS Beckner, added: ‘CTS accreditation certifies balanced line analogue The The new edition also audio. features several loudspeaker configuration, supervision us to same fulfil atime, very simplified obvious gap the theinexplanations Symetrix Composer 7.2/SymVue update 76 programme forfeatures over 30 years. help with speaker’s that an AV professional has the technical 45Hz to of installed updatesfrequency including response designatedissections and calibration over a To standard audio market,’ said Genelec of difficult technical concepts,’ said Andy Tannoy CVS 1.0 series 60 TASCAM Model 16/MZ-123BT/BD-MP1 this, AVIXA has released the third edition to perform at a high level. The new 71 23kHz (–6dB) thanks to aSize 5-inch AVIXA’s Display Image for woofer 2D Content managing Cat cable. director, Naghian. Ciddor, author Siamak of the latest CTS Exam Tasker skills New assembled cable drums 70 of theCat CTS Certified located Technology Specialist andin¾-inch edition ofSeries the guide metalSystems dome tweeter. Audiovisual standard and Audio, The connector, on the ‘The 4430 Guide.is just the first of a number Tendzone Solon M A Typeoffers enhanced 64 Turbosound Manchester Series Exam to provide users with exam features to help prepare people to take 56 The cabinet, built toArchitectural be compact Drawing and Video and Control rear of Guide the 4430, provides access to of loudspeaker models to incorporate ‘In addition to featuring even more United Studio Technologies UT FET47 68 Vaddio their TableMIC/Deployment 68 objectivesSmart and topics such asas conducting CTS exam andTool join an elite group of AV lightweight, formed The fromguide Genelec’s Symbols is standard. has also been Genelec’s IP Manager, well as SmartofIPAVIXA’s technology, and we look ever-expanding suite of AV VL800 Series 88 a site and survey, developingThe an AV project professionals.’ Minimum Diffraction Enclosure streamlined. power audio-over-IP. Smart IP forward to expanding the range in 2020 standards, the guide presents a more Vari-Lite Voice Technologies VT Switch 68 Yamaha MP502/MP502-A 74 scope, troubleshooting and repairing10 AV and Directivity Control Waveguide ‘In this third edition of the CTS Exam Manager tool operates on Windows and beyond.’ global approach to terminology and Zylia ZR-1/6DoF 64 www.avixa.org solutions. Thethe chapters include of checklists, It has reportedly been Guide, we’ve updated and extended the and facilitates configuration rooms, technologies. measurements.’ Zylight Go-Panel 88

Dev Electronics hosts live QSC demo

Genelec plays it smart

Genelec’s Smart IP technology makes its first appearance with the 4430 two-way active installation loudspeaker

AVIXA publishes third edition of the CTS Exam Guide

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PRODUCTS

Amate launches Nítid PR series FOR USERS looking for lower power specifications and cost savings in smalland mid-sized venues, Amate has release the Nítid PR series of loudspeakers. The three models – the N12PR, N15PR and N18WPR – all feature the same low form factor, design and polyurea-finished, birchply construction as their higher powerrated siblings. They also include Amate’s proprietary 2mm thick speaker grilles. The asymmetrical trapezoidal form factor of the N12PR and N15PR enables the cabinets to be deployed (stacked or pole-mounted) as point source main PA or horizontally in floor monitor mode. The N12PR comprises a 50–100° x 55° asymmetrical rotational horn, while the N15PR has a 50–60° x 50° horn. The

N12PR and N15PR two-way, full-range systems boast programme power ratings of 400W and 800W, and high continuous maximum SPL outputs of 123dB and 128dB, respectively. The N12PR includes a 2-inch voice coil, 12-inch MF/LF driver and a 1.4-inch PETP diaphragm compression driver coupled with the asymmetrical horn; the N15PR has a 3-inch voice coil, 15-inch MF/LF driver and a 1.75-inch PM4 diaphragm compression driver. Weighing just 18.2kg (N12PR) and 27.8kg (N15PR), both systems come with M8 rigging points for flying, 35mm diameter pole-mount sockets mounted for a standard tripod and protective rubber profiles. The N18WPR is a lightweight and compact 18-inch sub. The bass-reflex, tuned laminar

The N12PR, N15PR and N18WPR ported cabinet is said to optimise the per formance of the 4-inch voice coil and 18-inch driver. Maximum power handling is rated at 2,000W programme and 1,000W RMS. Continuous maximum SPL is rated at 130dB and the enclosure weighs under

50kg. Dedicated loudspeaker management presets for all three models are available on the LMS206 processor and TPD processor amp. www.amateaudio.com

APG extends point source directivity APG HAS released a new range of installation speakers based on the coaxial concept. The iX series is made up of five different models: the iX5, iX6, iX8, iX12 and the iX15. The iX5 is a miniature, two-way, full-range, passive loudspeaker with a 5-inch long-excursion LF driver and coaxial dome tweeter (120° conical dispersion), while the iX6 is built with a 6.5-inch driver loaded in a bass reflex with the high frequencies handled by a coaxial dome tweeter (105° conical acoustic opening). The iX8 contains a coaxial device with an 8-inch cone driver and independent HF compression driver. The coaxial mounting offers a homogenous dispersion coverage of 110°. The iX12 is a two-way, full-range compact loudspeaker with a coxial 12-inch woofer and a 1-inch HF compression

The iX range driver (filtered) and the iX15 is a twoway, full-range speaker with a 15-inch LF neodymium driver, a forced thermal ventilation system and a 1.4-inch neodymium HF compression driver.

THE FIRST member of a new series of entrylevel speakers has been made available by Danley Sound Labs. Standing for flexibility, the FLX-12 is a 12-inch, two-way point source model that can be pole-mounted, suspended from integrated rigging points or deployed as a floor monitor. With 94dB sensitivity, a phasecoherent frequency response from 75Hz to 21kHz (±3dB), multi-band Sentinel burn out protection and 118dB continuous output, the FLX-12 and +48V phantom power can be used for microphones, while a dedicated ¼-inch high-impedance input is ideal for guitars, bass and acoustic instruments with pickups.

J7-95 Jericho Horn has also been created at a lower price point. Measuring less than 1m in height and weighing 120kg, Danley Sound Labs has introduced the smallest footprint in the noted Jericho Horn point source series. According to the US manufacturer, the J7-95 adopts the patented Synergy Horn Technology by merging the output of 12 of the 18 drivers through the fifth-generation combiner to deliver ‘near-perfect magnitude and phase response’.

www.jbl.com

FLX-12

54 PRO AVL MEA Januar y–Februar y 2020

www.apg.audio

Danley ships entry-level speaker

Compact one THE EON One Compact is the latest addition to the JBL EON One range of portable PA systems. It is an all-in-one system featuring Bluetooth connectivity, designed to deliver high-quality audio on the road with a rechargeable battery that reportedly lasts up to 12 hours. Weighing approximately 8kg, the 8-inch EON One Compact speaker features a built-in carry handle and a range of inputs for microphones, instruments and other sources, as well as a four-channel mixer with on-board dbx EQ and Lexicon effects. Bluetooth connectivity allows for music to be streamed and connection to an iOS and Android app provides control functionality. Multiple speakers can also be linked via the Bluetooth connection. The EON One Compact produces up 112dB of output from 37.5Hz to 20kHz. A standard IEC cable reportedly charges the unit in less than 2.5 hours or six hours during use. An integrated pole mount allows the unit to be elevated in PA applications. Two combination XLR/TRS inputs with professional-grade preamps

The company has also announced the future release of the iX2.5 and the iX2.6, two models of pseudo-coaxial speakers that are ideal for vocal applications.

The iX range’s non-diffraction baffling reportedly creates a linear acoustic response that reduces feedback without the use of equalisation. The speakers are suited for FOH or distributed sound reinforcement in a large variety of venues and can be combined with Uniline and Uniline Compact systems. The speakers are compatible with APG SB subwoofers, while the manufacturer also provides standard processor settings of APG electronics and customised settings for other brands, such as Powersoft. All the iX models have been designed to be as compact as possible and include accessories for installation, customisable colours and a weatherproof finish.

www.danleysoundlabs.com

PRODUCTS

Constant curvature from Axiom AXIOM PRO Audio has released its first constant cur vature array system that can be deployed as an individual, point source system or in horizontal or ver tical array configurations. The array element is available in the AX1012A version with 900W + 300W Class-D biamplification on board, or the passive AX1012P version, each capable of delivering up to 134dB SPL (at 1m). The enclosure is equipped with a single 12-inch woofer with a 3-inch voice coil for the low end of the frequency spectrum, while a 1.4-inch compression driver with a 2.4-inch voice coil handles the high end. The driver is coupled with a proprietar y Seamless Transition Waveguide with a nominal dispersion of 20° along the shor t axis of the enclosure and 100° on its long axis. The on-board amplification of the AX1012A

AX1012 enclosures with a repor ted zero inter ference in the perceptible frequency bandwidth. A horizontal suspension bar – used together with horizontal coupling bars – allows multiple AX1012 elements to be flown together horizontally from a single rigging point. A single type of ver tical flying bar can be employed to suspend multiple units as main systems for smaller venues, centre-fills for larger stages, stage side-fills, out-fills or underbalcony delay coverage. Two of these flying bars can be attached at either end of an array to create even, downwardfiring clusters. The rigging possibilities of this third dimension are said to allow coverage of entire stages for dancers, or for sections of arena floors.

incorporates a Core module based on a Sharc DSP. With internal 40-bit/96kHz processing and 24-bit AD/DA conver ters, it of fers a dynamic range greater than 110dB. The passive AX1012P has been designed as a solution for permanent installations, where control-room centralisation is a key factor, or for users who wish to supplement larger systems that already have standardised amp racks. The AX1012 system is capable of maintaining directivity (at –6dB) all the way down to 950Hz; according to the manufacturer, this makes it an ideal choice for fill coverage where precision is key to avoid inter ference with the main system or other fills. The Seamless Transition Waveguide is designed to couple the emissions of multiple

www.axiomproaudio.com

HH caters for all needs DESIGNED AS either a long-throw system or as a standalone, full-range point source system, the TNA line array series from HH Electronics is suited for fixed installations and mobile FOH applications. The TNA-2051 passive line array speaker features dual 5-inch LF drivers and a 1.33-inch Celestion HF compression driver. The outer enclosure comprises integrated rigging hardware to reportedly allow the TNA-2051 to be installed by a single engineer. It has a 65Hz to 20kHz frequency response, a sensitivity of 96dB and a maximum SPL of 124dB. The TNA-1200S passive line array subwoofer features a 12-inch LF woofer and is equipped with integrated rigging hardware. It offers a max SPL of 125dB and a frequency response as low as 35Hz. When combined with the TNA-2051, the TNA-1200S is said to offer an ideal installation or point source solution for schools, sports halls, gyms and hotels. For venues where the mounting area is limited, HH has developed the 4-inch TNi-C4 ceiling installation loudspeaker with a 70V/100V/8Ω front-facing power tap selector so that output can be adjusted once mounted. The coaxial driver provides a wide frequency response. The spring-loaded connection terminals

TNA-2051

A ground-stacked TNA line array

are said to ensure that cables are tight prior to installing, while the locking dog ear brackets reportedly provide secure mounting. The TNi-C4 is finished in a white ABS surround with a mesh steel grille. The 6.5-inch TNi-C6 and 8-inch TNi-C8 are also available. The 4-inch TNi-W4 is a satellite wall speaker that features four power taps from 1.5–30W and connects to 70V/100V or 8Ω lines. Equipped with Euroblock and M4 screw input/output terminals, the TNi-W4 comes with a solid steel, multiangle bracket and its lightweight ABS enclosure reportedly allows manageable handling during installation. It has a frequency response of 80Hz to 20kHz and a 60W RMS power rating. The 6.5-inch TNi-W6 has a frequency response of 65Hz

Turbosound strives for accuracy DEVISED IN the UK’s northern city, the aptly named Manchester Series is Turbosound’s flagship install and touring line array system. Designed for larger applications, the MV 212 and MV 212-XV variable curvature elements comprise dual 12-inch woofers with neodymium magnet assemblies. Serving the mid/ high frequencies, Dendritic Plane Wave Transformer waveguides are married to the neodymium two-compression coaxial drivers for coupling the line sources within the vertical plane. Capable of producing a maximum SPL of 149dB, the

56 PRO AVL MEA Januar y–Februar y 2020

53kg cabinets provide 100° of horizontal dispersion that can be vertically arrayed in increments of 5°. Added features include advance FIR Lake presets and a working load limit safety threshold of 10:1 when 16 MV212 cabinets are arrayed. The MS215 and MS218 have been designed as dual 15- and dual 18-inch companion subwoofers, the former a vented bandpass design that can be arrayed with the dual 12-inch elements when using the MAN-FG Universal fly grid. www.turbosound.com

to 20kHz and an 80W RMS power rating, while the 8-inch TNi-W8 has a frequency response of 55Hz to 20kHz and an 80W RMS power rating. Finally, the TRE-1201 forms part of the Tensor series of portable PAs. The 12-inch active loudspeaker enclosure offers 1,400W of Class-D power output and an SPL of 130dB. Featuring dual ¼-inch and XLR mic/line input channels with individual gain controls, on-board DSP with four audio modes, master volume control, mix output and ground switch, the TRE-1201 has a frequency response of 45Hz to 20kHz. The TRE-1501, meanwhile, is a 15-inch version of the TRE-1201 with an SPL of 131dB. www.hhelectronics.com

S U B-M I N I AT U R E O M N I D I R E CT I O N A L L AVA L I E R S & H E A D S E T S

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DSPPA dryat Child’sstays play

