Pro AVL MEA January - February 2021

ProAVLMEA January–February 2021 MICA (P) 060/05/2020

LIVE SOUND LIGHTING RECORDING INSTALLATION AV BROADCAST POSTPRODUCTION January–February 2021

EVOLUTION OF F1 COMMS How Riedel’s remote production experience set it up for F1 success

VEGA GLOBAL COMPANY PROFILE NAMM’S VISION FOR BELIEVE IN MUSIC WEEK

SMS AT JAZAN’S PRINCE SULTAN CULTURAL CENTER Singapore: MICA (P) 060/05/2020

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Contents Volume 18 Issue One January–February 2021 NEWS NEWS NMK acquired by Midwich, Kramer enters the Middle East

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EDUCATION A variety of manufacturers launch permanent online training programmes 18 DISTRIBUTION More new brands for South Africa’s DWR Distribution

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APPOINTMENTS Riedel heads towards an IP future, Ruby Habib to lead GSL

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SPECIAL REPORT Using Shure’s VP89L for bioacoustics recordings

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SPECIAL REPORT Joe Lamond on NAMM’s Believe in Music week

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FEATURES COVER: F1 COMMS Dario Rossi details how motorsport comms have evolved

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FROM THE GROUND UP Saudi Media Systems outfits Jazan’s primary events venue 30 ON THE ROAD AV and Beyond gets back out with clients

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A LANDMARK VISION Visiontech tackles audio issues at Centrepoint

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BUSINESS LETTER FROM AMERICA Dan Daley spotlights the plight of freelance crews

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LETTER FROM EUROPE Phil Ward attempts to define “culture”

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COMPANY PROFILE Sennheiser on more than a decade in the Middle East

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COMPANY PROFILE Vega Global goes ahead with planned expansion

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TECHNOLOGY RCF discusses the development of its Business Music Solutions

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NEW PRODUCTS The industry’s most comprehensive product news

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ANALYSIS Hewshott’s Peter Hunt asks if the way AV is delivered should change

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inside 15

Editor’s note Email: sluckhurst@proavl-mea.com It was the year we’ll never forget, and yet I’m already not too sure where 2020 went. It barely seems more than a few months ago when we were jetting off to sunny Anaheim for NAMM at the beginning of the year – sadly there will be no repeat trip in 2021 as we instead tune into NAMM’s Believe In Music week, potentially one of the last major virtual trade shows …

Let’s hope so anyway. Without these regular breaks in our schedule for attending exhibitions, visiting manufacturers and getting out and about in our local territories, the past 12 months have simply flown by.

So, how best to sum up 2020? We’ve lost loved ones, been isolated from acquaintances and seen the brakes put on practically all of the most exciting development projects throughout the region. Each country has experienced and confronted the situation in its own unique way. But this is nothing new. The challenges faced in 2020 have been repeated ad nauseum, let’s instead focus on the promise that 2021 brings.

The UAE–Israel normalisation agreement signed in September was a landmark moment and brings with it a host of new business opportunities – Israelis currently occupy the number four spot in terms of international travel to the UAE, and Israeli companies such as Kramer that have never officially been allowed to do business there, are poised to make up for lost time.

Mass rollouts of Covid vaccines are also now underway, and it feels like those parts of Asia hit first by the virus have recently started to turn a corner. Our struggling live events industry should take great solace in the fact that as soon as restrictions were dialled down there, the crowds quickly returned with a collective desire to make up for lost time.

Several Middle East countries have also removed their international travel restrictions (even if the travellers themselves are subjected to many more checks along the way) and travel hubs such as Dubai have been working tirelessly to construct quarantine-free corridors.

By December, Google searches for Dubai hotels had surged a whooping 76% – clearly the demand is still there.

So, I expect we’ll be seeing a much greater number of dual-format events in upcoming months, where physical attendance is possible but the virtual audience still catered to. The new normal is now the hybrid model for the foreseeable future.

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Contacts PRODUCTION MANAGER Adrian Baker T: +44 1892 676280

GENERAL MANAGER Richard Lawn T: +44 1892 676280

ADVERTISING DIRECTOR Sue Gould T: +44 1892 676280

CONTRIBUTING EDITOR Caroline Moss T: +44 1892 676280

EDITORIAL COORDINATOR Karen Wallace T: +44 1892 676280

rlawn@proavl-mea.com

sgould@proavl-mea.com

cmoss@proavl-mea.com

kwallace@proavl-mea.com

abaker@proavl-mea.com

DIGITAL MEDIA MANAGER Nick Smith T: +44 1892 676280

VIDEO EDITOR Chris Yardley T: +44 1892 676280

SOCIAL MEDIA COORDINATOR

SALES ASSOCIATE Carolyn Valliere T: +1 562 746 1790

CIRCULATION Marne Mittelmann F: +65 6491 6588

cvalliere@proavl-mea.com

circulation@proavl-mea.com

nsmith@proavl-mea.com

cyardley@proavl-mea.com

Jessica Ubhi T: +44 1892 676280 jubhi@proavl-mea.com

COVER: Intercoms for F1 PRINTER: Times Printers Singapore LICENCES: Singapore: MCI (P) 060/05/2020 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 2021 PRO AVL MEA 3

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NEWS

Midwich enters the Middle East with NMK acquisition UAE

Midwich, an AV distributor with operations spanning the US, Europe and Asia Pacific, has entered into a binding agreement to acquire a majority stake in the NMK Group – NMK Electronics Enterprise, NMK Middle East FZE and Edge Electronics Trading LLC. Based in the UAE and Qatar, the NMK Group is a distributor of AV brands including Shure and Bose and represents Midwich’s entry into the Middle Eastern market. The investment also further delivers on the Midwich Group’s strategy to grow earnings both organically and through the selective acquisition of complementary businesses. The deal follows the acquisition of US distributor Starin Marketing Inc earlier last year.

Currently based in Dubai, NMK was originally founded in Sharjah in 1987 by Nicolaos Kyvernitis. Through its operations in Sharjah and Dubai, the business supplies specialist AV products to customers in the UAE and the wider Gulf region, along with Edge Electronics, based in Doha, supporting customers in Qatar. The NMK Group will continue to be led by the existing management team who will retain a stake in the business, comprising Alex Kemanes (managing director) and Constantinos “Dino” Drimakis (director – business development) who were both mentored and trained by the founder. After serving 33 years in the regional audio industry, Kyvernitis will go on to retire from the business following a period of transition, post-completion.

“This is an exciting day for the Midwich Group,” said Stephen Fenby, Midwich Group managing director. “It not only

marks the group’s entr y into one of the fastest-growing AV markets in the world, but also means we now have a presence in all major global territories. This means the Midwich Group has a truly global

“After serving this regional audio industry for almost 35 years, I believe this is the right time to move forward,” commented the founder. “I am confident that I leave my employees in good hands as Stephen’s

footprint, and ensures we are able to suppor t our customers across all key geographies. NMK has built a strong reputation for ser vice and its value-add model is an excellent fit with Midwich’s global offering. We are looking for ward to working with Alex, Dino and the rest of the NMK Group team to suppor t their growth ambitions and to fur ther enhance our group proposition. I would also like to take this oppor tunity to thank Nicolaos Kyvernitis for his suppor t, and to wish him well in the future.”

team share the same vision, which is why we considered Midwich as the only suitable partner for us to move forward. That said, we sincerely wish from the bottom of our hearts the best of luck to Alex and Dino and the rest of the group, in continuing the legacy of NMK Electronics Ent.” NMK serves customers across a spectrum of vertical applications, the core of which are the retail, live-events/venues, rental sector and fixed install projects. As well as holding a substantial local stock, NMK also provides a host of ancillary services,

such as project design, system assembly, servicing and repairs. The NMK Academy hosts regular vendor training events in the classroom, online as well as on a one-to-one basis to cater for specific customer needs.

These sessions are run by NMK’s in-house technical team alongside manufacturers, who also provide similar training events in locations throughout the rest of the UAE and internationally.

“In line with our objective to become the Middle East’s leading AV distributor, both Dino and I consider this merger with Midwich to be the best fit for NMK,” stated Kemanes. “We are confident that in Midwich we have obtained a great partner with a dynamic team, vast geographic reach and immense experience in the AV industry. I look forward to facing the future with our engine roaring, joined by a team with a great vision, determination and aspiration.”

“Having worked at NMK for over a decade, I feel excited for the next chapter in NMK’s history,” added Drimakis. “A merger with a company of Midwich’s magnitude was a natural progression. NMK has always been innovating and propelling the AV distribution industry forward in the Middle East. We now have a global partner offering support and services across the globe. Filling Nicolaos’ shoes will be an enormous task which Alex and I feel confident and ready for. We are supported by a solid team of diverse, dynamic and committed people.” www.midwichgroupplc.com www.nmkelectronics.com

The industry remembers Adrian Curtis WORLD

It is with extreme sadness and shock that we report the sudden passing of Adrian Curtis in Dubai at the age of 59. Adrian had been living and working in the UAE since the beginning of 2018 as managing director of distribution company, GSL Professional, relishing both the role and the lifestyle changes it brought about as he settled in Dubai with Jo, his wife of 33 years.

Adrian graduated from Newcastle University in 1982 with a degree in electrical and electronic engineering.

Joining Soundcraft Electronics in 1983, he was with the company when it was acquired

by Harman five years later. Starting as a service engineer, he moved into sales in the late 1980s and progressed through the ranks of the rapidly expanding group, becoming VP of sales for Soundcraft and later taking over responsibility for the Harman Mixer Group sales in 2009. He became interim head of EMEA sales for Harman Professional in May 2012, before joining GSL Professional.

Adrian Curtis “Adrian was my first boss at Soundcraft when I moved into sales in the late 1980s and he was always supportive; a great mentor and a whizz at Excel,” remembered

Ian Staddon, now VP of sales at DiGiCo, who worked at Harman with Adrian. “He was always the one who had to put the whole Harman Pro Group sales budgets together for corporate every year and moaned about it, but I know he loved it really! He was genuinely loved and respected by those that worked for him and especially all the distributors around the globe. Typical of Adrian, he was still working while very ill last week and we were chatting on the phone. This has been a terrible shock and I send my sincere condolences to Jo and the family.”

We at the Blank Canvas team have enduring memories of Adrian too. “While our paths had crossed during his time at Harman, it was only in the past few years when Adrian had moved to Dubai that we were in regular contact,” commented advertising director, Sue Gould. “He was a true gentleman, generous, open and incredibly supportive of Pro AVL MEA – I thoroughly enjoyed his company and spending time with him and his wife Jo. Our

thoughts are with her and the family at this very sad time. He will be sorely missed.”

Pro AVL Asia editor Caroline Moss watched Adrian’s impressive progress through the ranks of pro audio, having first met him as a keen young university graduate when they both joined Soundcraft.

“I’ll always remember Adrian bounding through the door each morning, his ready grin framed by abundant black hair, clad in the standard skinny-jeans-and-trainers uniform of the service team,” she said.

“Over the years, as Adrian’s career progressed, the jeans and bushy hair gave way to something more business-like, but the smile never changed, and it was always a pleasure to catch up with him again.”

To say that Adrian will be missed by the pro audio industry can in no way convey his huge presence in it for almost four decades, and the extensive network of friends and colleagues he built. Our hearts go out to Jo, their three children, family and friends as well as Adrian’s colleagues at GSL and throughout the industry.

4 PRO AVL MEA Januar y–Februar y 2021

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NEWS

Kramer arrives in the UAE UAE

Kramer has taken its first step into the GCC territories with the appointment of Abcom Distribution LLC as its new exclusive partner in the UAE. The Israeli-headquartered manufacturer already enjoys representation in more than 100 countries via more than 30 regional offices. The new partnership follows the Israel–United Arab Emirates normalisation agreement signed in September. Prior to this, all trade, travel and even telephone communication between the two countries was restricted. Kramer joins a list of AV brands distributed by Abcom that includes NEC projectors, Maxhub and LG displays, Starboard interactive whiteboards, Angekis conferencing solutions, and Inter-M, Ohm and Anchor audio products.

Sam Bonomo, executive VP at Kramer, travelled to Dubai from Israel for the first time to appear alongside Abcom at its regional debut at GITEX technology Week. “The last eight months have seen the world transform its video and audio use, with the rise of hybrid working and blended learning methods,” he commented. “Our signal distribution solutions bridge the worlds of traditional pro AV and IT to facilitate high-quality, flexible and secure video and audio communications and will bring gamechanging opportunities to the region.”

Kramer enjoyed a highly visible presence at its first GITEX outing, which offered potential customers their first opportunity to experience the manufacturer’s range of business continuity solutions for the corporate and education

markets, and mission critical infrastructure for command-and-control environments. “For Kramer this is our first appearance in this part of the world,” commented Bonomo from the GITEX show floor. “Of course, there are a lot of measures in place such as the number of people allowed on the booth, and I’ve been told that attendance is probably around 10% of a typical year; however, we were expecting very low traffic and have been happily surprised.”

The appointment of Abcom in the UAE serves as an indicator of Kramer’s intentions for the wider Middle East market, depending on how the political situation develops. “Abcom will also be working in additional GCC territories on a non-exclusive basis and we are actively seeking further representation in other parts of the GCC, beyond UAE,” added Bonomo. “At the moment, the normalisation agreement is only between Israel and the UAE, Oman joined recently as well, but we expect other countries to follow. Conversations have already begun with future GCC partners.”

With the convergence of digital AV and interactive IT creating an opportunity in the market for an independent re-seller with expertise in both fields, Abcom was established in 2005 as a branch of the Almoe Group in order to meet the changing business requirements for managed AV solutions. The company offers both rental and installation services.

“We are honoured to be the exclusive distributer of Kramer solutions in the UAE,”

The Kramer and Abcom teams at GITEX Technology Week 2020 added Abcom Distribution general manager, Pradeep Kumar. “Israel is renowned for developing world-leading technology solutions and we are proud to be the first to bring Kramer’s products to the professional audiovisual and IT markets in the UAE. We signed the agreement with Kramer on 12 November 2020 and were excited to host their participation at GITEX this year. This is a great opportunity for us to expand our portfolio and for Kramer to enter a new market.”

“On top of the basic backbone of the audiovisual system, we also have security solutions for specialised users such as the government and military, KVMs and combiners that are specially built to be tamper proof, and this is another niche which here in Dubai seems to draw quite a lot of attention,” furthered the executive VP. “I wasn’t aware of the extent to which people here know Kramer. Several of the people

we have met at the show have even been completely aware of our newest products, it is as if they have been waiting for it to happen.

Once the normalisation was announced in September, we immediately started to get so many enquiries from companies wanting to buy, sell, distribute and install. Everything went so quickly. The normalisation agreement was signed and then six weeks later we were already in the market with Abcom. The whole booth at GITEX was branded with Kramer, it gave our customers a very good idea of what Kramer has to offer in different applications and segments, and we got a brilliant response.”

In order to lead the Middle East expansion, the manufacturer has appointed a dedicated representative based on the ground in Dubai to liaise with and support Abcom. www.abcom.ae www.kramerav.com

Dual acquisitions at Shure Sharp acquires NEC Display Solutions WORLD

American microphone manufacturer Shure has made two notable acquisitions in recent months to bolster its solutions portfolio with more new options. The first is Finnish company Wavemark, which offers newly

introduced solutions targeting streaming applications, as well as its WTAutomixer plug-in that extends automixing capabilities to wireless microphone systems and can be deployed in any VST, AU and AAX compatible DAW. Shortly after the dust had settled on the Wavemark announcement, the mic manufacturer followed up with Midas Technology, better known as Stem Audio.

“The acquisition of Wavemark reinforces our commitment to the evolving needs of the pro audio and events industries,” explained Brian Woodland, vice president, global business development, Shure. “Both Shure and Wavemark have established strong relationships in the industry by understanding user workflows. Leveraging this mutual success, we will further support the growth in wireless system scale and complexity, help customers navigate the

challenges of congested RF spectrum, while enabling advanced remote control, monitoring and system management tools.”

The addition of the Stem Audio product line also complements Shure’s conferencing offerings and provides customers with a greater choice of products as their needs evolve. The two companies will continue to operate separately as integration plans for sales and support are finalised. “We both believe in ecosystems,” commented Shure president and CEO, Chris Schyvnick.

“Working together, we aim to provide customers with better options to deploy

great audio in more spaces, more cost effectively and more quickly. Shure and Stem Audio understand the importance of good quality audio and taking care of customers, so this acquisition is a great fit for both organisations.” www.shure.com www.stemaudio.com

WORLD

Sharp Corporation and NEC Corporation have formed a joint venture, with Sharp acquiring 66% of shares of NEC subsidiary, NEC Display Solutions Ltd (NDS). As a result, NDS has changed its name to Sharp NEC Display Solutions (SNDS) and is now operating as a subsidiary of Sharp. The newly formed SNDS will continue its focus on the business-to-business display market, producing and developing a range of visual display solutions for a broad range of markets and applications.

advisor and total solutions provider,” said Nakatani, back in March. “This joint venture will bring even greater value and benefits to customers and partners by extending our state-of-the-art product portfolios together with a range of professional service offerings.

Sharp and NEC Display Solutions follow the same strategic approach to the future of visual solutions, focusing on superior customer satisfaction enabled by high-quality products, sales leadership excellence and committed relationship building.”

Fujikazu Nakayama, senior executive managing officer and business solutions BU president of Sharp, will serve as chairman of the new business and Hisatsugu Nakatani, president of NEC Display Solutions, will serve as president of SNDS. It’s said that the Sharp NEC joint venture will result in a wide range of synergies.

The acquisition was originally announced back in March 2020 but was postponed amid the coronavirus pandemic. “NEC offers one of the broadest visual solutions portfolios in the industry and, with a consultancy-led sales approach, NEC is recognised as a trusted

“The combination of Sharp’s and NDS’ international strengths is mutually complementary,” added Nakayama. “We expect this agreement to result in a wide range of synergies, including economies of scale and business expansion in new categories, including an 8K+5G ecosystem.

Sharp believes that developing NDS as a joint venture with NEC will contribute to our business growth by enforcing our B2B business and expanding sales.” www.global.sharp www.nec.com

www.wavetool.fi

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NEWS

Ross Video Inaugural Horizons Summit discusses future of live events industry acquires Image Video ONLINE

WORLD

Ross Video has acquired Torontobased manufacturer Image Video, its 16th acquisition since 2009. Image Video is best known for its TSI tally control platform, which is used by major broadcast network providers, spor ts venues, corporate video facilities and houses of worship. Image Video’s product team led by Zach Wilkie and David Russell, along with its R&D and technical suppor t teams, will all transition over to Ross Video.

Wilkie, now product manager at Ross Tally Systems, is excited at the prospect of life as par t of Ross Video.

“As a fellow Canadian company that was founded in the same year, we’ve obviously grown up alongside Ross Video and we’ve seen the impressive growth and expansion of the Ross business, especially during the last decade. We’re ver y pleased to become par t of the family and this acquisition will help us reach new international markets and scale much more effectively.”

“Back in 1973, Jim Leitch, the founder of Leitch Video (now Imagine Communications) advised my father to star t his own company. He said that there was a Leitch Video and an Image Video in Canada, so there should also be a Ross Video,” commented Ross Video CEO, David Ross.

“It’s possible that if Image Video didn’t exist, my father may not have had such role models to show the way.

All these years later, Image is now par t of Ross, something that my father agrees is quite remarkable. Image’s TSI tally platform is a great complement to our existing range of solutions and enables Ross to bring even more choice to the live production market.” www.rossvideo.com

d&b audiotechnik has hosted a virtual summit on the future of the live entertainment industry that features a selection of industry heavyweights discussing the effect the pandemic has had on the sector and how shared entertainment experiences might look in the future. The inaugural Horizons Summit: Entertainment, Technology and Beyond, led by journalist and author Dan Daley, included Amnon Harman, group CEO d&b audiotechnik; Jackie Wilgar, senior vice president Live Nation; Craig Hassall, CEO Royal Albert Hall; and James Gordon, CEO Audiotonix.

“2020 has brought incredible challenges for everyone in this industry. While many of these conversations have been taking place behind closed doors over the last few months, this summit gives the industry the opportunity to openly address challenges and to discuss what we believe will be the future of live entertainment,” commented Harman. “Community matters, strength

in numbers matters and we need to bring everyone together to navigate these challenging times.”

The Summit addressed common partner and customer concerns as well as industry trends, including the pivots required to

keep live entertainment companies alive, the future of drive-in and virtual concerts, government support during the pandemic and the indicators of industry recovery.

specifying, installing, commissioning and supporting numerous Dolby Atmos systems,” commented HHB head of sales, Matthew Fletcher. “Our wealth of experience and our dedicated technical support team mean that we can offer a remote service where we provide detailed instructions on installing the hardware and then connect remotely for commissioning, training and support. I first met Dr Bayo around three years ago when HHB provided advice and equipment for an upgrade to 5.1. Dr Bayo is always a pleasure to deal with and, although we could not carry out any training or other meetings in person this time, it was great that HHB could assist with his Atmos upgrade.”

Once the equipment was set up at Midivision, the HHB tech support team were able to configure the new system remotely. Remote commissioning and support have been critical during the pandemic. Despite travel restrictions,

HHB CTO John Johnson was able to set up Midivision’s new studio from London. This enabled Dr Bayo to quickly start the Dolby Atmos certification process.

With the room now up and working, Dr Bayo is already enjoying using his new system.

“The simplicity of the Avid S1 and the all-inone features of the MTRX Studio are very straightforward. The automation control and responsiveness of the S1 make it a valuable tool,” commented Dr Bayo, “and I have always found Genelec to give the best reference I need for any studio I’ve ever worked in.”

Since the commissioning of the studio, Midivision has already started work on two feature films, one documentary and an enhanced audio book project, producing the score, audio post and sound design in Atmos.

www.dbaudio.com

Midivision becomes first Dolby Atmos studio in Africa

NIGERIA

Based in Lekki, Nigeria, Midivision has reportedly become the first Dolby Atmos certified studio in Africa and is therefore the only production studio able to provide local Dolby Atmos postproduction services. UK-based integrator HHB supplied Midivision with an Atmos setup that includes a Dolby HT-RMU, Avid S1, two MTRX Studios and a Genelec monitoring system.

The driving force behind Midivision is founder and CEO Dr Bayo Adepetun. A medical doctor by training, Dr Bayo’s passion for music composition and production led him to leave his practice and build his first studio in 1998. Now he focuses on championing audio technology and sound quality in the Nigerian film industry.

When he first started this latest upgrade project, he reached out to the audio experts at HHB Communications.

“Since installing the first HE-RMU in the UK in 2017, HHB has gained experience from

www.hhb.co.uk

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ALLOW AUDIO TO TRULY CONNECT

MCFE_Print-Ad_335x245.indd 1 Untitled-1 4

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NEWS

Lab.gruppen and Tannoy production heads East WORLD

Music Tribe brands Tannoy and Lab.gruppen are both undergoing manufacturing shifts.

Tannoy’s Scottish factory has been wound down since 2016 and Lab.gruppen’s Swedish manufacturing facility in Faktorvägen is set to close, ensuring production for both brands relocates to Asia.

Regarding to the closure of the Faktorvägen factory, Music Tribe highlighted the consolidation of manufacturing operations and significant investment in a new high-tech facility to “deliver the promise of incredible products and focus on integrated customer solutions”. Similarly, Tannoy’s hub of audio engineering excellence in Coatbridge has delivered classic audio loudspeaker designs since 1976 but, following an announcement

by Music Tribe in April 2016 that operations

would move to China, the writing has been on the wall for some time regarding the future of the Scottish operation. Music Tribe’s recent investment in manufacturing plants in Thailand, China and especially an upcoming Industry 4.0 facility in Malaysia, will therefore be key for the future of both brands.

Now favouring an e-commerce sales strategy, Music Tribe recently made a number of international sales staff redundant, including Tannoy’s long-established Middle East sales office in Dubai Media City headed

by Graham Lawton. The company has, however, pledged to retain and grow its innovation team based in Sweden.

The Stamer Group sets course for the future WORLD

The Stamer Group has introduced a new management team charged with reorienting and securing the future of the HK Audio and Hughes & Kettner brands within the family business. The announcement comes following the disclosure that co-founder and CEO Hans Stamer is departing after more than 40 years.

From November last year, a new corporate management team of four executives who have been with the company for many years

business from the small workshop where the first speakers were produced into a globally renowned company manufacturing highquality sound systems and guitar amplifiers.

He leaves behind a team of competent and highly motivated people who will lead his life’s work further into the future. We are therefore delighted to be continuing the successful development of the Stamer Group together with our customers and partners.”

has been charting a new course. Bringing many years of experience in the audio sector to the management team, Stamer’s brother and second co-founder, Lothar Stamer, remains as managing director. In recent years, CFO Thomas Bittel has headed the finance and controlling division and is now confirmed as the second managing director and new CEO of the Stamer Group. The quartet is completed by CTO Holger Kartes who assumes responsibility for manufacturing and development, while sales and marketing is led by chief sales officer, Christian Jordan.

“We are very grateful to Hans Stamer for his accomplishments and his commitment to the Stamer Group,” commented Bittel.

“Together with his brother Lothar, over the last 40 years he has transformed the family

Added Jordan: “With Thomas Bittel, we have a highly competent MD on board, especially when it comes to finances and securing the future of the company. This is a particularly good thing for us, especially at this time when the effects of the ongoing Covid-19 pandemic are being felt in our industry. But the change of leadership will not turn everything upside down. Existing, established structures which we have built up in recent years will of course be maintained for and with our customers and partners. We have achieved a great deal together towards the company’s positive public image. I will continue to work towards this together with my whole team.”

community.musictribe.com

First South African Type R for Radio heads to Bosveld Stereo SOUTH AFRICA

Community radio station Bosveld Stereo has become the first station in South Africa to deploy Calrec’s IP-based Type R for Radio audio console. The installation was carried out by local partner Wild & Marr, which used a modular approach to tailor a system to Bosveld Stereo’s needs. It comprises a Type R for Radio core plus two hardware fader panels and one large soft panel. The system can be accessed remotely, crucial in the current environment, and the audio is transported to the transmitter via Dante.

“Our existing studio mixers were reaching end-of-life and we wanted to take the opportunity to upgrade and move into an IP future: Type R was the answer,” explained Bosveld Stereo chairperson, Graat Pelser. “We have found it very easy to adapt to and the configurability is a great help. We use it on a daily basis and we know that it’s easily expandable if required. We are grateful to Wild & Marr for their help through this process.”