Size is no measure Goodman Arts Centre

at 3 and the festival 4 of thewere building, carefully Vichai chosen set off after to consulting build a network with receive video over the IP network and a Panasonic PT-EW650 the withDutch Biamp team TesiraForté and taking AVBreferences AI digital audio from similar servers events. at its LCD projector, with two also offering an interactive fingerEventually, heart, withthe onefestival placedorganiser, in either of Shanghai the two Fanyao control Culture rooms on touch Epson EB-1450Ui projector. In addition to dedicated Co, Levels decided 3 andto4,use where an Adamson most activity solution takes provided place. by ‘Wethe have projection screens integrated in the walls, motorised window brand’s two networks Chinese in distributor, use,’ explains Real Sompong Music. Keskaew, sales blinds double as projection DSPPA HAS designed itsof200W output. The recorder reportedly supports up twoscreens. CDMP1 players as sources SINGAPORE: The skids rubberRMS executive ‘Adamson’s ofinVichai high output Trading, is very ‘one suitable exclusively for such for to audio big IP,of recording time with an 8G In each room, audio is dispersed via ceiling-mounted Tannoy LA1512S waterproof line array speaker with 160over hours and a 12-channel vibz12dc mixer, that echoed a Singaporean festivals,’ while for says Thomas over IPto and Hillen, all control one of the data festival’s including lighting, AMS 5ICTs and/or CMS 503ICT one of the four adjustable angles – 60°, 45°, USBaudio flash disk. With a pickup distance of togetherBMs, with while dual U500HT wireless sports hallvideo oncedispersion home badminton engineers we’re sharing the isreplaced part venue’s of Daydream’s LAN.’ mainly Dutch crew. and measuring 415mm, the mic screens is framed by Tannoy VLS 30 column arrays with lowALCONS AUDIO has developed its 30° or 15°, all with pattern control 10–60cm courts haswho been by that ofbelow microphones. Lighting was required Music presented Main support from two ceiling-mounted 12.2 subwoofers. smallest subwoofer system toend date for 1kHz – and the ability for up Dream toand four was unitsmainly EDM and is a high-sensitivity gooseneck for the young VSX starlets and this has amplified music andonthe song house, andkids. including Dimitri Vegas & Like Apart with from the central server, room offers practically delivering accurate bass response todance be stacked together. ItDJs The built into the mixer amplifier been each provided with a mixture of ofwith kindergarten Level 2artists Mikegeneration from Belgium, Yellowstudents Claw from the Netherlands and all other ways of feeding content into itsincluding system Aura in a BYOD low distor tion. The BF121 incorporates supports both horizontal panel. The priority Cameo LEDs, 300 next of school Thevertical SEAC experience begins with a café-style space named Grammy-nominated DJwith Afrojack. (bring your own device) fashion. Audio-Technica AT724RXMK2 a single 12-inch long-excursion woofer and mounting function automatically are perhaps a long way from the spots, Studio PAR 64 cans and Thebuilt-in Hub. bracket, Ideal meet-and-greet and social events for up infrared are650C on hand too, chosen with a double-spider suspension and microphone systems the while lowers the volume PixBar Pro Fresnels that to are arts colleges andforother splendid to 30, The Hub is Lion connected to the control room on the floor avoid interference with a mixed nearbyand radio station. ‘Aside a 4-inch voice in a bass-reflex users can also speaking programmed on anfrom ETC foundations of purchase the State, let The Hub when provides café-style space for meet andcoil greets, above, and equipped brainstorming and presentations, larger gatherings where it’s required, around halfcontrol of the configuration. the optional wall orof thefor andor automatically ColorSource 20 lighting alone the stages Esplanade socialising brainstorming sessions with three 40toadded 50-inch Samsung The direct-radiating woofer is mounted ceiling mount for restores it when not Theatre of the Arts and Rice Theatre LED displays and two surface. AMS 5ICT loudspeakers in a vented chamber, with a large versatility. Weighing speaking. The mic –Tannoy but dreams can start early thesesuspended from the ceiling To the LD Systems team, the newly and powered by a QSC CX302 amplifier. An ultra-short-throw bass-reflex por t designed for increasing 15kg, each speaker has an input power converted badminton court may days. Epson EB-1450Ui an interactive whiteboard The White Box overall output while minimising por t has anthe 8Ω input andcan of 6W, an input have been child’s play to assemble, ‘It’s first music andserve danceashall and is used throughout the building. compression. Operating within a adedicated maximum of voltage of 10V toSPL kindergarten students but it represents one giant leap for ‘We use traditional whiteboards normally frequency range of 40–300Hz 128dB (±2dB). It of two aline sensitivity aspiring tots in the spotlight. ‘The between the ages and five,’ as well, havebut taken to the stage in Next-proaudio a mannerandeven audio dispersion they provide arrays on the Bass Dream stage people getsystems bored atintegrator some point,’ Mr Cordes. ‘I like for thewhich the self(–3dB response), the BF121 is powered has a sensitivity of 93dB (±2dB). staff here benefit from the plugconfirmed Ben saysbelying their years, within the extensive venue. Shanghai Rui Li Culture Co was responsible the the idea that you can use your finger, splitpowered the screen in half, Theand main system an AES signalbychain with amplified anddigital controlled the ALC ofTay 99dB (±2dB), Meanwhile, and-play system and for I believe from Seventy-Seven within Maui28 G2 speakers Withinemployed the hall, the Arts Council technical execution of theyoungsters festival, and localwith their share content wirelessly. many people it’s “the nextplayed a role analogue backup. ‘Wethe have less AD/DA conversion when loudspeaker controller. Integrated aHall frequency MP30W is an arefound excelling G of the Goodman ArtsFor Centre. subwoofers have inthe as has created White Box to meet all itsperformances,’ lighting, sound commented and video Tay. level”, and whatforwe using AES,’ says Mr for Hillen. factor y presets provide gain, companies phase response ofhethat’s integrated wireless The brand selected thewant.’ their theatrical and dance maturity. theatre the young students’ The company was the first in Shanghai to This presented a challengeserved to the Real Musicmatching team, and filtering with allrequirements. Alcons 70Hz to 20kHz which installation, LD Systems, perhaps The column speakers were transmitter, selected performances, by four LD Systems Maui28 G2 speakers acquire Adamson’s SpekTrix 3-way active loudspeaker. ‘We because similarG2 shows in China use an analogue www.goodmanartscentre.sg systems, including projection and measures combinesmost Bluetooth, an denotes Little on account of their unobtrusive Maui28 column speakers. Level 3 Dancers or Little andcardioid subwoofers provide the sound will be working on more than 10 similar shows each year,’ signalplayer, chain.digital ‘We only had week’s notice before we Adamson andnaturally, subs at the appearance Live Dream and stage www.ld-systems.com control presets. 406mm x E12 MP3 recorder, Dramatists. Thehangs children, for the delicate Additionally, LDone Systems supplied reinforcement Passingx a544mm. reception counter, stairs or a lift provide access says Li Zhan from Rui Li Culture. ‘Apart from EDM events, started to amplifier, prepare the show,’ says The Liu Kaiji, technical additional front-positioned 342mm broadcast toMain Level 3, dubbed the aCenter for Innovation & two Leadership. we also have shows with live bands, like the Grammy Dream occupied 140m-wide area, with VIP engineer at Real Music. ‘But we prepared well forcaters this. When NL4 connector for a reverse The Chinese manufacturer desktop microphone, audio A demonstration area hosts exhibits representing SEAC’s digital zones. main sound system consisted of 18 Adamson thetransmitter Dutch team required us to all connection use digital, in wecardioid adjustedarrays,Festival which in Beijing at the end of April. The sound signature of has alsoThe introduced a new and other LA1512S current themes via two projectors, Adamson E15 lineprogramme sourceproduct enclosures on Panasonic each side of the stage, audioquite smoothly frominanalogue to digital.’ can be simulated in the Alcons Ribbon is unique; personally, I think it’s suitable for rock patent-pending – theflown equipment found a room setup projection; sound absorptive material useful for pinned notes glass–It’s panels aseasily drawing boards while to a small connects withsystems The Market, space for publicSeminar ‘n’ roll and other music. brand wechange use quite close the DJcafé position. Side-fill were aflown outside The second stage – with Live Dream had a focus onBF121 breeze wethe could the distribution were–Calculator. installed The is pre-wired Novatech. ‘A total ofwith seven CB5exciting LED and MP135M integrated remote paging mic. The traditional address system into aunits break timesspeakers, and catering. Both areas are equipped with and often of the main closespeakers to the edge ofan the backdrop, mainstream pop as well asbackup indie pop the leftALC brightness and colour information in a main and loopmusicians. forIntegrity On Signal Sensing y, screens werecircuitr linkedthese into adays.’ single set consists of two ceiling and compact amplifier with a microphone. It has displays for signage andcabinets video while In addition to being used thestates stages the consisted of electronic nine E15 and six E12 on each side. prefer using microphones,’ Mrat Cordes. and right of side of the 12 A Adamson E12s were flown as ofon allone LEDofproducts and processors ROE CB5stage, screens. pair of the Tessera while cable length and connector XD unit, with apresenters second employed integrated microphone with a built-in mixercontent, a transmission frequency 750–760MHz ceiling-mounted Tannoycomprised AMS a5ICTs CMSof503ICT BMs Grammy systems alsodobeen The subwoofer system sixand groups three Adjacent seminar rooms,Adamson typically two,interface, can have be combined the main PA system. Subwooferswere included fivebetween groups alongE219s with dual identification of the from a single and it by S4 LED processors also set resistance thetwo BF121 and weFestival for of redundancy, still hadBeijing, amplifier. The speakers have constant provide audio. Market used on left.’ allthe four stageswalls, atcomfortably theand firstaElectric Daisy Carnival stacked on each side of theincorporates stage, a totalTechno of 36 units.and code removing dividing maximum three-in-one T21 enclosures andROE theCB3 front-fill four groups of capacity frequency matching in a show environment. upbetween for side system screens. LED ALC is featured dynamically compensated boatloads 10V output, highThe sensitivity, a wide givingseven Booths, small cubicles withgroups a wall-mounted festival to be held in China, which took place in January, with as In the middle ofmeeting the and stage were two space dubbed Event Center can of three S10s, while the monitoring system wasreduce similar toadded: the E218 host and each speaker to provide for Since wehost werelarger using gatherings three mapping and content to were served repor tedly tion, yetBrompton Gohdistor ‘The frequency response low distortion, andof three Samsung 43-inch display, and four SoundTube FP6030-II well asfive at the Ultra China and Tomorrowland subwoofers. The front-fill setup consisted of a pair S10s up to projectors available simultaneously. the one found oncontrolled the main by stage. An Avidpro Venue Profile wassoftware theofindependent operation ofand multiple curved LED screens festivals. as our stage a disguise increase response accuracy. Tessera and interface have been designed for broadcast, paging loudspeakers byand SA202-RDT mini amplifiers. As with On dayThe of Daydream, temperature dropped on the leftapplications. and powered right side a furthercan three in the middle, Level 3first is also home tocentrepiece, SEAC’s offices. Equipped within as the FOH console. systems. Other used features include one lineas well asLike the On Screen Colour media server a Ross the 15-inchare BF151 andto18-inch a dream usethe compared to and BGM The amplifier BF121 withthe the VR5 everywhere in the facility, video content caninput, beand sent anddrop there intermittent rain, but placed topelse of the subwoofer arrays. Three S10s twoto can be sets displays and loudspeakers, can tap into the Another brand distributed Real Music – Next-proaudio which connected with other Adjustment staff mode wasthis alsocouldn’t a huge Carbonite videoby switcher that took BF181, the BF121 features aShanghai 4Ω other products – theofdrag, andwas drive at on least six 10V/6W ceiling speakers individual screens and audio routed zones where music fans. Some ofthe them wore shortS119s per10V/3W side provided DJ monitoring, while four M15s it’s network and and send feeds asscratchwell. featuredphones, oninputs the third Dream stage.impedance, Ten LA212x line flange. Finished in Durotect sources such as– mobile DVDs, help inA/V reducing bright lines fromBass four cameras. system maximum drawenabling style letsstop you the put passionate LED receive fixtures and more speakers. It has ato the needed. sleeved clothing andofwere shaking the guardrails as as were usedresponse as floor monitors the MC. In the VIP Thepixel nerve centre Levels 2 in and 3 is a LED control room arrayand elements were set up 4K on the left and sides of the on your resistant coating, the BF121 can bewell TVtent, setssix and mixers, one ‘Having line output, found concave walls. A quick native canvases onright output from a single transducer anywhere canvas. frequency of 80Hz for to 16kHz Fiveand meeting rooms for four to 10 people, equipped their heads as live they together. Good musicseams and S10 three S119 cabinets created aevent delay tower. Allwith theabe installed with PreSonus SLCS18AI and SLRM16AI EUquality stage to serve asSX40s, the main system. The AUSTRALIA: Hotels manufactured inand anyall RAL colour from used products by Brompton, which can connected withthe an external tweak the bright were combined with thefrequency 10G Thespectrum configuration. BF121 Being ableistoavailable see your input ondanced (±3dB) and a Australian rated power consumption 43-inch Samsung display, can be used individually, though technical production, it seems, can502 make festival-goers speakers were driven by Adamson’s PLM 20K44 amplifier, mixers by Tannoy Reveal monitors and video was extended by eightongroups three LAs418 subwoofers, (AHA) teamed up once the Architect Colour Option programme. which integrated with the whole LED the power amplifier to expand number of gone.’ capacity the XDofunits, allowed in road andus installation (i) versions, the canvas helps you flanked quickly map ofAssociation 45W. The amplifier includes Bluetooth folding walls allow some to combined. forget about the restto of racks the world. and managed by Lake LM 44be processors. At front of house, displays connected holding the Biamp TesiraForté giving a totalto ofpush 24. DJ monitoring saw thehandles, use again with Novatech Creative Event screen system. speakers. a huge number of pixels withof two without wheelyou dolly board when can’t see the screen. and an MP3 player that supports decoding Seven rooms on Level 3 are dedicated seminars. Each of LA122s located 90m away from the stage, console was a SX40 AVB AI and Tesira EX-IN/EX-OUT next to network switches. and very three LAs118 subs display on each side, with The four www.alconsaudio.com www.bromptontech.com Technology to put on the 2019 Atopair of Brompton LED equipment,’ commented and M20 threaded stand mount network monitoring and control WMA, WAV, APE, FLAC and other filethe main Mobile video cartlittle with 65-inch on motorised, height-adjustable mount www.adamsonsystems.com these rooms isExcellence. equipped NMX-DEC-N1222 to XDX15s Midas Pro3 aaux Yamaha CL3 as backup. All loudspeakers Level 3 receive signals from QSC as floorBryan monitors. The FOH console was of a Midas www.ncet.co www.dsppatech.com AHA Awards for The processors andunits Tessera Goh, video project manager alsoPro2. made on-the-fly adjustmentsacross a formats, withwith one inputwith andAMX one aux

of strength

Brompton raises the bar at AHA Awards

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58 PRO AVL MEA Januar y–Februar y 2020

May–June 2018 July–August 2018 PRO AVL ASIA 93 November–December 2019PRO PROAVL AVLASIA ASIA 107 31

PRODUCTS NEWS: EDUCATION NEWS

RSX208L speaker showsin South GDMO goes wireless with Digital DWR demos L-ISA Africa6000 some logic

SOUTH AFRICA: An Digital L-ISA UAE: Sennheiser’s technology demo 6000 solution hasexperience been EAW’S NEW RSX208L three-way, for managing system prediction, control was recently presented by DWR selfinstalled as par t of an upgrade powered loudspeaker features OptiLogic, and monitoring remotely from anywhere Distribution at the hall Mosaïek to the conference at theTeatro a technology developed to provide array within the venue. in Fairlands, of Johannesburg, Government Dubai Media self-detection viaheadquar on-board infrared sensors The RSX208L has also been designed the home of The Voice South Office’s (GDMO) ters and accelerometers. This reportedly allows with EAW’s acoustical design and DSP Africa. The event more than at the Dubai Worldsaw Trade Centre. for almost instantaneous optimisation to abilities, such as Focusing and DynO, 100 participants from rental The new system provides the reduce setup and tuning time. which aim to deliver a ‘pristine impulse companies and television studios necessar y wireless connectivity Partaudio of the Radius family, of thethe RSX208L response at all output levels’. Integrated attend. and quality required is‘Idesigned for a range of Dante networking (with loop-through) is think it’sevents awesome high-profile heldthat at applications, the including theatres, auditoriums also included on all models, including an L-Acoustics invested so much hall, whilenightclubs, ahas significant aspect and houses ofwas worship. Also aimed at analogue redundancy capability. into South Africa,’ saidGDMO’s Duncan of the install the rentalofand companies, Riley DWR. ‘We arenetworked one of their it is decision toproduction leverage www.eaw.com compatible with the iOS app smaller markets, yetEAWmosaic they treat us GDMO’s custom handheld mics audio. no differently toenabled the larger ‘Doing so has usplayers. Their passion isreduce contagious, to significantly the and it really does feel like a family. amount of cabling, simplify We received an overwhelming interconnectivity, maintenance response at the demoand from the and troubleshooting, entertainment streamline our industry technicaland I would like to explained thank everyone operations,’ Salemfor being there.’ Belyouha, director of media ser vices at the GDMO.

QSC extends low frequencies

SUCCEEDING THE KW181, QSC has introduced the KS118 active subwoofer as the latest member of the KS series subwoofer family. Featuring a long-excursion, 18-inch, direct-radiating driver powered by a 3,600W Class-D amplifier, QSC describes the KS118 as delivering ‘high sound pressure levels with dynamic and musical sound L–R: Duncan Riley reproduction and Stuart Andrews of ver y low frequencies’. The Sennheiser setup the GDMO L-ISA technology wasat recently used for the first time in South Africa by Multi-Media for and the live edition of With Yamaha Sennheiser The Voice South The collaborating to Africa enable2019. integration demo, presented by Tim McCall, between CL and QL series regional sales manager, Tony consoles and the Digitaland 6000 Szabo, head of in touring applications system earlier the year, the at L-Acoustics, along with Chris GDMO’s engineering team has Pugh, technical support at DWR gained the ability to control Distribution and Adriaan vanmic der several parameters of the Walt, audiooperating engineer menu at Multi-Media system’s and who specified L-ISA for also to monitor RF technology levels, gains The Voice, how objectand batter yexplored status of the wireless On-board DSP and based mixing and immersive audio microphones, alloptimises through the protects system per formance, could benefit audiences. console itself. while advanced 6promoting million spectators A‘Over wireless solution was have capabilities such asadditional the ability enjoyed over preferred due2,000 to theperformances array units in have a cardioid into L-ISA soittwo far, and however, we sent flexibility offers; as arrangement or maximising LF out people information events heldtoatgather the venue typically output in front and minimising from the to see if they result in audience large numbers of mobile unwanted energy the enjoyed the production phones being used,around it and was noticed also andthat rear. a sides difference,’ said ‘The imperative theSzabo. system DEEP the mode provides feedback hasGDMO’s been overwhelming, address concerns additional LF extension and from people regarding RFcommenting inter ferencethat andthey driver excursion processing. to felt closer to the performance, noise. Housed in athat birch enclosure, artists saying they receive Four EM 6000 Dante receivers tability is provided by a por greater response from form the backbone of a the system aluminium and four audience.’ that includeshandles three SKM rear-mounted, low-noise Without knowingmicrophones. what to expect, 6000 handheld casters. Flexibility is extended those in attendance reported being Sennheiser customised these with the addition of the a top‘greatly impressed’ by L-ISA handhelds in the GDMO’s mountedcolours M20‘The threaded pole demonstration. demo was corporate and provided receptacle. special, quite amazing and both a dynamic capsule inmakes the you rethink offered form of the audio,’ MD 9235 and Stuart also www.qsc.com Andrews from Gearhouse South the pre-polarised condenser Africa. ‘Gearhouse were the first in microphone capsule, the

SA to have L-Acoustics. We shall inevitably have to go this route too, because it’s too clever not to.’ ‘It’s exciting to see where we can go with this,’ commented Festival Sound’s Petru Palmer. ‘We are going to get to a point where we can only be limited by our imagination. Where we are currently faced with “The PA can’t hang there because there needs to be screens and lights” dilemma, it’s going to be turned around, the speakers are going to be hung there and your The Radius family stuff can be around that.’

‘Looking at what ME 9004. online The GDMO alsothe system does and how ME it creates selected Sennheiser’s 104 a space capsule for eachwith channel, cardioid five SKyou 6000 think coming here thattoyou would bodypack transmitters provide know what to expect – but and it the best feedback rejection really blowsofyou outnoise. of the water,’ attenuation room added Alex van Dyk ‘Our experience withfrom the Solid Group. ‘It was impressive. Sennheiser team has been The amount of commented definition and clarity fantastic,’ Belyouha. is what stands which ‘They suppor tedout us for longme, before youissued just don’t out RFQ of a stereo we any get formal mix.’long after the project was and completed.’ www.dwrdistribution.co.za www.l-acoustics.com www.sennheiser.com

NEW

TAKING LINE3/4 ARRAY PAGE

PERFORMANCE

TO A WHOLE

NEW LEVEL Sharing the same aesthetic and sonic signatures as the acclaimed GEO M10 and compact M6 line arrays, the new GEO M12 takes its place as the flagship of the range, achieving a peak SPL of 140dB. And with great power comes great versatility, with integral rigging, a dedicated sub, plug & play power options and touring / installation versions making GEO M12 a system that performs at a whole new level in a wide variety of applications.

Thinking. Inside the box.

Januar y–Februar y 2019 2020 PRO PRO AVL AVL MEA MEA 25 59 November–December September–October 11

PRODUCTS

Zero overload from Dynaudio TO COMPLEMENT its performance and studio loudspeaker ranges, Dynaudio has developed the Sub Reaction Cancelling Configuration (RCC). The subwoofer reportedly offers additional lowfrequency extension to any audio system ‘without the issues commonly associated with in-wall subs’. Sub RCC can be installed on ceilings or floors without the need for a back-box, reportedly making it easier to ship and retrofit because of its smaller size. It fits into a standard 2x4 stud-bay before or after construction. The RCC topology uses two sets of opposed drivers working together to reportedly eliminate unwanted vibration transmission, leaving only the acoustic

energy behind. The passive design does not use any complex crossovers, while the enclosure is manufactured from rigid, compact and low-resonance, one-piece extruded aluminium. The adaptive bass limitation reportedly guarantees zero overload and the frequency response is 16Hz to 160kHz (±3dB). Amplification is provided by US specialist AudioControl. The RS 500 DSPcontrolled unit is matched and tuned out of the box for the Sub RCC with Dynaudio EQs and limiters. Installers can also tweak the unit’s graphic EQ if needed. For more flexibility, each amp can power two Sub RCC units. www.dynaudio.com

Tannoy launches CVS 1.0 TANNOY IS shipping the CVS 1.0 series of in-ceiling loudspeakers. The six models are distinguished by their semi-matt black or white finish and a powder-coated aluminium mesh grille. Mounted in a UV and weatherresistant UL 94-V0 and 94-5VB ABS front, the drivers are enclosed within plated steel fire can enclosures. In addition, each model

HF drivers. Enhancing the low frequencies, the CVS 801S in-ceiling subwoofer uses an 8-inch, polypropylene, long-excursion driver. A low-impedance version, the CVS 801S LZ, is also available, while the lowpass baffle design promotes its use with other loudspeakers, without the need for a crossover.

comes with EN54-24 (detection and fire alarm), UL1480 (fire-protected signalling) and UL2043 (air handling) certification. The CVS 301 incorporates a three-inch, polypropylene, full-range driver with butyl rubber surround. Equipped with 4-, 6and 8-inch coaxial polypropylene drivers, respectively, the CVS 401, CVS 601 and CVS 801 comprise a butyl rubber surround and ferrofluid-cooled soft dome

Offering wide constant directivity, the CVS 1.0 models come with a mounting C-ring and ceiling tile rails together with transformer taps for 70V/100V line systems or 8Ω operation. A steel cover and strain relief clamping mechanism for fire-rated cable are also available for compliance with EN54-24 and UL1480 certification. www.tannoy.com

B&C aims for the vocals BUILDING ON the DNA of the DCX464 coaxial compression driver, B&C Speakers has added the DCM414 compression driver to its catalogue of midrange, high-frequency transducers. Capable of producing a

The speaker manufacturer has also expanded its DS Series of high motor strength subwoofers to include 4-inch motor options. The 15DS100 and 18DS100 both feature a 37mm long, 4-inch diameter

DCM414 sensitivity of 113.7dB SPL, the DCM414’s high temperature polymer ring radiator diaphragm operates within a 300Hz to 6kHz spectrum. The aluminium body is optimised to dissipate heat, while the 100mm voice coil can manage 220W of continuous program power. The resultant energy is channelled through a compact 1.4-inch exit (the DCM420 is a 2-inch model). Weighing 2.3kg, the neodymium magnet assembly also features a polymer diaphragm together with four M6 holes.

15 and 18DS100 copper clad aluminium wire voice coil, ventilated voice coil gap and an aluminium demodulation ring to reduce distortion. The subs are rated for 1,500W AES power, 97dB sensitivity and over 14mm of Xvar excursion. Both models are available in 8Ω or 4Ω impedances. www.bcspeakers.com

Ecler introduces VIC ECLER HAS created the VIC Series of ceiling At the lower end of the frequency speakers, comprising 6-inch, 8-inch and spectrum, the VICSB8 is the in-ceiling 8-inch subwoofer solutions, designed to subwoofer in the series. It includes an be ‘installer-friendly’. They are built for use 8-inch woofer, 80WRMS at 8Ω nominal in a variety of corporate and commercial power and the same 70V/100V line settings, including leisure and transformer with 60W, 30W, health centres, fitness 15W, 7.5W and 3.75W venues, museums and power connections as restaurants. found in the VIC8. The The first model in the VICSB8 integrates a series is the VIC6, an crossover filter and in-ceiling loudspeaker also includes the that features a 6.5-inch paintable magnetic woofer and ½-inch grille. tweeter, 40WRMS at The VIC6X, VIC8X 8Ω nominal power and a and VICSB8X, 70V/100V line transformer meanwhile, possess with 40W, 20W, 10W, 5W the same features and 2.5W power connections. It as the VIC6, VIC8 and includes a metal alloy grille that can VICSB8 respectively, only with VIC6 be painted if needed. the inclusion of a back can and tile The larger VIC8 in-ceiling loudspeaker bridge for added flexibility when it comes to has an 8-inch woofer and ½-inch tweeter, installation. nominal power of 60WRMS at 8Ω and a All models in the VIC Series are available 70V/100V line transformer with power with round or square frames and in any connections for 60W, 30W, 15W, 7.5W and colour required. 3.75W. Its metal alloy grille can also be www.ecler.com painted.

Back to the rack for Lab.gruppen DELIVERING 2 x 1,500W of Class-D power, Lab.gruppen has developed the PDX3000 amplifier for touring and live sound applications in addition to fixed installations. The feature set includes comprehensive DSP such as crossover, delay, eight-band parametric EQ, limiter and two-band dynamic EQ. In addition to the front panel user interface, monitoring and control can be activated through USB connection and PDX Controller Software.

60 PRO AVL MEA Januar y–Februar y 2020

Equipped with balanced XLR and TRS input connectors and speakON output connectors, the PDX3000 incorporates comprehensive circuit protection guards against short circuits, DC and thermal overload. The front-panel locking feature protects against accidental setting changes. It is housed in a lightweight, rack-mountable chassis with temperature-controlled fans. www.labgruppen.com

The ULTRA-X40 and its companion subwoofer the 750-LFC give you a compact and highly portable system with precise and powerful performance. With 11 integrated rigging points, an abundance of mounting accessories, and simplified 90-degree horn rotation, the ULTRA-X40 is also highly configurable for a wide variety of applications.

So, put two and two together and add pairs of ULTRA-X40 and 750-LFC to your inventory.

PRODUCTS

RCF does business RCF HAS launched its new Business Music Solutions series to provide a complete and matched family of systems with full processing power that combine to form commercial audio systems for use in background and foreground music applications. The series comprises the compact DMA (digital mixing amplifiers) and DPA (digital power amplifiers), which can drive the WMR (wall monitor speakers) or CMR (ceiling monitors) products. Completing the lineup are the RC 401 remote control and BM 404 paging console. The Business Music Solutions series is designed with a flexible and scalable architecture to facilitate the distribution of different audio channels in environments with different volume level and equalisation needs. The WMR and CMR models are two-way speakers featuring either 4-, 5- or 6-inch transducers, as well as a 1-inch dome

Pascal’s U-PRO goes three-way PASCAL’S U-PRO series modules are now able to provide three-way studio monitor designs and an additional HF channel power option with the introduction of the U-A1 and U-A1D amplifier extension modules. They are single-channel amplifier modules without switch mode power supplies that can directly interface with U-PRO series modules, drawing mains power from them.

said to be inaudible in low ambient noise environments. At half the length of U-PRO series modules, the U-A1 and U-A1D can be combined with U-PRO systems to create low-profile solutions for compact loudspeaker designs. By pairing U-A1 or U-A1D modules with U-PRO series modules for three-way monitor design projects, Pascal states that there are

The U-A1 alongside the U-PRO2 BM 404

The U-A1 and U-A1D offer 280W and 140W RMS ratings, respectively, as well as ±70V high-voltage rails designed for ultra-high dynamic range and extensive headroom. Their performance characteristics match the U-PRO series modules with a dynamic range extended to 119dB for lower distortion and a low noise floor. Residual noise is

various benefits, including UREC PFC (Power Factor Correction) power supply technology that enables universal AC mains operation with regulated power and, therefore, eliminates the risk of power reliability issues. www.pascal-audio.com

IP-based audio distribution cable. DSP management with crossover, time correction and EQ can all be completed in the digital domain. When paired with SoundTube’s STNet switch, the speakers are driven with up to 40W PoE. The IPD-SM52-EZ has one 5.25-inch polypropylene woofer and one 1-inch soft dome tweeter, while the larger IPD-SM82-EZ-II features an 8-inch woofer and 1-inch tweeter.

DMA 162 reportedly increase the installed power tweeter. The versions available include and build multi-room architecture after the CMR 60, CMR 50 and CMR 40, and receiving processed audio signals from the WMR 60, WMR 50 and WMR 40. the four-channel bus, with local stereo They are all available with and without input alternative. Routing to power 100V/70V line transformers. outputs can be affected A T suffix indicates a with the DIP switch and Transformer version, W represents Wide configuration can be and TW is used for carried out using both. RDNet, as can There are two configuration of DMA models: the DMA units. the DMA 82 Each DPA unit (dual 80W) and can receive DMA 162 (dual two mono or a 160W). These single stereo digital mixing channel from amplifiers provide the four-channel a DSP platform audio bus, with a that allows specific local stereo input as speaker presets to be an alternative. It also loaded. Inputs include has a line output for a gain (mono/stereo), subwoofer. A CMR two-way speaker gain selection (mic/ The RC 401 remote line), a three-band graphic equaliser, control and BM 404 paging console can a high-pass filter and compressor. The be used with the DMA units. The RC 401 outputs included are gain (mono/stereo), offers volume control and source select, a fine-setting high-pass filter, a bass while the BM 404 can manage up to four enhancer and speaker presets. Each zones, with up to four paging consoles preset includes FiR filters, high-pass, five connected in a daisy-chain. parametric EQs and high shelf. Among RCF has also expanded its TT 4-A the various applications they can be used series with the TTW 4-A, a point source for and systems they can be paired with, speaker module. It is a wide directivity, DMA units can distribute four channels of active, two-way speaker designed for audio to satellite DPA units via a single indoor and outdoor events in small- and Cat-5 cable. medium-sized venues. Possessing on-board signal processing, www.rcf.it the DPA 162 satellite amplifiers can

62 PRO AVL MEA Januar y–Februar y 2020

SOUNDTUBE ENTERTAINMENT has designed its IPD-Hub 2 amplifier to create an IP-based audio distribution alternative to traditional 70V or 100V audio systems. It combines Attero Tech Axiom endpoints with a Dante infrastructure and features two-channel DSP amplification with various power options, including PoE, PoE+, 40W PoE and 24V PS. Created with small- and medium-sized applications in mind, including bars, restaurants, hospitality and education, the IPD-Hub 2 includes two RJ45, one Dante and one Axiom input and a twochannel speaker output for flexible audio distribution. For standard 2x2 ceiling tile systems, SoundTube has unveiled its TS81-EZ 8-inch coaxial drop-in tile speaker featuring a builtin transformer that can be wired to 25V, 70V and 100V amplifiers. The 8Ω bypass, 102dB maximum output and 90Hz to 22kHz frequency response makes the TS81-EZ well suited for offices, retail, gyms, airports, theme parks and schools. The STNet IPD-SM52-EZ and IPD-SM82-EZ-II speakers, meanwhile, have been designed to bring Dante-enabled capabilities outdoors. The surface-mount speakers accommodate digital signals with power sent directly to the speakers through a standard category

TS81-EZ Finally, the RS1201 subwoofer has been designed for indoor and outdoor in-ceiling installations and is a 12-inch hanging, open-ceiling speaker with a 4Ω impedance, 70V/100V loads and a 39–200Hz frequency response. It features a twoposition tap switch with 70V and 100V and a transformer bypass position. It is rated for 300W at 4Ω, 125W at 70V and 250W at 100V and has been engineered for public address and sound reinforcement applications, such as ballrooms, arenas and stadiums. www.soundtube.com

Tell Your Friends NAMM 16 - 19 Jan

OWN THE ROOM

www.DiGiCo.biz

PRODUCTS

RME keeps steady RME HAS rolled out SteadyClock FS, the latest version of its SteadyClock technology that offers synchronisation and jitter suppression in digital audio signals. The femtosecond clock improves self-jitter by improving its second, analogue PLL circuit and referencing both Direct Digital Synthesis and PLL to a low-phase noise quartz crystal.

GatesAir is liquid-cool

The ADI-2 is the first product to feature SteadyClock FS

GATESAIR HAS unveiled a liquid-cooled VHF Band III power amplifier, which forms part of the manufacturer’s new Maxiva VLXTE series of liquid-cooled transmitters. Starting from 3kW, each VLXTE liquid-cooled transmitter covers DAB/DAB+ frequencies from 170–240MHz and features a modular design that supports inputs for ETI (coaxial) and EDI (IP) distribution over DAB networks. Maxiva VLXTE transmitters are designed to be frequency-agile across the Band III spectrum, creating a solution for all N+1 applications. In addition, GatesAir’s liquid-cooled architecture provides a solution for power levels up to 15kW, with reported cost savings and ROI as power levels rise.

SteadyClock was originally developed to gain a stable and clean clock from the heavily jittery MADI data signal. Self-jitter is measured through DA conversion and can reach levels that are usually only available in master quartz clock mode. The low phase noise oscillator driving the updated circuit reaches jitter specs lower than a picosecond. SteadyClock FS reportedly features a more efficient filtering and a design based on a super low jitter reference clock. The first product to include the SteadyClock FS is the ADI-2 DAC converter, which can be used as a USB audio interface, double headphone amplifier, and high-end AD/DA frontend and headphone amp for iOS devices.

www.gatesair.com

www.rme-audio.de

Solon M1616E

Tendzone launches Solon DSPs THE SOLON M Series A Type are digital signal processors that integrate various algorithms and can be applied in meeting rooms, hotels and houses of worship. The processors include two separate AEC modules and built-in ANC to eliminate echo during a conversation. To suppress noise during a meeting, four separate AFC modules and up to 16 feedback suppression points support fixed, manual and dynamic modes. Two-channel RTP audio supports a VoIP system. The processors provide a 24-bit/48kHz sample rate and a frequency response of 20Hz to 20kHz. The dynamic range is >110dB, the input impendence (balanced) is 2KΩ and the output impendence (balanced) is 200Ω.

64 PRO AVL MEA Januar y–Februar y 2020

There are six units available that support 8–16 balanced microphone/line inputs with 48V phantom, and 8–16 balanced line outputs. The maximum input and output levels are 20dBu (balanced). The power supply is 100–240VAC and the measurements are 44mm x 484mm x 280mm (HxWxL). The Solon M Series E Type, meanwhile, are digital signal processors that include most of the features of their A Type counterparts, minus the two separate AEC modules and built-in ANC. Four models are available offering 8–16 balanced mic/line inputs and 8–16 balanced line outputs. www.en.tendzone.com

New 5G broadcast solutions from R&S ROHDE & SCHWARZ has been busy adding various solutions for 5G broadcast transmission to its catalogue. This includes the BSCC broadcast service and control centre and Tx9 transmitters, which support FeMBMS (further evolved multimedia broadcast multicast service). Described as an all-in-one solution, the BSCC and Tx9 are fully compliant with 3GPP Release 14. The Tx9 transmitters provide FeMBMS based on a software-based signal processing platform. This reportedly gives network operators flexibility and should prepare them for future signal processing requirements. The BSCC broadcast service and control centre, meanwhile, is the core network element of R&S’ 5G broadcast solution. It enables the manufacturer’s terrestrial transmitters to deliver LTE/5G broadcast content. It is said to reduce the complexities involved in 3GPP core network entities to deliver a straightforward LTE/5G broadcast experience, including simplified

configuration of network parameters. Multiple FeMBMS transmission sites can be centrally configured using the R&S BSCC core network element. www.rohde-schwarz.com

Outdoor recording made easier

TARGETED AT users of the Zylia ZM-1 microphone system, the new ZR-1 portable recording device offers a laptop replacement for outdoor and ambient sound recordings, third-order Ambisonics and 360° recording. It is designed to simplify outdoor recording, with the freedom to record hundreds of hours of 360° audio in ‘virtually any environment’. Measuring 206mm x 196mm x 58mm and weighing around 1kg, it fits into a standard field recorder bag and needs only a USB connection for audio recording. Equipped with an SDXC memory card (up to 2TB) and powered either by eight AA batteries or an external 5V power source, the ZR-1 can record and store over 220 hours of 19-channel 48kHz/24-bit PCM audio or around 300 hours of compressed data (Wavepack). Stored files can be transferred to other external devices. Monitoring and playback directly from the device are possible with an integrated stereo 3.5mm mini-jack headphone output with built-in player and volume control functionality. It comes with built-in LED indicators to show the status of the device, SD card and battery, as well as clipping and

Bluetooth to allow users to remotely control the ZR-1 through the device app on mobile devices. Also new is the 6DoF VR/AR Development Kit, which allows the capture of high-quality, higher-order Ambisonics simultaneously at multiple points around the recorded scene. The 6DoF Development Kit includes nine ZM-1 microphone arrays and driver, the 6DoF recording application for recording from multiple ZM-1 microphones and the 6DoF control panel, which provides audio gain control and LED control for all connected ZM-1 microphones. Users also receive the Zylia Pro software package, featuring Zylia Studio, Zylia Studio Pro and Zylia Ambisonics Converter. Users can experiment with different spatial arrangements of ZM-1 recording devices, allowing them to streamline and optimise the capture of 3D audio for VR and AR applications. Audio engineers and creatives are able to place multiple ZM-1 devices around a sound scene to capture audio through the 3D space. www.zylia.co

PRODUCTS NEWS:PRODUCTS PROJECTS BUSINESS

Attero Tech extends portfolio Epson Bolero CATV Tokushima upgrades to 4K Tool-less rotation Waves enables MLA Mini graduates at AsiaWorks employs flowtech100 brightens up

with Blackmagic enrols its partnersNantong Middle School at Lasalle College

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BNC CostBarnfind increases effective opens encoder/ live Beijing decoder content combo office with Ross

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ATEMset of our newest expand of features than our previous system. Television Studio Pro 4K was used our service and support and Bolero isour theadvanced ideal solution take forbring switching, inputting titlestoand technology Lasalle safely into the future, with Having consulted with the logos and totomanage talkback solutions customers in Ross this the flexibility to expand a more and Uxera teams, BNCinto purchased VDM 4010 directly with the cameraman, while market,’ said Barnfind CEO complex intercom configuration when Ross Video’s Ultrix routing/ a HyperDeck Studio 12G provided Wiggo Evensen. ‘In addition, The VDM 4010/4020 isassuited the need arises.’ AVthe platform, Graphite all-in-one backup recording. new office will serve aLasalle wide range of applications, The technical crew switcher, graphics and audio system ‘ATEM Television Studio Pro atoBarnfind warehouse andis4K including education facilities reportedly impressed Bolero’s forservice a dedicated mobile production supports eight 12G-SDI inputs hub for anywith other and smart campuses, ability to achieve full across flypack, and several licences of with format conversion, sofor you can Asian countries in coverage need of our digital signage, livereal-time streaming the entire facility just a single XPression Prime 3D format any signalwith and it’s really easy services.’ and broadcast, and for antenna. The system also the graphics software. because you don’t need tohas convert,’ Elaine Sun serves as integrated KVM and interactive capacity to interface with existing ‘Our engineers and technical said Ichisaka. ‘The switcher area Barnfind’s sales manager in touchscreen solutions. intercom systems via Riedel’s NSAteams have able to Its operate China. ‘Forbeen years, Barnfind features include HDMI and 002A AES67-to-4wire interface. the Ross equipment withitself little has been establishing ELPLX01 VGA 4K@30 ‘Lasalle is highly regarded for difficulty and the market,’ Ross technical in theconnectivity, Chinese she 4:4:4 resolution, HDCP 1.4 its educational programmes in support team has always been commented. ‘With this new Speaking lenses, Epson has compatibility, RS-232, and contemporary arts andsaid design,’ said on-hand to of guide us,’ BNC office, we have taken aIRvery additionally released the ELPLX01 USB control and anBin optional SFP Rajveer Singh, general manager for engineer, Wan Anuar Wan important step forward to Jusoh. ultra-short-throw lens with zero fibre connection. Theat system ASEAN and South Asia Riedel. ‘The mobile production flypack has increase our presence in athis lens It isits able canoffset. also manage scaling, ‘This installation isreportedly an outstanding already proved worth, enabling important region and address to project images parallel to the overlay, and other example ofrecording how Bolero can fulfil even uscustomer to cover news and live events needs more efficiently lens position. It is designed to be advanced functionality. the most demanding communications more efficiently.’ and effectively.’ discreet with a quieter fan noise. requirements.’