Launched in 2008, Bosveld Stereo is a community-oriented radio station that broadcasts in Afrikaans across the North West Province and uses local talent to entertain its listeners. Everyone who

currently works at the station lives within its broadcasting footprint and everyone also takes an active part in one or more of the community projects in which Bosveld Stereo is involved.

Anton van Wyk, Wild & Marr’s technical director, commented: “Due to the Covid-19 pandemic, myself and broadcast systems engineer Dwaine Schreuder precommissioned Bosveld Stereo’s Type R system offsite in a safe environment with all precautions taken. By the time the unit was installed at Bosveld Stereo, it was literally just plug and play. We believe that Type R for Radio has a very bright future across the African continent.”

“We’re very pleased to see the first sale of our Type R for Radio technology in South Africa,” commented Calrec international sales manager, Graham Murray. “We know that the overall broadcast market in the country is rapidly moving to IP. Type R for Radio has been designed to allow radio stations of all sizes to capitalise on IP’s inherent flexibility.” www.calrec.com www.wildandmarr.co.za

www.hkaudio.com www.stamer.group

10 PRO AVL MEA Januar y–Februar y 2021

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21/12/2020 16:37 10/12/2020 09:56

NEWS

Gulf State customer takes delivery NEXTof 4K OB truck from ARET proaudio unveils new logistics centre

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MEA

direct access to all audio signals in addition to Lawo’s signal processing toolbox.

Optimised for fast-paced operation in demanding applications, the Lawo mc²36 mixing system was specified for its compact dimensions, built-in DSP and flexible I/O, including 32 mic inputs, 32 line outputs, eight AES3 inputs and eight AES3 outputs.

Ease-of-use features include touchscreen controls providing immediate access to all functions during fast-paced production and an integrated Remote Desktop function for seamless integration of external PCs with third-party solutions into the console’s user

WORLD

NEXT-proaudio has unveiled its newly built logistics centre at its headquarters and factory in Porto. The extended building has been created to enhance efficiencies, accelerate the delivery and facilitation of parts and finished goods and improve warehousing infrastructures.

Based on 4.0 technology, customised automatic logistics software combines an online interactive platform with specialised software developed for internal NXT logistics and the optimisation of automatic packing.

Aimed to improve quality and productivity, the automated NXT software manages all the orders by establishing a link between the manufacturing and assembly, logistics and sales teams.

Despite the timing, the investment for the expansion was warranted following NEXT-proaudio’s continued growth in recent years. NEXT-proaudio oversaw the design and creation of the 1,000m2 warehousing and logistics development, which also includes a large, open office area for the sales, marketing and logistics departments. Located 10km from Porto’s main seaport and airport, the new site, which is currently preparing for the launch of the new NEXT Audiocom brand, provides convenient transportation links. www.next-proaudio.com

Incorporating its own coachbuilding facility, ARET Video and Audio Engineering’s unique approach offers end-to-end solutions for outside broadcast vehicles. The Milan-based company‘s services include consultancy, structural design, electrical engineering, airconditioning and system design throughout all the phases, from coachbuilding to systems integration, commissioning, training and after-sales support. ARET Video and Audio Engineering recently designed and built a 4K OB truck for a Gulf State customer that manages a culture-based television channel in addition to various tourist, cultural and media activities with plans to expand into filming sporting events in the region.

The OB van features a layout that maximises internal space while allowing interoperability between all three operational areas, including an acoustically insulated audio room. The main production area is furnished with a monitor wall, slow motion equipment and character generator stand. The engineering and camera control area can manage up to eight cameras via fibre-optic connection in addition to two wireless cameras. Each of these areas, including the racks, has its own independent air-conditioning system in order

A Lawo mc236 is housed inside to cope with the region’s extreme weather conditions.

The video workflow in the new OB vehicle is complemented by a sophisticated audio system including a Lawo 24-fader mc²36 all-in-one console together with two I/O Lawo stageboxes. A fibre Ravenna IP connection to the compact stageboxes maximises flexibility during remote productions and dramatically reduces cabling infrastructure required to transmit audio back to the truck without compromising audio quality. The mc²36 console interfaces directly with the video router via MADI, providing router operators

interface. The integrated DSP Micro Core includes a 512x512 routing matrix with up to 192 channels of audio processing.

“We are very proud of the result,” commented ARET vice president, Umberto Asti. “This project is one of the first, if not the very first, full 12G UHD OB van in the Gulf area. Its workflow is proof that you can build a cost-efficient 4K OB van using 12G-SDI without compromising either signal quality or workflow.” www.aret-engineering.com www.lawo.com

CTME supports Mai Dubai City Half Marathon UAE

Creative Technology Middle East was the official communications partner for last year’s Mai Dubai City Half Marathon. Taking place on 23 October at Dubai International Financial District, the event saw more than 400 runners from over 40 countries take part and was the first mass-running event to be scheduled in the UAE since the start of the pandemic in March. CT provided site-wide communication to support the event organisers across the 21km site to allow event organisers and their teams to effectively communicate while maintaining social distancing parameters and guidelines.

As the UAE government makes tentative steps to legally allow live events to take place in a safe and controlled environment, it is essential now more than ever to set an example and show the world that live events can be safe. The Mai Dubai City Half

Marathon organisers have done precisely that with support from Dubai Sports Council, Dubai Police and the Roads and Transport Authority (RTA), by organising and producing a successful, safe live sporting event.

“As physical events star t back up, we are seeing an increase in demand for communication systems,” commented CT’s Middle East integrated networks technical manager, Rob Turner. “What

once was an after thought on an event is now at the forefront of ever yone’s mind as people become more conscious to carefully manage people’s movements.

Our communication systems are helping clients provide a safe solution for event crew and delegates to communicate while adhering to socially distancing guidelines.”

“Promoseven Spor ts Marketing [PSM] extend an acknowledgement of our appreciation for the professional suppor t given by Creative Technology in providing communication ser vices at the highest level in compliance to the social distancing parameters in place to stage the Mai Dubai City Half Marathon,” added Shaun Ollier from event organiser PSM. www.ctme.co

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NEWS

Israeli cultural centre upgrades with LEA Professional ISRAEL

Professional audio equipment importer TechTop Marketing has worked with systems integrator Charmer Group to upgrade the audio system at the Mandel Cultural Center, using LEA Professional solutions.

Established in 1991 in Jaffa, the 200-capacity, multifunctional centre consists of a large room and a smaller space. Located beside one of the largest stadiums in Israel, it is in high demand for private functions, hosting music and art classes, live performances, lectures and other community-led activities.

“LEA has a huge depth of pro audio experience and, going into a significant local project like this, that level of expertise is incredibly reassuring to all parties involved,” said Shimon Pick, director at TechTop Marketing.

What initially started as a systems upgrade led to a completely new install, with Charmer Group choosing four LEA Professional Connect Series amplifiers suited for small- to mediumscale installations: three CS704s and one Network Connect CS352.

Integrators can connect to any local area network via Cat-5 or Cat-6 cabling using the built-in Wi-Fi access point, the venue’s Wi-Fi or Ethernet.

underlines growth in the region. “The demand for LEA Professional is beyond anything we could have imagined,” he said. “Cloud technology has never been more integral to a functioning society than it is today and we look forward to collaborating on more projects in the region over the coming months.”

While Mandel Cultural Center has yet to reopen due to health and safety guidelines, the team looks forward to welcoming the community back into the upgraded space when it is safe to do so.

LEA Professional’s cloud control platform

www.leaprofessional.com

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Mandel Cultural Center “We had initially looked at a different amplifier company for the project but when we were introduced to the LEA Professional products, including the Cloud control functionality, I knew we could better serve the venue and the community with their technology,” explained Babu Levy, co-founder of Charmer Group.

All LEA Professional amplifiers leverage the built-in Amazon Web Services (AWS) IoT Core, while the cloud platform allows integrators to control and monitor operational data points that are integral to maintaining system health securely and remotely.

Individual amplifiers or entire venues of amps can be accessed and controlled from anywhere in the world without the need to VPN into a Local Area Network.

“We don’t want a system that requires intense training and setup,” continued Levy. “From the first time we saw LEA’s amps in action, we knew this was a product we could easily implement into many of our projects. They’re just easy to work with and you can tell these products were manufactured with integrators in mind.”

For David Budge, founder of Blue5 Technology, LEA Professional’s representative in EMEA, this project

C S-S E R I E S. On-board DSP and optimization give you unparalleled power, with revolutionary control over every performance environment.

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NEWS

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Electrosonic opens Dubai production facility

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UAE

Electrosonic has announced that it has completed the construction of a new production and ser vice facility in Dubai,

enabling it to offer customers in the region direct and local suppor t. The solutions provider has completed a

number of impressive projects in the region in recent years such as bringing the Sheikh Abdullah al Salem Cultural Centre to life in Kuwait, in addition to a number of other parks and experiences, including Mattel Play Town, the Sheikh Zayed Desert Learning Center in Al Ain, Al Shall Theme Park.

The new facility will reportedly allow Electrosonic to empower clients in the Middle East to keep pace with that accelerating landscape and greatly reduce time to project execution.

“I am really excited to see us being more strategic in a region where we have been present for many years,” said Electrosonic CEO, Jon Hancock. “To have our own fully equipped permanent production facility

is a great step forward that builds on our flagship projects in the region.”

“Dubai is at the heart of a dynamic growth region where so many exciting projects are underway,” added Paul Kent, Electrosonic’s regional director, Middle East and Africa.

“We want our clients in the Middle East to have the benefit of direct, local access to some of the most talented and creative people in the business.”

The new facility is the same size as the company’s production units in the UK and US and is located near the Expo 2020 site. The company now plans to double the number of permanent staff members in the region and expand its presence. www.electrosonic.com

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THE BETTER, SMALLER SOLUTION FOR ANY INSTALL APPLICATION

Yalla Neta’asha takes the ionoco PATH

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Broadcast specialist ionoco has announced that its PATH (Path@Home) cloud platform is being used for the Middle East version of Come Dine With Me which went live in October.

The 45-episode series of the ITV-produced British programme was acquired by OSN, the leading entertainment network in the Arabic region.

The Arabic version of the format is entitled Yalla Neta’asha. The show is produced by ITV Studios Middle East and was filmed in various locations across the UAE during the summer, with the control room and camera crew located in different countries. The PATH system allowed the production to go ahead despite Covid-19 restrictions and protocols as the technology allows the show to be filmed without the crew having to be in the same location as the production office.

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During filming, camera operators were on location in Dubai and other UAE states whilst the control room and crew were located at

ITV Studios Middle East’s main headquarters in Beirut. Each member of the camera crew carried a backpack containing batteries,

SO

ionoco’s @Home Kit and a number of 4G wireless routers. The camera feeds were processed by the @Home Kit and then transmitted back to Beirut via the PATH platform accessed through the wireless routers, allowing live instructions from the director.

“Feedback from production teams across the globe that are using PATH is that the lack of a delay on the PATH platform makes shows a dream to direct remotely, which seems to be the missing link in terms of virtual production methods,” commented ionoco CEO, Simon Ingram. “From live awards to award-winning formats, we’re very proud PATH is allowing much loved brands to continue to entertain in the most challenging of circumstances.” www.ionoco.com

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NEWS

Kilowatt AV at Uber’s Tech for Safety Summit SOUTH AFRICA

Kilowatt AV recently catered to a hybrid production at Uber’s Tech for Safety Summit.

Taking place at the Levelthree Premium Venue in Kramerville, Johannesburg, the event was attended in-person by 120 people and joined by 2,000 others via livestream.

The topic was tackling Africa’s most pressing safety-related concerns, which have now been further complicated by the Covid-19 pandemic.

A client for Uber South Africa for the past three years, Kilowatt supplied the design, manufacture and full technical equipment to support the event. With the participation of various leaders, innovators and talent across the spectrum, the event incorporated numerous speakers and panels both at the venue as well as interacting via a livestream.

While social distancing measures were in

An Absen 2.9mm D2V LED screen was set up for IMAG place, Kilowatt AV utilised equipment to create an enticing atmosphere and the

important visual element. This included the use of an Absen 2.9mm D2V LED screen, of

which the company owns 400 panels. “The setup for the LED was pretty straightforward with a 16:9 format of 4.5m x 2.5m,” explained Neil Zaayman, chief operating officer at Kilowatt AV. “We’ve always been very happy with Absen, it’s a solid product.”

While Kilowatt AV has worked on numerous virtual and hybrid events since the pandemic, this was the seventh with a live audience.

“I think everyone in our industry knows exactly what we are going through, but we are tenacious people and the Kilowatt AV team have kept a positive outlook right from the start,” furthered Zaayman. “It’s important to keep the momentum going, so we have focused our energy towards offering various services for our clients.” www.kilowatt.co.za

T SERIES

DESIGNED FOR THE GIGS OF TODAY BUILT FOR THE SHOWS OF TOMORROW

Robe lights tallest building in Africa for Xbox launch

15/12/20 15:54

SOUTH AFRICA

Robe’s BMFL moving lights have been used to beam the Xbox logo onto the top floors of the Leonardo, the tallest building in Africa at 234m, to promote the launch of the new Microsoft Xbox Series X console. The lighting, crew and technical production were delivered by event technical specialists MSTARR working for event producers Penquin.

With socially distanced VIPs watching the event from the rooftop balcony of the nearby Radisson Blu Hotel on Rivonia Road, the green lights were clearly visible from all around the Sandton CBD and beyond. The lighting scheme was designed by Greg Angelo and MSTARR’s Gareth Chambers who chose Robe’s BMFL fixture because “it was the only fixture that could do the job and blast enough light across the 550m throw distance”. The setup included 18 Robe BMFLs – six BMFL WashBeams and

12 BMFL Blades – installed in three different locations. The project involved getting the agreement of three separate buildings and

their management and security companies – the Benmore Shopping Centre roof parking, the Sandton Gautrain station parking lot and

the Radisson Hotel, which also had fixtures positioned on its roof.

Two BMFL WashBeams and four BMFL Blades were deployed in each location, an operation that included manually carrying the kit up staircases in some cases to reach the respective rooftop positions. Each set of luminaires was controlled locally by a grandMA Dot2 console. Three of the BMFL Blades were fitted with custom Xbox gobos for projecting a crisp, clear image onto the building, with local power used at the Radisson and the fixtures in the two parking lots running off generators.

The setup was completed the day before the event and was also tested that evening. The Leonardo’s permanent LED architectural lighting scheme was also turned green for the event. www.robe.cz

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NEWS

Te C

Imagen partners with Broadcast Solutions

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WORLD

Imagen has partnered with systems integrator Broadcast Solutions and AI-powered story production platform Newsbridge to facilitate the distribution of media to journalists and media organisations around the world. The combination of Imagen and Newsbridge’s technology brings together two tools to

create a singular solution capable of providing broadcasters with increased efficiency and faster speed-to-market. The partnership integrates the two platforms and enables automated and optimised content indexing as well as AI-driven metadata tagging to accelerate the workflow.

Thanks to Newsbridge’s AI-enhanced features, including facial recognition, customers will be able to search for content faster and more efficiently than ever before. Nicolas Hans, partner at Broadcast Solutions Middle East and Africa, explained: “In today’s global content marketplace, our clients require scalable distribution and syndication platforms such as Imagen. But to service multilingual audiences, they need to streamline the preparation of media by

automating the creation and facilitating the curation of descriptive metadata – that’s where Newsbridge cognitive indexing services and tools kick in.”

“At the forefront of the broadcast industry, we’ve seen the rapid acceleration of the news cycle and the need for the integration of advanced production tools with modern distribution platforms,” added Salah Ayoub, head of Middle East projects at Broadcast Solutions. “Optimal workflow design, streamlined metadata management and turnkey project management were our contribution to making this Imagen and Newsbridge partnership a reality.” www.broadcast-solutions.de www.imagen.io www.newsbridge.io

Powersoft takes care of customers WORLD

Powersoft has introduced a new care plan for its rack amplifier customers, which will be available via the company’s MyPowersoft portal. The plan – which has been introduced so Powersoft customers can have increased certainty over their investments in these uncertain times – includes two services: Warranty Extension and Service Shield, both of which can be purchased separately.

While the manufacturer believes that its products are built to the highest standards, it also acknowledges that, in certain cases, products might be subject to strenuous conditions that could result in the customer requiring assistance or a replacement product. With this in mind, Powersoft’s new

Warranty Extension and Service Shield plans have been designed to bolster the company’s after-sales offering.

The new Warranty Extension will cover the relevant amplifier platform with up to a three-year extension on Powersoft’s standard warranty. This service is available from MyPowersoft and can be activated during the first year of the product’s life.

The Service Shield includes an option to protect a purchaser’s investment from accidental damage during the first year of its life. This grants users swift assistance from Customer Care Services for one repair (or substitution in specific cases) of the amplifier. This service is also available from

MyPowersoft and can be activated during the first 30 days of the product’s life.

“We are really proud and excited to announce new added-value services aimed to strengthen Powersoft’s after-sales services overall,” said Iacopo Vannucchi, Powersoft’s customer care manager. “Powersoft has always paid attention to product reliability. The Powersoft Care Plan demonstrates our willingness to provide an excellent customer-focused programme that matches the enviable reputation of our products in terms of quality and reliability, and to offer this exceptional user experience even longer.”

then transferred to the digital archive where teams can access content and collaborate on multiple tasks from different locations. All rights are managed within the Cinegy system to ensure the content is secure. Dependent

the time lags, costs and inconvenience caused by the physical distance when using tape-based workflows.

ATV has been broadcasting in HD since 25 April 2011 and undertook several

on access levels, users can then access the clips and metadata in the digital archive, allowing material to be used over and over again without any reduction in quality. Changes to material can also be made directly from the users’ desks, saving time and expense. The digital archive allows collaboration between ATV’s offices in Istanbul and Ankara, removing

major Cinegy expansions since that time.

Turkuvaz currently owns Cinegy Archive with redundancy, 55 Cinegy Air PRO bundles, several Cinegy Converts with 24 agents in total, 45 Cinegy Captures and 380 Cinegy Desktops for editing.

www.powersoft.com

ATV expands playout and editing capabilities with Cinegy TURKEY

Turkuvaz Media Group has expanded its use of Cinegy solutions in order to increase its playout and editing capabilities for selected channels. The broadcaster has recently constructed new offices and an operation centre in Istanbul to serve nine TV and four radio channels. Integration, training and support for the project was supplied by local Cinegy partner, Orsatek Bilisim.

Cinegy has been instrumental in the digital production workflows within the Turkuvaz Media Group since 2011, with the first phase at that time including a transition from SD to HD for selected channels. The group is one of the biggest distribution companies in Turkey and is a leading institution and brand within the television sector in the country, providing channels such as ATV, which is one of Turkey’s most prominent and acclaimed television networks, along with ATV Europe, MinikA and AHaber.

The new space includes 17 studios with a combined floor space of 9,000m2, designed to be able to serve different usage purposes.

Twelve of these are 12m tall and range in size between 200m2 and 1,500m2. Five are 6m tall and have between 100m2 and 350m2 floorspace. These studios will be controlled by six Program Control Rooms with 4K infrastructure and four PCR with HD infrastructure. There are also nine Master Control Rooms with 4K infrastructure and equipment.

Cinegy software is used for every stage in the production workflow: capture, archive, monitoring and editing, including playout.

Footage arrives in various formats and is

www.cinegy.com

16 PRO AVL MEA Januar y–Februar y 2021

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NEWS

Technology leads services at Acts Christian Church Midrand SOUTH AFRICA

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Technology plays an important role at the Midrand Campus of Acts Christian Church and the past seven months has seen the organisation invest in a variety of new audio, video and lighting equipment to improve both the quality of its streaming productions, which have attracted thousands of followers over recent months, and the experience for congregants present at the church. The upgrades have been facilitated by DWR Distribution over the course of several months.

The new equipment includes four Strand 300 S LED Softlights and two Strand 150 S Softlights for the livestreaming studio and video material, as well as 16 Showtec Pixel Strip 40 LED strips to create an eye-catching background for the main stage area for both congregants and online viewers. These are accompanied by a new ArKaos MasterPro 5 licence. On the audio side, a Waves SoundGrid system consisting of a Waves SuperRack and a Waves SoundGrid Server One-C will complement the Midas console.

Pastor Peter de Fin and his wife Tammy started Acts Church in 1999 and their approach has been to upgrade technology little by little each year. “DWR Distribution has played a vital part of our upgrade plans,” explained Pastor de Fin. “Robert Izzett and the guys just get things done and are willing to do the hard work.”

Pastor Sam Wuytack, a worship leader and part of the technical team, agrees. “DWR has gone beyond just giving us service and that’s what I really appreciate about the company.

In the past seven months, they have come out to our homes to see how they can help us set up our virtual studios. They have even come up with design work and solutions from the manufacturing department.”

Sunday morning worship at Acts Church

Pastors Peter de Fin and Sam Wuytack from Acts Church Pastor de Fin points to the walls on either side of the stage, a multi-colour light cur tain made possible with LED strips. “That was one of the big things we did a number of years ago and we just

love it. It adds something to the entire wall and feel of the church. Most of what you see in our church, especially when it comes to colour and lighting, is from DWR.”

The most recent purchase has been 16 Showtec Pixel Strip 40s for the main stage.

“We have always had a black hole in the centre,” he explained. “Our stage was too short to add an LED screen. Over the years we’ve tried different things, hoping to add something that would take away the black space. The Showtec Pixel Strip was a fantastic new product that we were able to connect to a media server and project a multitude of different content onto. We had great fun with the product, and it has added depth to the stage.”

The Showtec Pixel Strip 40 is a 100cm strip with 40 individually controllable RGB pixels.

At Acts Christian Church, they have been attached to a metal frame manufactured by DWR and can be taken off and repositioned when needs be. The church also purchased a new ArKaos MediaMaster Pro 5 to pixel map the Showtec products using Kling-Net. The software will also provide access to a range of digital media as well as a turnkey solution for running seamless video shows on the church’s existing LED screens.

During the Covid-19 lockdown, Acts Church created a virtual studio and did a vast amount of green screen work. “We purchased the Strand Softlights for backlight at our studio and for some of the smaller satellite studios created at a few homes,” furthered Pastor de Fin. “The Strand fixtures give you an incredible flat light so that the camera doesn’t fight with your green screen. We previously used LED lighting fixtures but the colour temperature was wrong. The Strand Softlight units were able to give us the colour tone we needed and just worked.” www.actschurch.co.za www.dwrdistribution.co.za

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21/12/2020 15:04

NEWS: EDUCATION

RCF Audio Academy completes first certifications

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The RCF Audio Academy recently hosted its first in-depth certification course. Called RCF Professional Team, the course certifies pro audio engineers and their knowledge of the manufacturer’s products. It’s an in-depth course with the goal to create a team of professionals and companies that guarantee the best sound quality for the listener, and optimum results for the client, when deploying RCF systems. The first session was held at the company’s training centre in Reggio Emilia, Italy.

“We felt the need to certify the best professionals who use RCF products,” said Fabrizio Grazia, RCF sales manager and coordinator of RCF Professional Team (Italia). “Although RCF products are easy to use and incorporate technologies that facilitate installation and setup, we also want to educate our customers with extensive knowledge for optimal use of our technologies in every scenario.”

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WORLD

The course, held by RCF system experts, includes two full-day sessions. It starts with an entrance test to examine each participant’s proficiency so that the lessons can adapt to the students, and ends with a final verification

test to evaluate the knowledge acquired and to clarify any uncertainties. Each student receives a certificate of participation and is subsequently certified as a member of the RCF Professional Team upon passing the test.

During the sessions, new and upcoming technologies have been anticipated in addition to lessons about acoustics, electroacoustics and insights into the manufacturer’s technologies. During the presentation, the participants welcomed the release of RCF’s proprietary RDNet 4.0 Management Software with a complete course.

“We thank the many professionals who took part in these two days of certification,” said Lucio Boiardi Serri, RCF product expert and team coordinator of RCF Audio Academy. “I am sure that our colleagues now have all the necessary skills to manage RCF products in the most complex situations. I want to congratulate all the participants of this first edition. All passed the final test positively and earned the RCF Professional Team certification. Welcome to the RCF Professional Team.” www.rcf.it

DWR takes MA3 training disguise takes learning to the engineers online SOUTH AFRICA

In-person training has returned at DWR Distribution, with numerous recent grandMA3 Basic Training days taking place in Johannesburg and a grandMA2 Basic Training course recently hosted in Durban. The free-ofcharge workshops form part of the official MA University training programme.

While there are currently only a few grandMA3 consoles in South Africa, it has not stopped lighting designers and technicians from wanting to keep up to date with the latest trends and technology. DWR’s Jannie de Jager has orchestrated and presented grandMA3 Basic Training in Johannesburg, with three separate workshops taking place at the Joburg Theatre in November, and a further date planned.

Meanwhile, in Durban, Aubrey Ndaba and Bongani Makhanya wanted to reach out and create a training opportunity for technicians based in KwaZulu Natal. The Playhouse Company opened its doors and made the venue available to host a two-day grandMA2 workshop, which was presented by certified MA trainer, Olebogeng Boinamo. The event was attended by 16 technicians and was

made possible thanks to Nosipho Bophela, who worked behind the scenes to secure the venue, promote the event and was available on both days to lend a helping hand.

“Thank you very much for the opportunity you provided, we hope to build from this,” said Njabulo Zuma, who attended the Durban training. “We look forward to attending more in the future.”

DWR aims to visit Durban again in the new year to present a follow-up grandMA3 training course. “With the live events industry quieter than usual, I would like to invite all theatres who have an interest in the grandMA to contact me,” commented de Jager. “Our course is currently being offered free of charge and includes a full rundown and practical approach to the new MA3 platform with delegates receiving a certificate of attendance on completion. It’s also a good opportunity for the theatre lighting designers and crew to leave the theatre, see new faces and enjoy a cup of coffee while learning something new.”

WORLD

disguise has recognised the need to take learning online and is providing users access to the company’s full complement of training courses directly from a new online learning management system (LMS), free to anyone looking to upskill in any of the disguise

This new approach allows disguise users to learn concepts anytime and anywhere, at their own pace, and recap material easily after they have taken the classroom courses. The system will include all major training pathways offered by disguise:

www.dwrdistribution.co.za

workflows and disciplines. The launch of the online platform coincides with disguise’s decision to extend the free licence for its Designer software until June 2021.

The disguise training team has redesigned the entire training programme in order to facilitate remote and flexible learning.

The new programme will split each major course up into two parts: one taught online on the new system and the second, more practical part, carried out in-person. The programme will allow students to test their knowledge on specialist disguise equipment, and students will also have the option to undertake entire courses in a classroom setting.

Fundamental Training, Preproduction Workflows, Systems Integration, Creative Sequencing, DMX Workflows and OmniCal. An expert-level xR training pathway will also be available, aimed at demonstrating the setup of an xR project inside disguise, from initial stages through to the final steps of the xR calibration process and integration with generative content engines. The journey to becoming xR trained will be through a series of fundamental and advanced courses, which will eventually enable access to the expert-level xR Workflows course. training.disguise.one/learn

UJ Theatre crew at DWR for grandMA3 training

18 PRO AVL MEA Januar y–Februar y 2021

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18/12/2020 16:10

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NEWS: EDUCATION

First Option’s events industry Covid training WORLD

UK-based but globally relevant safety consultant, First Option, has devised an online, events-specific course for touring, festival and live event production professionals to assist with running events in the pre-vaccine period.

The Event Covid-19 Supervisor/Compliance Officer Advanced Level Training has been adapted from its successful TV and broadcast course to equip any crew able to work intermittently.

The new sector-specific course material, written by event safety expert and course leader, Martin Barraclough, incorporates procedures outlined in Tour Production Group’s (TPG) Covid-19 Working Procedures Guidance – a pioneering set of guidelines that Barraclough was instrumental in producing. Made up of leading tour and production management professionals, as well as supply chain experts, TPG developed the guide to inform and enable the management of risks presented by Covid-19.

course to anybody working in live events or concert touring in a senior role. Martin is exceptionally well placed to deliver this course.”

“With the prevalence of both streamed and virtual esports, elite sport and business conferencing events underway, teamed with further uncertainty ahead, the training is already well subscribed,” added Barraclough. “Production personnel can add the implementation of these realistic Covid-19 procedures to their world-class production values.” www.firstoption.group

Add a strong voice to your system Expand your Video Management System (VMS) or SIP-based communication system by clear announcements

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Having worked in live events for some years himself, Barraclough is delighted to have adapted First Option’s internationally recognised training for the events sector. “With the traditional events world being continually challenged by Covid-19 restrictions, making this course accessible to event planners and potential Covid-19 supervisors gives them the extra tools they will need when working onsite – now and, most likely, in the future.”

The First Option course trains individuals to implement, monitor and oversee Covid-19 arrangements on event productions. Moreover, candidates have access to learning resources to support their ongoing education, such as First Option’s The Yellow Book: Covid-19 Production Manual, written by a team of in-house experts, including microbiologists, medical doctors and chartered safety consultants.

The Event Covid-19 Supervisor/ Compliance Officer Advanced Level Training has already received positive feedback from its first round of attendees. Touring production manager Paddy Hocken was amongst the first to complete it. “I personally got a lot out of this training and believe the whole class did too,” he commented. “It’s also great that it links back to TPG’s detailed guidance.

I would strongly recommend this

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Based on open standards, the IP Horn Speaker IP-A1SC15 plugs right into standard IP networks and can be easily integrated with your VMS or SIP-based communication system. Whether manually or automatically triggered, the IP Horn Speaker distributes crystal clear live speech announcements or pre-recorded voice messages over long distances, offering a maximum SPL of 124 dB. The IP Horn Speaker is a complete stand-alone PA-system with high-quality speaker, built-in power amplifier and integrated audio source for 20 pre-recorded messages. It supports Power over Ethernet (PoE+).

Maximum sound pressure level is 124dB at 15 W powered with PoE+ Operating temperature is -30 °C to +55 °C IP 66 (Dust / Water Protection)

Individual volume level adjustment to each audio source

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Januar y–Februar y 2021 PRO AVL MEA 19

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18/12/2020 16:16

NEWS: DISTRIBUTION

HH Electronics partners with Generation AV MEA

HH Electronics, part of the British Headstock Group, has appointed Singaporebased Generation AV to look after its sales strategies in the Asia Pacific, Middle East and African regions. Generation AV, headed

by David McKinney, will support established partnerships, develop business in new markets and provide technical support and training.

so I’m confident that the appointment of Generation AV will ensure we can build the long-established HH brand back to where it deserves to be as a serious player in the pro audio market.”

Added McKinney: “It is great to have the opportunity to work with Ian and the HH team. HH really complements the brands we currently represent and will create many

Dave McKinney

Ian Wright

“I’ve known David McKinney since working together with him at the Harman Music Group,” said Ian Wright, Headstock Group global sales director. “I have continued to watch him develop his skills over the last 15 years, both personally and professionally, and am extremely excited to have this opportunity to work together again. David’s in-depth understanding of all aspects of the professional audio business in conjunction with the solid relationships he has built over the years, will certainly be a major asset to HH and the further development of our business. HH has great plans for the future, including many exciting new products,

opportunities in the MI and commercial audio markets. After listening to the latest products, we were really impressed with how good they sound for the price. We believe this competitive positioning will work well in AMEA. Our focus will be building new distribution channels with partners who are looking for a new brand with a strong name to grow with. There is a great future strategy with an exciting product roadmap that will reinforce HH Electronics as a serious player in the region. At Generation AV we are excited to be part of the HH team.”

Robert Izzett and Jason Rall

DWR expands with Sharp NEC Solutions and tvOne SOUTH AFRICA

DWR Distribution has further expanded its distribution portfolio, having been separately appointed recently to represent both Sharp NEC Solutions and tvOne in South Africa.

The partnership with Sharp NEC comes hot off the heels of the two manufacturers finalising Sharp’s acquisition of NEC’s Video Solutions Division. NEC’s line of projectors consists of both multimedia models capable of providing clear imagery for large and small spaces, and digital cinema projectors that blend clarity with reliable performance for theatres.

“While NEC has a vast product range, DWR’s specialty will be the supply of NEC projectors ranging between 7,000k and 35,000k to rental companies, houses of worship, theatres and auditoriums,” explained Robert Izzett, director and head of sales at DWR. “We’ve just sold our first 8k and 20k laser projectors to churches and that’s exactly where we are aiming at.”

“We believe there is still good opportunity within the South African market for professional projection, and we were intent on finding a suitable partner with which to promote our world-class projection technology,” said Jason Rall, Southern Africa country manager for Sharp NEC Display Solutions. “After having met Rob and the DWR team, it was clear they are a group of keenly skilled people and an organisation with the necessary infrastructure and focus to help us develop our professional projector portfolio in South Africa. I am grateful to have met Rob and the DWR team through a mutual friend and colleague and am very excited and confident about the synergy created by our two businesses.”

With tvOne partnering DWR in South Africa, the Johannesburg-based distributor will now represent a full range of tvONE and Magenta products, including videowall processors, scalers and switchers, multiwindow processors, signal extenders, matrix routers, distribution amplifiers and racking

solutions. “This is an exciting acquisition for our company,” commented Izzett. “We look forward to utilising the extensive product range in studios, which includes all the virtual studios that have arisen since Covid-19. The door also opens for applications in the corporate world such as training rooms, houses of worship and of course the rental market, which we can’t

www.hhelectronics.com

Primecast Technical Solutions becomes Densitron reseller QATAR

DWR’s Andrew Rodgers wait to see flourish once again. Andrew Rodgers of DWR has been appointed as the tvONE brand manager.”

One of DWR’s current brand offerings, Green Hippo, is a sister company to tvONE – both of which fall under the parent company Spitfire Creative Technologies. “We are happy to partner with DWR Distribution to provide the best AV solutions and support to the South African market,” said Frithjof Becker, EMEA sales director at tvONE. “We look forward to working with them and their customers in the future.” www.dwrdistribution.co.za www.sharpnecdisplays.eu

Densitron has announced Primecast Technical Solutions as a new reseller in Qatar. Located in Al Wakrah, the company will support the manufacturer’s Human Machine Interaction (HMI) and display products, including the IDS (Intelligent Display System) solution, both in Qatar and throughout other key territories in the Middle East.

Part of S’hail Holding Group, Primecast Technical Solutions provides systems integration, design, consultancy and equipment supply services to the broadcast and media industries. In recent years it has undertaken flagship design and integration projects for leading regional broadcasters, including Qatar Media Corporation, Al Rayyan

Satellite Channel, beIN Media Group and Al Jazeera Media Network – where IDS provides call timing, indicator lights and core GPIO functionality. “Densitron’s IDS solution is ideally suited to the changing needs of broadcast and other sectors with its flexible, scalable approach to display and control,” commented Sameh Qaddoura, technical manager at Primecast Technical Solutions. “Following on from its successful integration at Al Jazeera here in Qatar, we anticipate significant interest from other operators around the region and look forward to working with Densitron to maximise our reach as a reseller of the IDS solution.” www.densitron.com

www.tvone.com

20 PRO AVL MEA Januar y–Februar y 2021

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21/12/2020 15:41

NEWS: APPOINTMENTS

Riedel’s R&D on path to IP future

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Riedel Communications has appointed Renaud Lavoie to the newly created position of senior vice president of technology and Peter Glättli as director of research and development. Both reporting directly to CEO and founder Thomas Riedel, Lavoie will work to drive technological innovation, advance Riedel’s video solutions portfolio and strengthen the company’s expertise in IPenabled hardware and software, while Glättli will assume responsibility for the company’s five main development hubs to advance its IP-enabled hardware and software solutions.

Lavoie moves into this strategic new role having served for almost a year as the MD for Riedel Montreal, a position he took on upon Riedel’s acquisition of Embrionix. As senior vice president of technology, Lavoie aims to increase interaction between Riedel’s research teams by managing a rotating group of expert engineers from

Peter Glättli

Renaud Lavoie

different R&D disciplines. “I am pleased with the trust and confidence that the Riedel team has in my abilities to assume this new role, which is dedicated to our efforts to shape future workflows for the broadcast, entertainment and AV industries,” Lavoie

commented. “I look forward to keep exploring untapped possibilities in the realm of IP technology with the talented Riedel R&D team – the best and the brightest in the field.”

Glättli has spent two years as head of R&D at Riedel’s Zurich location, leading teams

Marion Chaignon joins PPDS in EMEA

Marion Chaignon EMEA

Philips Professional Display Solutions (PPDS) has announced the appointment of Marion Chaignon as its new marketing campaign manager, EMEA. Chaignon brings a wealth of marketing experience to the role, having executed major campaigns for some of the world’s most recognised technology brands, including Samsung Electronics, Asus, Nikon, HP,

Lenovo and Logitech during her 12-year career.

“We’re delighted to welcome Marion to the team,” commented PPDS marketing director, Ron Cottaar. “She joins during an extremely busy period for PPDS, with a range of important new products now being brought to market. Marion’s extensive knowledge and experience in not only working with leading technology companies like ours but working on specific vertical market campaign strategy will add further strength to our already thriving team.”

Bilingual in French and English and university-educated in business and business marketing, Chaignon joins PPDS from leading B2B and B2C marketing agency, Red Pimiento, where she spent almost six years under various EMEA roles.

“Having spent the past decade working with multiple clients and executing a wide and extremely varied range of brand campaigns, the opportunity to work with PPDS and devote all my efforts and everything I’ve learned to a single brand is a tremendously exciting challenge,” added Chaignon.

www.riedel.net

Helen Jones returns to Calrec as operations manager WORLD

Helen Jones, who previously worked at the company, has rejoined British console manufacturer Calrec as its operations manager. In her new role, she will ensure manufacturing and operations meet the demands of the business for quality, on-time delivery and team development.

“This appointment is another example of Calrec continuing its investment in the future, both ours and that of our

management experiences to take operations to the next level.”

Jones is well versed in the latest production models, has extensive project management experience and, as a former engineer at Calrec, understands broadcast customer needs and requirements. She has a strong track record in the industry.

“We need to work in as agile a way as possible, being as responsive to short notice

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Helen Jones customers,” stated Calrec general manager, Sid Stanley. “We’re always striving to improve our production efficiency and quality, using the latest techniques. The Covid era will bring new challenges to our supply chain and the way we work, challenges that we will face head on so our customers remain unaffected. Helen’s role will be to ensure that operationally we stay ahead of a fast-evolving and changing business environment, combining her great knowledge of Calrec with her leadership and

demands as possible while never compromising on quality,” commented Jones. “Calrec is an innovative company that puts both technical capabilities and quality control first, which is hugely important given the challenging times we’re all in. My decision to return to the company was an easy one, and I’m excited to execute my skills and knowledge to effectively manage my team and quality of the products so that our customers truly benefit.” www.calrec.com

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www.philips.com

Ruby Habib named GSL Professional MD Following the unexpected and sad death of GSL managing director Adrian Cur tis, the Dubai-based distributor has appointed Ruby Habib as his successor.

Having worked for GSL for the last three years, Habib brings extensive sales experience to the role. The company states that with his background, it is

in Switzerland and Germany. Prior to that, Glättli had been head of development for Studer/Harman International where he was responsible for development of the Studer and Soundcraft product lines.

“Riedel has an outstanding and talented development team, both in terms of quality and quantity,” added Glättli. “It’s a great honour to be able to take the helm, and I’m excited about working with this team to help cement our ongoing success, particularly in the realm of software development platforms. It’s a joy to be associated with a company like Riedel, filled with people who are creative, innovative, courageous and willing to take risks. With this kind of commitment, we are guaranteed to make a real difference in the marketplace and for our customers.”

18/12/2020 16:10

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NEWS: APPOINTMENTS

Joe Mack promoted to GatesAir CRO WORLD

GatesAir has announced the promotion of Joe Mack to chief revenue officer. As CRO, Mack will take ownership of global sales activities in his new role, with all regional sales leaders across APAC, CALA, EMEA and North America reporting to him. He will continue to report to GatesAir CEO, Bruce D Swail.

“Joe has demonstrated a sharp sense of relationship building and customer commitment over his decades at Harris and GatesAir, which has resulted in record sales levels for our radio and television transmission businesses,” said Swail. “Above all, he has proven to be an exceptional leader over his career, with a diverse background in sales, management and engineering that has contributed to his success. We are thrilled to welcome Joe to this important new executive leadership role.”

A 35-year broadcast industry veteran, Mack has taken on roles of increasing

successful leadership roles at Harris Corporation’s Broadcast Communications Division. In this role, he was responsible for all US spectrum repack sales efforts, which established GatesAir as the market share leader for broadcast transmission.

“I have had the pleasure of working with all current regional sales leaders at GatesAir over many years, and it’s an honour to now work and collaborate with them in a more direct manner as we sharpen our global go-to-market strategy,” commented Mack. “Having worked directly within the transmission business for 30 years, this is a business I am intimately familiar with and understand on a worldwide scale. I look forward to leading GatesAir’s global sales initiatives and building a foundation for our future business success.”

Joe Mack responsibility over his 30 years at Harris Corporation and GatesAir. He was promoted

to VP of sales, Americas upon the formation of GatesAir in 2014, following several

www.gatesair.com

Katrin Rawks rises to leadership role at Meyer Sound WORLD

Meyer Sound has announced the promotion of Katrin Rawks to director of loudspeaker engineering and the hiring of Ianina Canalis as application architect, spatial audio specialist.

Rawks, who started with the company as a student intern in 2003, has taken on increasing responsibilities over the years, holding positions in mechanical engineering and transducer engineering, where she worked directly with president and CEO John Meyer and vice president and chief loudspeaker designer Pablo Espinosa on the mechanical and acoustical designs of 23 Meyer Sound products, including the Leo family, the Ultra-X point source loudspeakers and the Bluehorn system. She is co-holder of the technology patent associated with Leopard line array loudspeakers as well as five design patents related to Ashby, Amie and Leopard. In her new role, she reports directly to vice president of R&D, Marc Chutczer.

“What I really appreciate about Meyer Sound, and why I’ve chosen to make my career here, is the scientific integrity that

Katrin Rawks underscores all we do,” added Rawks. “It’s inspiring to be surrounded by people who are extremely knowledgeable and who are as enthusiastic about what they do as I am.”

Joining Meyer Sound in 2020, Canalis is already contributing to the final development stages of the Spacemap Go spatial sound design and mixing tool. Prior

to joining, she held posts as a lecturer in live sound technology at universities in the UK and her native Argentina. During this time, she continued to develop her own software for multichannel live sound production, ISSP, or Immersive Sound System Panning, which she started while studying for her Master of Science in Audio Engineering from Leeds Beckett University.

Meyer Sound discovered her talents when she applied ISSP to several live events sponsored by SoundGirls, including the 2019 AES convention in New York. Canalis is based in Berlin, Germany and also reports to Chutczer.

“It is wonderful to be part of the Spacemap Go global development team,” said Canalis. “Each member comes with a spectacular background, which enhances the exchanges among us. We are refining this software together, continually improving the tool as we strive to increase the creative possibilities.”

“We continue to be amazed and gratified by the talents of the people we attract to Meyer Sound, and also those we’ve

Ianina Canalis been able to retain for years while they develop their skills,” added executive vice president, Helen Meyer. “With Ianina and Katrin, we are also proud to continue our industry leadership in promoting gender balance in top-level positions.” www.meyersound.com

Will Pitt joins Masstech as EMEA head of sales EMEA

Masstech has announced the appointment of Will Pitt as head of sales for EMEA. Pitt joins the manufacturer from Imagen, where he served as commercial director for the last four-and-a-half years. In his new role, he will lead the EMEA sales team to pursue new growth, as well as strengthen the company’s partner and dealer network.

“In sales, you have a unique opportunity, and a responsibility, to open new doors and influence and deliver new outcomes; this

is what excites me,” commented Pitt on his new position. “We work in one of the most exciting and progressive industries in the world and I feel privileged to be a part of it.”

“We’re very excited to announce Will’s appointment to this pivotal role for Masstech,” commented Luc Tomasino, Masstech VP of worldwide sales. “EMEA is a critical region and having Will’s passion and focus to lead the excellent regional

sales team already in place will allow us to bring our multi-award-winning storage management solutions to an even wider audience. At a time when many vendors in the industry are looking to reduce their outreach provision, Masstech remains committed to building the most experienced teams in order to serve and guide our customers and partners to the highest levels.”

Will Pitt

www.masstech.com

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NEWS: SPECIAL REPORT

The search is over

Dr Tess Gridley with the Shure VP89L shotgun microphone

Shure shotgun mics have been helping Sea Search take its bioacoustics studies to new quality levels OVER THE COURSE OF RECENT MONTHS, Dr Tess Gridley has been staked out in her back garden in Muizenberg, Cape Town with a Shure VP89L shotgun microphone in hand, attempting to capture and document the calls of Egyptian geese. If this seems like an unusual pastime for many, as a bioacoustics researcher, it certainly isn’t for her.

Bioacoustics is a field that few are likely aware of, but one that takes Gridley out into all manner of environments tasked with capturing the sounds of various animals of study.

Gridley founded Sea Search together with Dr Simon Elwen in 2014 and is also responsible for establishing and nurturing the African Bioacoustics Community, a group that aims to provide a networking forum for anyone involved in bioacoustics working throughout Africa. She is also a research associate at the University of Cape Town and a postdoctoral researcher at the University of Stellenbosch.

The research undertaken by Sea Search focuses on animal behaviour and acoustic monitoring, typically for conservation applications. Gridley and her team work on a range of species locally, including bottlenose dolphins, Cape fur seals and humpback whales, and on a variety of bioacoustics projects – the acoustics concerned with sounds produced by or affecting living organisms, especially relating to communication. The recording work has taken the team from uShaka Marine World in Kwa-Zulu Natal, South Africa all the way up to Namibia.

In 2018, Sea Search established the “noisy bird” project, which saw the team capturing the sounds of lesser flamingos, Cape cormorants and African sacred ibis. Restricted to her garden in recent months, the birds have

The team out capturing Cape fur seals with their portable recording setup

Recording the calls of flamingos once again become a focus of Gridley’s study throughout lockdown.

Using the Shure VP89L shotgun mic, her objective is to understand the evolutionary, ecological and cultural factors shaping animal behaviour. She applies novel methodology and statistical analysis to help answer the fundamental ecological questions on individual movement, distribution, density and responses to noise. She is interested in understanding the repertoire of calls made: how calls differ between species, who is calling who, how calls function and more. During lockdown, Gridley recorded Egyptian geese from her back garden and described the repertoire of honks, hisses and other calls. The quality of captured audio becomes essential for later analysis and so Gridley approached local AV distributor Wild & Marr for help in sourcing an appropriate model for the task at hand.

“The main research that I’m interested in is better understanding animal behaviour and

in particular the acoustic behaviour and then linked that to ways in which we can manage and conserve that population of species,” Gridley explains. “For example, we can track the movement of individual dolphins using the signature whistles captured from recordings under the water. But during lockdown we haven’t been able to do lots of marine research and so we’ve been focusing on terrestrial animals such as the Egyptian geese.”

Many of the species captured by Gridley and her team haven’t been previously documented, making the need for high-quality recordings that can serve as archival footage for the future even more important. “For each different species there are subtly different questions we are asking,” she explains, “but it all hinges on what the animals are saying and how they are saying it. For that, we need to the ability to easily capture high-quality audio recordings.”

For their terrestrial research, the Sea Search team generally deploys either low-cost

permanently mounted mics for long-term capture or it embarks on excursions with a highly portable recording setup consisting of the Shure VP89L shotgun microphone and a Tascam portable recorder. The VP89L’s ability to keep environmental noise to a minimum pays dividends for the team.

“It’s usually a case of sticking the microphone as close as possible to the animal, 5–10m away, and then following them to capture their interactions. We need to get the best quality recordings possible when we’re analysing identity information in the calls and size information, for example. The quality and the directionality is very important.

“We use the shotgun mic when we really need to achieve the best quality recordings,” she adds. “If we’re looking at identity information or size information from the calls, for those studies in particular the quality and the tonality of the mic, as well as obtaining a good signal-to-noise is really important for later study. Although we haven’t got around to properly analysing those recordings yet, we can absolutely tell the quality difference with the VP89L.” www.seasearch.co.za www.wildandmarr.co.za

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21/12/2020 15:46

NEWS: SPECIAL REPORT

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Q& We’ve seen many different tradeshows take their events online since the pandemic hit. Is Believe in Music going to be doing anything different?

Yes, we sure hope so! Whether last Januar y’s NAMM Show was your first or you’ve been coming for decades, many see it as more than just a tradeshow but rather a vibrant, real-time reflection of the incredible innovation and passion that is uniquely found in our industr y.

In recognising the profound impact of Covid-19 on both companies and individual professionals, we knew that we had to look to a larger vision, and that vision led us to Believe in Music week: the online, global gathering to unite and suppor t the people who bring music to the world. The NAMM team set out to bring this vision to life with our platform vendor, Swapcard, to create and encapsulate those valuable networking oppor tunities, education and training, and brand experiences found at the NAMM Show to ser ve all members and inspire more music makers, essentially creating a social network specifically for the industr y. Our goal is to look to the future success of our members and the industr y and help propel ever yone into 2021 with new products, professional training and the fun, networking comrader y of the Hilton bar through our main station, Believe TV.

Joe Lamond, NAMM president and CEO, answers our questions about the organisation’s Believe in Music week, a global gathering which takes place online from 18 January 2021

What are the key ways in which NAMM is using Believe in Music to help the industry enter a new year as it adapts and moves forward?

Adaptation and meeting new challenges posted by Covid and continued economic recovery will be paramount as we move into a new year. At Believe in Music week, industry professionals will have the opportunity to participate in over 160 valuable education and training sessions from leading experts on the latest strategies, tactics and best practices to advance their career, and a robust marketplace to see what’s next. Believe in Music week educational partners include TEC Tracks, where members will take part in big-picture sessions and high-profile topics in recording, live sound and music business with the likes of Dave Cobb, Craig Bauer, Patrice Rushen, John Boylan, Suzanne Ciani, Billy Bob Thornton, Peter Asher, Tom and Chris LordAlge and others. The AES (Audio Engineering Society) will also join Believe in Music to present educational sessions on key topics for audio professionals, including streaming live performances, next steps for the live event industry, mastering mixes and careers in professional audio. A3E, Advanced Audio + Applications Exchange, will also return with a series of future-forward education on how next-generation content creation is reshaping the entertainment industry. Topics will include content creation platforms pioneering new music industry business models, applying

NAMM president and CEO, Joe Lamond gamification principles to musical instrument design, concerts in a virtual world and live versus livestreaming. Audinate will offer free Dante certification training of its leading audiovideo network solution, including updated levels 1 and 2 training. At the end of these trainings, attendees should be skilled enough to complete the Dante certification test. For

companies, Believe in Music week will still serve as a “market week”. A marketplace, facilitated by AI-matchmaking, will help brands connect buyers and sellers, to launch new products and demos and schedule and hold meetings with customers, including video meetings for those valuable face-to-face conversations.

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NEWS: SPECIAL REPORT How has NAMM been working with its members during 2020 to help them adapt?

When the impact of Covid-19 came into focus in March, our attention immediately turned to helping NAMM members to navigate the crisis and to lobby elected officials in the US for Covid relief, especially for the hardest-hit businesses and individuals. This included access to additional PPP funds, long-term, lowinterest loans and supplemental unemployment insurance to assist the hundreds of thousands of creative industry service workers impacted by the pandemic. We continue these efforts today.

Can you let us know about NAMM members who have managed to adapt in innovative ways?

While all NAMM members have been impacted by the pandemic, it seems that no two have experienced it in the same way. There are so many stories of resilience and innovation, as well as adaptation in the face of Covid, from members who completely revamped their manufacturing to make ventilators, masks, hand sanitiser and the like, to those who found new ways to conduct business through e-commerce. And while early indicators were shocking for all, many NAMM members quickly found themselves on the other side of the challenge with too many orders and had to revamp supply chains overnight. Listing any would be difficult; in my opinion, every company has absolutely been incredible, and their creativity and pure tenacity will be written about for years to come.

We will also be honouring our members with the Top 100 Dealer Awards, the TEC Awards, She Rocks and a special Parnelli Award retrospective. We’ll also have really interesting content produced by our members around the globe. And since we can’t have a big concert out on the Grand Plaza, the two-day livestream will also feature a film by Yamaha about the incredible impact music has had on our world, especially during tough times like this pandemic. We’ll have all of this scheduled out on the Believe website, and I imagine people will want to use the platform’s scheduling feature to plan their time carefully, so much you won’t want to miss!