3/4 PAGE Total Integration The Neve Genesys Black is a digitally controlled analogue recording console with total integration with the studio environment and the DAW of your choice Legendary Neve 1073® mic preamps • Choice of Neve 88R 4-band EQ or Neve 1084 Classic EQ • Mastering grade A/D/D/A conversion • Digital control with instant reset and Total Recall® • Enormous scalability and monitoring power

w w w. a m s - n e v e . c o m

www.bxb.tw www.rossvideo.com www.barnfind.no www.epson.com www.riedel.net www.uxera.com.my ProAudioAsia_GB_THREEQUARTER_2019.indd 1

08/02/2019 13:55:29

November–December PRO AVL ASIA 87 JanuarMarch–April y–Februar y 2019 2020 MEA September–October 2019 PRO AVL ASIA 21 41 July–August 2019 39 May–June 2019PRO PROAVL AVLASIA ASIA 65 9

PRODUCTS

NTP Technology builds SDI bridges

AVN-AO16

Sonifex doubles its outputs SONIFEX HAS unveiled the AVN-AO16 audio inter face, which is capable of conver ting up to 16 digital Dante audio streams to analogue. This 1U 19-inch rackmount device repor tedly provides a simple solution to AV professionals and systems integrators and is considered to be easy to operate and configure. It can be set up via standard Dante Controller software and power is via PoE.

The analogue outputs are on Neutrik XLR connectors and there are front panel status/ confidence LEDs for PoE, Link and Clock. While identical in function, the previously released AVN-AIO4 and the AVN-AIO8 feature only four and eight outputs, but the AVN-AO16 includes 16 balanced analogue outputs alongside an RJ45 Dante connector.

THE PENTA 720 modular and Penta 721 digital audio interfaces from NTP Technology are scalable broadcast audio solutions developed for use in postproduction and transmission chains. They both serve as an SDI bridge, connecting to and converting between SDI and Dante, SDI and MADI, and SDI and AES.

up to 128s, silence detection and PPM on all inputs and outputs. It also provides router control, such as the ProBel control protocol. Meanwhile, the Penta 721 presents the same features as the 720, only without the option to install additional I/O cards. However, at 1U in size, the 721 has a smaller footprint, adding a layer of portability in addition to

The Penta 720 is capable of embedding/ de-embedding Dante audio in up to 16 SDI signals with a direct audio exchange between SDI signals, as well as offering support for 3G, HD and SD-SDI, with an optional audio delay

taking up less space in cluttered broadcast environments. It can plug directly into an AoIP network.

www.sonifex.co.uk

Extron adds to IN1804 family EXTRON HAS unveiled the newest member of the IN1804 series of compact, four-input scalers with video scaling, switching and integration features. The IN1804 DI/DO supports HDMI 2.0 data rates up to 18Gbps and is HDCP 2.2 compliant. The switcher incorporates a Vector 4K scaling engine with 4:4:4 chroma sampling and 30-bit internal video processing. A DTP2 input and a DTP2 output are said to facilitate easy extension of AV and control signals up to 100m per endpoint over a shielded CATx cable. Other features include audio embedding/ de-embedding, transition effects, logo keying and twisted pair extension. The manufacturer has also introduced the DTP2 CrossPoint 82, an 8x2 presentation matrix switcher with a maximum data rate of 18Gbps. It supports video resolutions up to 4K/60 at 4:4:4 chroma sampling and

is HDCP 2.2 compliant. The DTP2 CrossPoint matrix switcher features DTP2, DisplayPort and HDMI inputs, plus one HDMI and one scaled DTP2 output for extending video, audio and control signals up to 100m over a shielded CATx cable. It comes with a built-in Extron IPCP Pro control processor, integrated 100W Class-D power amplifier and can be controlled and configured via Ethernet, RS-232 or USB. www.extron.com

www.ntp.dk

Small, light and compact sound LIKE SOUND Devices’ 633 mixer, the 833 portable compact mixer/recorder includes six mic/line preamplifiers, eight channels, 12 tracks, six analogue outputs, a 256GB internal SSD and dual L-Mount charging and powering. A tactile interface with

the companion android app, SD-Remote, which features transport controls, metering and sound reports. The manufacturer has also announced firmware version 3.00 for Scorpio and the 833. The update includes the

dedicated faders, trim knobs and PFL switches is said to make the 833 ideal for run-and-gun bag use. Dugan Automixing for up to eight channels is also featured. The 833 shares the same processing architecture and multiple FPGAs as the Scorpio. According to the manufacturer, this makes the mixer/recorder fully routable and any physical input can be routed to any track. It has multiple powering options and built-in three-band EQ that can be set to either pre- or post-fade for each channel to tackle any problems directly on set. Dedicated comms and slate provide bidirectional communication with other crew members, while users can send customised mixes to the camera or crew with multiple mix busses. The 833 can be controlled via

company’s MixAssist algorithm, which attenuates microphones to reduce unwanted artefacts in multi-microphone applications. MixAssist has been available for both 7-Series recorders and 6-Series mixers/recorders and has now joined Dugan Automixing as an available algorithm on the Scorpio and 833. The CL-12 linear fader controller is also supported with the Scorpio and 833. The CL-12 is purpose-built for location sound recording needs and is said to further the flexibility of the Scorpio and 833 ecosystems. Firmware version 3.00 also features recording of timecode-stamped compressed AAC files for easy handoff to transcription services.

Back to the Venue LECTROSONICS HAS developed the new Venue 2-941 modular, Digital Hybrid Wireless multichannel receiver system to fit within the 941–960MHz frequency band in keeping with updated regulations in the US. Comprising the VRM2-941 host frame assembly and the VRT2-941 receiver modules, the Venue 2-941 is identical to the wideband UHF versions Lectrosonics first released in 2016. Occupying 1U, the Venue 2-941 hosts up to six channels and allows for an Ethernet connection for programming and monitoring via Wireless Designer software running on a

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PC or Mac. It is compatible with existing transmitters in the 941–960MHz band including the SMV-941 and SMQV-941 miniature beltpacks, the HMa-941 plug-on and the HHa-941 handheld transmitters. All transmitter models in this band offer 50mW and 100mW RF power settings. In addition, the PCA900 semi-directional antenna is also available to cover the 900–1,100MHz range, making it suitable for use with any Lectrosonics wireless products in the 941 band. www.lectrosonics.com

www.sounddevices.com

HDL 50-A 4K THE MOST POWERFUL HDL ARRAY EVER

HDL 50-A 4K

ACTIVE THREE-WAY LINE ARRAY MODULE The HDL 50-A 4K is the most powerful HDL line array module RCF has ever made. With an internal amplifier pushing 8000 Watt peak power under the hood, the good news is that we have made this amplifier module available as an upgrade kit for current HDL 50-A owners! Networked Management

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PRODUCTS

AKG creates multi-mode microphone AKG HAS announced the release of its Lyra multi-mode USB microphone with acoustically transparent, 4K-compatible, Ultra HD-grade 24-bit/192kHz audio resolution. It offers plug-and-play operation alongside an internal self-adjusting shockmount to minimise contact noise, while a built-in sound diffuser and AKG’s internal element overload prevention reportedly reduces noise and improves signal levels. Lyra is equipped with a zero-latency headphone jack and volume knob which is said to eliminate the short

Recreating a classic

NEWLY FOUNDED pro audio company United Studio Technologies has released its UT FET47. Featuring a large, customwound, ‘striped core’ (multi-alloy) output transformer designed by US audio transformer and inductor manufacturer, CineMag, to reproduce the harmonic signature of its original German counterpart,

the microphone incorporates a Heiserman HZ-series ‘K47’ German-style capsule, a joint effort between Heiserman and United Studio Technologies. The design features dual-milled backplates that are matched and then physically joined to reportedly ensure a consistent performance between sides and between capsules. The capsule is made from precision-milled brass and skinned with gold-spluttered, six-micron NOS (Not Otherwise Specified) Japanese Polyethylene Terephthalate film that is said to meet the purity standards of laboratory-grade Mylar. The microphone body is produced from nickel-plated brass milled from a solid brass billet, and comes with a swivel arm for mounting. The circuitry includes NOS military-spec polystyrene capacitors and tested, original NOS Fairchild Field-Effect Transistors. No electrolytic capacitors are used anywhere in the microphone. www.unitedstudiotech.com

Vaddio stays silent DESIGNED TO reduce distracting noises in a conference room, Vaddio’s TableMIC incorporates a solid metal base construction, acoustical fabric wrap and padded rubber feet to reduce table vibration noise. It also features a capacitive touch control surface for a reported silent operation. Available in black or white, TableMIC is said to simplify use by allowing users to enable or disable button functionality during configuration. Three unidirectional condenser microphone elements provide 360° coverage. Each element is equipped with integrated echo cancellation and DSP, including equalisation, filtering and automatic gain control. The DSP in a companion product such as the Vaddio AV Bridge Matrix Pro or EasyUSB Mixer/Amp provides an AEC reference from the far end and applies it to individual mic elements, so conference calls are reportedly crystal clear on both ends of the conversation. According to the manufacturer, with the plug-and-play design, installation is simple – all that is needed is a standard Cat-5 cable between the TableMIC microphone and EasyMIC-compatible Vaddio equipment. Power, control and audio are all carried over the single cable. The TableMIC supports cable lengths of up to 30m between the

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delay between speaking into a microphone and hearing the signal in the headphones. Ableton Live 10 Lite recording software is also included, which can reportedly work with any audio and video production software and online platforms. Lyra comes with the AKG Adaptive Capsule Array that provides four capture modes for any form of performance to deliver ‘professional sound for any application’. The front mode isolates the target sound from any background noise by rejecting unwanted sounds at the microphone back and sides,

while the front and back mode captures and blends sound together equally on all sides. The tight stereo mode captures audio in true stereo with discreet left and right audio, and the wide stereo mode captures audio with greater stereo separation, room ambience and depth. Lyra is compatible with Windows, Mac, iOS and Android devices and can be mounted to a traditional mic stand or microphone boom arm. www.akg.com

Austrian Audio changes its patterns AUSTRIAN AUDIO has released the OC818, a large-diaphragm microphone with a multi-pattern, dual-output condenser, equipped with optional wireless control. The OC818 includes a second output to record the rear-facing capsule independently of the for ward-facing capsule. When both capsules are recorded to a stereo or dual mono track, the Open Source PolarDesigner plug-in (Mac/Win: VST, AU and AAX) allows control and tailoring of polar patterns between one and five bands with selectable crossover points.

At the hear t of the microphone is the CKR12 ceramic capsule which has the same dimensions as the CK12 capsule but is considered to have more stability, meaning ever y OC818 can be paired with any other OC818 or the OC18, its smaller sibling. Key features of the OC818 consist of multiple polar patterns, microprocessor control of polarisation voltages, two different analogue high-pass filters with three settings, two types of analogue pads and dual outputs for recording each diaphragm separately, as well as Austrian Audio’s Open Acoustics Technology. www.austrian.audio

Voice Technologies makes a switch TableMIC microphone and EasyMIC ports. TableMIC microphones work with Vaddio products designed with an EasyMIC port. In other news, the Vaddio Deployment Tool has been launched, a Windows-compatible application that is said to simplify equipment installation by providing a single interface for configuration management, device discovery, mass firmware updates and remote troubleshooting. The software tool shows all compatible Vaddio products across a deployment on one screen, allowing users to select devices from the network then choose an action such as configure controls, reboot the device, unmute the audio or update firmware. www.vaddio.com

VT SWITCH from Voice Technologies is an omni-headset for stage applications or presentations that features a screw thread for fast changing of the microphone capsule. The neckband stays in place, only the capsule is changed, making it ideal for actors and actresses that are already in their costumes. The polar pattern can also be switched from omnidirectional to the optional cardioid microphone. A redundant lavalier microphone can also be integrated as a fallback solution. In terms of specifications, the frequency range is 50Hz to 20kHz and the maximum input SPL is 130dB. The impedance is 1.5kΩ and the sensitivity is –44dB (±3dB).

Available in beige, the capsule length is 11.35mm and the cable length is 1.2m. www.vt-switzerland.com

NEWS

PRODUCTS

Tasker assembles cable drums acquired by Broadcast Solutions TASKER HAS added a new line of assembled cable drums with PUR sheath cables and high-quality connectors and created three different categories according to application: audio, video and data. In the audio section, the TSK1038 PUR is a single pair DMX with a 2x 0.35mm² section and braided tinned copper shielding and the C862 is a double version (two 2x 0.35mm2) with added Kevlar traction inner elements. They can either be combined with the three- and five-pin Neutrik NC3M/FXX-B and NC5M/ FXX-B XLR connectors if users want to have free connectors and a Schill GTRM series cable drum, or the cables can be provided with one Neutrik NC3MD-LX-B connector and one free, combined with the Schill GTS0 series cable drum. In the video categor y are the T42 PUR, a coaxial HD-SDI with a stranded conductor and tinned copper double

braid, and the TR11 PUR Extraflex, a triaxial cable with a stranded, silver-plated copper conductor and double braid, one in silver and the other in red copper.

The T42 PUR can be combined with a Neutrik NBNC75BWU13 75Ω rearTWIST HD BNC connector, while for the TR11 PUR Extraflex, Tasker uses

Fischer Connectors. Both solutions are assembled with Schill GTS0 (free/free connector combination) and GTRM (free/ panel connector combination) series cable drums. In the data section are the C725 PUR, C728 PUR and C726 PUR. The first is a Cat-5e S.-U.T.P. 26/19 AWG with total braided shielding and double sheath; the second a Cat-6A S.-F.T.P. 24/7 AWG with single shielded pairs with aluminium foil, tinned copper braid and double sheath; and the third a Cat-7 F.T.P. 26/7 AWG with single shielded pairs with aluminium foil and tinned copper braid. All three cables can be combined with Neutrik EtherCON NE8MC-B, NE8FDP-B and NE8MX6-B connectors, mounted on a Schill GTMFK series cable drum with a lockable door to protect the connectors. www.tasker.it

The MI shoe fits for UWP-D wireless FEATURING NFC Sync functionality for easy frequency setting, Sony’s new UWP-D series wireless microphones – the UWP-D21, UWP-D22 and UWP-D26 – are now available. They offer support for

THE MULTIPURPOSE POINT-SOURCE

have been built with a ‘reduced size and weight’ to allow for the mobility required in a wide range of applications, including news, remote, documentary and sports production.

400W RMS ACTIVE 2-WAY SPEAKER LF 2x 5” (1” V.C.), V.C.), HF 1x 1” (1.4” V.C.) AVAILABLE WITH 60° x 60° OR 100° x 100° COVERAGE

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Multi-Inter face Shoe (MI shoe) and a new digital audio inter face. The UWP-D series is designed to deliver high sound quality with low noise by skipping the D/A and A/D process when used with the new SMAD-P5 MI shoe adaptor and compatible camcorders, such as Sony’s PXW-Z280 and PXW-Z190 XDCAM, using firmware version 3.0, as well as the a7R IV (ILCE-7RM4) 35mm full-frame camera. The NFC Sync feature, meanwhile, automatically scans for the appropriate frequency and allows this channel to be sent to the transmitter via Near Field Communication. The systems

dBTechnologies dB Technologies

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2-WAY ACTIVE POINT-SOURCE SPEAKER

Max SPL..................................................................................126 dB Frequenct Response [-6dB] .................................... 80 - 20,000 Hz HF ............................................................................... 1x 1”, 1.4” v.c LF ....................................................................................2x 5”, 1” v.c VIO X205-60 Directivity................................................... 60° x 60° VIO X205-100 Directivity ............................................. 100° x 100° Amplifier .......................................................................400 W RMS Processing ................................................. FIR Linear Phase Filters Width ......................................................................150 mm [5.9 in] Height ...................................................................... 485 mm [19 in] Depth ..................................................................... 240 mm [9.4 in] Weight ....................................................................7.8 Kg [17.2 lbs]

www.dbtechnologies.com

The UWP-D21 system features the UWP-D21 bodypack wireless microphone, UTX-B40 bodypack transmitter, URX-P40 portable receiver, ECM-V1BMP omnidirectional lavalier microphone and accessories. The UWP-D22 bodypack wireless microphone package comes with the UTX-M40 handheld microphone, URX-P40 receiver and accessories. The UWP-D26 package includes the UTX-B40 bodypack transmitter, UTX-P40 XLR plug-on transmitter and URX-P40 receiver, as well as the related accessories. pro.sony.com

PRODUCTS

All-in-one mixing DESIGNED TO provide easy top panel access for microphones, line inputs and instruments, TASCAM’s Model 16 provides 14 inputs and, according to the manufacturer, has the feel of an analogue mixer but with the recording quality of a modern digital recorder. Channels 1–8 feature XLR mic inputs using TASCAM’s

and a simplified front panel control design and layout for ease of set up. Three music playback input channels, including one aux/Bluetooth input, in addition to two mic input channels, provide BGM and announcement routing options, enabling discreet BGM mixes to be output in individual zones. Stereo line inputs 1 and 2

Model 16 Ultra-HDDA microphone preamplifiers with 48V phantom power. Channels 9–10 and 11–12 feature a single XLR mic input, each with stereo ¼-inch line inputs. Channels 13–14 feature a stereo RCA and mini-jack input. Alternatively, an external Bluetooth device can be connected to the Model 16’s wireless channel for controlling streaming audio volume via the Channel 13–14 fader control.

(RCA, unbalanced) allow connection of source components for distributing music or ambient sound playback, while a channel 3 aux/Bluetooth input enables an additional audio source to be connected via Bluetooth or a 3.5mm mini-plug. Three pairs of stereo balanced Euroblock output connectors are provided on the back panel, together with a mono/stereo configuration switch for each output.