How are you using AI to match buyers and sellers at Believe in Music week?

In a way, the technology we’ll be using can be thought of as saving a few steps of walking around the Anaheim convention centre looking for the latest, coolest products. The user profile will get things star ted and, as the user inter faces more and more with the platform, it will “learn” more about your preferences and recommend new and interesting products and companies that you might not have ever thought of or run into on the show floor. From the platform, you can learn about the products and request more info and, for buyers, actually set up realtime meetings with salespeople. This technology will likely become something we’ll use from here on out to maximise the experience for a wider global audience in addition to those attending future NAMM Shows in person.

Can you tell us more about the performances and music-making projects for artists to showcase their talents and performances, and the potential to gather music What have you learned about your makers in a capacity not restricted organisation, your members by location? and the industry during this unprecedented year?

Our vision for Believe in Music week, especially with the freedom of not being restricted to physically being in Anaheim as well as the choice to have some content prerecorded, was to be the online, global gathering to unite and support the people who bring music to the world and, with that, celebrating the intrinsic value of music – after all, that’s what connects all of us to this industry and to each other. We want this to be fun and interactive. I’ll be hosting the two days of Believe in Music TV along with many special industry guests and artists.

We’ll have interviews, performances, some of the top educational sessions like a virtual Breakfast of Champions and Best In Show.

This crisis has brought our team and the music community closer, sharing and working together to make sure that music remains a vital part of our humanity, perhaps something that is seemingly more important than ever.

I personally learned that as much as Zoom and Teams have been lifesavers, I really miss travelling to see our members in person, attending concerts and trade events and especially the amazing family reunions that occur at the NAMM Shows. I’m thinking of getting a new tattoo that says “Anaheim 2022”! www.namm.org

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More information on www.datavideo.com Januar y–Februar y 2021 PRO AVL MEA 27

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FEATURES: COMMS

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How comms has changed F1 Riedel’s consistent drive towards remote production solutions has been a godsend for the 2020 season with limited travel ARGUABLY, NO COMPANY HAS BEEN MORE INSTRUMENTAL in the world of high-profile sporting events than German intercom manufacturer Riedel Communications, at least from an audiovisual perspective. The company is the brand of choice for many of the world’s most important events, ranging from the Olympics to Formula One, the Red Bull Air Races and even the German Bundesliga.

But its work in Formula One has been a reoccurring fixture for nearly three decades. For a few avid Pro AVL MEA readers, it’s quite literally a lifetime and, for the majority of that period, the manufacturer’s team of engineers supporting communications during Grand Prix races has been steered by the head of Riedel’s Motorsports division, Dario Rossi. Having himself worked in motorsport for more than 30 years and for Riedel for eight years, Rossi has witnessed a lot of change throughout that time.

Dario Rossi, head of Riedel’s Motorsports division

Red Bull Racing team manager Jonathan Wheatley at Sakhir

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the radios were only half-duplex. That meant that you actually had to push a button to talk, the famous PTT – not something a driver would want to be operating while concentrating on the race – and each party would have to say “over” at the end of each message.

When we started to build intercoms for F1, while it was quite a simple system compared to today, everything was already full-duplex. This meant you could have two people connect just like a regular telephone call, but more importantly the quality of our system was much better because of the codecs that we had developed. The best radios that we have today in 2020 are 48k, and yet our intercom solutions are 1MB. This is a huge difference and is one of the main reasons why so many teams are using our Bolero wireless intercom products. It is full-duplex with six channels, so you can talk and listen to different people and the quality is crystal clear.

How have these solutions evolved into what you deploy today?

What did the first F1 communications solutions comprise and what capabilities did it offer?

Riedel first started working with Formula One 28 years ago, but at that time all we provided was a basic intercom around the pit wall. Radio in those days was mainly analogue. There was a lot of noise, distortion and interference that meant the teams would struggle to hear each other and, furthermore,

How that intro

Max Verstappen takes a practice lap

In recent years, the need for advanced technological solutions has been driven by the desire to limit the increasing amount of people located trackside. In recent seasons, we’ve been limited to only around 60 people across all teams, and so the majority of each team’s engineers are now located offsite back at their factories.

The communications we do now is mainly to connect these offsite people with the guys at the track. In order to do this, we have a subsidiary in Frankfurt called Riedel Networks providing

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FEATURES: COMMS MPLS, a high-performance telecoms switching network, which is basically a really fast internet backbone. For the very away races, such as Australia, we’re able to provide a 260ms round trip, an up and down link which is literally real time. This is what makes everything that we do with F1 possible. It means that everyone, no matter where they are, can listen to the driver in real time during the session and that there is intrinsic communication between different locations.

It’s common that perhaps the engine was manufactured in England and the wing somewhere in Germany, yet we can make sure that everyone gets the same first-hand communications. More importantly, when engineers are part of the communications in real time, they feel like they are at the race and are fully involved. It’s beginning to become quite normal to have a greater number of people working off- rather than onsite.

not. With the drive to remove people from the track, we’ve essentially been under similar restrictions as the pandemic for many years.

However, we have accelerated some of the processes recently. For example, this has allowed one of our partners, RTL, which produces the German broadcast feed, to substantially lower their numbers trackside by doing fully remote production. All of the show production is handled back in Germany and only the necessary people like presenters and cameramen are at the track. It has taken them from more than 60 people onsite down to just five.

Describe the setup you provided for the recent Turkey and Bahrain GPs? Our setup remains virtually identical for each and every race of the season and sees us deploying more than 5,000 pieces of Riedel equipment overall to facilitate what I’ve been

What has been the biggest driver of change in recent years?

It’s natural really, but F1 is always looking to improve on absolutely everything by making things quicker and more efficient. Even if it’s just buying tennis shoes for one of their mechanics, they have to be lighter and better than the previous ones. Speed, light weight and performance – it’s in their DNA and this of course extends to our systems as well.

The race itself has become very complicated for teams because they don’t test the cars nearly as much as they used to. Because of this, the fact that we are able to send the communications and telemetry to the teams offsite in real time, allows them to approach testing completely differently.

They can run the data in simulations at the factory, tweak the models and then feed that information back to the engineers trackside to make adjustments to the car. This all has to be performed very quickly and is why it’s critical that the exchange of data provided via our systems is continually improving.

How do you create a communications system that remains simple and reliable alongside the introduction of new technology and features?

We are quite lucky in this respect, as most of our services are built around our own products. We’re out on the road for the majority of the year facing a variety of challenges, such as humidity, temperature and power supply issues. We work closely with our R&D department to ensure those lessons get incorporated back into our everyday products. But actually, it is through advancements in technology that we are able

Jehan Daruvala adjusts his earpiece at the Bahrain International Circuit to make these systems better while still staying simple. For example, the innovation that we introduced in our new Artist ecosystem to improve its IP capabilities includes a host of low-level enhancements for auto configuration and discovery that are intended to make a lot of very complicated tasks very easy. We do also stress test everything from time to time to make sure it can withstand some punishment. But I think the most important thing to be aware of is that there is a level of intelligence being incorporated into new technology that is intended to make all of our jobs even simpler.

Conversely, sometimes it is the simplest features that provide the most value. Our Bolero handsets have a function to repeat the last message. If something wasn’t heard or understood correctly, rather than asking the driver to keep repeating themselves, the receiver can push a button to keep playing back that same message. A very simple feature but something that is invaluable for the F1 teams.

How has the pandemic affected your operations during the 2020 season?

It hasn’t really had any impact on us at Riedel. We have the same 18 people on track as we did last year and this is because we’ve engineered the communications to the point where it doesn’t matter if people are present in-person or

The Red Bull Racing team adorned with Riedel Bolero beltpacks spring into action in the pit lane in Bahrain describing above. This includes approximately 50 MediorNet frames, 400 Artist frames, 1,200 control panels (including SmartPanel series), 2,000 radios, 1,500 headsets and more than 250 Bolero beltpacks, as well as over 100 cameras, including on-board and CCTV cameras. www.riedel.net

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FEATURES: INSTALLATION

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From the ground up The Prince Sultan Cultural Center complex in Jazan

Seats fill up for an event held by Jazan Municipality

Saudi Media Systems has taken a holistic approach to turn the Prince Sultan Cultural Center into a concert venue catering well beyond initial expectations SAUDI ARABIA’S ENTERTAINMENT AND THEATRE MARKET has changed dramatically in recent years. It was only recently that the country opened the doors of its first cinema and staged performances from international artists.

Sensing the fresh breeze of change in the country, systems integrator Saudi Media Systems (SMS) had an eye on the future when it turnkey designed and implemented the Prince Sultan Cultural Center in the southern province of Jazan.

The 50,000m2 multi-use venue overlooks Jizan City’s northern waterfront on the Red Sea and it is an architectural masterpiece. Comprised of a 2,000-seat auditorium and large outdoor amphitheatre, banqueting hall and seminar rooms, the centre was always expected to host a range of important seminars and discussions. However, no one at the time of initial concept envisioned that it would subsequently become the venue of choice for national and international performing artists and touring companies in the region.

SMS was selected early in the project to design and engineer the facilities, including interior design, furniture and audiovisual systems. “We develop solutions from scratch,” explains SMS senior systems consultant, Nidal Hijjawi.

“This typically includes not only the systems themselves,

but the entire environment in which they work, including the technical infrastructure, acoustics, lighting, furnishings, everything.”

As part of the Kingdom’s Vision 2030 initiative, Jazan Municipality requested the latest technologies and interior finishes for the centre’s indoor and outdoor auditoriums in order to cater for seminars, graduation celebrations and press conferences. “After meeting the client and performing a needs assessment, we started developing conceptual solutions in order to meet their expectations,” recalls Hijjawi. “Once those were approved, we created extensive 3D visualisations, lighting design and acoustic models.”

Taking this integrated approach enabled SMS to create a highly innovative and flexible live event venue. SMS was given free rein with its design concepts and the result is a clean, modern look to the centre with the technology hidden within the envelope of the walls.

SMS selected Bose RoomMatch loudspeakers for sound reinforcement together with a comprehensive Crestron 4K video solution and Martin stage lighting system. With this, the Jazan Auditorium became home to one of the best technical setups in the region for staging concerts and events of almost any type.

Bose RoomMatch LCR arrays with subwoofers are hidden behind a curved acoustic screen forming the proscenium over the stage, and provide audio coverage in tandem with RoomMatch RM12040 loudspeakers hidden within the side walls. Panaray 620M floor monitors provide foldback onstage, while power for everything comes from Bose Dantecapable PowerMatch PM8500N and PM4250N configurable multichannel amplifiers. A Bose ControlSpace ESP 880 processor provides DSP capabilities and can be adjusted via a ControlSpace CC-64 control centre.

“When the auditoriums and their audio systems were designed, regulations commonly did not permit public concerts, but we still designed something with the flexibility to support musical events,” explains Hijjawi. “Starting last year there were concerts taking place everywhere, and the Prince Sultan Cultural Center has become a major concert venue in the area. The Bose system has outperformed expectations in many regards. Most bands were thinking they would have to bring in their own supplementary sound systems but this hasn’t been necessary.”

Another impressive feature of the cultural centre is the auditorium’s 11m x 6m AVeen 4K LED videowall, which is able to handle numerous AV sources for video conferencing, presentations, camera and live feeds and live feeds via the

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FEATURES: INSTALLATION

The large AVeen 4K videowall allows the venue to cater to nearly any type of presentation Crestron DM-MD32X32-RPS 32x32 matrix switcher that routes signals from the control room via Cat-6a cabling. Events can be directly streamed over the internet and archived for video-ondemand via Haivision’s S-VFADV-100 Furnace IPTV Advanced System.

The rear control room above the balcony houses a 64-channel Yamaha MGP64X digital mixing console, which draws inputs from Shure wireless mic systems fitted with lavalier and condenser options. A Shure interpretation system, comprising a DIS-CCU-central control unit together with IS 6132 P interpreter units for the translators and DR 6008 eightchannel receivers for audience members, allows for real-time translation of any event.

“One of the main advantages of using the Crestron control system was that capability to integrate the video, audio, lighting, curtains and any other required systems via touch panels and iPad devices. We wanted to support as many changing users in the hall as possible and so we needed a graphical user interface for the control system that was very easy to understand. The touch panel on the stage is very user-friendly and any foreigners coming in to do a show without technical background about the system can use it with ease.”

All aspects of the AV and control system can also be controlled remotely. “We can remotely diagnose problems, configure the system or even start a presentation for a client.

So even though the auditorium is 1,200km from our offices, we are right there to promptly support the client and solve their problems,” notes Hijjawi.

Reflecting on the construction over the last two-and-a-half years, the SMS team is very proud of the result. “While this was a long project from start to finish, the majority of our work was completed in less than six months,” Hijjawi says.

“With digital audio and 4K video capabilities throughout, our client is very satisfied with the solution, and the fact that the client has asked for no additional amendments and changes means that we know we did a great job.

“We are proud of our team at Saudi Media Systems for designing, engineering and handing over the Prince Sultan Cultural Center in Jazan, outfitting the auditorium and the building with professional audiovisual solutions to meet the highest expectations of HRH Prince Mohammed Bin Nasser (Prince of Jazan) and the Jazan Municipality. Thank you for trusting SMS,” said Abdulaziz Al-Jaafari (director of business development) in a speech at the venue’s opening.

At the end of the day, this is what matters the most for guests enjoying a performance at the Prince Sultan Cultural Center, the overall experience they are presented with. The venue designed by SMS certainly surpasses expectations. www.smediasys.com

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FEATURES: LIVE EVENT

Taking the show on the road

The Tupperware and AV and Beyond teams celebrate a successful event

AV and Beyond called on more than 80 technical crew members to deliver this year’s Tupperware Southern Africa event virtually, discovers Simon Luckhurst AS THE INFRASTRUCTURE FOR VIRTUAL SOLUTIONS continues to mature and be run through its paces in new and novel ways, ambition, and certainly expectations, have been building.

And Tupperware Southern Africa is an ambitious client.

In previous years, the company, which is well-known for its name-branded line of kitchen and home products, had been hosting a grand annual celebration inviting more than 1,000 of its team leaders and top-performing managers to a central location in North West Province for a lavish party in celebration of the year’s sales achievements. Of course, the pandemic and lockdown situation made the typical festivities impossible this year.

At the time that Tupperware was considering its 2020 options, the range of virtual solutions available was rudimentary and would have meant simply streaming a small green-screened presentation from one central location directly to viewers’ personal devices. Having decided that this approach would not provide the feel of closeness that is important to the brand, it turned to technical provider AV and Beyond for assistance and inspiration. The Johannesburgbased company has been a client of Tupperware for many years, knows the brand and its ethos well, and came up with a much more ambitious idea for 2020.

Bearing in mind that this conversation was initiated back at the beginning of the pandemic, AV and Beyond’s expertise in creating virtual events was also still maturing, together with the rest of the events industry. “We’d worked on major online events before where we had about 5,000 people watching, yet this one was by far the most technical setup that we’ve

leaders and top-performing managers for the year. Despite the lockdown in South Africa, they came to us this year really wanting to continue to host the event as it drives sales on their side, provides motivation for everyone in the team and, especially in Covid times, a lot of people are reverting to selling Tupperware and such things just to make an income.

They were really looking to still motivate the people they had in, while showing the new members what the brand was all about.”

Having worked on the annual event for the last three years, Schoeman already understood the client’s needs well.

Similarly, Tupperware knew it was in safe hands.

With the typical event in Sun City postponed, the decision was made to create a set of mini “satellite” sites at

Audio at the main studio was managed by a DiGiCo S21 ever done,” recalls AV and Beyond project manager, Marnus Schoeman. “A normal event is usually just streaming from our green screen studio or one of the studios that we’ve created at venues around Johannesburg. This time, we actually had live back-and-forth interaction with everyone that watched.”

This live interaction was the key for Tupperware in creating the community environment that is so important to the brand. “In a typical year, they would take around 1,000 managers to Sun City for a weekend away and it’s normally a really big event, the highlight of their year. It is essentially their Emmys, where they give recognition to the top team

AV and Beyond’s approach meant that Tupperware could still honour its managers further afield

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FEATURES: LIVE EVENT

AV and Beyond constructed a large studio space as the main hub at The Galleria

Tupperware distributorships throughout the country, with the main parts of the production staged in Johannesburg and delivered out in real time. “A lot of the managers were very disappointed that the event couldn’t be held in Sun City this year, but still very appreciative that we were able to bring something to them locally,” says the project manager. “We’d already done a couple of things for Tupperware over Zoom with smaller groups – three or four people and us in our green screen studio. What we then did for the main awards was expand that idea out into 50-capacity venues spread throughout the country. In conjunction with the Zoom stream, we also created a WebinarJam stream happening at the same time for all those that couldn’t attend at their distributorship.

They were still able to be part of the event in some shape or form and watch from home.”

A base of operations was quickly set up in Johannesburg that would serve as the primary studio. “When we went into level 4 lockdown, we partnered with one of the venues close to our offices called The Galleria,” recalls Schoeman.

“They’ve got a very beautiful space and we have created a studio setup in there with a nice big stage, as well as three large LED walls and a bunch of lighting. We’ve only set up a small PA system in there as we were just streaming and there was no live audience.”

This space was outfit with a pair of JBL PRXS615M 15-inch three-way loudspeakers, a single JBL One and pairs of Wharfdale Titan 8- and 12-inch monitors to create the right ambiance for the entertainers and performers onstage.

Additional low end was provided courtesy of two JBL X618S 1,200W subwoofers. Mixing and monitoring of the Shure ULX4Q wireless systems and PMS900 in-ear monitors deployed for the presenters was handled by a DiGiCo S21 compact console with a D2 rack.

Lighting was taken care of by eight Robe Esprites, 12 Chauvet Professional MK2 Wash moving heads, 12 Beamz Pro Tiger 7R Beam Spots and 24 Robe LEDBeam 150s, with additional effects from a pair of Chauvet Cumulus fog machines and two Hazebase Hazer units. Control was via a grandMA2 light console.

Everything was captured at the main studio by three JVC GY-HM250E 4K camcorders. The in-studio visual production was created with Dataton Watchout, deployed on a pair of Apple Macbook Pros in tandem with a Watchout Watch PAX Server and TV One MX06288 8x8 matrix router, in order to feed the three large videowalls onstage constructed from more than 230 panels of P2.9 LED panels. Kramer 4UHD HDMI splitters were used for the confidence monitors next to the cameras and backstage. The final streams to be delivered out to the satellite sites were produced using a Blackmagic Design Atem 1 ME Production Studio and Ultra Studio Mini recorder.

The 36 satellite locations also required dedicated AV equipment to relay the main Johannesburg production, albeit modest in scale and capabilities. “Depending on the

Lighting control was via an MA Lighting grandMA light console

Managing interactivity between distributorships via Zoom size of the satellite venue, we delivered Vivitek D5000 5K lumen projectors for IMAG to the larger distributorships or two 65- or 75-inch TVs for the smaller distributorships to view what we were sending out from the main studio,” offers Schoeman. “We also deployed an audio setup at each venue so they can not only hear us, but also be able to talk back.” This consisted of a basic L-R configuration of JBL One cabinets and Shure ULX4Q wireless mics. “Then we had one cameraman stationed at each venue, manning a JVC GY0HM250E 4K camcorder, with everything fed into Zoom and we rotated backwards and forwards between the Johannesburg studio and the satellites.”

The scale of the operation was such that AV and Beyond had to call on the help of several local suppliers as well as partner companies for the locations further afield, such as Mozambique. “We’ve got a large inventory of JBL 715s and 615s, so we utilised a lot of our own stock at the satellites, but we did hire in a little bit of the gear, especially projectors.

We currently have over 250m2 of LED panels, but delivering an LED screen to every satellite just wasn’t feasible. On the sound side, about 60% of the equipment came out of our warehouse, while the rest was hired in from neighbouring companies.

“Because we knew the top manager this year came from Mozambique, we hired one of our partners from there, Visiled,

that we use on a regular basis to deploy an LED screen and create a full viewing experience. Normally, we could do this ourselves; however, with lockdown restrictions in place, it made sense to call on additional help.”

If each piece of the puzzle was quite simplistic and manageable on its own, it’s when you take a step back and see the overall picture where you appreciate AV and Beyond’s efforts. “We really pulled out all of the stops in order to provide an event simultaneously in 36 venues across Africa.

This meant calling on 82 technical crew and 35 professional dancers from Tailormade Group, who underwent three weeks of dance training, together with all of the filming for staff and the sales force.”

Ensuring that all 82 engineers could effectively liaise and communicate was also a potential problem in the making.

“Our sound engineer, who is in my opinion one of the best in South Africa, devised a plan to link our Clear-Com FreeSpeak units up with an app called Zellow, so that engineers at the satellite locations could talk with those at our Johannesburg studio,” explains Schoeman. “However, after a lot of consideration, we decided that this approach was probably overly complicated for our needs, as the technical solutions deployed were rock solid and the cameramen would just need to point the camera at certain people as the show progressed. The day before, we did a proper dress rehearsal and, on the day, everyone already knew what they were doing.

As the event progressed, we were able to manage by just messaging via Zoom.”

Saying that, for a virtual event, even the best-laid plans are at the mercy of the local internet. If the link back to Johannesburg when down, everything would have collapsed. “To protect against that situation, we had a redundant 50MB line in Johannesburg that was dedicated solely to us. At the satellite end, we did experience some minor issues in Zimbabwe, but this was not unexpected. Luckily, everything ran smoothly at the main distributorships. However, if the worst case did happen, we had prepared by also sending backup SIM cards out with our technical crew.

“Funnily enough, the data wasn’t our biggest issue,” notes the project manager. “Several of the satellites had been experiencing power cuts recently and so we also had to make sure each venue had either backup generators or just something small enough to run the projector, a laptop and the router. I’m glad to say that on the day, everything behaved well.”

Tupperware Southern Africa was equally happy with the final result. “They’re probably one of my favourite clients, they were super happy,” says the project manager with a smile. With the pandemic showing no immediate signs of dissipating, it’s quite possible that another six months will have again transformed the virtual events industry. Nevertheless, at the height of South Africa’s level 3 lockdown, AV and Beyond lived up to its name to deliver a solution whose capabilities extend far beyond the competition. www.avandbeyond.com

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FEATURES: RETAIL

A landmark vision

More than 120 FS3 ceiling speakers and subwoofers have been installed at the Dubai Mall outlet

The newest Centrepoint outlet has just opened in Dubai Mall

A long-term relationship between Visiontech Systems International and the Landmark Group has kept the company busy throughout the pandemic PART OF THE LANDMARK GROUP OF RETAIL OUTLETS, retail giant Centrepoint established a shopping concept whereby its Babyshop, Splash, ShoeMart and Lifestyle brands are all combined under a single roof within a family-friendly and stimulating environment. Clearly this has been a successful formula for the group, as the chain has quickly spread out from its original location in Kuwait to boast 140 stores throughout the Middle East, UAE, Saudi Arabia, Kuwait, Oman, Bahrain, Qatar and Lebanon. This comes as the result of a DH1 billion investment since 2014 to open new outlets and hire more than 10,000 staff throughout the region.

But that expansion was not without its teething problems.

Unhappy with the quality of audio playback within many of those existing outlets, the Landmark management brought Dubai-based systems integrator Visiontech Systems International LLC on board back in 2018 to assess the problems at some of the worst affected sites, and devise replacement solutions capable of delivering the stimulating ambiance the brand promises.

“We are delighted to be part of Landmark Group, underlining our expertise in turnkey solutions,” explains Aliasgar Dohadwala, CEO of Visiontech. “With our extensive experience and through our in-house team of subject experts, we could ensure everything went ahead perfectly.”

Visiontech’s AV design and project lead, Arpit Bhatnagar, recalls the issues faced by the retail giant at the time. “The client had been experiencing very uneven sound in their stores – in some places the music was very loud and in others it could hardly be heard. Overall, it was muddy because of the poor system design. Furthermore, if the staff turned up the volume then the whole system would fall over. Not only had the wrong speakers for this application been chosen, but the way in which the solution was designed was far from optimal.”

Visiontech was immediately put to task assessing the current audio systems at the Centrepoint outlet in Juffair Mall, Bahrain, one of the chain’s flagship outlets at nearly 10,000m2. Sensing that a successful completion would likely also result in the systems integrator being awarded the upgrade contract for all of the retailer’s Centrepoint outlets, the team set about conducting a thorough audio analysis of the shop floor using Bose Modeler software, considering all of the factors that may affect the final audio output.

This included assessing each space to determine the occupancy of the stores, the type of clientele and therefore

Splash at Centrepoint Dubai Mall

playback material, as well as the reflectivity of the surface and ceiling materials, explains Bhatnagar. “It was very indepth. This is something that we do properly, ensuring higher SPL is achieved with uniform sound dispersion and good intelligibility.”

Following the results of the analysis, Visiontech devised a new audio solution drawing heavily on Bose’s FS3 series of surface-mount, pendant and ceiling speakers. According to Bhatnagar, the full-range FS3 cabinets are more than capable of providing the necessary output and audio quality throughout the spacious Centrepoint shop floors, but have also been augmented with FS3 ceiling subwoofers for those situations where the music levels are increased.

JBL Professional Control24CT and Control24Ct Micro fullrange ceiling speakers have been integrated into the back of house areas. Ensuring loudspeakers receive optimised EQ, all Bose speakers are powered via Bose PowerMatch amplifiers, whereas the JBL cabinets draw power from JBL Commercial amplifiers. Paging capabilities, zoning and source selection are provided via Audac MTX88 eight-zone audio matrixes together with MPX88 paging microphones for staff.

Prima floor surfa

The spacious stores were thoroughly analysed with Bose Modeler prior to the fit-outs

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Huzaifa Jawadwala, ELV head of Visiontech, added: “In order to secure the tender for all of the outlets, we asked the client to let us prove ourselves in the first location, Bahrain, and if they were happy with the result, to carry the project on through to the other outlets. The Visiontech AV team, led by Arpit Bhatnagar, visited the Bahrain store to ensure that the final commissioning of the system was completed as required. In that sense, the Bahrain installation was somewhat a proof of concept. When the system was installed, the client was very impressed with the difference in sound quality and, furthermore, they now enjoy uniform SPL levels, no matter which corner of the store you are in.”

Visiontech’s design proved more than capable of providing the necessary intelligibility for a retail environment, ultimately achieving a better-than-expected STI figure of 0.6. And so, with the client more than satisfised by the new solution at its Bahrain outlet, Visiontech’s remit was quickly expanded to additional stores.

A large number of outlet upgrades have since been carried out over the past two years, all replicating the initial design showcased in Bahrain. Thankfully, the

Primary audio reinforcement on the shop floor is from a variety of Bose FS3 series surface-mount, pendant and ceiling speakers

process was not yet complete when the pandemic struck in early 2020, and the Landmark outlets have provided Visiontech with a much-needed source of continued work throughout the year. “Once the Bahrain store was finished, they were so happy with the result that they tasked us with upgrading not only more Centrepoint outlets, but also many of the other Landmark concept outlets,” shares Bhatnagar.

Most recently, the Visiontech team has expanded and adapted its now tried-andtested shop audio design for Landmark’s newest Centrepoint store in Dubai Mall, deploying another 100 FS3 ceiling speakers and 25 FS3 subwoofers. Opening its doors in December 2020, the Dubai Mall outlet has kept the Visiontech team busy during some quiet months.

More importantly, though, the refits have spawned a long-term relationship between Visiontech and the Landmark Group that will likely continue to provide a fiscal safety net for the AV integrator for many more years to come. “They trust us and they now consider us to be their only consultant,” says Bhatnagar. “The reason is because over the last three years, although the concept is the same throughout the brand, we designed each separate outlet individually by taking into account each store’s space and their differing needs. The proof is with the results and the client couldn’t be happier.

“Because of Covid, Landmark is looking to reduce expenditure for the future projects,” Bhatnagar concludes. “Perhaps before they were planning to spend approximately $100,000 per store, now that will be closer to $50,000. Nevertheless, we will still work with them closely to make sure we have a solution where quality is not compromised.”

At the time Visiontech first engaged with Landmark, the scale of upcoming work probably didn’t seem that significant. Since then, the AV integrator has delivered more than 3,000 Bose FS3 loudspeakers to retail outlets throughout the Middle East, with no signs of slowing down. www.landmarkgroup.com www.visiontechme.com

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BUSINESS: COMMENT

A letter from America

Freelancing isn’t free, claims Dan Daley, as the loss of income for live events workers mounts up

CORONAVIRUS HAS COMPLETELY SHUTTERED THE LIVEevent industry, and with it the music and theatrical touring sectors. In the US alone, according to Save Our Live Events, a coalition of major live events producers, more than 77% of live events workers, numbering in excess of 12 million, have lost 100% of their income during the pandemic.

But as grim as that’s been, we’ve also seen a remarkable outpouring of support for the technicians and other craftspeople who are its human infrastructure. While musicians put out by the pandemic could look to resources such as Spotify’s Covid-19 Music Relief project and Grammy’s MusiCares, their sound, lighting and video staff are being recognised far more than they had been in past downturns. Most notably, Live Nation – whose own revenues for Q2 of 2019 dropped 98% from the same period in 2019 – committed US$10 million to Crew Nation, the non-profit created by the world’s largest concert producer intended to offer financial relief to those tradesfolk. Another fund, Roadie Rescue, launched to help raise $250,000 for those freelancers. The outpouring of concern for the plight of event and tour technicians has been heartening, as has the infrastructure that rapidly assembled around it, and speaks reams about the generous nature of this side of the industry.

On the other hand, though, it also reflects the fact that in the US, such a large percentage of those technicians and other

specialists live constantly on a tenuous ledge in the first place.

Unlike, say, France, where a social support net for the selfemployed is built into the system through its micro-entreprise component, the US continues to treat the freelancers who make up the vast majority of touring and event specialists as itinerant labourers, forcing them to find their own healthcare and disability insurance, which are taken for granted in the UK, the EU and just about everywhere else on earth you don’t have to trap and kill your dinner nightly in order to feed a family. It was only after the onset of Covid that the federal government allowed states to let freelancers apply for and receive unemployment insurance, grudgingly at that, in some states.

In other words, it’s taken a disaster on the scale of the pandemic to reveal the shakiness of the ground that AV freelancers walk on daily. When things are good, as they have been for much of this century for live events, touring and concerts, they can be very good; but when they get bad, like they have now, they can be catastrophic. If every disaster is an opportunity, as the fabulously wealthy John D Rockefeller once pointed out (and as the not-sopenurious UK PM Boris Johnson echoed last year), then we’ve been squandering a hell of a lot of opportunities to not make being in this industry a crap shoot.

A letter from Europe

Hopefully, a new administration in Washington can change that. But history tells us not to hold our collective breath. Instead, the freelancers who are the backbone of the live event and touring businesses need to better position themselves for storms like this one. Yes, unionised workers have some protection, but they represent a tiny slice of the industry and are concentrated in the big media centres like New York and Los Angeles. And even that protection is limited – no union war chest could withstand a year’s plus worth of zero revenue.

The displacements and worse seen in 2020 could have been greatly prevented with some forethought, social unity and political leadership. Social welfare systems that other countries in the world routinely have in place would have gone a long way to ameliorating the pain touring’s technical family is experiencing in the US. There’s no panacea; they’re hurting even in places that don’t treat freelancers like refugees. But the cliffs they’re falling off of elsewhere are not nearly as high as they are here. We’ll see if things change next year. There will be a vaccine; music and theatre will rise again. But without fundamental changes in how our industry’s workers are regarded and treated, it’ll just be 2020 – or 2008, or 2001, or 1929 or 1918 – waiting to happen all over again.

Phil Ward attempts to define what “culture” means and if it can be rescued once pinned down THE FAMOUS ANGLO-AMERICAN POET TS ELIOT WENT TO great lengths to try and define the word “culture”. He was one of the first to suggest that it should encompass the ordinary things that ordinary people like, and not just posh stuff like poetry. On behalf of the English, he included things like “the cup final, the dog races, Wensleydale cheese,” and “boiled cabbage cut into sections”. He also threw in Gothic churches and Elgar, so he was hardly an arch populist.

The European governments of today are trying to follow suit as they attempt to buttress the economy against Covid-19, but there are huge anomalies. France and Germany are being especially generous – the UK less so – while the Hungarian government has been exposed as funding only those “cultural” projects that artistically express the not-very-hidden agendas of … the Hungarian government.

Our industry is nothing if not the broadest of churches, equally dedicated to the service of pop music and opera, burger joints and basilicas, classical music and comedy. As far as the technology is concerned, everything is an application, of one kind or another. So, it would seem, no sector is either more or less deserving of financial support. You can’t – or shouldn’t –

argue that the Royal Albert Hall in London is a worthier cause than the Royal Vauxhall Tavern, where, as I write, drag queen Charlie Hides will be hosting the Tavern’s camped-up Halloween Bingo. “For safety,” says the programme, “please bring your own lucky dabber”.

The French are calling their rescue package France Relance, or Relaunch, and are throwing €2 billion at it. €200 million of this is specifically for music, plus another €100 million to compensate for “operating losses” – which is how venues, orchestras, ensembles and other vehicles of the sonic arts may just secure enough largesse to survive. In Germany, an astonishing 15% of the €1 billion Neustart Kultur handout is exclusively set aside for live music, by which is meant venues, festivals, promoters and agents.

Even more remarkably, the total fund for adapting and preparing cultural institutions for a post-Covid, safe and hygienic relaunch in Germany extends to €450 million, over the next 12 months, and this is for the private sector, not those places already supported by the public purse. It is claimed that grassroots music venues are being taken just as seriously as the conservatoires, and it’s clear that the body representing

them, LiveKomm, is participating in the negotiations. “Culture is not a luxury that you can only afford in good times,” says Monika Grütters, Germany’s federal commissioner for culture and media.

The EU’s independent culture agency Creative Europe has made its own gesture by fast-tracking a pre-existing €48.5 million grant to which many cross-border arts projects have already been applying, which for obvious reasons is of absolutely no help to the UK whatsoever. In fact, it’s in the UK that you do see the yawning gap between the institutions – Halloween Bingo or no Halloween Bingo – and the rank-and-file freelancers who keep slipping through all these nets. One report suggests the permanent loss of 170,000 sector jobs by the end of the year, like so much boiled cabbage cut into sections.

In case you were wondering, a lucky dabber is simply the spongy pen filled with highlighter ink that you use to mark the numbers on your bingo card – if your number is called out, that is. If it isn’t, you’re left with nothing. At which point, you have to hope that the Royal Vauxhall Tavern’s LGBT cabaret offers up enough culture to make the evening worthwhile. Let’s face it, it’s all a lottery anyway.

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21/12/2020 15:47

BUSINESS: COMPANY PROFILE

Sennheiser Middle East Amin Hagroo, Mig Cardamone and Ryan Burr at the opening of the Middle East office in 2009

The Sennheiser Middle East team in 2020

In 2020, German microphone manufacturer Sennheiser was all set to celebrate its 75th anniversary in grand style. It is after all a very rare occasion and few companies reach such a significant milestone. It was unfortunate to say the least when Covid brought an abrupt halt to the festivities

THE COMPANY HAD A LOT TO CELEBRATE IN 2020.

The brand enjoys a global reputation as one of the primary manufacturers of professional microphones and headphones and consistently has grown its market share in recent years.

Outside of Sennheiser’s core US and European markets, such visibility wasn’t always the case and the credit for steadily raising the brand’s regional awareness goes to teams of dedicated individuals who have worked diligently over more than a decade to turn the brand into a local household name. That task fell to Sennheiser’s Market Development teams, with dedicated subsidiaries covering Latin America, India, Russia, China, Japan, Korea and ANZ, Sennheiser Asia covering the rest of APAC and Sennheiser Middle East for the MEA and CIS markets.

“I started coming out to the Middle East in late 2005 in my role as sales manager,” recalls Sennheiser Middle East sales and marketing director, Mig Cardamone, who has led the Middle East office since its creation in 2009 to the current day. “Certainly, from our point of view, Dubai was starting to emerge as a hub for the Middle East, and people had begun taking notice of the region and Dubai in particular.”

At the time, aside from Venuetech in Dubai, the brand’s only other meaningful Middle East representation was in Kuwait with aDawliah, another long-term partnership that is still going strong to this day. This may come as a surprise to those who know the German manufacturer as one of the more visible global microphone brands.

“The Middle East was virgin territory for Sennheiser, at least directly,” explains Cardamone. “Of course, people working in broadcast-related fields were already familiar with us but, if you looked at the pro audio business, from MI through to live sound, unless the users originated from Europe or the West they likely hadn’t heard of us. Some of our competitors were much better known in those particular segments at that time.”

Up until that point, Cardamone had been managing the Middle East territory under the stewardship of the UK subsidiary before finally making the move to Dubai in January 2009, a natural location from which to start building a local presence and dealer network. But the timing to establish the new office was far from ideal. The world was on the cusp of the global economic crisis, and Dubai looked like it would be hit hard.

The Sennheiser Middle East office situated in Dubai Airport Free Zone “The economic crash kicked off in September 2008 with Lehman brothers, but actually it took two or three months for that to have a knock-on effect here,” recalls Cardamone. “I remember coming out in October 2008 and the place was still flying. Prices were ridiculously expensive for accommodation and everyone assumed the worst wasn’t going to happen to them.

But, by the time I started living here in 2009, there were the infamous scenes of people leaving cars at the airport. The first six months were, in hindsight, very difficult from an operational point of view but, by the second half of that year, we were already on the way to significantly growing our business.”

All hands were needed on deck and so Cardamone was quickly joined by ex-Venuetech employee Ryan Burr, who would lead technical sales, and Amin Hagroo to handle logistics and operations. “When I came over in 2009, I employed Amin first as the plan was to have myself as sales manager and Amin as order handling support, but it quickly became apparent that we needed more than just the two of us. I knew Ryan through our working relationship when he was with Venuetech. He’s been in

the UAE for around 15 years now. He’s very well known in the pro audio industry and the timing was perfect for us and him.

Since then, we have scaled up sensibly and proportionately, adding people where we saw opportunities and where we needed the resource, primarily with talented and commercially focused staff who have increased our contact points and channel penetration.”

While Dubai’s allure as a business hub is undoubtedly the main reason why so many Middle East operations are staged from there, Cardamone feels that taking an individual approach to each territory will pay more dividends in the long term. “We have a big area to cover and each of those countries has their own way of doing business and their own styles of collaboration.

We haven’t tried to impose a one-size-fits-all structure. In some we have separate exclusive distribution for pro audio and for consumer, and in others we go direct to the B2B market.”

The differences between these often-neighbouring territories can be extreme at times, yet there remains an overriding need for thorough technical education throughout the Middle

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BUSINESS: COMPANY PROFILE East. And with the initial mission of raising brand awareness successful, attention for Cardamone and his growing team of now 13 employees is increasingly turning to education. “The technical expertise here still doesn’t have the depth that it does in Europe, and one of the appeals that I think we have for our customers is that we lend advice and provide solutions, not just products,” the director of sales and marketing notes. “It’s also our responsibility as a top manufacturer to educate the market.”

One of Sennheiser’s major strengths is the depth of knowledge within its internal teams, ranging from guys such as Burr and his team mate Fadi Costantine on the ground, who are regularly out in the territory conducting high-level training, to experts such as those that form Sennheiser’s AMBEO immersive audio team based back at the German HQ. This isn’t a token mention of a vague need to provide education, as so often feels the case. The Middle East team regularly embarks on proper in-depth training throughout the region, exemplified at the most serious level with last year’s AMBEO training held at the Royal Opera House in Muscat.

“One of our big strengths is that we give technical support and we help bring an understanding of the technology. And that is a major part of our job, because we also have to explain why Sennheiser can often be more expensive and why our product is premium. It’s not that it’s only premium in price, it’s premium in performance, in longevity and in the value that it provides our customers.”

The AMBEO platform is a great example of technology that truly benefits from a thorough face-to-face exploration; however, coronavirus, like so many other things, has made training such as this a major challenge in 2020. “This type of training and awareness building is really important to us but it definitely needs to be a face-to-face exercise, which is tricky at the moment for obvious reasons.”

With the recent pandemic and lockdowns meaning that Cardamone and his team have been unable to physically travel and meet people in the various territories the subsidiary represents this year, the company has instead been busy

working away in the background. “The last time I travelled was back in February 2020 to Karachi in Pakistan, which has become the latest territory to be represented by the Middle East team,” he says. “To help mitigate this, from a headquarters level we’ve really done an excellent job in providing fascinating webinars and education seminars that are touching on all sorts of different topics. We’re looking at finishing off 2020 in a strong position and a large aspect of this is because our leadership has done a really good job of meeting this year’s challenges head on – not reacting but fairly early on making some critical calls that helped mitigate the inevitable loss of sales.”

For a company like Sennheiser, active across many different verticals, 2020 was a year of two halves. With everyone working from home and live events cancelled across the board, a big focus has been on the conferencing market. “What happened

over the last six or eight months is this appreciation of what’s required to be able to conduct successful virtual meetings or indeed to teach remotely and, with our offerings in this particular area, we’ve actually had a good year,” offers Cardamone. “Our TeamConnect Ceiling 2 microphone is unique because it is fully automatic and dynamic, meaning that anywhere you stand or anywhere you are in that meeting room you are being picked up.

That enables touchless audio and for people to social distance and to also utilise their space according to what is required at any given time. That, of course, is a major focus for us.”

For Sennheiser Middle East, the hope for 2021 is in getting back to what the team does best, travelling throughout the territories to support customers first-hand via extensive training and technical knowledge, all in the pursuit of perfect sound. www.sennheiser.com

Arif PK, Ryan Burr, Peter Claussen, Mig Cardamone and Fadi Costantine conducting broadcast training for ME engineers in 2019

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BUSINESS: COMPANY PROFILE

Localise to globalise Vega Global celebrated its 30th anniversary in 2016

Originating as a local distributor of AV equipment, Vega Global has now evolved beyond the remit of standard systems integrator. Richard Lawn finds out how planned expansion in 2020 has worked out for the group

Laurie Chow formed the company in 1986 from an office in Kowloon

STARTING HIS FLEDGLING COMPANY, VEGA TECHNOLOGY, in 1986 from a Kowloon office, Laurie Chow gradually transitioned his business from a purely distribution model, offering advanced technology and solutions to customers with AV/IT requirements. This customer-first ethos has established Vega as a leading multinational pro AV/IT company with a roll call of corporate clients. Over the past decade alone, over 20 branch offices have been set up across APAC and Europe, with a commensurate staff of over 600. The group’s presence in 16 countries worldwide includes operations in Australia, Bulgaria, China, Hong Kong, India, Indonesia, Japan, Korea, Macau, Malaysia, Philippines, Singapore, Taiwan, Thailand, UK and Vietnam. “Our local satellites have their own legal entities, feet on the street and full local capabilities,” explains deputy chief executive officer, Matthew Deayton, who joined the Hong Kong management team in 2015. “As a result, we command a very strong language and cultural understanding of how to do business in those places. Vega Global has been blessed with drawing in a group of loyal and skilled individuals. But it was the strength of our relationships with the large multinationals and corporate clients that gave us the confidence to spread our network.”

However, rapid expansion over the last decade was taking its toll. “It’s a typical story in the AV industry, whereby a successful business owner has run his course,” continues Deayton. “The business revolved around Laurie, followed by an executive of three that supported him. Despite having no board of directors, no management team or structure in place, the business had grown to a size where cracks were starting to appear. When I first came on board in 2015, Laurie made it clear that he was looking for an exit strategy.

Although we had more than doubled our revenue between 2015 and 2020, the risk being carried by one person can be extremely stressful.”

In January 2020, before the world could gauge the scale of what was coming, Global Vega announced that private equity firm Baird Capital had acquired a large stake in the group.

Deayton and Chow had spent two years preparing the next chapter, arranging capital investment to back up ambitious five-year plans as well as significantly recalibrating the management structure of the group. “We formed a board of directors that would provide a strategic direction and a management team beneath that,” explains Deayton. “Laurie is now the CEO and I am deputy CEO. We have also created CFO and COO positions taken up by Colin Wong and Paul Cullum, respectively.”

With over 20 years’ experience, Molly Chow took on the role of executive director. “Molly focuses on our Greater China operations where there is a significant amount of growth occurring annually. Below that, we have got a service delivery director, a global account director and global business director. As the AV industry has become an integral part of the IT infrastructure, we appointed Heather Li as the director for digital workplace solutions to work with manufacturers and platform providers to deliver digital workplace solutions.”

As Vega Global prepared for its next stage, Covid-19 took hold. “As a systems integrator we are in a reasonably comfortable situation, as we are waiting to react to those decisions our clients will eventually take,” says Deayton.

“It is a lot more difficult for a manufacturer as they need to project market demand and have products ready to support that demand. We have probably gone through a decade of evolution this year. Luckily, we had so many components in place to ensure we were equipped for this technological acceleration. However, we had to tailor each business according to the jurisdictions operating in each country, with varying impacts of Covid-19 lockdowns in place. Our

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BUSINESS: COMPANY PROFILE expertise in unified communications together with the strong infrastructures in our office setups meant we could easily adapt to working remotely.”

Deayton admits that the pandemic has inevitably slowed forecasted growth. “Although we are still on target to achieve a similar revenue to 2019, we’re not growing at the rate that we had anticipated before. Macao was a location where our revenues have been hit a bit harder than others. Initially, we could not get onsite to complete projects. Until better times come, we are completing the existing legacy projects.”

Both Japan and Singapore have suffered downturns. “A lot of projects that we had on the books in Japan have now been pushed forward to 2022. Singapore was hit quite hard in terms of revenue, because they endured a very controlled lockdown that lasted for about eight weeks. Our installation teams could not get onsite to finish projects and our sales division was housebound. However, we have ridden the bumps reasonably well in Hong Kong, China, Taiwan and South Korea.”

Surprisingly, business for Vega Global’s Mumbai office has been robust despite India’s lengthy lockdown. “Our primary business in India is in the large multinational sector rather than SMEs (small- and medium-sized enterprises). A lot of those projects are part of bigger programmes on large campuses, which have not really been put on hold. Those budgets have been committed from three- to five-year periods, so we’re part of an overall programme going forward.”

Having long extolled the virtues of video conferencing and unified communications, Vega Global had unwittingly futureproofed itself and its clients for Covid-19. “Everybody was ready to work from home and we had contingencies that we could put in place very quickly. On the other side of the coin, a lot of our clients are top-tier multinational businesses which we have worked with for many years. As we had installed infrastructures for them, they too could respond to the situation fairly rapidly.

We have experienced mixed business continuity across our network of offices as different locations have been in different phases of lockdown or partial lockdown at different times. The diversity of our office network has allowed us to navigate our way through these challenging times.”

While different cities demanded different responses, Vega Global’s general support involved helping their clients giving staff the tools to work from home, including basic USB cameras and microphones. “We had to deploy and roll out these systems

Vega works with many corporate clients in Hong Kong

Vega Global’s deputy chief executive officer, Matthew Deayton

Rosewood Hotel, Hong Kong

for them, making sure that our engineers could legally operate infrastructures onsite. Larger clients with a remote managed service in place or an in-house managed service team onsite now truly value the infrastructures we have installed over the years.”

The Covid-19 switch operation has, without doubt, accelerated the technological path that Vega Global and others embarked on long ago. “End user demand has driven the uptake of these technologies and perhaps would not have come about if Covid-19 had not affected us all. The technology already existed, but the adoption rate was low. These technologies were exhibited at ISE and InfoComm and you would see smarter clients at these exhibitions embracing and deploying the solutions following demonstrations. The main challenge until now has been getting end users to hold meetings on Zoom or other platforms as many prefer to have face-to-face meetings. The virus has crystallised the necessity to have an infrastructure in place that will allow teams located in disparate places to continue operating.”

Vega Global may be a solutions provider, but it was also guilty of operating like most end users prior to Covid-19. “Today, virtual seminars have evolved with the creation of breakout rooms within a conference in progress. This engagement is so impressive that we have adopted some of these internally

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BUSINESS: COMPANY PROFILE now. For example, when we hold our regional sales meetings, we get together as a group with a general sales update before we break off into smaller groups, which we deliberately mix up. Team members from all our offices enter different meeting rooms to discuss specific subjects, before reconvening at the end to share their ideas. We also record the information, which is something we were not doing prior to Covid-19. So internally we have all the sales teams from all our locations working with one another and sharing knowledge. This is an interesting development as it simply utilises tools that we were already familiar with.”

Deayton has discovered that larger corporations have experienced less significant delays to their projects than the SME sector. “In Hong Kong, for instance, we cover quite a broad spectrum of the market from multinationals to SMEs, schools and government. The SME sector here has gone very flat, but government and education spending has been quite robust. In response to students learning from home and with Zoom becoming commonplace, we are working with a couple of manufacturers to create innovative solutions, particularly in the tertiary education sector. Universities and polytechnics require virtual classroom arrangements that are much more tailored to dealing with sections of the faculty physically outside of the main campus. We are working on some interesting remote solutions in addition to hybrid solutions with some students in the classroom.”

In August 2020, Vega Global announced a strategic alliance with US-based AV systems integration giant, AVI-SPL, which will see the two companies collaborate on joint go-to-market strategies together with increased integration of delivery operations. “The AVI-SPL relationship has been running for around 10 years,” says Deayton. “We had been supporting AVI-SPL clients entering into Asia until about four years ago, when we signed a strategic alliance. Although this was perhaps a marketing exercise, it signified the start of a commitment to mutually cooperate with one other. This latest mutually beneficial agreement is a slightly more robust alliance, although it is not a fully exclusive deal and allows both of us to use other systems integrators, providing we are both transparent. We want to avoid margin stacking so this commercial arrangement is efficient. Both sides benefit and the client gets a more competitive price.”

K11 Musea shopping mall, Hong Kong while good transport networks enable shorter commuting times, so employees want to come to the office as it is more productive. There is a desire for face-to-face contact, so workers still want to gravitate to the office, but that doesn’t mean they need to go every day. Many of our clients are waiting to see how the return to work is going to be before making key decisions, including giving up part of their campus or office spaces.”

Although Vega Global opened a Tokyo office 10 years ago, expansion has led to the planned opening of a new branch in Osaka. “An increasing number of clients are based in Osaka and, in order to improve our efficiency and reduce the need for travelling between the two cities, establishing an Osaka base is planned for early 2021. A lot of multinational businesses have set up shop in Osaka as it serves as a regional hub for other cities. Over time we will grow our presence, but for now we have

Marriott Ocean Park, Hong Kong Deayton and his team have been tasked to provide annual forecasts for the Baird Capital board. “Some clients that are quite organised give us a vision of how they are going forward, but most are unsure what their next steps are going to be. Most large corporates are starting to accept that their workforce is going to return to the office at some point, but they cannot forecast when and in what format that will be.

There is a lot of debate around what the future function of an office is going to be over the medium term. Personally, I believe that we will return to a point we were at before the pandemic.”

However, the return to work will vary according to differences in culture. “In a lot of Asian countries, working from home is not as productive as in the West because of multi-generational living. Apartments are quite small in Singapore and Hong Kong,

a simple, serviced office with a small, dedicated team, which will be the base for our Tokyo engineers for some projects.”

As the Mumbai office focuses on large multinationals, the company has been increasingly supporting client projects in Dubai, and Vega Global has now acquired a licence and bank accounts for its newly established UAE operation. For now, Indian managing director, Blessing Joseph, is overseeing a small team to manage ongoing or planned projects. “Our next objective is to obtain a Free Port and an Onshore licence and run the two operations together. Rather than compete with the status quo, Vega Global has been compelled to set up there on behalf of global accounts. Beyond UAE, I expect we will support projects for our existing clients in Qatar, Bahrain and other parts of the Middle East.”

Deayton is keen to highlight that expansion into virgin territory is organic. “The region has rapidly matured and is well serviced, but we do not really envisage Dubai as being a massive part of our operations. We do, however, see opportunity in some of the wealthier North African countries with younger population demographics where forecasts indicate rapid growth. As they start to mature, we intend to support our clients in these territories. Dubai will serve as a stepping stone as the state is geographically close to these markets.”

Vega Global is also establishing a legal entity in New Zealand to oversee projects. “This is a client-driven initiative and will be managed by our Australian operation. And although we already have small operations in Vietnam and Thailand, we identified potential growth in the hospitality sector there prior to Covid.

Once some semblance of normality with travel and tourism returns, growth will surge ahead.”

Despite national anomalies throughout APAC, the group has largely been dominant within corporate and government sectors.