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BD-MP1 The internal 16-track multitrack recorder records WAV files (up to 48kHz/24 bit) directly to SD, SDHC and SDXC cards. Punch in/out is available for up to eight tracks simultaneously. The built-in USB audio interface can send/receive (16 in/14 out) audio data with up to 24-bit/48kHz recording quality to and from a wide range of popular DAWs. Via USB, external tracks can be summed to a single or stereo paired Model 16 fader to control custom or stereo sub-mixes for drums and vocals using one or two faders. The Japanese developer is also shipping the MZ-123BT commercial-grade, multizone audio mixer. The single rack space MZ-123BT builds on the feature set of the 2U MZ-223, adding Bluetooth functionality

Finally, TASCAM has unveiled the BD-MP1, a professional-grade Blu-ray player based on its predecessor, the BD-01U. The single rack space BD-MP1 reportedly eliminates the need for discreet audio/video playback devices in an installed rack, accepting a broad range of media and file formats via three input slots: disc tray (Blu-ray/DVD/ CD), USB flash or SD card. A power-on play feature enables content to automatically begin playing immediately on power up, without having to engage the BD-MP1’s play feature. With power-on play active and repeat mode set to ‘on’, content will automatically start, loop and play continuously until system power is turned off. www.tascam.com

MZ-123BT

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PRODUCTS

Mackie’s ProFx redesign MACKIE HAS released the third versions of its ProFx analogue mixers. The new ProFXv3 series of professional effects mixers also include Onyx mic preamps, a GigFX effects engine and 2x4 24-bit/192kHz USB recording, as well as a more ‘modern’ design. Created for use in venues from houses of worship to nightclubs, the ProFXv3 mixers are available in six-channel ProFX6v3, 10-channel ProFX10v3, 12-channel

The GigFX engine provides 24 effects including reverbs and delays that can be chosen via the selector knob. Meanwhile, the returning USB interface is now described as offering a ‘professional upgrade’ in recording quality with sample rates up to 192kHz. The 2x4 I/Os facilitate the creation of two mixes on a computer to send back to the mixer. A dedicated Blend knob provides a choice between monitoring a DAW output and direct latency-free monitoring or a mix of both. An eight-fader S4

S4 offers more compact S6 workflow ProFXv3 ProFX12v3, 16-channel ProFX16v3, 22-channel ProFX22v3 and 30-channel ProFX30v3 versions. Each model also comes with Pro Tools First and the Mackie Musician Collection featuring 23 Avid plug-ins. ‘Bringing Onyx mic preamps to ProFX for the first time is a major upgrade to the series,’ said Mackie’s Matt Herrin. With up to 60dB of gain, Onyx’s noise and distortion per formance is said to ‘ensure the cleanest signal path possible’.

Also new from Mackie is the SRM-Flex portable column PA system aimed at solo performers, small bands, presentations, events and DJs. It features a 10-inch LF woofer inside a moulded cabinet base module that also contains a 1,300W amplifier and built-in digital mixer. SRM-Flex’s three-piece tower contains a wide dispersion array with six 2-inch HF drivers. www.mackie.com

The origin of sound DESIGNED TO deliver a ‘unique sonic signature’, SSL has announced its latest studio mixing console. Origin is described as having traditional analogue studio workflows at its hear t and is said to be the per fect par tner for a modern DAWdriven, hybrid production studio. It has an inline, dual-channel design with 16 busses and the classic Bus Compressor. Origin also features E Series four-band parametric EQ on each of its 32 channels, with variable cut/boost per band, HF and LF bell/shelf switches and independent sweepable HPF on every channel. The new PureDrive mic pre can switch character to a warm, harmonically rich and driven tone that varies with mic pre gain. PureDrive is based around modern FET components and is said to result in a clean, low-noise preamp. Additional features include balanced insert points per channel path, dedicated channel direct outputs and stem-ready

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THE AVID S4 is a new audio control surface designed for independent music mixers as well as smaller audio postproduction and music facilities. A semi-modular console, the S4 includes the DAW integration and visual feedback of the Avid S6, along with a more streamlined and compact control surface aimed at the budget conscious. Avid’s high-speed Ethernet control protocol, EUCON, allows the S4 to connect and communicate with first- and third-party audio, video and monitoring applications. Acting as a physical extension, the S4 is built to integrate with any EUCON-enabled DAW. Engineers are able to assign and control talkback, listenback, and speaker sources and levels from the surface to manage everything from cue mixes for music recording to monitoring immersive audio projects. In other news, Media Composer 2019 has debuted to allow editors to go from first cut to delivery without leaving the application. Features include new controls for Media Composer | Enterprise administrators to configure Media Composer’s UI and secure media with lockdown capabilities based on a user’s role; bulk edit, which allows users to speed up applying text in a bin column to multiple clips at a time; and an improved interoperability workflow for exchanging sequences between Media Composer and Adobe Premiere Pro. Avid has also redesigned its MediaCentral platform and launched Media Central |

0dB fader bypass switches. The new configurable centre section allows users to adapt to different applications and priorities, whether they are using it as a purely tracking console with additional boutique analogue additions to the 19-inch rack centre section, or a digital/analogue hybrid approach with screens and controllers that are said to be easily reached from the centre of the console. www.solidstatelogic.com

Media Composer 2019

Publisher, a new SaaS offering powered by Wildmoka, which allows media producers to create content, add graphics and branding, and publish news and sports videos to multiple social media and digital endpoints to help boost viewership and drive revenue. FastServe has received an update and is now available in three smaller-footprint configurations. FastServe | Ingest, Live Edit and Playout are tightly integrated with Avid NEXIS and MediaCentral, and reportedly accelerate ingest, editing and playout workflows while supporting higher channel counts and a lower overall cost per channel. Speaking of NEXIS, Avid has debuted NEXIS | Cloudspaces, which reportedly takes the stress out of media management by extending NEXIS storage to the cloud. Using the same NEXIS Management Console, users can activate NEXIS | Cloudspaces to free up local space and provide news, sports and postproduction teams with an easy way to store media in the cloud. Finally, for users working in high track-count environments, such as audio postproduction, Pro Tools | Ultimate reportedly delivers 50% more voices/audio tracks than previous versions. Pro Tools | Ultimate software and HD Native customers can further increase the number of available voices up to 768 per system – on par with a three-card Pro Tools | HDX system – with the addition of Pro Tools | Ultimate Voice Packs. www.avid.com

PRODUCTS

BAE Audio stands alone BAE AUDIO has announced the release of the newest product in its 500 series. The 73EQL 500 equaliser features the same Carnhill/St Ives transformers, inductors and Elma switches as its 19-inch rack while using the same electronics and circuitry as the 1073 series. The 73EQL delivers tonal shaping options in a smaller size, making it ideal for accompanying the BAE 1073MPL 500 series preamplifier or as a standalone EQ to complement other input sources. It also comes with a three-band EQ section and high-pass filter controls, which reportedly enables it to shape nuances of sound sources and impart the classic sound character of the 1073 lineup. It can be used for on-location, studio recording, mixing or mastering applications.

Motherships gain daughter cards BURL AUDIO has produced the B4 daughter card for use with its B80 and B16 Mothership converters. It is a fourchannel mic/line input daughter card that includes the new BX6 input transformer that the manufacturer has designed for ‘true’ mic/line input impedance.

The B4 also features a Class-A analogue circuit with the same ADC used in Burl’s BAD8 daughter card. A single B80 chassis allows 40 input channels of mic/ line inputs to be realised, while digital control is facilitated along with SoundGrid or Dante connectivity.

The manufacturer states that when a BDA4M is used with a BX5 output transformer routed to a BAD4M with the BX1 input transformer, it helps make fully digital projects sound ‘less digital’, much in the same way that engineers might have previously

B16 Mothership Meanwhile, the BAD4M is a masteringgrade, four-channel ADC daughter card with stepped attenuators and switchable input transformers designed for mixing and mastering. Also for use with the B80 and B16 Motherships, the BAD4M draws on Burl’s NextGen analogue technology and follows in the footsteps of the B2 Bomber ADC and the BAD8 cards with the same BX1 transformercoupled circuit path as the BAD8 and a transformer-less analogue front end using BOPA14 op-amp, which users can switch between.

run digital tracks through a two-track analogue tape machine to achieve the desired ef fect. It’s not all analogue though, as on the digital side, the BAD4M features a switchable ADC filter and Avid delay matching. By switching the ADC filter, users can change the tone to a more aggressive one with a more for ward midrange. The Avid delay matching allows users to match the input delay of an Avid I/O. www.burlaudio.com

www.baeaudio.com

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PRODUCTS

RTS provides a voice for Adam RTS HAS developed the RVON+ card to provide its Adam and Adam-M digital matrices with voice-over-IP communications. The RVON+ is hot swappable and supports up to 32 bidirectional audio channels, data and RTS Intelligent Trunking-over-IP. It also reportedly consumes less power while offering a higher channel capacity. RVON stands for RTS Voice Over Network. It facilitates sending and receiving of keypanel audio and data over long distances via standard IP networks and Ethernet connections. As audio and data can be transmitted over the internet via a trio of audio codecs – the G.711, G.722 and G.729 – there is no limitation to the distance. It also supports two SFP fibre connections and gives the option of using two virtual serial connections via an IP connection. When

RVON+

PAP-5032 used with trunking, it eliminates the need for multiple IP resources. IPedit software can be used to configure RVON+ to set Ethernet auto-negotiation parameters and view multiple RVON devices simultaneously. All RVON devices can be seen independently of the frame in which they are located. If required, a software licence expansion option expands the RVON+ card from 16 to 32 channels. Also new is the PAP-5032, which combines the features of a programme

Speed and precision from Yamaha THE MICRO Prober MP series of measurement systems from Yamaha has been designed to inspect the high-frequency characteristics of circuit boards with ‘high speed and high precision’. The production of circuit boards using materials such as LCP and MPI that are suitable for highfrequency signals has increased in the electronic circuit board market in recent years due to the launch and spread of 5G communication services. Until now, inspections of frequency characteristics have been conducted using sample inspections of test coupons.

Igloo in VR

74 PRO AVL MEA Januar y–Februar y 2020

www.rtsintercoms.com

The MP502 and MP502-A enable inspections of high-frequency characteristics of actual product patterns when combined with a commercial vector network analyser. The ±20µm positioning is said to allow for inspections with high repeatability. The MP502 and MP502-A provide independent upper and lower positioning to support multilayer substrates with inspection points on both surfaces and can be combined with the latest vector network analysers provided by measuring instrument manufacturers. www.yamaha.com

The Neumann KH 80 DSP loudspeakers are set up in a 9.1 arrangement behind the acoustically transparent screen of the Igloo cylinder IGLOO VISION has teamed up with Sennheiser and Neumann to create the Igloo Shared VR space equipped with an AMBEO 9.1 sound system created from Neumann KH 80 DSP studio monitors. This solution is ideal for museums, artists, education facilities, event spaces, architects and corporations that offer immersive experiences to its visitors. It can also be used for training and educational purposes to help recreate real-life scenarios. Acting as a giant VR headset, Igloo Shared VR uses wraparound sound and vision to immerse teams in 360° or VR vision. The spaces range from 5–21m in diameter, allowing up to 750 people to watch. The addition of the AMBEO 9.1 system means that

assign panel, an audio monitor and a level control panel in one. Users can assign multiple programme sources in real time to more than 16 IFB destinations. The panel also offers to up to 64 programme sources and 64 IFB destinations using standard EKP expansion panels. Realtime routing, audio monitoring and gain adjustment of programme inputs or IFB outputs are also possible.

true 3D spatial soundscapes can reportedly be reproduced to allow sound designers to pinpoint the locations and sources of different sounds and link what is seen with what is heard. The resulting AMBEO Igloo cylinder works with an acoustically transparent screen that is said to let high-quality audio pass unhindered. The Sennheiser AMBEO systems can be calibrated with any Igloo products, which range from 2.5m projection cubes up to 21m projection domes. www.igloovision.com www.neumann.com www.sennheiser.com

DiGiCo serves up Chilli and Mustard DIGICO HAS added the first full flavour – following its Mustard preview – to its Spice Rack processor collection for Quantum 7. Chilli 6 is a six-band, dynamic, multiband compressor/expander comprising a four-band, fourth-order frequency splitter with adjustable crossover and slope control, as well as a pair of independent fourth-order parametric EQ bands. Its processing can be freely inserted on any channel type in any position, with control from the console’s master screen and its work surface controls. Chilli 6 features a pair of floating bands that allow for detailed control of envelope shaping to provide definable frequency bands. Meanwhile, the compressor/expander’s range control restricts the maximum gain change between –24dB and +18dB. A dyn angle control determines the level at which the maximum gain change occurs. The aforementioned Mustard is itself an upcoming set of algorithms and options for channel strip processing for the SD7 Quantum that offers added flexibility when extra control and creative adjustment are needed for a mix. Mustard can deliver 64 channels of processing in addition to standard SD processing, adding preamp emulation, filters, EQ types, gate and a variety of compressor types to any existing channel strip. Mustard Tube options include a fully controllable preamp modeller that gives access to all aspects of a user’s front-end

drive, while Mustard Dynamics includes vintage VCA and optical compressor types that emulate several renowned devices. In other news, DiGiCo has released the DMI-Dante 64@96 card for its 4REA4, S-Series and select SD-Range consoles (SD12 and SD7 Quantum). Providing 64 input and 64 output channels at both 48kHz and 96kHz, the DMI (DiGiCo Multichannel Interface) card is equipped with primary and secondary (backup) Gigabit Ethernet ports for connection and offers a Sample Rate Conversion feature that enables the desk to run at a different sample rate than the Dante network. Natively allowing DiGiCo products to communicate with other devices on a Dante network, the DMI-Dante 64@96 reportedly doubles the previous DMI Dante card’s I/O channel count at the higher 96kHz resolution. www.digico.biz

Chilli 6

PRODUCTS

Composer and SymVue updates

Harman takes to the clouds HARMAN HAS launched CloudworX Manager, the first application from its cloud-based CloudworX software which has been developed to unify the configuration, deployment and monitoring of Harman’s AVL systems. CloudworX Manager is browser-based which allows systems integrators to install, configure and maintain devices without having to configure the devices individually or locally. Supported devices include the AMX Acendo Core system and the AMX Acendo Book scheduling touchpanels. These products can be configured by going to the CloudworX page on the Harman website. CloudworX Manager also features support for private or single sign-on accounts; sorting, filtering and searching of discovered devices; configuration of like and unlike

devices; connection of local installations with CloudworX Gateway software; device firmware management; and template creation and deployment. Harman is also planning to create applications that offer additional design and management capabilities. All CloudworX applications will share the same support pillars to unify platforms into one ecosystem. A key objective of the platform is to ensure a safe, secure and reliable environment for its users. To achieve this, Harman has invested in respected protocols and certifications that include a secure platform built on Microsoft Azure and security compliance designed around Cloud Security Alliance Star Level I, GDPR and ISO 27001. www.harman.com

Sonarworks’ latest reference

THE NEW Reference 4.4 release from Sonarworks allows users of the professional audio calibration software to assign presets for multiple output devices and provides greater control over output settings, as well as additional interface tweaks for ease of use, ensuring the system can work in the background and allow users to focus on making music. The update is available now to all existing Reference 4 users. Reference 4.4 also includes 15 new headphone profiles with models from Sennheiser, Skullcandy, ISK, KEF, Mackie, the t.bone and Ollo which brings the number of compatible devices to almost 300.

SYMETRIX HAS released Composer 7.2 and added a number of new features, including monitoring of Powersoft Duecanali, Ottocanali, X4 and X8 amplifiers and Panasonic WP-9XX amplifiers. A new Emailer Control Output module, when triggered, can send an email message with predetermined subject and body copy to a predetermined email address via a predetermined email server. With version 7.2, the input label of the output tab of a Matrix Selector now displays the channel name, instead of the input number, enabling source selection by text and drop-down menu. In addition, users can now change the unit type of an existing design in a site file, and only the physical attributes of the unit (inputs and outputs)

will change, while all other processes stay the same, including control screens. Composer’s SymVue GUI authoring features have also been updated. Users can now choose up and down buttons that can be configured like other buttons in the control screen, enabling volume change without dragging a fader or requiring custom logic that turns a fader into a button. When one or more controls are selected in edit mode, typing text changes the text displayed on the control where appropriate, without having to select the text in the properties window. In addition, dedicated hot keys are said to make it fast and easy to increase/decrease the font size of a selected control in a control screen. www.symetrix.co

Composer has been updated to v7.2

use. Output channels can also be selected individually whereas they were previously only available in pairs. This allows for L-R switching and offers more complex signal routing. Further updates allow Windows users to launch Systemwide mode in ASIO mode if their output device doesn’t support WASAPI. Mac users, meanwhile, now have full support for Reference when using OS 10.15 Catalina. Both Systemwide and Plugin mode can also notify the user of new updates as soon as they become available. A new presets sidebar enables quick management of user output devices to make

it easier to access the calibration profiles for any output device and pre-save them for later

www.sonarworks.com

MORE THAN YOU WISHED FOR!

PRODIGY.MP MULTIFUNCTION AUDIO PROCESSOR BOOSTED BY GLOBCON

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ISE I 7-V224 NAMM I 17726

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www.directout.eu

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PRODUCTS

Martin-Audio Antelope stays updates in tune Vu-Net MARTIN-AUDIO HAS released Vu-Net 2.2.0. With this update, a new set of features are included for iKON amplifiers and DX4.0 controllers. Before these features can be used, iKON amplifiers need to be upgraded to firmware 1.510 via a two-stage update, while the DX4.0 can only be used once it has updated to firmware 1.490.

The 2.2.0 version features support for both WPL and WPS arrays. A preset is available for four polemounted WPMs and Adorn Presets are available from the Preset Loader. Further general updates include the addition of the log export function in the help menu, the Dante name is now displayed in the property view and the GUI has been revised. The SX110, BLX115, BLX118, SXC118 and SX210 presets are available in the SUBS category, while the SX218 subwoofer loads two output channels to comply with wiring configuration. In terms of control functions, Limiter Wizard has been implemented, while eight Dante inputs are available, subject to Dante firmware updates. EQ points now follow the front panel labelling, the second low-shelf filter has been added to the DSP EQ and the input HPF is now displayed in the DSP EQ. All-pass filters are available in the output channel EQ and the EQ labelling follows DSP/output channel naming. The synchronisation window will now appear when devices are rediscovered and alarm events can be seen in the monitoring tab if there is a problem. With the power tab, remote control via Vu-Net can set amplifiers to standby mode and sleep mode and the sync-to-all iKON amps function allows the same settings to be applied to amplifiers online within the Vu-Net project. The U-HUB Network Interface is now available for U-Net connection to MLA products. CSX-Live subwoofers are now labelled as SXP subwoofers and users can right-click on a zoned CDD-Live product to ‘open selected’ or ‘open selected zones’.