While different countries are at different stages of their evolution or growth, the digital workplace is destined to grow, and the group is now equipped to capture a broader spectrum of other sectors. “I think a lot of the skill sets we have acquired within the business and corporate sector dovetail into these industries.

It may be more challenging to make inroads into areas such as the medical world or stadiums where we traditionally don’t have a lot of experience, but certainly in hospitality and retail, we have a lot of transferable skills and I think it’s a natural fit for us.”

With its 35-year pedigree, Vega Global is well represented across all the verticals in Hong Kong, including hospitality.

“We have worked with many hotel groups over the years and our operation in Macao is heavily involved in the hospitality sector. In recent years, we have expanded into other territories including Vietnam and, to a lesser extent, Thailand, no doubt helped by the great relationships we enjoy with Hong Kong-based hospitality consultants such as SMW and IHD. If the project we are tendering for is a design-and-build mode, we do not step on the toes of our consultant friends; we leave the pure consultancy work to them.”

Despite the challenges of 2020, Vega Global predicts turnover will more than double over the next five years. “Baird Capital has given us the financial stability and backing to take us to the next stages of growth over that period. We are now probably the largest systems integrator in Asia Pacific, which is a similar size to the US market. However, we are roughly 10% of the size of AVI-SPL, so there’s plenty of headroom for us to grow into.

There are more obstacles to overcome as Asia is a lot more complicated, politically and geographically speaking, but we possess that local knowledge and experience.”

In a year when Covid-19 has drastically altered the landscape of the AV industry, Vega Global is proof that what doesn’t kill you can only make you stronger. www.vega-global.com

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trans ferable engine

true lighting innovation. robe-te.com

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BUSINESS: TECHNOLOGY

Music is business is pleasure

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RCF created the Business Music family for scalable applications

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The extensive RCF site on the outskirts of Reggio Emilia

Francesco Venturi from RCF’s engineering support group

The RCF Academy is home to the marketing, sales and training teams

Richard Lawn visits RCF in Reggio Emilia to find out about the development of its Business Music Solutions MUSIC, EVEN WHEN ONE IS BARELY AWARE OF IT, IS A powerful medium that plays an often-subconscious role in experiences as diverse as shopping in the supermarket, choosing from a restaurant menu or sipping tea in a café.

Operating within a broader package of “experiential design” or “sensory marketing”, the background music (BGM) industry is constantly deciding what we hear as we go about our everyday business. Naturally, an increasing number of audio manufacturers have tapped into this to deliver scalable audio solutions.

With the advent of its Art series a quarter of a century ago, RCF took the leap from transducer and speaker components to portable loudspeaker manufacturing. Since then, the assembly lines in Italy’s Reggio Emilia have expanded as a generation of loudspeakers designed for musicians, systems integrators and all manner of venues has kept pace with growing demand from the company’s export markets. Following a route upstream from the mouth of the audio signal chain, RCF has added amplifiers, electronics, mixers and even microphones that, when combined, deliver solutions.

The development of the proprietary RDNet RS-485 communication protocol over the past decade creates the sum of the catalogue’s parts. Designed and developed by RCF’s engineering team, RDNet was initially made available as a download to support the network management of the TT (Theatre & Touring) loudspeaker series. Live sound technicians immediately benefitted from managing and controlling speaker systems remotely with stored presets and

The large demo room is a focal point of the RCF Academy a real-time feed of status updates. Following on, the various R&D divisions increasingly incorporated communication boards, micro-controllers and DSP into new “intelligent” RDNet-compatible devices.

New to market perhaps, but the various products grouped under RCF’s Business Music Solutions (BMS) umbrella have been many years in the making. In addition to DSP development and firmware, R&D at RCF incorporates specialised engineers working in the electro-acoustic, amplification and electronics engineering departments. The Reggio Emilia technicians have collaborated to produce a family of commercial audio systems configurable for both

background and foreground music that tick the relevant boxes for interior designer, systems integrator and end user alike.

The BMS catalogue offers a four-zone management solution for music reproduction, with paging and remote control. The scalable and flexible architecture can be applied to all manner of applications, regardless of size, for distributing several audio sources in multiple environments, each with specific and configurable volume and equalisation features. Having created a microphone and a paging console, RCF is also developing new speaker systems that will maximise the appeal of the series across a wide range of applications.

Francesco Venturi is involved with the Engineering Support Group (ESG), which has traditionally focused on RCF speaker systems. Most recently, the team has been tasked to manage the fortunes of the BMS platform. “RCF is a recognised brand leader with solid experience in pro audio, live, fixed installation and public address,” he comments. “The ESG was created to offer added-value expertise to our customers in these sectors.

Our technical support activities in foreground applications, where the demand for quality, flexibility of installation and scalability has matured in recent years, will now be applied to more costconscious applications using our BMS products.”

If RDNet is the lifeblood, then the two-channel digital mixing amplifier (DMA) lies at its heart. These controllers include full processing features, a four-channel output matrix and two amplified channels of 80W each for the DMA 82 model and 160W per channel for the DMA 162 model. The third DMA 162P device serves as an extension unit, which can either expand the

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BUSINESS: TECHNOLOGY power on the same channel or scale up the system to a full fourzone platform. Given their intended markets, the moulded IP-30 housings of the DMA units combine aesthetics with functionality.

Measuring one half-rack unit in width and a single unit in height, the rack-mountable mixers can also be displayed as stylish standalone devices on bars or easily concealed under restaurant reception desks.

The amplifiers are loaded with specific factory DSP presets, including FIR filters, hi-pass, parametric EQs and high shelf settings. An OLED display serves as the focus of the front panel interface from which the user can configure settings, although this can be bypassed with the insertion of an optional board allowing remote RDNet control. “Room correction can be achieved quite easily by adjusting the parametric equaliser,” continues Venturi. “In addition, the speaker presets allow quick optimisation. The pre-loaded equalisation packages are designed to optimise the performance of any RCF speaker, whereby users can recall presets from the front panel interface or via RDNet.”

RCF cabinet production takes place in a separate factory unit The systems integrator will be drawn towards the rear panel equipped with two stereo line RCA connector inputs, a balanced mic/line and a dedicated paging input gain (mono/ stereo). Outputs include select gain (mono/stereo), a fine setting hi-pass filter, speaker presets and a dedicated line connection for an active subwoofer, should one be required.

Furthermore, a remote mute command is available for connecting the device to a voice alarm system.

“Some key features integrated into the BMS processing such as FIR filtering have been developed from our expertise gained in other market segments,” explains Venturi. “For some applications, it may not be possible to install a subwoofer owing to visual, space or price constraints. Therefore, we added a bass enhancer algorithm into the DSP for extending the lower frequency response on each transducer, regardless of the size. The processing can be further enhanced by activating the factory presets, which can then configure the behaviour of any RCF speaker system.”

The DMA 162 two-channel digital mixing amplifier lies at the core of BMS Various permissions can be created for unlocking certain parameters in a facility, such as processing or channel configurations. A more advanced user or an installer can unlock and access more parameters by activating a password from the front display. “For foreground music in certain retail applications, the ability to quickly configure and replicate a setup is a key benefit for the end user. We also added a 3.5mm input onto the front panel for the duty manager to plug in a smartphone as an added source.”

Equipped with on-board signal processing, the digital power amplifier or DMA 162P satellite increases the installed power in a multi-room architecture. Routed to power outputs via DIP switches, the DMA 162 receives processed or flat audio signals, according to a selection made available to the user, from the four-channel bus such as a DMA via Cat-5 cabling or a local stereo input. DSP configuration and presets can be applied via RDNet and each unit can manage two mono or single stereo environments. Basic volume control and source selection can be operated from the RC 401 remote control wall-mounted unit, while the BM 404 paging console can be used in conjunction with the DMA units for zonal announcements. Capable of managing up to four zones, up to four BM 404 paging consoles can be daisy-chained together.

Ceiling-, wall- and surface-mounted speakers combine industrial design with impressive frequency response, wide directivity and high efficiency ratings. The 4-, 5- and 6-inch models are available both with and without 100V/70V line transformers. In addition, several higher value models have been developed for more specialised applications. For example, the MF 33EN is a discreet ceiling speaker designed for recesses in false ceilings or panels offering a 100° x 160° (HxV) coverage angle for both 8Ω and constant voltage lines. The self-extinguishing EN54-24 certified design has been tuned for highly intelligible voice reproduction, making it ideal for voice alarm and evacuation messages.

Connected devices that are networked into the RDNet environment can play a role in theatre and stadium design.

“A venue that combines BMS devices for back of house BGM in combination with TT or HDL professional products in the main theatre is an interesting setup,” says Venturi. “The BMS manages the foreground distribution plus paging in addition to RDNet monitoring facility of the whole installation from a single location. The controller makes a TCP IP port available to a dedicated switch over the local area network, allowing paging

and BGM to extend to the theatre or vice versa with live material transmitted outside the arena or theatre. Future-proofing is assured as software and firmware updates can deliver new features over time.”

BMS is more than just a catalogue of Energy Star-certified products. “With the development of BMS, systems integrators and consultants expect technical support provided by the ESG. There are two sections, with one group mostly focused on the pro audio live sector and the other involved with fixed installations and projects. The two groups work together by sharing experiences and knowledge to provide technical and application engineering support.”

The ESG can be involved from the very preliminary design stage, providing electro-acoustic modelling such as loudspeaker recommendations for the application. Technical support is then granted, even during the installation phase. Finally, the optimisation and configuration of all the components is supported during the commissioning support sessions, either onsite or remotely via RDNet. “This is a key feature currently, given the current Covid-19 restrictions in place,” Venturi emphasises.

Like the music it consistently reinforces, RCF’s ESG can either operate in the background or adopt a more prominent stance. www.rcf.it

RCF’s assembly lines have expanded in line with demand

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M55WD DN4 Four-input Dante–AES67 interface for single-element Audix Dante–AES67 enabled microphones

Hanging microphone with interchangeable capsules and dual LED status indicator

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

M3DK DN43 Two-input Dante–AES67 interface for one M3W or M3G tri-element microphone and one single-element Audix Dante–AES67 enabled microphone

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–AES67 enabled microphones eliminate the need for fabricating complex connections, minimizing errors, accelerating installation, and reducing cost. And all Audix Dante–AES67 enabled microphone gain structures are optimized for their intended use, providing quality audio at the DSP. The result is true plug-and-play installation.

audixusa.com

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NEWPRODUCTS

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

The APx517B paired with a GRAS 45CA headphone test fixture

Redefining acoustic testing Audio Precision’s APx517B acoustic analyser has been designed specifically for the production-line testing of speakers, microphones, headphones and headsets

APx517B ON A production line, any time spent setting up a new test system, calibrating a system for a new shift or reconfiguring a system for a change in DUT (device under test) means that production is temporarily halted. Audio Precision has designed an all-in-one solution, the APx517B, to reduce setup and reconfiguration time by eliminating multiple individual components (from a variety of vendors) and their associated cabling. Unlike those individual components, the APx517B is delivered with an accredited ISO/IEC 17025 calibration to ensure the quality of obtained results.

According to the manufacturer, most, if not all, current acoustic analysis systems are an assortment of individual components from different vendors. As such, one of the risks of these systems is the quality and reliability of each component, along with the configuration of each connection point. The APx517B

is an integrated system engineered and assembled to the same standard as all other APx analysers and is delivered with a three-year warranty.

In its base configuration, the APx517B is a ready-to-go system for measuring analogue equipment. For digital devices, the APx517B has a module slot for the addition of a single APx digital interface module, of which there are six in total, Digital I/O, Bluetooth, Digital Series I/O, PDM, HDMI or PDM-16 input. On the software side, a standard system provides a core set of measurements and functionality to allow out-of-thebox, fundamental testing of acoustic devices, such as file analysis, sequence mode, input signal monitors (including FFT monitor), level and gain, THD+N, loudspeaker product test (including rub and buzz), stepped frequency sweep, pass/fail and signal acquisition measurement.

As with APx500 Flex, the manufacturer’s APx500 software paired with an ASIOcapable audio interface, a trio of Flex Packs is available for the APx517B, each offering different groups of more advanced measurements. Perceptual audio measurements – including ABC-MRT and POLQA – can also be used with Flex. For users that need the base configuration plus just one or two more measurements, an à la carte menu of measurements is available.

Audio Precision reports that APx500 Flex remains the best solution for analogue-only test applications but for midrange analogue test and digital test applications, such as Bluetooth headphones and smart speakers, the APx517B is the preferred solution.

APx500 software release 6.0.1 is also available for download by APx B Series or Legacy analyser users with a valid 6.0 licence and is compatible with all analysers in the APx500 Series (note: an APx KeyBox is required to run v6.0 on Legacy APx analysers). As with all other new APx analysers, the APx517B ships with version 6.0.1 software and one year of software maintenance, licensing the instrument for APx version 7.0 when it is released, as well as any releases between versions 6.0 and 7.0.

ADJ Encore Profile Pro AJA Bridge Live/OG-Dante-12GAM ARX Systems USB DI-Q Ashly Audio AquaControl update Atlona AT-USB-EX100-KIT Audac Kyra12/Lino series Audio Precision APx517B Avolites Prism Player/Titan v14 B&C Speakers ME464 Barco RGB Laser ODL series Blackmagic Design ATEM Mini Pro ISO Bluesound Professional BSP1000/BSP500 Bose L1 Pro Broadcast Pix v8.0 software Chauvet H-55FC/COLORado Batten Q15 Christie Access II Series/CounterAct Claypaky Axcor Profile 600 Teatro Crestron Crestron One d&b audiotechnik Fanblock Datapath IQS4 Dejero WayPoint 50/CuePoint 50 Digital Projection M-Vision 23000 DirectOut EXBOX.RAV/DANTE.SRC.IO DPA Microphones 4098 Core Dynacord Sonicue v1.2 Elation Fuze Wash FR/Polar Crisp Max ETC fos/4 Fresnel/ArcLamp Flicker Eventide Generate/Undulator Extron DTP2 R 212/DTP2 R 212 SA Focusrite RedNet R1/Red 8Line HK Audio Move 8/Sonar 110 Xi JBL IRX115S L-Acoustics Contour XO Lavoce DN14.300T Lawo theWALL version 4.4/VSM 2020-2 Lectrosonics DCR822 LG Magnit MA Lighting grandMA3 onPC fader wing Magewell Pro Convert for NDI to HDMI update Merging Technologies Merging Audio Device (MAD) Meyer Sound Spacemap Go Outline L3000 Panasonic PressIT/EasyIP+ Pioneer XY-1/XY-2E Powersoft ArmoníaPlus v2.0 PR Lighting Aqua Marine 580 BWS and Beam PreSonus PD-70/CDL12P/Eris Sub8 Prolights EclPanel TWC/EclPanel TWCJr QSC Cisco In-Room plug-in RCF DMA 82/DMA 162/DMA 162P Røde VideoMic NTG MFi-certified/SC15 Roland WM-1 Wireless MIDI Adaptor Ross Video TouchDrive/Lucid/Ultrix V4.4 RTS OMS (OMNEO Main Station) Schoeps CMC 1 L Shure MXC605/DCS-LAN Tool Sony Bravia 4K HDR/BZ40H series Soundcraft Nano Series Studiomaster ClubXS+ Symetrix Composer 8.0 Tasker TSK1038 TSL Products MPA1-SOLO-IP Vaddio EasyIP CeilingMIC D Vivitek DU4371Z-ST/DH3665ZN Waves Audio DSPRO StageGrid 1000 Wohler Technologies Dolby Atmos added to iAM-12G-SDI Xilica Solaro update

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PRODUCTS

HK

Bose launches L1 Pro DRAWING ON technology developed 17 years ago with the release of the original L1 system, the L1 Pro series consists of the L1 Pro8, L1 Pro16 and L1 Pro32 with a choice of two modular subwoofers, the Bose Sub1 and Sub2. Features include 180° horizontal coverage and RaceTrack woofer integrated into the Pro8, Pro16, Sub1 and Sub2. According to Bose, the slimline design of the RaceTrack driver provides extended base response and less bulk, making the subwoofers easier to transport, carry and fit onstage. Built-in multichannel mixers provide EQ, reverb and phantom power, and Bluetooth connectivity allows streaming and access to the Bose library of ToneMatch custom EQ presets.

The systems are designed to offer flexibility to artists and venues alike, with the portable Pro8 suited to intimate rooms, the Pro16 for small-to-medium spaces and the peakperformance Pro32 for large audiences. A modular design facilitates packing, carrying and system setup, while the L1 Mix app allows

7-inch x 13-inch subwoofer with RaceTrack driver. The 24.4kg Pro16 has 16 drivers and a 10-inch x 8-inch subwoofer with RaceTrack, while the 32-driver, 13kg Pro32 can connect via a single cable to the Sub1 or Sub2 modular subwoofer, both of which feature RaceTrack drivers and SubMatch connectivity for power and audio. Two subwoofers can be combined, and cardioid mode deployed for directional performance.

users to adjust mixer settings via phone or tablet from the stage, with the ability to change volume and tone settings in the app.

Designed to provide musicians and performers with added control, the L1 Pro family delivers more output and bass extension than the original L1 system and doesn’t compromise on portability. The expanded I/O features and integrated ToneMatch technology allows users to quickly optimise the sound of their instruments and microphones. The introduction of the L1 Mix app provides complete wireless control of all mixing functionality, including volume and tone settings from a mobile device in sync with the mixer.

The L1 Pro8 C-shaped line array weighs 17.7kg and features eight articulated 2-inch neodymium drivers and an integrated

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JBL extends IRX series OPERATING WITHIN a frequency range of 35Hz – 147Hz (–10dB), JBL has added the IRX115S subwoofer to the IRX series of powered loudspeakers. Incorporating a customised 15-inch woofer with a 3-inch voice coil and driven by a 1,300W amplifier, the new model is capable of producing a maximum SPL of 128dB. Weighing 29.65kg and housed in an MDF enclosure with a reinforced honeycomb grille, the ported enclosure is designed to optimise system response and reduce woofer noise. Rear panel settings include polarity and

crossover adjustments at 80Hz, 100Hz and 120Hz in a variety of applications. By pairing the IRX115S with the 8-inch IRX108BT and 12-inch IRX112BT powered loudspeakers, the system can benefit from dbx automatic feedback suppression, ducking and EQ presets, while also streaming Bluetooth audio.

A built-in pole mount and integrated handles enhance user flexibility and portability.

Move www.jblpro.com

The IRX115S, IRX108BT and IRX112BT

An expanding RCF catalogue FORMING PART of the Business Music range are two new digital mixer amplifiers: the DMA 82 (2x 80W) and DMA 162 (2x 160W). According to RCF, both provide a powerful matrix/DSP platform with recallable speaker presets, while the OLED front panel is said to make the setup extremely user friendly. Configuration can also be performed via the RCF universal RDNet software, using the optional board. Some of the device features can also be controlled from third-party systems via serial protocol.

DMA can distribute four audio channels to satellite DMA-P units for “easy installation and scalable architecture”.

With on-board DSP, the DMA 162P (2x 160W) amplifier has been designed to increase the installed power in a multi-room architecture. One analogue stereo input and four-channel bus (via Cat-5 cabling) can be

routed to power outputs via DIP switches.

DSP configuration and presets are only via RDNet. Each unit can receive four mono or dual stereo channels from the four-channel audio bus, with a local stereo input as an alternative. Line output for the subwoofer is also available.

Working in conjunction with the DMA units, the RC 401 remote control and the BM 404 paging console are said to expand the features further. The RC 401 offers volume control and source select, while the BM 404 microphone base can manage up to four zones, with up to four paging consoles connected in a daisy-chain fashion, interlocked.

Meanwhile, the Ayra Pro10 Sub is an active reference subwoofer designed for Ayra Pro studio monitors and is also suitable for low-frequency extension on third-party audio systems. RCF reports that the tight

and accurate bass reproduction makes the sub ideal for audio recording, mixing, multichannel systems, desktop use and other creative applications. It is a true active 300W RMS Class-D power amplifier with a 10-inch composite fibre woofer and a 25–120Hz frequency response. The sub comes with a stereo input board, a stereo x-over output, a lowturbulence frontal bass-reflex port and a variable 2nd-order crossover from 50–120Hz. www.rcf.it

B&C creates biggest horn to date BUILT TO extract the full capabilities of B&C’s wide-bandwidth ring radiator drivers, the ME464 has been created as the largest commercially available horn in professional audio. The 575mm-wide mouth loads an attached driver down to 300Hz, while the 1.4-inch throat stabilises a 70° x 55° polar pattern to the upper limit of the hearing range. Constructed of non-resonant polyurethane, the ME464 can be used in high output arrays for both touring and fixed installations. Reduced inter-box interaction and off-axis energy resulting from the tight pattern control enhance audio quality and clarity. The ME464 is the only horn that can support full-frequency response of the Italian manufacturer’s DCX464 coaxial driver.

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RCF’s Business Music family

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PRODUCTS

HK goes forward with Move 8 HK AUDIO has extended the Premium PR:O series of loudspeakers with the addition of a high-performance, battery-powered version. Equipped with a 60W Class-D power amplifier, 8-inch bass woofer and 1-inch tweeter horn, the low-resonance MDF wooden cabinet can be deployed as a floor monitor or on a stand or table. The portable 8.5kg cabinet comes with an integrated handle and operates within a 65Hz – 18kHz frequency range (±3dB).

Move 8 has a slot for two rechargeable batteries, which are either inserted simultaneously to extend the running time or inserted alternately to ensure hotswappable uninterrupted playback. Allowing up to 11 hours of continuous operation, an

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most popular guitar speakers, including the Greenback, V30 and Blue, promoting itself as a partner for mobile guitar preamps.

The Move 8 App promotes remote control functionality together with additional features such as a karaoke function with voice cancellation and pitch adjustment and modulation effects for the instrument channel.

The German innovator has revealed a series of powered PA speakers featuring moulded plastic enclosures. Complemented by the Sonar 115 Sub D subwoofer, the Sonar 110 Xi, 112 Xi and 115 Xi full-range models integrate a 24-bit DSP controller with colour display. The rear panel connections include two mic lines and a single aux channel together with a three-band EQ on each channel. All settings for the Sonar Xi models can be remotely controlled from a Sonar Remote App; signals can also be streamed wirelessly via Bluetooth 5.0 via the aux channel when using two Sonar speakers. The 115 Sub D subwoofer also features a 24-bit DSP controller with a display for configuring crossover frequency, polarity and delay, together with other parameters and two presets for cardioid operation when using two subwoofers.

A network-compatible system subwoofer has been added as part of the Elements family. The E 115 Sub D system subwoofer comprises a 15-inch woofer and a 900W power amplifier that is capable of driving up to three E 835 mid/high units. A new integrated digital controller

Move 8 optional external quick charger provides uninterrupted battery operation. A rear panel four-channel mixer includes microphone, line signals and instrument XLR and jack inputs, with a useful twoband EQ and reverb for each channel.

The instrument channels come with their own bass and treble control, together with adjustable reverb.

Added for playback devices, an aux channel offers audio streaming via Bluetooth 5.0, in addition to the stereo mini-jack input. The instrument channel activates original Celestion cabinet simulations (impulse response) of the

provides detailed processing of the audio characteristics in both the bass and the mid/high frequency range. In addition to providing full networking capability of several Elements stacks or Linear 7 speaker models, the HK Audio DSP Control Software allows networks to be controlled from the mix position, including volume and line adjustment in addition to full parametric 10-band EQ, tunable high- and low-pass filters, delay times, limiters and other parameters. When connected to a Linear Sub 1500 A via the cardioid output of the Elements E 115 Sub D, the cardioid bass function can focus forward bass radiation with rear bass attenuation of approximately 30dB. Sonar 112 Xi

DEVELOPED TO allow more versatile use of its flagship XY-3B, Pioneer Professional Audio’s XY-1 and XY-2E represent the LF and MHF sections, respectively, and each unit is available in black. Using these individual enclosures enables installers, rental houses and touring companies to build groundstacked point source arrays and deploy systems in venues with low ceilings via a wide variety of configurations.

With the introduction of the XY-3B and XY-2 in September 2017, incorporating the manufacturer’s X-Phase system, the release of the XY-1 and XY-2E will give more venues the chance to install an XY Series sound system due to the horizontal array deployment options offered by the new units.

The additions can also be used as stage fills, for live PA and DJ booth monitoring.

The XY-1 consists of two 12-inch custom drivers in a hybrid dual-chamber configuration – exactly the same as the XY-3B. A hybrid dual 12-inch chamber in the low/mid section reportedly enables the drivers to produce precise notes. Waterresistant treatment allows the LF drivers to deliver a natural tightness rather than using thicker speaker cone material which would

add weight and slow down the speed of the cones.

The XY-2E’s 8-inch midrange driver and the 1-inch compression driver are attached to the integrated waveguide with their depths aligned to minimise the difference of physical distance and reduce cancellation around the crossover frequency. This bi-horn combines mid/high frequencies in a deep position inside the waveguide, reportedly improving the blend of the sounds compared to the performance of a conventional separated horn structure.

The waveguide’s curved shape controls dispersion at 50° x 35° (HxV), providing natural sound with high SPL in the targeted area while reducing the sound pressure outside that area.

The XY-2E offers two different control settings. As standard, the passive crossover option is engaged. Users can then reconfigure the existing cabling and manipulate the 1-inch exit neodymium compression driver and 8-inch neodymium cone driver in a biamp configuration with no need for additional parts. www.pioneerproaudio.com

Next Generation neodymium driver E 115 Sub D

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Pioneer adds to XY Series

CREATED TO compete at the premium end of the 1.4-inch exit compression driver market, Lavoce has added the DN14.300T to its Next Generation lineup. The driver incorporates the manufacturer’s patented Integral Input Surface phase plug technology and is said to provide users with a high flux density neodymium driver with evident low distortion and a linear frequency trend to 20kHz. The DN14.300T has a 110W AES power rating, 3-inch edgewound copper-

clad aluminium voice coil, 109dB sensitivity and uses a one-piece titanium diaphragm and surround.

With a conservative 1.2kHz recommended crossover point, net weight of 2.1kg, diameter of 130mm and a shallow depth of 51mm, the DN14.300T is a described as a versatile device for a wide range of premium high-per formance install or touring applications. www.lavocespeakers.com

www.hkaudio.com

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PRODUCTS

Kyra’s column rises AUDAC HAS launched the Kyra12 column speaker for a variety of indoor and outdoor applications where clear, intelligible speech is required. Finished in black or white and measuring 70mm x 1,006mm x 101mm (WxHxD), the IP55-rated enclosure incorporates an aluminium front grille, AWX5 waterproof connector and a multifunctional stainless-steel wall bracket for positioning.

Within the housing, 12 2-inch coated cone drivers and a multi-tapping 70V/100V line transformer provide 40W, 20W and 10W power taps or connection to low-impedance (12Ω) public address systems. Operating within a frequency response of 120Hz – 20kHz (110dB) and capable of providing 120W of continuous power, the 12 drivers create a beamwidth of 174° x 9° (HxV).

Designed for a wide variation of acoustically challenging environments, ranging from speech and announcements to BGM systems, Audac has developed the Lino column speaker series. Rated with a power handling of 40W RMS, the Lino10 comprises 10 2-inch low/mid-frequency drivers with a 1-inch centrally positioned tweeter dedicated towards the high frequencies. The smaller 20W-rated Lino4 model combines four 2-inch low/mid-frequency drives with a 1-inch HF tweeter for the high frequencies. With a 10mm gap between the speaker and the wall, L-shaped brackets exist on the top and bottom of the aluminium extrusions, offering flexible mounting and directional placement options and a vertical inclination of 2°.

A multi-tapping line transformer provides connection to 70V/100V public address systems with various power tapping settings, while connections to low-impedance systems are also possible for the 72mm-wide column speakers.

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WITH THE addition of the BSP1000 and BSP500 network active loudspeakers, Bluesound Professional has extended its distributed audio ecosystem for commercial spaces.

Available in either a black or white matte finish, both amplified IP65rated models incorporate integrated streaming capability for indoor and outdoor applications. The two-way BSP500 and BSP1000 models feature 5.25- and 6.5-inch LF woofers, together with a 1-inch HF driver for operation within a 63Hz – 23kHz and 45Hz – 23kHz frequency range, respectively. An integral wall bracket allows for wall mounting with 90° swivel and 170° rotation.

The BSP series is based on the BluOS platform for playing and distributing content from local network storage and streaming

With the availability of a 2.4 software update, the Belgian producer has added new features for the Touch 2 app. Users can now change the device name, device address, administration and user passwords in the R2 multi-zone and M2 multimedia audio distribution systems. In addition to bug fixes, improved settings and added network configurations have been applied to the AMP523 mini amplifier, APC100 control unit, MTXxx audio matrix, MFA2xx amplifier and BMP40 Bluetooth module.

Kyra12

www.audac.eu

pastors and instructors to be heard through the mic as though they are speaking to the viewer/listener directly.”

With Core by DPA technology, the 4098 Core mics repor tedly capture a wider dynamic range so that the 1% THD is now lifted by 8dB to 133dB SPL. It is best suited to the installation market and, with a linear response, low distor tion and large dynamic range, per forms well in challenging environments.

4098 gooseneck goes to the Core DPA MICROPHONES has upgraded its 4098 gooseneck microphone to include its Core by DPA technology. Designed for both podium and conference room micing, the 4098 Core is described as the ideal solution for applications that require high speech intelligibility.

“By increasing the dynamic range of the mics, Core by DPA extends the point at which the distor tion is just star ting to become audible,” explained René Moerch, product manager at DPA Microphones.

“Incorporating this technology into the 4098 allows presenters, politicians,

www.dpamicrophones.com

BSP1000

ser vices, including some specifically designed for commercial use such as SoundMachine, QSIC and internet radio. While a pair of BSP speakers can be used in common stereo setups, multiple speakers can be configured for both mono or stereo use. When incorporated within a larger networked BluOS system, the BSP500 and BSP1000 can be placed into user-definable groups with other BSP speakers, Bluesound Professional players, amplified players or networkable speakers. Featuring PoE+ or PoE++ one-wire Ethernet connection for both streaming content and power, each speaker can be placed in low-power standby mode. PC and smar tphone speaker management can be accomplished from the Bluesound Professional CP100 wallmount controller and third-par ty control systems. www.bluesoundprofessional.com

The 4098 Core family

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PRODUCTS

EasyIP goes above and beyond COMBINING AUDIO performance with room aesthetics, Vaddio has designed the EasyIP CeilingMIC D overhead microphone. Offering an alternative to custom-installed or table microphone models, ceiling-mounted versions eliminate table clutter in conference rooms and meeting spaces. Adapting to either drop tile ceilings or open-ceiling environments, the EasyIP CeilingMIC D offers 360° pickup coverage for clear coverage of all meeting participants. Connected to network switch ports, multiple ceiling microphones can cover larger spaces.

Each hanging spherical unit combines three cardioid microphone elements within a single pendant enclosure. The unidirectional element is further equipped with echo cancellation and DSP in the interface box for parameters such as equalisation, filtering and automatic gain control (AGC). Settings can be managed using Vaddio’s desktop configuration tool with the DSP receiving its AEC reference from the far end before applying it to individual mic elements. Ease of installation is enhanced with a plug-and-play design with a single Cat-5e cable between the receiver and the network switch providing power, control and audio. The EasyIP CeilingMIC D pendant includes ceiling-mounted hardware

and a 900mm adjustable drop cable, which can be extended to 4.6m from the interface box. The addition of Dante Controller software extends remote routing and system configuration.

Size doesn’t matter for Schoeps FORMING THE world’s smallest modular studio microphone for use in film and video sound recordings, Schoeps has developed the CMC 1 L microphone amplifier. Having previously created the miniature CMC 1 U amplifier as part of the Colette-series, the German microphone manufacturer has further reduced the size of the latest model by adopting the same miniature Lemo connector. Boasting a 28g and 25.5mm-long capsule as a result of the no XLR design, the CMC 1 L can be further transformed with CCM series’ accessories.

Available with a Lemo-to-XLR adapter cable and miniature stand adapter, all three forms of the CMC 1 are suited for concert stage applications in addition to a boom.

Offering a 50% reduction in current consumption, the technical performance is on par with the established CMC 6 amplifier. Several parameters of the electronic design have been improved, including the handling of higher SPL levels (135dB SPL with the MK 4 or MK 41 capsule) in 48V operation. The CMC 1 is particularly suited for use with wireless microphone transmitters. The Schoeps RFI Shield reliably suppresses radio-frequency interference, while the low output

impedance remains constant across the frequency range. www.schoeps.de

www.legrandav.com

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PRODUCTS

More voice, less noise with PD-70 Shure flexes conferencing ecosystem DEVELOPED FOR podcasters, radio broadcasters, YouTubers and livestreamers, the PreSonus PD-70 dynamic broadcast

The outputs of the low-frequency driver and the high-frequency array travel on the same acoustic axis, as with a coaxial studio monitor.

Because the highs and lows emanate from the same point, they arrive at listeners’ ears at the exact same time, so the CDL12P doesn’t create any smearing in the crossover frequencies. A low 420Hz crossover frequency is said to minimise comb filtering. Each CDL12P delivers 120° x 15° (HxV) dispersion, so six enclosures rigged together form a 120° x 90° coverage pattern.

PreSonus has also added the first subwoofer to its Eris studio monitor line. The 100W Eris Sub8 drops down to 30Hz – a full 50Hz below the Eris 3.5s. Users can connect existing monitors via ¼-inch TRS or RCA, set the input level to their liking and invert the polarity.

High-pass filter and low-pass crossover control reportedly ensure that the Eris Sub8 starts working at the precise low-frequency point where main monitors stop working to avoid the redundant bass reproduction that occurs without a crossover.

PD-70 www.presonus.com

microphone focuses on delivering clarity within the spoken word spectrum. The manufacturer reports that the PD-70 has a superior off-axis rejection and eliminates mechanical noise, unwanted reverberance and electrical hum, while capturing the natural sound of your voice. The dynamic end-address microphone provides a cardioid polar pattern across a 50Hz – 20kHz (±3dB) frequency range. A windscreen and integrated hard mount are included with the package.

The CDL12P full-range, constant-directivity, powered sound-reinforcement loudspeaker combines the best attributes of point source and line array technology. The design allows it to radiate a highly focused pattern with consistent SPL throughout the frequencyresponse range, both on- and off-axis. The CDL12P is portable and can be used alone, in tandem with a subwoofer or in an array. Each unit consists of eight 2-inch drivers aligned in a segmented circular-arc high-frequency array centred in front of a 12-inch woofer.

A CDL12P array

VideoMic NTG interfaces with iOS via SC15 THE LATEST update for the Røde’s VideoMic NTG has made the device MFi-certified in addition to unlocking compatibility with Lightning-equipped iOS devices. The announcement coincided with the release of the SC15 Lighting Accessory Cable, a new 300m-long USB-C to Lightning cable for connecting the VideoMic NTG to Apple mobile devices.

While the shotgun microphone sports a USB-C audio output, it was previously only compatible with Lightning-equipped iOS devices via the 3.5mm output. Creators can now plug their VideoMic NTG into their iPhone, iPad or iPod via USB with the SC15 and unleash the mic’s full potential. This includes headphone monitoring with complete volume control using the variable output knob, two-way audio transmission for making video calls, access to the safety

SC15 channel, which creates a second output at –20dB in case the main channel distorts, and 24-bit/48kHz digital audio conversion.

SHURE HAS extended the Microflex Complete (MXC) digital conference system with the addition of the MXC605 portable conference unit.

Designed to be configured for use by a chairman, a delegate, an interpreter or as an ambient microphone, the unit incorporates a speak button and function button, a lockable XLR microphone connector, headphone jack with volume control and channel selectors. The speak button enables the user to activate or deactivate the microphone directly or to submit a request to speak, with an LED indicating whether the microphone is on (red) or in request to speak mode (green). The function button can be programmed as a Mute, Mute All, Next On, Reply or no function through the DIS-CCU central control unit via Cat-5e cabling. Other features include a 3.5mm TRS in-built headphone jack so that interpreters can always listen to the floor channel in the headphone before selecting the outgoing channel for interpretation.

Designed for planning complex conference systems in advance or for evaluating an existing system installation, the desktop DCS-LAN Tool App has been developed as part of the Shure Conference and Discussion Systems portfolio. The software calculates the power consumption of connected MXC or DCS6000 components and identifies the need for expansion components such as power inserters or expansion units. The standalone application determines the maximum total cable run from the CCU to the last conference unit in a chain. In addition, the tool measures the maximum number of conference units that can be accommodated based on all cable lengths and how many supplementary components such as repeaters are required to achieve a desired system topology.

Joining the Microflex Advance MXA910 ceiling array, MXA310 table array microphones and the IntelliMix P300 audio conferencing processor, the MXN5-C networked loudspeaker has been certified for Microsoft Teams.

Now providing a complete audio signal chain, the networked loudspeaker is PoE-enabled with an integrated amplifier housed in a low-profile design for applying in drop-ceiling configurations.

For podcasters, gamers and vocalists, the MV7 podcast microphone is Shure’s first hybrid XLR/USB microphone and is laser focused on the user’s voice so that the audience gets a

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clear and rich reproduction regardless of whether the recording is made at home or in a studio. Auto Level Mode sets gains in real time, so the output levels stay consistent to allow users to focus more on the content rather than mic technique. An integrated touch panel lets users adjust the gain, headphone volume, monitor mix and mute/unmute, with an option to lock customised settings.

Staying with microphones, Shure has also unveiled its DuraPlex subminiature 5mm omnidirectional lavalier and headset mic which boasts the manufacturer’s first IP57 rating. Offering the same features and durability as TwinPlex, DuraPlex consists of the DL4 omnidirectional waterproof

MXC605 lavalier microphone and the DH5 omnidirectional waterproof headset microphone. DuraPlex comes with a carrying case, snap-fit and foam windscreens, single tie clip and a presence cap. The DL4 also comes packaged with a sticky mount. www.shure.com

MV7

www.rode.com

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PRODUCTS

L-Acoustics and JH Audio co-develop premium IEMs

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BUILT ON JH Audio’s in-ear technology, Contour XO is the first in-ear monitor (IEM) to offer the L-Acoustics sonic signature for professional and personal audiophile use. The collaboration between the two R&D departments draws together Jerry Harvey’s multi-driver in-ear monitoring and Dr Christian Heil’s L-Acoustics line source array technologies.

Widely viewed as the benchmark for the live music and performing arts industries, the L-Acoustics sonic signature is described as natural, dynamic and consistent. The limited-edition Contour XO serves as a reference IEM onstage, at the mixing desk, in the studio or on the move.

In addition, the development of Contour XO supports the upcoming release of new L-ISA binaural object-based mixing software tools currently in beta testing. Designed to elevate the standard for in-ear monitoring, the IEMs incorporate 10 balanced armature drivers and three-way crossover in a quad low, dual mid and quad high configuration. The Contour XO IEMs offer low-end control with bass adjustment of up to 15dB above flat response. Available via the L-Acoustics eStore, customers can choose from both universal and custom fit options in personal packaging.

UK MANUFACTURER Studiomaster has upgraded its ClubXS compact mixer series with the introduction of uprated 6-, 8-, 10- and 12-channel XS+ models. The addition of a DSP on/off foot-switch socket comes with new black livery – matching the brand’s digiLiVE console series – and more ergonomic colour

four on the ClubXS8+, six on the ClubXS10+, eight on the ClubXS12+ and 12 on the ClubXS16+.

Specifications include balanced mic/line connectors, three-band EQ, built-in variable independent input channel compression (nonstereo channels), two aux channels, channel ClubXS6+

www.l-acoustics.com

Lectrosonics reveals next-gen digital receiver WITH THE introduction of the DCR822 dual-channel portable receiver, Lectrosonics aims to build on the benchmark digital RF and audio performance features set by the legacy UCR411a. Designed for field and location production, the compact receiver is compatible with all the current Lectrosonics mono and stereo digital transmitters, in addition to being backwards compatible with any of the Digital Hybrid Wireless transmitters manufactured since 2002.

Equipped with two independent receiver channels, the DCR822 tunes across 144MHz (A1B1 version) or 155MHz (B1C1 version), with over 6,000 frequency choices. Ideal for use in portable bag systems and on sound carts, settings can be adjusted using tactile buttons and a high-resolution LCD interface on the front panel. To overcome interference problems, an RF spectrum analyser and SmartTune are built into the receiver and a two-way IR sync hastens the setting up of matching transmitters. The new receiver includes a USB jack on the back panel for connectivity with the Lectrosonics Wireless Designer software for frequency coordination and RF system monitoring.

The RF gain stages in the front end use a newly developed design to provide low noise RF amplification and extremely low susceptibility to intermodulation with an IP3 (3rd-order intercept point) of +15dBm. The DCR822’s Vector Diversity subsystem continuously combines RF signals from two receiver front ends per channel with differing phase angles to obtain maximum energy.

This delivers artefact-free performance in all modes and can take transmissions compromised by multipath interference

ClubXS mixers get a plus

and reassemble them into solid signals.

Along with Vector Diversity on each receiver channel, the two channels can be used together for a single Frequency Diversity channel operating on two different frequencies for full redundancy.

The mechanical design of the receiver fits into the same dimensions as the UCR411A, allowing existing mounts to be used. To decrease weight, the new receiver provides two independent channel receivers in one unit powered by four AA Lithium batteries or external DC. The receiver is also equipped with a microSD card slot for data transfer, such as firmware updates and frequency group information. The machined aluminium housing and panels are surfaced with a hard-anodised finish with laser etched markings to withstand the rigours of field production. Audio outputs are via two locking

TA3M connectors with either analogue mic/ line level or AES3 digital outputs selectable in the menu. The DCR822 can record audio channels directly from the receivers onto the card in the industry standard .wav (BWF) file format at 24-bits/48kHz for compatibility with any AV editing software.

coding of channel rotary controls. Launched in 2016, ClubXS’ compact design is suited for small and medium entertainment installations or portable live sound. The ClubXS+ refresh brings the series in line with the already existing ClubXS16+ model.

Input channel configurations on all models feature two stereo channels and increasing +48V phantom power mic channel counts across the range, with two on the ClubXS6+,

mute switch, 16 programmable DSP effects and a versatile MP3/USB/SD card playback and recording system. This includes Bluetooth playback capability that enables playback of audio from phones, laptops and other Bluetooth devices. Also standard are 60mm smooth faders and a robust, quiet, internal switchmode power supply. www.studiomaster.com

Compact mixing THE FOUR mixers in Soundcraft’s Nano Series – the Nano M08BT, Nano M12BT, Nano M16 and Nano M24 – have been designed to support a wide range of sources, including microphones, musical instruments, digital playback and recording. The models feature playback and recording from a USB flash drive, simple Mac and PC connectivity via USB and physical vertical faders.

The M16 and M24 multichannel analogue mixing consoles cater for various application requirements from live performances, to studio recordings and fixed installations. They have a built-in USB player, support MP3 format audio file playback and recording storage. The M12BT supports Bluetooth-enabled digital playback devices, such as mobile phones, tablets, Macs and PCs. The mixer also has USB playback and recording functions, allowing it to play the supported tracks in the USB flash drive or record and store directly to the USB flash drive.

The integrated USB audio interface of the M12BT and M08BT can work

Nano M08BT with both Macs and PCs, making them compatible with commonly used audio production software. The M12BT and M08BT have flexible input and connection options, a built-in compressor, a sound effects processor and vertical channel faders, making them suitable for various application scenarios, including live performances, studio recording and fixed installations. pro.harman.com

www.lectrosonics.com

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Outline gets tough DESIGNED TO drive most loudspeaker configurations, Outline has unveiled the L3000 DSP-equipped, multichannel amplifier. Weighing 3.4kg and housed in a chassis coated in a durable polyurea finish, the freestanding form factor avoids the traditional 19-inch rackmount format.

The 2U, 210mm x 320mm (WxD) dimensions promote its use in fixed installation projects where space constraints make it impractical to use traditional amplifier racks. However, a dedicated rackmount kit allows one or two L3000s to be secured in a standard enclosure.

Capable of providing 3,000W of power, the L3000 can deliver up to 750W per channel at 4Ω in single-channel mode or 1,500W in bridge mode at 8Ω. Featuring two inputs and four outputs, routing and operational parameters are configured and managed using ArmoníaPlus

management software via the front panel USB por t. These include input/output levels, EQ, delay, polarity, crossover filters and limiter settings.

The PWM output stage transforms all the energy drawn from the mains into usable power and immunity from intermodulation ar tefacts.

Featuring six speakON outputs and two XLR-F analogue inputs, both bridge and singlechannel output connection modes are available. Channels A, B, C and D can be set in single-ended mode, while E and F can be fixed in bridge mode. Four presets are available to change the routing of the signal. The por tability of the L3000 is enhanced with a dedicated L3000 bag.

PressIT for simple screen sharing

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PANASONIC HAS launched a wireless presentation system called PressIT. This tool reportedly allows easy screen collaboration with a single press of a button on a transmitter. Users can also share up to four screens at a time, in full HD 1080/60p, without any software/driver installation (except for Android) or a network connection. The USB/HDMI transmitter sends video and audio signals from PCs, iOS/Android and other mobile devices. A choice of two receivers – either the compact set-top box or the Smart Display Module board – means that PressIT can be used with Panasonic and other professional displays and projectors.

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www.outline.it business.panasonic.co.uk

Wireless communication THE WM-1 Wireless MIDI Adaptor and WM-1D Wireless MIDI Dongle have been designed by Roland to bring the convenience of wireless MIDI to modern music creators. They provide wireless MIDI communication between multiple devices, including keyboards, drum machines and other MIDI hardware, Mac and Windows computers, and iOS mobile devices.

In addition to MIDI note data, users can

The WM-1 and WM-1D

send MIDI sync for tempo, effects, LFOs and loops, without connecting a single cable. The WM-1 connects to MIDI hardware devices with standard five-pin MIDI I/O, while the WM-1D connects to computers and iOS devices via USB. Standard mode provides low-latency MIDI communication between up to four total devices. Fast mode reduces latency to 3ms to provide fast communication between two WM units for timing-critical applications. The WM-1D is suited for Windows computers that don’t have Bluetooth MIDI support built in.

Users of Mac computers and iOS devices can also use the WM-1D to gain the benefits of Fast mode.

Roland has also added to its V-Drums family with the TD-07KV, with the TD-07 sound module at its heart.

The electronic drum set incorporates mesh-head snare and tom pads, large

One cable, multiple applications THE TSK1038 from Tasker has a nominal section of 2x 0.35mm2, a tinned OFC copper formation and shielding with a braid covering 90%. It has been designed for a range of applications – users can choose from the original, extra soft and flexible version available in three colours or the TSK1038 LSZH with low smoke and zero halogen sheath available with or without homologation for medium fire resistance class defined by CPR EU305/2011 normative and tested by an independent international authority.

In addition, there’s the TSK1038 PUR, which has an outer sheath in polyurethane, a very special and particular material

Meanwhile, Panasonic’s EasyIP, a free-todownload tool to aid in setting up its PTZ cameras, has been completely designed with a new graphical user interface that includes all of its key features in one centralised location.

The new GUI in EasyIP+ includes a new and improved camera list that is customisable to include key information on any PTZ camera or controllers on the network, including IP address, model number, firmware version and serial number. There is also an automatic IP set-up function that aims to streamline the process of setting up cameras on the network with their own IP addresses. AutoIP+ allows an operator to assign each camera with consecutive IP addresses following an order from the one shown at the top of the list. A list of successful cameras will be displayed, whilst those that fail will show a notification. Additionally, the solution includes an automatic firmware update feature that checks for updates and issues automatically as soon as they are released. A batch update feature for those that have multiple cameras and controllers on a network has also been included.

V-cymbals and Bluetooth and USB connectivity. The PDX-8 8-inch snare pad features independent head and rim zones for assigning different sounds, while three PDX-6A 6-inch tom pads offer single-zone triggering. The kit also includes CY-8 12-inch pads for crash and ride, a 10-inch hi-hat with integrated pedal and a KD-10 kick pad.

There’s also a wide range of electronic percussion, plus deep editing tools for personalising sound. Players can change out and tune drums, add damping, change the ambient environment and use individual EQs and transient editors to shape sounds.

Meanwhile, Roland Cloud, the company’s platform for software synthesisers and sound libraries, has grown with the addition of Zenology Pro and Zenbeats 2.0. Zenology Pro gives users the chance to craft sounds with four partials at once, each with choices of PCM and virtual analogue waveforms,

Zenbeats 2.0 rich multimode filters and complex LFOs. Zenbeats 2.0 includes feature and workflow enhancements for free-flowing music production. The spotlight addition is ZC1, Roland’s first mobile-ready synth powered by the Zen-Core Synthesis System. www.roland.com

that has several features like being flame retardant, halogen-free and resistant to friction, treading, atmospheric agents, UV rays and cold or heat, keeping an operative temperature of –40°C to +80°C. According to the manufacturer, these characteristics make this cable the best solution for outdoor mobile use, even for permanent installations and under water up to a depth of 50m.

Finally, there’s the TSK1038 AR, a cable with a special steel armour braid over the sheath for underground installation, even if there is a threat of rodents. www.tasker.it

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The jury’s in on ARX’s USB DI-Q AUSTRALIAN MANUFACTURER ARX Systems has debuted the USB DI-Q USBanalogue inter face, an application-specific device borne out of requests from the Australian Cour t System. The USB DI-Q provides a solution for inter facing and monitoring the playback of audio evidence files in a cour troom or similar environment.

The USB DI-Q inter face allows the user to monitor and cue audio files in a closed headphone environment, as well as switch/ enable the audio output to a PA or sound system as required. Once in place, the device only requires touch button operation and its simplistic user inter face means that it can be operated by non-technical staff.

The USB DI-Q is suitable for interfacing any US-equipped computer (especially notebook computers) with the balanced inputs of professional sound systems. It installs as a plug-and-play generic USB audio device, requiring no special driver installation on macOS and Windows XP, 7/8/10.

The front panel features an overall volume control for both headphone and XLR outputs and an “enable audio to court” switch and indicator LED. The rear panel features a Type-B USB input socket and LED status, summed (mono) output XLR with ground lift switch and a 6.5mm headphone output socket.

Focusrite sees Red DESCRIBED AS being able to “supercharge” any audio interface from the Red range, Focusrite has unveiled a new remote desktop controller named RedNet R1. The device is capable of controlling a range of different monitor output setups, from mono through to 7.1.4 surround, Dolby Atmos and other immersive audio workflows, while completely custom setups of up to 12 outputs can also be configured for bespoke speaker configurations.

RedNet R1 can be used to control groups of outputs from a Red interface’s sources and destinations, including Pro Tools | HD and other DAWs, analogue inputs and outputs, ADAT and S/PDIF connections, and from entire Dante AoIP ecosystems, simultaneously. Top-panel control includes level, reference level preset selection, cut, dim, mute and a variety of solo modes. There’s also an A/B functionality for switching between numerous monitoring presets, and up to four fold-down presets allow for the fast checking of downmixes.

The controller also features Dante-enabled talkback, an internal mic and an XLR input for connecting an external mic, and a high-powered headphone output so users can interact with their Dante system. Up to four talkback destination groups are available when used with a Red interface (when used with other Dante devices, a single talkback group is available). Two on-board LCD displays permit

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level metering of the outputs, sources and headphone outputs, and provide visual cues for navigating menus. Additional features include a 1 ⁄4-inch jack socket, which accepts a footswitch for talkback management and LFE muting. It can be powered via Ethernet to reduce cabling complexity or by DC power supply.

Focusrite has also added a new model to its Red range of Thunderbolt interfaces. With miniDigiLink, Thunderbolt 3 and Dante connections, Red 8Line makes it possible to switch between Pro Tools, other DAW applications and AoIP, without the need to reconfigure audio settings.

Updates to the RedNet A16R and RedNet D16R Dante interfaces have brought new functionality in mission-critical scenarios. The new MkII models share the same feature set as their predecessors but are upgraded with individual level controls for input and output channels. This allows precise calibration of all inputs and outputs, reportedly making the process of accurate alignment of connected equipment more straightforward.

Last but not least, new drivers have made Red range interfaces compatible with Windows computers for the first time, meaning that PC users running Windows 10 with the appropriate Thunderbolt 3 hardware can now use Red interfaces in their audio systems. www.focusrite.com

www.arx.com.au

Waves are rolling THE DSPRO StageGrid 1000 is a compact I/O device designed to operate with Waves’ eMotion LV1 live mixing systems.