AUTO-TUNE SYNERGY is a customdesigned plug-in from Antelope Audio that uses hardware acceleration from the manufacturer’s Synergy Core platform to deliver Auto-Tune pitch correction and vocal effects with low latency. Designed for real-time performances or in the studio, Retune Speed, Humanize and FlexTune controls provide pitch correction to the ‘Auto-Tune Effect’ found on many of today’s hits. Classic mode is included to provide a distinctive ‘Auto Tune 5 sound’, described as

a cult classic among artists, audio engineers and producers. Following the news that Antelope Audio has welcomed Antares Audio Technologies to Synergy Core, Auto-Tune Synergy is compatible with Antares’ Auto-Key plug-in. Auto-Key automatically detects the key and

scale of the composition and sends that information to Auto-Tune Synergy to save time in the studio. Auto-Tune Synergy is also compatible with Antelope’s Edge Go modelling microphone. www.antelopeaudio.com

SCULPTED SOUND, AESTHETIC PRECISION

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Whether you need to play background music in smaller bars and restaurants, or fill a larger space with a main sound system, there’s a Venu V2 loudspeaker to cater to all needs.

Hear. Feel. Connect.

www.martin-audio.com

Januar y–Februar y 2020 PRO AVL MEA 77

PRODUCTS

The Omnipressor returns Rotary Mod

THE OMNIPRESSOR is said to be the first dynamics effects processor. It was invented by Eventide’s founder, Richard Factor, and later redesigned for production by John Paul. Almost half a century later, Eventide has now released the Omnipressor plug-in, an

emulation of the original unit that served as a dynamics modifier with variable expressive controls over a signal’s dynamics. The Omnipressor plug-in’s function control enables users to set compression and expansion ratios over a wide, continuous

range, from extreme expansion to infinite compression, as well as dynamic reversal, which reverses a sound’s envelope, making loud sounds quiet and vice-versa. Other features include variable control of attack and release time, variable control of maximum

gain and maximum attenuation, and gating, which sets a threshold so that when the amplitudes of signals fall below the given value, they are ‘squooshed’. Eventide has also released the Rotary Mod for iOS. Emulating the iconic Hammond organ’s Leslie speaker cabinet used by the likes of the Beach Boys, Cream, Pink Floyd and The Beatles, the Rotary Mod is available as an AUv3 plug-in and standalone app for iPhone and iPad devices. www.eventideaudio.com

Audio Precision flexes its interfaces

AUDIO PRECISION has announced the release of the APx500 Flex audio analyser, a piece of measurement software that operates independently as an AP hardware analyser. It can be paired with ASIOcapable, third-party audio interfaces for a variety of acoustic and electrical test applications. The APx500 Flex allows users to leverage test development in the R&D cycle with the ability to import project and template files developed for AP hardware analysers, which reportedly reduces test development time while maintaining consistency in test methodology. As it is portable, the system is ideal for application engineers and QA technicians.

The APx500 Flex audio analyser is configured for two channels and includes a core set of measurements and functionalities, such as file analysis, sequence mode, input signal monitors, level and gain, THD+N, loudspeaker product test, stepped frequency sweep, pass/fail and signal acquisition measurement. Configuration options for four or eight channels are also available, alongside a trio of Flex Packs that reportedly offer different groups of more advanced measurements. Perceptual audio measurements can be used with Flex. Flex is being released alongside APx500 software v5.0.2, which provides ASIO support and includes the calibration of inputs and outputs in V, Pa and FS, automatic or manual delay compensation for compliant ASIO inter faces as well as support for generator trigger and acoustic and impedance measurements. The audio analyser is compatible with three different audio inter faces: the RME Fireface UC, Lynx Aurora (n) and Lynx E22. Configuration templates for these are included in the v5.0.2 software update. www.ap.com

Roland enhances V-series ROLAND HAS made several new firmware updates available for its professional video products. The v2.5 firmware for the V-60HD video switcher now enables primary parameter control of Panasonic PTZ cameras over LAN, eliminating the need for a dedicated camera controller. A v2.0 update for the V-1HD adds several new features to the HDMI video switcher, including the adjustment of more PiP parameters, simplified menu navigation and the inclusion of audio level meters within the multiview

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ArtioInsight

Exterity gains Insight EXTERITY HAS launched its ArtioInsight Reporting App, a piece of software that allows organisations to report ‘proof of play’ statistics for Exterity’s ArtioSign digital signage solution, informing the length of time certain images or videos were displayed during a particular period of time. Meanwhile, when used with the ArtioGuest interactive user experience middleware, ArtioInsight gathers viewing statistics for TV channels and video on demand (VOD) content. Speaking of ArtioSign, Exterity has added interactive features that enable users to update signage screens via their remote control. It allows users to change layouts and hide and show content when needed, rather than scheduling in advance. Users can also manually select a VOD asset or channel to

ensure that the right content reaches the right audience at the right time. ArtioGuest has also been updated to support Pro:Idiom-encrypted TV channels on sets in hospitality environments. This means organisations can meet content protection requirements while delivering premium TV channels across IP networks. A further new addition is the AvediaStream g4401 Gateway which supports the SRT protocol and the input of transport streams delivered by IPTV providers to facilitate redistribution of content over a LAN. A pair of g4401 Gateways allow for the delivery of live video between different locations over the internet without the need for CDNs. www.exterity.com

screen. Updates have also been created for the iPad, Mac and Windows Remote Control Software for the V-1HD. New features created by the development of the V-02HD v1.1 update include operation from the new iPad remote control app. Video inputs are reportedly easier to switch, audio can be mixed with virtual faders and up to eight custom scenes can be created using preset memories. proav.roland.com

Capture-KMC50 Line array microphone in a 50 cm | k-array.com

The Capture-KMC50 microphone features Pure Array Technology with 16 x 6 mm electrect condenser cardioid capsules aligned in a line array configuration, designed for capturing sound with the precision of a perfect directive microphone in 50 cm. Presented at ISE 2020 Booth #7-X220

PRODUCTS

Kinetic motion MODULO PI has released KineMotion as an optical tracking module for its Modulo Kinetic all-in-one media ser ver solution. KineMotion comprises add-on software, beacons and a calibration kit, as well as a 3D par ticle engine, nodal editor and timeline sequencer. It allows for projection onto moving objects and the drawing and tracking of par ticles, and facilitates automatic followspot and light painting. The possibilities KineMotion offers are fur ther extended with the list of protocols that Modulo Kinetic suppor ts, such as Ar t-Net, OSC and PosiStage. KineMotion has been designed with a user-friendly integrated inter face to allow the tracking system to be set up quickly. It repor tedly boasts ultra-low latency and precision

One-click configuration

for real-time video mapping onto moving objects. Automatic video projector 3D calibration and real-time 3D soft edge also mean that Modulo Kinetic can

project on an object moving in front of multiple overlapping video projectors.

record almost unlimited NDI video channels, making IP-based, multi-camera editing accessible for the first time. Continuous recordings are readily available for editing and instant replay without stopping video capture. Time-stamped recordings are imported as synchronised files into Adobe Creative Cloud with full synchronisation in any video or audio format, including 4K UHD and above. The tool uses high-bandwidth NDI over a Wi-Fi connection in resolutions up to 4K UHD

from an iOS-based mobile device. The aspect ratio, frame rate and resolution-independent nature of NDI also allows other NDI-enabled systems, including production switchers, to deliver content ready for viewing on mobile devices. NDI 4 extends high-quality video with support for alpha channel and a full 16-bit data path. With support for UHD, more than 64 channels of floating-point audio are available at all sample rates.

www.modulo-pi.com

NDI 4 arrives

NDI HAS released its fourth generation of NDI technology for software-defined visual storytelling via IP-based video. NDI 4 can

DESIGNED TO provide fast auto configuration for any gigabit switch, Just Add Power (J+P) has expanded its Just OS firmware ecosystem with the Instant Install application. Users can repor tedly incorporate any gigabit switch that suppor ts jumbo frames – managed or not – into their J+P matrix. Devices are connected anywhere on the switch and, with a single button click, the devices are found and configured and a driver is built, all in less than two minutes, claims the manufacturer. ‘With the Instant Install app, one click is all that’s needed to configure all the devices connected to the gigabit switch,’ states J+P sales manager, Taft Stricklin. The Instant Install app joins J+P’s Plug-Play-Present logic control designed for the switching of sources intuitively and reliable connectivity, the Switch Please web application for matrix switching of J+P devices from web browsers and the Ever y Switch Suppor ted firmware that enables any size of 4K matrix to be built on an existing network without having to change switches, as par t of the Just OS ecosystem. www.justaddpower.com

www.newtek.com

T# and Mi multiviewers go UHD

Mi-8 12G UHD APANTAC’S T# and Mi multiviewers have been updated with the addition of UHD outputs. The manufacturer has cited ‘the wide adoption’ of the HDMI 2.0 inter face in consumer displays leading to broadcastquality multiviewers used with off-the-shelf displays becoming effective for a wide

range of broadcast applications, hence the need for UHD outputs. The HDMI 2.0 inter face at 18Gbps allows signals to be viewed up to 4K/UHD 60Hz at 4:4:4 on HDMI 2.0-capable screens. The UHD outputs include a UHD output card for Apantac’s

ArtioGuest checks in to the MediaSuite PHILIPS PROFESSIONAL Display Solutions (Philips PDS) has partnered with Exterity to provide seamless integration between Exterity’s ArtioGuest interactive guest experience portal and the newest MediaSuite Professional TV sets from Philips, which include built-in Chromecast support. ArtioGuest integrates with the MediaSuite solutions to facilitate the wireless casting of movies, presentations and other content from smart devices such as smartphones, laptops and tablets. The content is delivered

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by MediaSuite along with an interactive guest experience that securely connects the user to guest service offerings. MediaSuite is the first range of dedicated professional TVs that include Chromecast to allow guests to cast their own content. The MediaSuite pro TVs are available in sizes from 32–65 inches, with options for UHD or FHD. They all feature a direct LED backlight. www.exterity.com www.philips.com

T# modular multi-format multiviewer series. As for the Mi series, the Mi-16UHD is the UHD output version of the Mi-16 and the Mi-8 12G UHD is the UHD output version of the Mi-8 12G. They have the same feature sets as their HD counterparts, with the addition of HDMI 2.0 and 12G SDI outputs, as well as down-converted 1080p HDMI and 1080p/i SDI outputs. The multiviewer layout design incorporates predefined picture-in-picture (PiP) size, in addition to dual PiP with fully adjustable sizes up to full screen images.

Apantac has also released the OG-KVMIP-Tx card, a solution for KVM-over-IP for openGear. Up to 10 OG-KVM-IP-Tx cards can be installed in a single openGear 2U chassis drawing on a single power supply, which can be redundant, instead of using individual transmission boxes for each of the sources. OG-KVM-IP-Tx cards also have a common configuration, control and monitoring interface via the openGear Dashboard software. www.apantac.com

DN4

M55WD

Four-input Dante | AES67 interface

Hanging microphone with

for single-element Audix Dante | AES67

interchangeable capsules

enabled microphones

and dual LED status indicator

M70WD Flush-mount, steerable ceiling microphone with dual LED status indicator

DN43 Two-input Dante | AES67 interface for one M3W or M3G tri-element microphone and one single-element Audix Dante AES67 enabled microphone

M3DK System kit that includes DN43, M3W or M3G tri-element hanging microphone, and a 3’ plenum-rated CAT6 mic-to-interface cable

DANTE®– AES67 MADE SIMPLE The Audix Dante – AES67 integrated microphone system is the fast and trouble-free way to stream Audix audio performance through Ethernet networks. High-quality audio and all microphone functions — including on-off contact closure and dual-color LED status indicators — are available on a single CAT5 - CAT7 cable. RJ45 connectors on Audix Dante I AES67 enabled microphones eliminate the need for fabricating complex connections, minimizing errors, accelerating installation, and reducing cost. And all Audix Dante I AES67 enabled microphone gain structures are optimized for their intended use, providing quality audio at the DSP. The result is true plug-andplay installation.

Visit Audix at ISE 2020, booth #7-C240

AudixUSA.com | 800.966.8261

PRODUCTS

AV Stumpfl goes borderless AV STUMPFL has announced the release of Fullwhite, a projection screen without borders or depth. Designed for flying screen projections, Fullwhite features various mounting solutions and comes in a variety of surface types. Multiple

screens can be connected to create projected walls or cubes. Fullwhite is a modular system comprising a basic frame that can be sized to any format by adding or removing plug-in elements, a principle that has been used on the manufacturer’s Vario screen for several decades. The vinyl screens can be stretched and attached to the frame with specially developed hooks on the rear side. One side of the profile is skewed to the rear side of the screen by 45° which reportedly results in a frame that is not visible, even when seen slightly from the side. Multiple plug-in elements made from extruded aluminium profiles are connected using the manufacturer’s clamp connector. Fullwhite screens are usually flown onstage or mounted onto walls; however, they can also be set up on legs. www.avstumpfl.com

True HDR 4K RGB debut CHRISTIE IS looking to eclipse its competition with its latest projector release. Eclipse is a 4K RGB pure laser projector that includes Christie RealLaser illumination, true HDR and an expansive colour gamut that approaches the full Rec. 2020 and Rec. 2100 colour space. In short, Christie describes Eclipse as ‘the world’s first true HDR 4K RGB pure laser projector for the pro AV market’. Eclipse is built to process and reproduce HDR content onscreen, in 4K resolution, at both high and low brightness levels. The result is said to be a contrast ratio of up to 20,000,000:1. Its colour gamut enables it to produce highly saturated colours, exceeding the Rec. 2100 200,000:1 contrast ratio specification 100 times over. The inclusion of RealLaser illumination, 4K resolution and a high frame rate capability of up to 120fps reportedly facilitates smooth content delivery without a distracting blur.

The brightness level can be customised to best suit the environment, from 2,000–30,000 lumens. Eclipse also features Christie TruLife technology for a performance of 4K at 120Hz and Christie’s Twist software, which offers warping and blending capabilities. An optional Christie Terra input card adds further efficiency for integration and connectivity. Projectors that feature TruLife can connect directly to a Christie Terra SDVoE system. On a final note, Eclipse also supports Christie Mystique, an automated, camerabased warping and blending tool designed to simplify deployment and maintenance of multiprojector arrays. www.christiedigital.com

Gator-Toolbox is a production lifesaver DEVELOPED BY Ross Video as a UHD signal conversion problem-solver, the Gator-Toolbox adapts ‘any-to-any’ HD, UHD and HDR signals in an openGear card with an optional adaptive standards converter. Gator-Toolbox includes a set of tools that adapt UHD and HD signals to broadcast production and live event workflows where low latency and quality UHD, HDR and WCG are required. The integrated format converter implements a rapid scaling and deinterlacing technology. Featuring smooth frame-rate conversion with tracking audio resampling, Gator-Toolbox is also a standards converter that adapts foreign standards into the production. Navigation can be made between SDR, PQ, HLG and SLOG in any combination

Gator-Toolbox with support for both standard and wide (BT.2020) colour gamuts. Further tuning is available with proc amp, RGB colour correction and audio correction controls. Gator-Toolbox features 12G-SDI plus gearbox (2SI and SDQ) input and output to connect with ease. Ross has also unveiled its NWE-IP Nielsen Watermark Encoder for IP

networks. The solution is built on the manufacturer’s latest release of the BACH Virtual SoundCard (VSC), a Linux-based SDK that enables audio applications, such as the NWE-IP, running on a COTS Linux server to connect with ease to AES67 and SMPTE ST 2110 audio senders and receivers using SAP, and Ravenna open control protocols supporting up to 64

audio channels and eight low-latency bidirectional streams. The MC1 UHD master control switcher, meanwhile, has been adapted from the manufacturer’s MC1 system and supports HD and UHD workflows. It scales from standalone branding to multichannel master control installations and includes two external key/fill inputs. The MC1 UHD is said to easily adapt to manual or automated control and is described as the ideal solution for customers requiring high-quality HD or UHD master control and branding with low latency, multiple keyers, logo store and 24/7 reliability. www.rossvideo.com

Compact and versatile OPTOMA HAS expanded its range of DuraCore laser ProScene projectors with three models – the ZU606TSTe, ZU606Te (WUXGA) and ZH606e (Full HD 1080p) – described by the manufacturer as compact and versatile with 6,300 lumens of brightness and 4K and

ZU606TSTe HDR compatibility. With a reported lifetime of 30,000 hours at full brightness, the projectors can be monitored over a network via RJ45. The ZU606Te and its short-throw counterpart, the ZU606TSTe, come equipped with HDBaseT connectivity. All three models have four-corner geometric adjustment to

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help with uneven walls or where a projector placement is awkward and needs to be installed at an angle. In addition, the ZU606Te and ZH606e have a vertical lens shift and 1.6x zoom for ease of installation. Built-in 10W stereo speakers are also featured. In other news, the manufacturer has released a warp and blended solution. Powered by blending, warping and video mapping software provider, Vioso, the Nano has been designed to support Optoma’s pro AV projector range and is described as providing simple and fast warping, edge blending and content playback. It is equipped with four channels and is suitable for flat and curved screens, domes and irregular surfaces. The Nano is ideal for multiprojector installations and features advanced projector masking and colour correction. The processor can also be used for stacking or when a project needs higher brightness or redundancy. www.optoma.ae

Combining performance and durability PIXELFLEX HAS introduced the FlexUltra XT, an LED video panel that combines performance and durability for any rental staging production design. The panel offers design potential to any live production with ultra-high-resolution pixel pitch options, an all-in-one optional ground support system and PixelShield protective technology. FlexUltra XT is available in 1.5mm, 1.9mm and 2.5mm pixel pitch options and comes as standard with PixelFlex’s COB PixelShield

technology. The front serviceable modules reportedly make it simpler to keep each panel looking its best, while the Z-Axis adjustments are said to ensure that the screen is always seamless. With magnetic connections and auto-locks, the FlexUltra XT reportedly turns vertical rigging into a one-person job with built-in levels and self-levelling footers in the optional ground support system. www.pixelflexled.com

WHAT YOU DO IN THE DARK WILL MAKE YOU SHINE

PRODUCTS

Evolving productions go into the Stratus-phere

BT7007 goes global

TO HELP meet the needs of ever-evolving broadcast production needs, Grass Valley has created GV Stratus One. It is an allin-one production management solution designed so that it can be deployed within hours and without specialist technical assistance, while allowing users to manage all aspects of the media workflow, from content capture to final delivery via any platform. GV Stratus One aims to help production teams streamline their workflows, delivering content quickly. It can serve as a multi-site integrated solution with the ability to access

B-TECH HAS announced that the BT7007 display kiosk for the LG 88-inch Ultra Stretch Digital Signage is now available globally. The BT7007 is one of B-Tech’s many mounting products designed for LG solutions. The kiosk is available in either a black or white satin finish and uses System X technology so that LG88BH7D displays can be mounted with a ‘hook-on’ installation method. The removable front and rear panels fit flush around the display, while rear vents allow airflow to and from the display. The kiosk can be freestanding or bolted to the floor, with the option to be customised to feature company branding. It is ideal for retail, corporate and hospitality sectors and has an 8mm thick, heavy-duty steel base. Lockable top panels are said to help prevent unauthorised removal of the screen. The kiosk dimensions are 700mm x 132mm x 2,492mm and the base

content from any system. Browser-based access allows for collaborative methods of working, as team members can add and access clips from any location, while production crews can edit and work on the media as soon as recording starts. The system manages everything from ingest and content management to playout, in addition to web streaming and social media delivery. Users of Grass Valley’s previous GV Stratus solution can also deploy GV Stratus One as a backup for disaster recovery. www.grassvalley.com

AJA adds 12G-SDI solutions AJA HAS unveiled a 12G version of the HDR Image Analyzer and Kumo 3232 router, an FS-Mini frame synchroniser Mini-Converter and three additional openGear compatible converter cards. In addition, users can benefit from new software and firmware updates that are designed to improve and enhance the Desktop I/O line, MiniConverters and FS4 frame synchronisers/ converters. Developed in partnership with Colorfront, the HDR Image Analyzer 12G is a 1U real-time HDR monitoring and analysis solution featuring high bandwidth 12G-SDI connectivity. It aims to enhance monitoring

HDR Image Analyzer 12G and analysis of HDR formats in production and post, including Perceptual Quantizer and Hybrid Log Gamma. The Kumo 6464-12G includes 64 12G-SDI inputs and 64 12G-SDI outputs for signal routing with increased 12G-SDI bandwidth connectivity. Ganged dual and quad-por t routing configuration options allow users to combine multiple inputs

and outputs for resolution suppor t up to 8K. Providing broadcast-quality utility frame synchronisation in a portable form factor, the FS-Mini Converter synchronises and converts a wide range of video formats to a house standard with a 3G-SDI input and output, simultaneous HDMI output and a two-channel, RCA-style audio output.

dimensions are 700mm x 550mm x 8mm (WxDxH). The maximum load is 50kg. www.btechavmounts.com

The US manufacturer has also developed new openGear OG-FS-Mini, OG-ROI-DVI and OG-ROI-HDMI cards. The OG-FS-Mini combines the functionality of the FS-MiniConverter with the openGear architecture, while the OG-ROI-DVI and OG-ROI-HDMI support DVI or HDMI to SDI Region of Interest scaling, scan conversion and image rotation in the openGear format. Finally, a host of free firmware and software updates have been unveiled for the Hi5-4K-Plus, Hi5-12G and IPR MiniConverters. www.aja.com

Neutrik breaks out

Crisp video whatever the weather

NEUTRIK HAS unveiled the NA2-IO-DPRO two-in/two-out Dante interface, which possesses two switchable mic, line, AES/EBU inputs and a pair of switchable analogue line, AES/EBU outputs, with two Dante ports for redundancy or device daisy-chaining. The breakout box has a small form factor, metal construction and removable protective rubber casing for reliability in a wide range of applications. The front panel provides two latching XLR inputs and two XLR outputs. AES/ EBU operation is auto detected for inputs and outputs. Using Neutrik’s free DPRO controller software for Mac or PC, +48V phantom power can be applied; microphone preamplifier gain, pad and high-pass filtering can be set per channel; and input channels can be linked for matched operation. Output channels can

DESIGNED BY Marshall Electronics as an all-weather HD miniature camera, the CV503-WP now succeeds the CV502-WPM. Suitable for outdoor environments where dust, dirt and moisture become factors, the CV503-WP features a larger sensor, interchangeable prime lenses and remote adjustable settings within a compact, IP67-rated housing. The 3m weatherproof cable combines HD video, control and power to a 3G/HD-SDI (BNC) output, RS485 connection and locking 12V power connector. Built around a 2.5-Megapixel, 1/2.86-inch sensor and ultra-low noise signal processors, the CV503-WP delivers clear progressive video up to 1920x1080p at 60fps and interlaced up to 1920x1080i at 60fps. The CV503-WP’s threaded M12 lens mount with a wider weatherproof cap offers a range of prime lens options when creating the right shot on location. Remote adjustment of a wide range of picture settings via RCP or Camera Control

84 PRO AVL MEA Januar y–Februar y 2020

be muted or unmuted within the software. The rear panel provides primary and secondary Dante ports on Neutrik etherCON connectors. The secondary input can be configured for redundant or switched mode (for daisy-chaining). When operating in switched mode, in conjunction with a 60W PoE injector, up to eight devices can be daisy-chained. Up to four devices can be daisy-chained with a 30W PoE injector. The NA2-IO-DPRO is compliant with AES67. Power must be supplied externally via either a PoE switch or a PoE injector per IEEE 802.3af/at, class 2 or no classification at 6W. With optional mounting brackets or a rack panel, the NA2-IO-DPRO can be mounted below tables, in floor boxes, in racks or on the stage truss. www.neutrik.com

Software provide ease of matching other cameras in the workflow from an OB vehicle or control panel. Adjustments such as exposure, white balance, paint adjustments, gain control, pedestal (blacks), white clip and gamma are delivered via common RS-485 (Visca) commands with or without manipulation of the On-Screen Display menu. www.marshall-usa.com

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PRODUCTS

4K shoulder support THE AJ-CX4000GJ shoulder-mount, 4K broadcast camera joins Panasonic’s CX Series of 4K camera recorders. It has a B4 lens mount and interchangeable lenses as well as an 11MP image sensor to enable 4K image recording with a horizontal resolution of 2,000 TV lines. It is also compatible with HDR and compliant with BT.2100 and BT.2020, and supports IP connectivity and HD live streaming. The camera also features a 10-bit HEVC codec, which reportedly means that recording with 4K/10-bit high image quality is possible for long periods while also keeping the bitrate and storage size down. In addition, the expressP2 card, suited to high-speed transfers, can be used for recording media, as can the microP2 card or an SDXC memory card. The AJ-CX4000GJ also supports AVC-Ultra codec (HD) recording from the P2HD Series. UHD 60p/50p 10-bit 4:2:2 output via 12G-SDI is also possible. In HD mode, content can be distributed straight to internet live streaming services using the Direct Streaming functionality. This is compatible with RTSP, RTMP and

THE SIREN Series AFS-500 and AFS-700 followspots have been designed by Altman Lighting to provide the functionality of a traditional followspot with new features and operator enhancements. The more compact AFS-500 fixture is a lightweight, 490W, colour-changing followspot. Dimming, colour wheel, iris and CTO features can be controlled manually or via DMX.

The AFS-500 produces over 10,000 lumens of output and a manual zoom range of 7–13°. The AFS-700 delivers almost 14,000 lumens with a range of up to 60m. It has a 7–13° motorised or manual beam spread, 18-facet iris, dimming, CTO and a colour wheel that can all be controlled via DMX or an adjustable control pad that adapts for right- or lefthanded operators. The 37dBa maximum cooling system means the fixture can be placed in an acoustically sensitive lighting environment.

AFS-500

www.altmanlighting.com

AJ-CX4000GJ RTMPS protocols. The camera’s LAN terminal is equipped with a 1000BASE-Tcompatible lock mechanism and supports NDI | HX connectivity. Transmission and camera control are also possible via an IP connection and can be linked to a recording/distribution system combined with Panasonic’s remote camera. Panasonic has been as busy as ever with product launches. Other new additions to the catalogue include the AK-SHB800 8K multipurpose camera, AK-SHU800 processing unit and AK-SFC101 framing control software, which, together, form the 8K ROI (Region of Interest) multi-camera system. pro-av.panasonic.net

All new, all purpose, all weather PR LIGHTING has announced the release of two additions to its Aqua Series of waterproof moving head fixtures: the Aqua 580 BWS and Aqua 580 Beam. Both IP66-rated lights feature a Philips 25R 550W (7,500K) engine, precise gobos and colours and are suitable for both indoor and outdoor use. They provide a power consumption of 800W at 220V and a full CMY colour mixing system with macro. The colour wheel features 12 colour filters and there is one effects wheel and one frost filter. The fixed gobo wheel comes with 18 gobos and the rotating gobo comes with seven gobos. Control is via DMX512 wireless, RDM or Ar t-Net connections. The dimmer is 0–100% linearly adjustable and the individual colour temperature adjustment is 0–100%. Head movement is 540° pan and 270° tilt. The fixtures are housed in cast aluminium and high-temperature/ UV-resistant plastic. The three-in-one hybrid Aqua 580 BWS incorporates four prisms: eight-facet, nine-facet, four-facet and a gradient. The beam mode is 2°, wash mode is 3–50° and spot mode is 2–40°. In shor t mode, the fixture provides 23 channels, in standard mode 31 channels and in extended mode 35 channels. The unit weighs 36.5kg. The Aqua 580 Beam

Altman hears a siren

Prolights adds flexibility ECLIPSEPAR IS Prolights’ range of multipurpose LED fixtures with a single source designed to provide silent operation, high-quality light and optical flexibility. All fixtures come with a range of accessories, including barn doors, filter frame, egg crate and a variety of interchangeable lenses. Additional features include a smooth 16-bit dimming plus RDM control and adjustable PWM. The first product in the range is the EclipsePARFC, which features 150W RGB plus warm white and delivers a white CTC with ± tint control, red-shift (CRI > 92 and R9 > 94) and colour mixing. The fixture has a 2,800–10,000K CT and a 163mm Fresnel lens. The beam angle is 24° (on-board) or 65° (included), while the field angle is 41° (on-board) or 100° (included). The EclipsePARTU and EclipsePARDY feature a 177W white LED source (3,200K for the EclipsePARTU; 6,000K for the EclipsePARDY) with a CRI and R9 of more

Aqua 580 BWS comes with three prisms: eight-facet, 16-facet and four-facet. The beam angle is 2°. In shor t mode, the fixture provides 22 channels, in standard mode 26 channels and in extended mode 30 channels. The unit weight is slightly lighter than the Aqua 580 BWS at 36kg.

than 95. The EclipsePARUV is a real UV LED luminaire with a 365nm wavelength LED source. Prolights has also headed outside with the MosaicoXL, a long-range outdoor LED fixture for the projection of textures, images and logos onto buildings. It is built in a durable IP66 die-cast housing and offers an output of 17,000 lumens and a set of features including a CMY colour mixing system and profile to shape the projection area. The zoom ranges from 5–50°, while the fixture features a 540W white LED engine with 6,000K CT. For users who want a superior light quality without the view of multi-cell fixtures, Prolights has developed the PixieWashXB which is said to bring together the classic styling of a traditional wash luminaire and apply the latest innovations in the field of LED technology. The 280W RGB and warm white LED module is said to work to deliver high-quality white reproduction with high CRI and TLCI parameters and precise colour tuning.

www.pr-lighting.com

EclipsePARFC

86 PRO AVL MEA Januar y–Februar y 2020

MosaicoXL

www.prolights.it

ISE 2020 · 11-14 February 2020 · Hall 7/N-200 Free invitation code: 706584 For more information visit: www.toa.eu/ise-2020

Integrated Solutions for Safety and Communication Perfect integration: IP-based PA, intercom and voice alarm from a

Scalable: Tailored systems for individual requirements

Proven reliability: Combined systems for proven reliability and advanced

Support: We are the experts. And we support you.

single manufacturer security

Innovative Technology: Based on more than 80 years of experience

Seminars at our booth

At our booth, we will showcase products and solutions by TOA in short seminars and presentations about new developments in IP audio technology, airport solutions, wireless and conference systems, acoustic planning and simulation as well as highly integrated voice alarm and public address systems, among others. Come in and join these events with our new wireless and visitor guide systems every day at 11:00, 13:00, 15:00 or 17:00. Don’t miss out on these exciting topics! Integrated Solutions for Safety and Communication

Conference Systems

Future of AV is over IP

Airport Solutions – Safety and Sound Systems

Voice Alarm Systems

Wireless – Safety and Comfort

Planning of TOA systems: Acoustics and Simulation

APAS* – Enhanced Passenger Experience *APAS: Automated Passenger Announcement System

We supply sound, not equipment.

www.toa.eu

TOAEurope

TOA Electronics Europe

PRODUCTS

Robert Juliat debuts ZEP2

The ZEP2 Fresnel THE ZEP2 range of LED zoom profile spots and Fresnel fixtures from French manufacturer Robert Juliat are equipped with an enhanced LED source which reportedly provides a higher light quality and output. They can be used either as a direct complement or replacement for either 1kW or 2kW units as they only use 150W or 300W of LED power. The ZEP2 profile spots provide a smooth flat beam with a CRI of up to 92 and include all the features from the SX range, including three variable zoom options (28–54°, 16–35° and 11–26°), a strobe function and a built-in, flicker-free dimmable PSU with a silent operation. According to the manufacturer, the fixtures offer zero UV/IR emissions to protect the audience. The ZEP2 Fresnel fixtures are described as the perfect complement to the ZEP2 profile spots. They are available in warm and cool white (150W version) and a neutral and variable white (300W version). The

200m Fresnel lens provides a flat beam and a variable beam angle for a ‘powerful wash effect’. Colour temperature reportedly remains constant, while dimming and beam shaping can be achieved with the addition of one of Robert Juliat’s rotatable barndoors. In other news, the lighting manufacturer has unveiled its Maestro server for SpotMe, which has been developed in association with tracking specialist, zactrack. The server is said to extend the capabilities of the SpotMe 3D position-tracking system by enabling it to operate with any DMX lighting control console. Up until now, SpotMe has functioned with the PosiStageNet open protocol which is run by only a limited number of consoles. SpotMe sends the X/Y/Z coordinates of any object or person discovered by a followspot to manage other moving head fixtures and static displays in a rig. Now, with the Maestro extension, a designer can take control from any DMX console. The lighting console, even the simplest DMX model, retains the pan and tilt control and, in return, gets additional DMX channels to modulate the tracking parameters calculated and managed by the Maestro server. An additional The ZEP2 profile spot advantage of Maestro is the Prediction feature, which gives the ability to anticipate the direction of a performer’s movement onstage and adjust every slave fixture to react quickly to the direction of travel.

Titan redefines lighting THE TITAN X2 is an LED soft light that uses RGBWW technology to provide ‘unparalleled light output’, colour accuracy and a suite of industry-first features, according to manufacturer Rotolight. The 2x1 LED reportedly provides enough power to adapt to

that users can achieve the exact colour they want. Over 16.7 million colours are accessible across five lighting modes: CCT, HSI, RGBW, XY and Filter, which includes a library of more than 1,300 industrystandard gels. The soft light offers high

any lighting situation and performs well across the CCT spectrum from 2,800–10,000K. It is described as flicker-free at any shutter angle or intensity. With patent-pending SmartSoft technology, the light’s diffusion, focus and spread can be adjusted electronically. SmartSoft can be adjusted locally on the light via DMX or wirelessly. Lighting professionals no longer need to go through sub-menus. Instead, they can access key features with a single touch thanks to quick-start icons and up to 10 user-customisable presets for instant recall. The full-colour display provides onscreen previews of the Titan X2’s filter library so

speed sync flash with a powerful input and zero recycle time. It is installed with an integrated Elinchrom Skyport flash receiver so that up to 10 Titan X2s can be wirelessly triggered at up to 200m with the Rotolight HSS transmitter. The Titan X2 is also installed with wired/ wDMX, Bluetooth, integrated LumenRadio compatibility, a Elinchrom Skyport flash receiver and RJ45. The LED incorporates four secure aluminium handles for rigging and is also available with a range of mounting options. www.rotolight.com

VL800 Series joins Vari-Lite portfolio

The VL800 Series

www.robertjuliat.com

Zylight is on the go BI-COLOUR VERSATILITY, ± green adjustment and variable beam spread are some of the features of Zylight’s new LED Go-Panel, which incorporates the manufacturer’s patented, continuously variable Active Diffusion technology to repor tedly improve the user’s adaptability, no matter the location. Diffusion can be adjusted electronically with the turn of a knob, which means that users can make incremental adjustments to diffusion levels without having to reach for a filter or assemble diffusion accessories. A single integrated friction hinge repor tedly allows placement of the panel at any angle with one-handed tilting. While the small hinge keeps the fixture slim and easy to transpor t, the built-in remotecontrol options allow a choice of DMX, Bluetooth and LumenRadio. The por table Go-Panel includes a worldwide AC power supply or it can be powered by an optional 14.4V camera batter y through

88 PRO AVL MEA Januar y–Februar y 2020

an attached batter y plate. It is also rated IP65 for outdoor use. www.ushio.com/zylight

VARI-LITE HAS unveiled its VL800 Series of fixed and moving head LED fixtures comprising three products: the VL800 ProPAR, EvenPAR and the EventWash. The fixtures are colour-matched to be visually consistent, as are the user experience and DMX mapping, according to the manufacturer. The VL800 ProPAR is a high-output LED event PAR fixture that includes a quiet running motorised zoom. It offers full RGBW colour mixing and gel-matched colour presets alongside multi-mode fan control for quiet environments. The VL800 EventPAR is an LED retrostyle event PAR designed as a modern

replacement of classic tungsten PAR fixtures. It is available in both RGBA and warm white, with output and colour reminiscent of tungsten PAR 64 lamps. The EventPAR includes an outdoor rating of IP24 which protects it against water spray as well as withstanding rainy conditions. Finally, the VL800 EventWash is a midsized LED wash moving head fixture that includes full RGBW colour mixing with seven individually controllable LEDs for easy split colours or pixel-mapping applications, along with controllable dimming and a motorised zoom. www.vari-lite.com

BUSINESS: R&D BUSINESS: BUSINESS: R&D BUSINESS: TECHNOLOGY

TS D

BUSINESS: R&D BUSINESS: R&D BUSINESS: TECHNOLOGY PRODUCTS

political skills as well ascompanies technical ones. am proud that Furthermore, companies specialised in making the loudspeaker isother,’ enoughDante that 1m inthird-party the free field T-S parameters the are often referred to asThis ‘small bridge, you split that off have into the Dante network different approach. US tend toI is drive tothen market as orks are invisible to each ith different contents from asmall central SolaWash 1000. newsignal’ automated we have made something elegant and versatile, with anot new these hiding accessories and there the are FOH already some the available of the device under test (DUT), a ground plane measurement parameters, because the results are most useful when the where that is then shared between console, fast as they can and they’ll fix the issues later. 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Wediscusses havethat wireless microphones absolute minimum latency theROI product development. ‘I and just better love making glass, concrete and the design of you textures before seen from any APx500 audio software test results fromnever various thatback can fitDSPs every application. demand. think we are going toused open some newatdoors hat the clip on the of the measurement microphones Directional response measurements are Iconducted under www.solidstatelogic.com peak in the CEO Roman Sick collecting an award atas SXSW and Yamaha-built and other systems for mixing in very /O and the monitor board. 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The integrated 4x4 Dante card is something the best takeaway was looking at the typemodular of engineering 060 lavalier, weWe made a new version response is on-axis and at to several angular you to go in there and make video callbox or you Thewant volume of air contained within athe sealed andwant the to go these of measurements. us solution combining becoming difficult to guys bringand a truly immersive to our spoke the theatre theyimagine said, types “we really would likewireless and wired microphone ehent business benefits itmeasured thinks its challenge. did an awful lot render channel count immersive audio design DSP system. So Solaro, we took the approach of a bonus feature for the user, as assured flexibility is and design process for a company making products that will nd JC: Intaking opinion, point source will increase inbecause popularity www.dpamicrophones.com instead of the micwith out, positions off-axis. Once the on-axis measurement set in there andacts do nothing but put slides on the screen. driver cone like a spring thatyour causes theupresonant peak technologies with some of their DSP technology to address the the market and get is noticed all thetonoise Truly a 1mm cable it’s a with lot easier hide”.around. I said, “well, ere are lots ofmy operational costnPlex and having the patience toyou to two adopt a rotable modular I/Othe architecture in order toimmersive provided by the combination of any card type and any be used in a pretty harsh environment and going through ts. for reasons. Firstly, growing interest in rent position via a design,’ Impedance curve up, the system loops over of angular positions, Conference roomscurve everywhere used like that all theand time, in the impedance to shift get higher in both frequency boardrooms the know where to those channels, they wouldn’t evenworld.’ knowand that they’re not confused immersive sound, our point of view, is anofexperience in and Thiele-Small alright. Let’s goput andfrom do it”. 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Butof parameters reduce unnecessary Making integrators’ lives easier, Xilica’s The PMC sales and spending.’ marketing team in has already set its Mario Rodriguez, Nexo’s director of manufacturing, with the first P12s to come systems off the production line u Secondly, the improvements networking, which measurement at LED each step. To teams resolve lobes smaller conference rooms.’ In bothand the Added Mass and the Known Volume (or Sealed Box) could tackle conferencing of any CTO, scale.two ‘Wecolour wheels, rotating ‘The barrier toinbusiness for most people isstill thebeing complexities sers can filter the database for just that from theThe physical one, while able to aofproducts it candiffers be.’ quired,’ adds ‘This solution a launch like this withdramatic complete THEMoreno. ESPRITE is the first moving fixture outputs 27,000 lumens with variable elite signals can remote news programming software – Xilica Designer – Support forhe Audinate’s Dante technology, the sights on assist the broadcast sector in Asiaofand Australasia and ey enable users to deploy large numbers point source ical was a key part,’ continues. Impedance measured by have applying a constant voltage versus directivity pattern at high where wavelengths Importantly, Mrmeasurement Reid also believes that derives the mission-critical techniques, algorithm the additional can gowhich down They power amps and speech the design,’ continues. ‘Ihuman can do a design in is aisand minute-andmdid theour various or perform actions that any will intuitively make. Despite theheimmense amount ofrange, planning and development coustic performance, cross-talk homework onRobe it. projector We lightspeaker from tocould havefrequencies, a 650W white 5.5–50° zoom saidup. toFor provide static gobos, a six-facet rotating prism and a the develops into a universal control platform for introduction programmable controls and is banking onofthe result6 to make an impact in thesound region. Are you going to build on the P12 and release en development that has cabinets easily. This new ome with more attachments frequency the loudspeaker and measuring the voltage the are short, aprofessionally small increment inAnything angular position may be nature of these spaces meansteam that therein isthe adeveloped potentially parameters from the measured changes impedancethe curve. and all kinds high-end audio equipment that Thethe that offers provides opportunities for of a-half. I could run five designs using different manufacturers, ake itup acoverage much more nt system, which allows users towould example, if you find yourself immersed in a to jungle, you want that went into TwinPlex, it’scapacity safe toreinforcement say that the development niform entire audience wo years ago,’ heover adds, ‘but itcreates transferrable engine lightopportunities source with afor agreater high-quality flat field beam. This combines selection of 1° and 5°atfrosts. LEDelectronics also Solaro’s selectable multi-sampling rates for third-party products. QR1 connects to setups a wide ‘We will be looking at China quite aggressively, and I would a range of point source speakers? MK2 range oftoNXAMPs, working on theease processing, design in have theIt’s entertainment using floors, walls we found innot Compared electronic audio testing, measuring input terminals as well as the Thedown log-swept chirpour signal required. vibrant market. ‘People recognise that of use, time to we can leverage as we go up.current. And includes going weofhave USB improved video quality and performance. different loudspeaker different screens and projectors se.’ t,ut monitor liveespecially feeds, route content to be hasn’t able toground turn around when you hear an animal from the team tobrands, asmooth halt now the product has arrived on peech intelligibility. a film system obably wouldn’t sounded as to environment, replaceable orthe transferable white source with CMY colour mixing, fast bumping a set accurate framing shutters enhanced usage continue spearhead range of control inter faces including the optional expect thewhat result6 toare open to a new market Xilica’s for us there,’ protection in these controllers. and ceilings asapplication radiating eal pros who know they loudspeakers isalgorithms certainly but the are correct choice of isyou a stimulus forbrilliant, measurements. the We offer for APx500 audio analysers start, and audio and videocomplicated, quality ofnew meetings essential phones have USB phones so LED thereadjustable are aTypically, lot of places Network offers a newthat of reliability by corner. and present those the client. Iflevel we get theand job, that’s le to handle the added complexities ity and view performance data andsurfaces. back or toblending walk to to a waterfall hear in they the the market. caon, but it’s anengine. important audio cable this thin oran all four colours. LED Designed to replace entire colour wheels and a good coloured prism forimpedance and tools such asand C-Pulse XTouch50 and XTouch80 programmable touch innovative DSP credentials. In addition, says international sales director, Miles Roberts, adding ’ them JC: Actually, ourmultiple next release is not a loudspeaker; h anything. We can give them audio analyser platform and testand setup can automate current isdo measured byproduct sensing theVoIP voltage drop across a small that automates the entire of making polar drivers of meeting effectiveness productivity, and complex they will we canto go together. USB phones, conferencing phones, automatically combining cellular connectivity from and ifmost don’t I’vethings only wasted 30 minutes.’ gn, MraSingleton is quick to point And, importantly, to physically and emotionally ‘Do Iwe have some that I still want with it?’share environments, where clear audio is aprocess such good portfolio.’ fleets of workhorse discharge fixtures, producing new effects and animations. Other flicker-free management for optimisation with controls. Itofcan also be managed via Solaro’s design specification adds ato dragthat unlike its European andonly American competitors, PMC JD: I think point source is the waywith go for many parts we will take the signal processing technical the P12 can be onEthernet p.58 ofthere know how to hide it. Why try give measurements and theWe flexibility toafound accommodate design sense resistor inwill series with thenew measurements, including definition of test positions, pay aunit premium to getoffer them. can see real market out peripherals that do everything –loudspeaker. audio, video, we could network carriers with on-demand satellite connectivity, This has always been the key goalthis for autumn, TCD. Clients make CD can bring to adesigned new marketplace, ecture should be sotothat that the person next to you. This delivers that, which is concludes Born. ‘Of course, there are still wish list ex being the theatre market, the LED can hold useful datamobile as well as design features include asome cooling system that the latest HDdata and–UHD cameras.Full The also details and-drop design, with control via iOS, Android using the software GUI or indeed the GPIO card is in from the process of obtaining China CCC Certification – will a of the market. You have to think about cost. Small events technology developed for the P12 and extend it to our other this issue. have to have us and if it breaks variations while ensuring audio engineers meet industry The Thiele-Small (T-S) parameters – resonance frequency controlling the and turntable the data tools that improve theirpro employees’ collaboration.’ cover the full spectrum of collaboration spaces.’ allowing broadcasters towith get high-quality video transmitted subjective choices but, tools like TCD, missing out on ain ‘Because I date, haveup been doing this eed sent over whatever data bandwidth sgs. one that comes many times inand why weIthroughout think immersive sound has finally met its half-orange items. can already see great potential for more things several key features itanalyser felt could the serial number usage, which removes any airflow over the optics towith reduce comes with L3 (low-light linearity) for dimming. and Xilica’s proprietary XTouch sur faces. The ports. Additionally, Xilica’s XTouchApp can be used mandatory product certification system with the aim bigger of be point source and, manufacturers progress loudspeaker investing heavily indefinite software out ofalways aaspects costume then they have toif the ), the Totalisranges. Q-factor (Q ) and Equivalent Volume of standards for loudspeaker performance. (FWhile collection and analysing the measurement results. Any that fortime the We’re future, Mrthe Reid can seeAir a challenging network conditions. contract doesn’t have to bedeposits so painful. problem itcan was me,’ he reflects. oitoreno whichever location oraccessed locations expresses concern over its infree the market.’ this portfolio.’ All of the different allforbrought be with mobile residue and extend the between S TS current Solaro family consists of FR1 and QR1 modular to connect iOS and Android devices with any thirdprotecting consumer security – for result6. Not having a point source designs, we might even seeFitch a resurgence in Effects development too, willofallow us to get theparameters best he things that they are using you can ) – which are aCS-700 set electromechanical Compliance (V www.revolabs.com irregularities in the otherwise omnidirectional response business case for the now.www.robe.cz ‘We’ve brought thatout to ofthat www.nexo-sa.com rplains it’s easy. When you’re doing 32 As such, the system should be as e,7.1 at times being problematic for Born, ‘whether it’s the cable, Revolabs’ Phil Marechal and Michael demonstrating app. cleaning. include an animation wheel, as I/O architecture processors, new of XTouch50 and party controller such as AMX and Crestron. CCC can reportedly create import restrictions but XTouch80 PMC www.proavl-asia.com/videos/trade-shows touring and live use. It’s a question cost vs efficiency. our loudspeaker products. Julien has been a key player in hop and pick up the bits you need. the CS-700 at InfoComm 2017 www.ap.com define the ofthe a loudspeaker driver. www.yamahacommercialaudio.com pattern 125Hz are town. often likely due to inaccuracies in market for low-frequency these smallerperformance rooms where use cases are very www.thecinemadesigner.com www.dejero.com dered audio, people wouldn’t ned tocontinents allow theat of various peripherals asconnection it is across www.shure.com www.holoplot.com eween feature set’.most programmable touch controls addition to existing Mini Just as the Neutrino series was updated to claims to have the edge in the in country, having obtained the controls andfor theprevious Rio series of Dante I/O inter face devices. incorporate Dante networking, Mr Chow is keeping certification products. an eye on networking trends when it comes to other ‘China is working out for us quite well,’ continues Mr The rear panel of the QR1 protocols on the market. ‘Xilica has to remain openRoberts. ‘We are expecting some significant movement with minded if we are to maximise Solaro’s potential,’ he The design of the Solaro FR1 processor is based on the result6. We already have pretty large pre-orders from PMC’s international sales director Miles Roberts expects stresses. of theinfact that the new platform allows a Linux platform and utilises Xilica Designer universal DMT, our China and Hong Kong distributor, so we are just big things Mindful from result6 China Xilica to network with other manufacturers, the company configuration software. From the front, the 19-inch 1RU waiting for the CCC approval to come through to ship them.’ understands with other chassis simply incorporates a front panel OLED display demands fromthat hiscollaboration team. ‘We always strive manufacturers for accuracy and The big plans for Asia do not end there, with PMC also will be the key to future successes. ‘Collaboration with and rotary wheel. However, the full modularity of Solaro neutrality,’ he says. ‘That’s the goal with all of our products. using result6 to tap into education for radio and television similar-sized us to collectively compete becomes evident from the rear. Sixteen card slots can I suppose it iscompanies a little bit allows like high-resolution television. The production technologies and classical recording. ‘We were in the gets market,’ hewith adds. accept either 2-channel audio input and output cards or detail better the more money that is spent. If you already doing installations at around eight conservatoireJudging by the increased acceptance of Neutrino 4-channel GPIO cards for either input or output. Providing listen to the result6 and putmarket them against the twotwos, they type, educational establishments,’ continues Mr Roberts. ‘I A Universal Media Controller the heart during the very past similar decade, poised take this enhanced flexibility, further cards can be inserted for other will sound in Solaro balanceiswhen youtoswitch between see result6 as the point where lies the at students canofstep into a Solaro.like ‘We’ve an increasing adoption of relatively young company to stage ofwill development. I/O requirements including AES/EBU, USB audio and them, which is important, butthe thenext difference be that brand PMC.witnessed It is reachable and affordable as opposed low-cost universal controllers for any from any Xilica’s headquarters in theresolution, northern Toronto suburb of RS232/485. the twotwos will have more detail and be more to our other products. The result6 will device give students that going to be put to market are much smaller than with a manufacturer,’ furthers Mr face Chow. installation Stouffville in many symbolises both cost Mr Chow the Operating at a sample rate of 48kHz, QR1 analytical. And they ways should, because they a lot and more.’ quality experience they will in ‘A thetypical real world.’ product of result6’s price. Although the Solaro R&D cost is uses higher, integrates a digital active mixers, but, company he’shas created. Therehorizons may notfor bePMC a sign to promote same input, output and DSP processing architecture The result6 broadened with It has been a long processor, and rocky road forspeakers, PMC and result6 the amount per speaker isn’t.’ projectors and lighting. haveittherefore developed this the industrious activities that in liethe within, but the is as the larger Named for have its ¼-rack dimensions, QR1 imminent and similar projects pipeline set door to once for Peter Thomas and hisWe team, was worth the wait and Although theFR1. result6 will not the exact same sound controller‘In sobusiness, that it could everything on open thePeter atmosphere friendly. Ditto Solaro. is based on same Linux platform and incorporates a again and excite Thomas is and his team. struggle. youaccommodate allocate the R&D cost to each dynamics as the its predecessors, it will share the one common one single softwareout platform, together all the control dual that corePeter processor drive to provide I/O flexibility. product by working what the lifetimewith will be,’ explains trait Thomas – who startedmodular up the company www.xilica.com options.’ www.pmc-speakers.com Eight in card slots can either 2-channel input Peter Thomas. ‘With the twotwos, the numbers that are back 1991 with hisaccept partner Adrian Loader –audio always

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BUSINESS: R&D

Robe enters new era

Three years of this development was spent ensuring that all the electronics worked perfectly, both separately and together

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BUSINESS: ANALYSIS

Education is key

Meyer Sound’s Merlijn van Veen and Bob McCarthy explain the importance of a good education in pro audio Merlijn van Veen started his own education programme, has served as the principal teacher for sound reinforcement at the Royal Conservatoire in the Netherlands and has had numerous papers published. In 2018, he joined Meyer Sound as a senior technical support and education specialist.

Bob McCarthy has been involved in the design and analysis of sound systems for over 30 years. A renowned specialist in sound system design and optimisation, he has shared his experiences through seminars and multiple books. He currently works for Meyer Sound as the director of system optimisation.

Merlijn van Veen

Bob McCarthy

You can manufacture the best-sounding loudspeaker in the world but, if it’s positioned behind a videowall, you still have a problem. So, there is the obligation of ensuring a good understanding of how to deploy sound systems and I feel comfortable saying that Meyer Sound has covered this in great length for as long as I can remember. Not just how to use their products, but also how to do so in a fashion where we all get to enjoy the same artistic content or programme material. It’s about delivering the message in a way that sounds the same to the majority of the Image courtesy of Biliana Panic audience; preferably all of them. I’ve been in this industry for 15 years and this is my first position within a large manufacturer. I’ve always had an outstanding relationship with Meyer Sound and, in June 2018, we finally got to the point that I joined the company, which for me is a wonder ful opportunity to continue teaching, something that is very dear to me, but also to have an opportunity to practise what I teach myself again and be on the forefront of new and exciting technology. Something we’re committing to is conveying ease of use. We’re not trying to send a man to the moon; this is actually something you can learn. It’s about striking a balance between equipping participants with the necessary skillset to successfully deploy sound systems without making it overly complex and abstract, because sound systems have evolved from stacking a bunch of speakers on the left and right to much higher levels of complexity. Trade shows and organisations like AVIXA are also very committed to education. That being said, there is only so much you can cover in a one- or two-hour window, so you have to be really selective with what you’ve got to communicate. In such a small window, you can barely scratch the sur face.

The old guard grew up in a world of analogue and they have never lost that knowledge. They then have to gain a knowledge of the world of digital audio and information technology because we’ve arrived in the world of fully networked audio. Modern skillsets require knowledge in all of those areas, because as much as analogue seems quaint and outdated, it’s not going away. Analogue is always going to be part of the chain, so that also means there’s quite a diverse set of skills that are required for the young people coming into the industry too.

90 PRO AVL MEA Januar y–Februar y 2020

When I started in the industry, it really was the ‘Wild West’. Manufacturers were not ready for what audiences and promoters and bands were ready to do, concert-wise. However, it was the age of pioneering and a tremendous amount of innovation was accomplished by engineers who built things out of their own garages. The age of garagelevel work is long gone – we’ve evolved – so now you really have to have some serious engineering skills in multiple disciplines. There is also much more simplicity at the same time. Whereas in the past it would take all of these different parts and pieces to form a signal chain, there are now consoles or DSP plug-in speakers that replace what used to be eight or nine different pieces in the chain. From an industry-wide point of view, the biggest development in the last five years has been networked audio. We sort of nibbled at it in the past, but now it has become the standard piece of the transmission chain, which means there’s no large multicores and we’re barely even getting to multistreams in digital. It’s just all in the network, whether it’s Dante, AVB or Milan. It’s a very different thing because the troubleshooting and design techniques for this are completely alien to the world that us old folk grew up in. So that’s a real adaptation and we all continue to learn.

Pro AVL MEA January-February 2020

Articles inside

News

Distribution

Appointments

ETC lights up Media City

Far and wide

The key to consistency

Elegant Audio

Seeing is believing

Returning to the stage

Trial Run

Comments

Company Profile

Filling the gap

The next phase of AVoIP

Analysis