Combining eight mic/line inputs, four analogue outputs and digitally controlled AES/EBU I/Os, the SoundGrid-compatible stagebox adds more I/Os for stage performers or at FOH and monitor mix positions. The 1U unit is powered by the same audio interface as the larger

limiters and delays. Additional SoundGrid I/O devices can also be assigned to a network, with the WSG-HY128 card using the Waves SoundGrid protocol to connect all I/O devices with the DSP server and the host computer. Multiple console synchronisation and digital splits are supported using clock Sync-over-Ethernet (SoE). The card can accept firmware changes and upgrades.

DSPRO StageGrid 1000 DSPRO StageGrid 4000. Fully compatible with Waves’ SoundGrid ecosystem, the unit interfaces with SoundGrid hosts and network components to make up a scalable audio distribution infrastructure for processing multichannel audio at ultralow latency using Waves’ plug-ins.

Waves Audio is now shipping the WSG-HY128 card for Yamaha Rivage PM Series Consoles. The card is now available for HY slots, making it possible to run Waves plug-ins on Yamaha Rivage PM series consoles at ultra-low latency using Waves SoundGrid technology. Together with a SoundGrid DSP server, a Mac or PC and authorised Waves plug-ins, the WSG-HY128 transports up to 128 channels of audio at 44.1/48/88.2/96kHz using Waves’ reverbs, equalisers, compressors,

Adding new features to Waves’ catalogue of plug-ins, Waves V12 is available.

Together with an ability to resize plug-ins, new additions include an accelerated preset search engine, sharp retina-ready graphics and plug-ins added to select premium bundles.

A choice of five GUI sizes up to 200% of the original size are available when resizing plug-ins. Bypassing the need to manually browse preset menus, V12 presets can be instantly located and auditioned using the preset browser. With the addition of retina-ready graphics to all Waves plug-ins, the CPU load can be reduced by processing plug-in graphics on a graphics card. www.waves.com

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ble he en if Waves WSG-HY128 card for Yamaha Rivage PM Series consoles

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TSL applies IP expertise to MPA1

Wohler adds Dolby Atmos

TSL PRODUCTS’ range of entry-level MPA1 audio monitors has been extended with the addition of the MPA1-SOLO-IP. Designed to provide a seamless transition to IP at a competitive price, the MPA1-SOLO-IP offers the same features as the MPA1-SOLO-SDI. These include “scroll to hear” functions

WOHLER HAS announced that Dolby Atmos is now available as par t of its decoding and monitoring option for its flagship iAM-12G-SDI audio-video monitor. The iAM-12G-SDI is the only in-rack monitoring and metering device to integrate the Dolby Audio Professional Decoder, which will enable customers the ability to monitor in Dolby Atmos along with other traditional Dolby Audio technologies. Suppor t may be enabled over the 12G-SDI inputs, the AES inputs and SFP inputs. Benefits include the ability to mix Dolby signals with other broadcast signals in customised presets.

factor for a rack-mounted, IP-based audio monitor. Designed for limited space environments where fast audio QC is needed, TSL’s MPA1 units are commonly used across studio control rooms and within OB trucks to monitor audio mixer outputs and technical feed monitoring.

MPA1-SOLO-IP that allow operators to quickly monitor 16 audio channels and view video sources with the added benefit of monitoring across redundant SDI and IP networks.

The MPA1-SOLO-IP can host two Embrionix SFP modules for IP connectivity for redundant ST-2022-6 and ST-2110 audio and video monitoring. The latest MPA family member supports SDI, AES and analogue audio source monitoring via BNC or fibre via SFP+ port connection.

With a depth of 100mm, the compact MPA1-SOLO-IP boasts the smallest form

Allowing engineers to set presets and operators to recall MPA1 states as part of a system setup, the MPA1-SOLO-IP features SNMP connectivity with additional integration to control systems via Ember+ and NMOS. The range also integrates a web server, offering operators the ability to manage channel names and system parameters remotely over an Ethernet network, in addition to viewing audio levels and signal status via a web GUI.

The iAM-12G-SDI features loudness measurement, phase indication, support for 12G fibre options, preset enhancement, including import/export, and pre-fade or post-fade selection on both the XLR and DB25 output connectors.

It supports multiple signals: 12G/3G/ HD/SD-SDI, options for VoIP formats (SMPTE 2110, SMPTE 2022), as well as a range of additional I/O options via its small form-factor pluggable (SFP) interface.

All iAM Series products use SFP cages to enable simple adaptation of interfaces and a wide selection of signal I/O. www.wohler.com

www.tslproducts.com

Signal transmitted, message received EXTRON HAS added two next-generation switcher/receivers to the DTP2 Systems family with the release of the DTP2 R 212 and DTP2 R 212 SA. Both models feature DTP2 inputs designed to work with Extron DTP-enabled products for extending HDMI, audio and control signal transmissions up to 18Gbps and up to 100m over a

The series is further extended with the DTP2 T 212, which is a two-input twisted pair transmitter for sending HDMI, audio and control to a DTP-enabled product. Equipped with two HDMI inputs, one DTP2 output and one HDMI output to support a local monitor, the transmitter drives DTP2 and HDMI outputs simultaneously with the selected

equipped with bridgeable outputs. The Energy Star-qualified, Dante-enabled amplifier is housed in a 1⁄2-rack, convectioncooled, plenum-rated enclosure with rack-mount hardware. On-board audio DSP includes a 6x6 mix matrix, filters and dynamics. Four mic/line inputs and two line outputs can be used as Dante endpoints

or as additional inputs to the on-board DSP. Dante connection of the Class-D design provides remote system monitoring.

The Energy Star-rated NetPA U 8001 SUB amplifier delivers 800W of dedicated power to the SF 10C SUB in‑ceiling subwoofer. In addition to DSP, Dante Domain Manager and AES67 connectivity are integrated into the plenum-rated enclosure for compatibility with other audio network devices.

With the availability of the USB‑C HD 101 inter face, USB‑C signals can be converted to HDMI within an existing AV system. The 1 ⁄4-rack metal enclosure is equipped with an internal Extron Everlast power supply capable of charging a connected USB‑C source device with up to 60W of power.

USB‑C Alt Mode supports video resolutions up to 4K/60 for an AV device with an HDMI input.

DTP2 R 212 www.extron.com

shielded Catx cable. In addition, an HDMI input provides connectivity for a video source located near the display to support collaboration environments. An integrated Ethernet control port supports display control, while a local HDMI input allows connection of an additional video source at the display. The HDCP 2.3-compliant receivers support data rates up to 18Gbps and video resolutions up to 4K/60 with 4:4:4 colour sampling. The DTP2 R 212 SA model also features a built-in Class-D stereo amplifier.

The DTP2 T 211 twisted pair HDMI transmitter provides distribution of HDMI and multichannel audio, in addition to bidirectional RS-232 and IR signals over a shielded Catx cable. The compact enclosure features remote power capability for discreet placement in lecterns and beneath tables.

signal. To support local monitor applications, the HDMI output can be assigned to either of the HDMI inputs. Other features include EDID Minder, auto-switching between inputs and bidirectional RS-232 and IR passthrough for remote AV device control.

The HAI 100 4K Plus 4K/60 has been designed for embedding two-channel analogue audio or S/PDIF digital audio onto an HDMI output signal. An HDMI output and input are included, together with analogue stereo audio and S/PDIF audio inputs for supporting two-channel and Dolby/DTS multichannel formats. The HDCP-compliant audio embedder supports data rates up to 18Gbps, HDR, 12-bit Deep Colour, 3D and lossless audio formats.

Capable of delivering two 200W channels into low-impedance systems, the NetPA U 2002 SB Ultra amplifier is

HAI 100 4K Plus

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PRODUCTS

Bridging analogue to digital and IP DESIGNED FOR analogue partyline users who want to enter the world of digital and IP communications while extending the working life of their legacy equipment, RTS has released OMS (OMNEO Main Station), a hybrid IP/digital/analogue main station for partyline intercom systems and the core component of a new product family: RTS Digital Partyline.

OMNEO IP technology – incorporating Dante (audio transpor t) and AES70 (device control) – allows OMS to interconnect with RTS Digital Matrix products (including ADAM, ADAM-M, ODIN, KP series keypanels and ROAMEO DECT wireless) and for thcoming new members of the RTS Digital Par tyline family. According to the manufacturer, OMS can provide a path from legacy equipment to the latest technology, allowing users to migrate to the flexibility of an IP infrastructure without the

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complexity of a matrix system. OMS is a communications multi-tool for a wide range of customers, including theatres, houses of worship, broadcast, AV rental, industrial facilities and enter tainment/ event venues. It is available in five licensed configurations to suit the user’s budget and application requirements: Advanced, Intermediate and Basic digital (each with OMNEO); and Analog Plus and Analog (main station options for analogue-only par tyline systems).

Users requiring both analogue and digital should upgrade to OMS Intermediate or OMS Advanced.

All OMS configurations feature a highresolution, full-colour front panel display and an icon-based menu structure. The panel layout will be familiar to par tyline users and has dedicated colour-coded controls for each channel (talk/listen/ call/volume). Each of the four button

sets can be programmed to function with any destination in the system.

For example, button set one does not necessarily need to control par tyline one; it can be assigned as a relay or to a keypanel. Three headset variants are suppor ted. The AC power supply has a locking IEC connector, and the unit’s low power draw and venting enclosure design repor tedly mean that no cooling fans are necessar y.

Suppor t for four por ts of analogue AIO four-wire, four por ts of analogue twowire (equipped with echo cancellation), two program inputs and one stage announce output are included. Ethernet connectivity is via copper or fibre (for OMS Intermediate and OMS Advanced versions with OMNEO). Additional OMNEO expansion audio por ts are included for networking with other OMS units, enabling additional system capacity and par tyline

capability as par t of a distributed or multisite system. OMS Intermediate and OMS Advanced configurations suppor t the TIF-2000A digital telephone inter face.

The fully equipped OMS Advanced version allows the user to conver t between four different formats: OMNEO, RVON, four-wire AIO and two-wire.

G.711, G.722 and G.729AB codecs are suppor ted. Up to 40 OMNEO devices may be connected, including ROAMEO beltpacks (for which OMS can also ser ve as a standalone base station), up to eight keypanels and up to 16 par tylines. OMS Advanced suppor ts four channels of RVON (RTS Voice Over Network) via RTS KP series keypanels, for remote networking with other RVONcapable equipment (RVON Trunking not suppor ted). www.rtsintercoms.com

New! Midra™ 4K Series Presentation Switchers Ideally tailored to medium-sized fixed installations and live environments

101 ted The th y C . ions HDMI

Unrivaled performance and reliability • • • • • • •

10 inputs, 2 outputs and one dedicated multiviewer Versatile 4K connectivity (HDMI 2.0, 12G-SDI, DisplayPort 1.2) Ultra-low latency 4K60 10-bit 4:4:4 image processing Soft/hard-edge support Embedded SDR/HDR real-time converters Genlock synchronization Dante™ audio networking

www.analogway.com

info@analogway.com

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DirectOut’s IP migration

EXBOX.RAV FOLLOWING THE success of its EXBOX.MD MADI/Dante converter, German manufacturer DirectOut has expanded the series with the introduction of EXBOX.RAV, a compact solution to aid the migration from baseband audio to IP. The device runs on Ravenna and supports NMOS for stream discovery and connection management.

Four gigabit Ethernet ports with an internal switch and PoE, and three MADI ports in

BNC, SC and SFP format, provide bidirectional conversion and routing of up to 64 audio channels.

In addition to EXBOX.RAV, DirectOut has also unveiled two new audio network modules to its Prodigy Series, each integrating state-of-the-ar t sample rate conver ters. DANTE.SRC.IO (Dante) and RAV.SRC.IO (Ravenna) are equipped with FPGA-based SRCs and enable asynchronous operation between the modules and the Prodigy mainframe, independently from the configured reference clock of the device. The new modules are suitable for when connections between mixed and asynchronous Dante and Ravenna/ST 2110 networks are a must.

Sp Additionally, the Prodigy series has recently gained support for Ember+. Up until now, control of Prodigy.MC and Prodigy.MP devices was only possible via the front panel touch display and the remote control software globcon. Ember+ has now been added as the first network-based, thirdparty protocol. It is an open control protocol

based on an initiative of the Lawo Group.

The DirectOut implementation allows control over the configuration, the settings of the microphone preamp and the routing matrix, including channel labelling, as well as monitoring the status of the device. www.directout.eu

Prodigy.MC and Prodigy.MP

Atlona goes the distance CAPABLE OF transmitting USB 2.0 data over a single Category-type twisted pair cable up to 100m, Atlona has added the AT-USB-EX100-KIT long-distance extender kit. The point-to-point extension includes transmitter and receiver endpoints. The receiver features four USB type A ports for peripheral devices, while the transmitter offers two such ports for peripherals plus one USB type B interface for connection to a host computer. The compact enclosures with brackets can be used for discreet mounting in furniture, behind displays or above projectors to enable locally powered devices.

Atlona is also shipping the HDBaseT transmitter in its Omega Series of switching,

AT-USB-EX100-KIT extension and video processing solutions.

A unique wall plate extender for USB-C AV and data, the AT-OME-EX-TX-WPC transmitter enables remote USB-C and USB 2.0 connectivity for soft codec conferencing and interactive display applications. Providing

meeting participants with AV and data interfacing on walls, in furniture or in floor boxes, the OME-EX-TX-WPC transports video, embedded audio, RS-232 control signals and USB data via HDBaseT up to 100m when paired with a USB-capable Omega

Series switcher or receiver. Featuring a US one-gang form factor, the wall plate transmitter supports video up to 4K/UHD at 30Hz with 4:4:4 chroma subsampling and is HDCP 2.2-compliant for delivery of protected content. The USB-C input supports both AV and data, promoting adapter-free AV connectivity for recent Mac, Chromebook and Windows PCs as well as mobile devices with AV-capable USB-C ports.

A separate USB 2.0 interface supports a peripheral device such as a speakerphone or microphone. www.atlona.com

One app to control them all THE NEW Crestron One app allows employees to control the room environment directly from their mobile device, removing the need to rely on communal touchscreen technologies to achieve wayfinding, room automation and content sharing capabilities.

Via the application, employees and guests at any workplace can control room technology safely, securely and reliably through their personal devices which automatically detect Crestron systems, authenticate via the touchscreen and securely connect.

Crestron One works with the manufacturer’s TSW touchscreens via a direct Bluetooth connection, without requiring devices to reside

Crestron One

on the same network, ensuring compliance with an enterprise’s global IT security standards.

Using existing equipment and code, without any

additional programming required, managers can configure the in-room experience to select the controls for each space. Regardless of how systems are set up, or which Crestron control system is being used, the One app delivers a consistent experience from any mobile device for conference rooms, huddle or other shared spaces.

Speaking of TSW touchscreens, Crestron has introduced TSW 70 Series touchscreens that support a range of applications via customisable user interfaces. They are available in two configurations: wall-mounted with 5-, 7- or 10-inch screens, and tabletop versions available in 7- and 10-inch formats together with a cast aluminum enclosure. All models in the 70 Series offer higher resolution display and H.265 video streaming support.

The touchscreen devices also permit touchless control – the new proximity sensor detects motion to wake the screen up upon approach and can provide additional feedback to the broader room system. Wi-Fi has also been integrated into the 7- and 10-inch models, while improved light sensors and algorithms auto adjust the screen for optimal brightness.

In the realm of video distribution, five new enterprise-class HDMI switcher models have been introduced, comprising 4x1 (HDMD4X1-4KZ-E), 4x2 (HD-MD4X2-4KZ-E), 4x4

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QS TSW 70 Series (HD-MD4X4-4KZ-E), 8x4 (HD-MD8X4-4KZ-E) and 8x8 (HD-MD8X8-4KZ-E) configurations.

All support 4K60 4:4:4 @ 18Gbps, while network security also has a central focus with the implementation of common IT standards such as 802.1x, Active Directory credential management integration, PKI Authentication, SSH, SFTP, HTTPS and TLS. The switchers include Crestron XiO Cloud service support for network deployment at scale, help desk integration and remote management.

Lastly, two new models in Crestron’s flagship DM NVX AV-over-IP signal distribution platform have been released. The new DM-NVX-360 and DM-NVX-363 models enable support for the latest industry standards, including AES67, Dolby Vision, HDR10+ and POE+.

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www.crestron.com

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Spatial mixing MEYER SOUND has developed Spacemap Go, a spatial sound design and mixing tool that leverages the processing power of the Meyer Sound Galaxy Network Platform in an iPad app. The Spacemap Go iPadOS app has been designed to provide an easy-to-use touchpad interface for Spacemap multichannel panning using one or more connected iPads. According to the manufacturer, with Spacemap Go anyone can design both simple and sophisticated multichannel installations without specialised training. With thousands of Galaxy processors worldwide, Meyer Sound believes that Spacemap Go has the widest reach of any spatial sound design and mixing tool. It can be implemented with a free update to Galaxy firmware and Compass control software. Users with existing Galaxy inventory need only supply one or more iPads as appropriate for the application.

Generating chaos

With any combination of Galaxy 408 or Galaxy 816 using Milan AVB, AES3 or analogue as inputs and outputs, systems are quickly and easily configured by Spacemap Go. Spacemap systems can be configured for up to 32 inputs and as many outputs as are provided by the processors.

Each Galaxy provides up to 232 matrix crosspoints.

Spacemap Go reportedly works well in live workflows, providing the ability to make edits

d&b Fanblock brings crowd noise back to empty stadiums

D&B AUDIOTECHNIK has partnered with theatrical creative sound designer Autograph to codevelop and launch a stadium sound application that creates a live crowd atmosphere at empty sports events. The new application, d&b Fanblock, delivers a real-time, controlled sound solution to venues without fans or with a reduced number of fans onsite.

By using a d&b sound system inside the arena, the application creates a multichannel surround sound system which, when combined with Autograph’s Stadium Sound playback software, means stadiums are filled with the sound of fans. The system is scalable and can be put in any size stadium or arena around the world.

The basic audio content consists of non-teamspecific sounds including background “bed” loops to provide a continual atmosphere within the stadium and a library of sound cues that can be triggered by operators in reaction to the

action on the pitch. The custom sound design package offers club-specific chants made possible through Autograph’s content partner, FanChants. Autograph’s Stadium Sound creates a live crowd atmosphere at sports events that can be dynamically controlled in real time to respond to the events of the game. The system is operated live by engineers in the stadium in order to follow the energy levels and punctuate the dramatic moments as they happen.

“By partnering with Autograph, we’ve come up with a revolutionary new sound solution,” commented Amnon Harman, CEO of d&b audiotechnik. “No longer will sports teams hear the echo of empty stadiums and venues; instead, with d&b Fanblock, they will once again hear the strength and passion of their fans while on the field.”

Fanblock uses the matrix functions of the DS100 Signal engine to distribute audio to the

QSC HAS announced two new Q-Sys Control plug-ins that reportedly enable quick integration and a consistent user experience within Q-Sys for Cisco conferencing and collaboration endpoints and the Barco ClickShare Conference family. Both are available through the Asset Manager within Q-Sys Designer Software.

The Cisco In-Room plug-in enables expanded control of Cisco collaboration endpoints, including Cisco Touch 10 and Webex Desk Series devices, while maintaining a consistent user experience by combining Cisco controls with in-room AV controls provided by Q-Sys. To expand the reach of Q-Sys within wireless

and plot panning in real time with a swipe of a finger. Open Sound Control (OSC) support provides integration with sound design software such as QLab, as well as DAWs including Ableton Live, Pro Tools, Digital Performer, Logic Pro X and Reaper. RTTrPM protocol support allows integration with realtime tracking systems, including BlackTrax.

Console plug-ins are in development.

EVENTIDE IS taking chaos to the next level with Generate, a marquee polysynth developed by Newfangled Audio and distributed by Eventide. Generate combines all the features expected in a synthesiser with “revolutionary chaotic oscillators to create beautifully complex pads, warm moving keys, jittery sequenced basses and out-

www.meyersound.com

d&b loudspeaker system. As the backbone of d&b Soundscape, the DS100 Signal engine enables further enhancement of d&b Fanblock through its En-Scene software. Users can take advantage of object-based signal management, allowing complex sound events to be moved dynamically around the stadium in real time, and add additional detail to the effect of Stadium Sound in response to the actions on the field. This means the sound engineer can make spectator chants grow from one section before building out to fill the entire stadium.

of-control leads”. The manufacturer explains that what initially looks like randomness contains underlying patterns, interconnectedness, constant feedback loops, repetition, self-similarity, fractals and self-organisation. Each of Generate’s five chaotic generators brings out these underlying patterns to create an oscillator that can reportedly fade from a sine wave to total chaos, with an expanse of territory to explore in between.

The musical textures created include distortion, harmonics, grunge, static and noise – all of which can be predictably or unpredictably modulated.

www.dbaudio.com

QSC expands Q-Sys Control plug-in library

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collaboration and conferencing systems, the Barco ClickShare Conference plug-in enables the ability to connect, monitor and control ClickShare devices from the same UCI as their in-room AV controls. The plug-in ensures safer meetings by creating intelligent room controls, while minimising additional interaction with the collaboration system.

The US manufacturer has also announced the release of the multipurpose NV-32-H (Corecapable) native network video endpoint for Q-Sys, which allows users to toggle between Core Mode, transforming the device into a fully capable Q-Sys processor with local HDMI switching capabilities, and its existing Peripheral Mode, which is designed for network HDMI video distribution over standard AV networks. The Core Mode is said to offer a fully featured audio processing engine, including 32x32 network audio channels, eight AEC channels, one VoIP softphone instance and optional support for software-based Dante.

Undulator is a tremolo from Eventide’s H3000 Harmonizer effects processor and is said to provide a unique rhythmic effect by combining ethereal feedback and detuned echoes which are fed through an AM/FM modulated tremolo. It can be used for manipulating samples or adding movement to strings, pads, guitars and keys. The plug-in transforms ordinary synths, keys, guitars and even vocals into evolving pads and can also be used for creating tempo-synched production elements, time-lapsed soundscapes and otherworldly and fluctuant delays.

It is available for Mac, PC and iOS, and Eventide will be donating 100% of the proceeds of Undulator to the Equal Justice Initiative & NAACP Legal Defense and Education Fund. www.eventideaudio.com

Cisco In-Room plug-in

www.qsc.com

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Powersoft in harmony with SIs PROVIDING SYSTEMS integrators with the tools to manage intricate installation projects through its dedicated Install Skin, Powersoft has updated the ArmoníaPlus software.

The v2.0 release extends the capabilities of Powersoft amplifiers by delivering new features in addition to streamlining existing ones. While live sound projects in ArmoníaPlus maintain the same structure as the original version, Install System projects now assist SIs with sources and zone management, allowing customisable user interfaces and controls to be created in the new Views Designer. By registering a copy, users can gain access to the MyPowersoft online platform through a single sign-in procedure.

Powersoft amplifiers are now capable of managing mono, stereo and multichannel sources and zones. This allows for decentralised system processing, removing the requirement for an external matrix in many applications and reducing the number of cable runs. Any analogue or AES3 signal can be converted into Dante and shared over the network through the Dante Matrix, which is now natively integrated within ArmoníaPlus.

Patching between amplifiers and Dante sources is only performed when required,

allowing the creation of offline sources and providing a lighter solution for systems that require the selection of Dante sources.

ArmoníaPlus 2.0 also introduces a series of solutions aimed at remotely controlling key system functionalities such zone level control, source selection and system scene selection. With Passive Controls, the WM Level and WM Select can be shared over the network for connecting a passive wall controller to one amplifier via GPI and controlling the parameters of other devices in the same network. WM Level controllers can be configured to adjust the level of an amplifier output in addition to single or multiple zones.

WM Select controllers can be set to work as source selectors for a zone or configured as scene selectors, allowing users to choose from different system configurations.

Customisable user inter faces can be created in The Views Designer, which promotes the controlling and monitoring of multiple source and zone functionalities from any mobile device with a web browser. Per formed in the new Views Designer, Powersoft System Control is a dedicated app that controls system views and loads ArmoníaPlus project designs to the amplifiers and external controls.

V2.0 also introduces new features aimed at improving the user experience, including multiple workspaces, a synchronisation mode and new Control and Views modes that let WebViews and App Views users choose how they control their system.

Im in Symetrix composes an update SYMETRIX HAS announced the release of its latest free Composer programming software for Edge, Radius NX, Prism and Solus NX DSPs. Composer 8.0 for Windows expands the power of the Symetrix ecosystem with new features, including Lua scripting, Radius NX AEC enhancement, audio playback and Media Manager.

Lua scripting allows users to create custom Intelligent Modules for Composer. In addition, these modules allow the software to control and monitor any device that can be controlled by a third-par ty system or provide system logic functionality which previously required large and complex logic programming.

The Acoustic Echo Cancellation (AEC) cards for the Radius NX have a new configuration option that increases the total number of AEC channels when using discreet AEC references. When processing AEC, the AEC channels in each room need to receive an AEC reference signal specific to that room which presents an increased processing load for the DSP chip. With Composer 8.0, the Radius NX with AEC-2 card is now capable of up to 12 channels

of simultaneous AEC. This enables a single Radius NX to manage as many as 12 different rooms.

Audio recording functionality in the Radius NX is now joined by audio playback. Audio systems often include a message playback device for audio cues, such as classroom bells, airpor t parking messages, retail store closing announcements or background music.

The Radius NX can play up to eight audio tracks simultaneously from a local USB drive.

The Radius NX Media Manager is a browser-based feature providing upload, download, playlist and organisation functions for recordings on the USB drive of the Radius NX. Whether a Radius NX is playing background music, announcement messages or timing chimes, audio files need to be uploaded to the Radius NX before they can be played and organised on the drive.

Radius NX Media Manager also provides full control of all media files on the device by accessing the Radius NX with a web browser.

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Sonicue updated to v1.2

THE LATEST software release (1.2) for Dynacord’s Sonicue sound system software expands the scope of the solution by adding full support for the new MXE5 matrix mix engine, completing the sound system by providing input, routing and mixing functionality, in addition to DSP functions.

When integrated with Dynacord’s IPX series amplifiers, MXE5 can serve as a system head for overall system supervision, monitoring and control, while the system logic supports communication with other Open Control Architecture (OCA) devices, including third-party products. Running as independent apps on desktop PCs and the TPC-1 touch panel controller, Sonicue 1.2 adds customisation features for user control panels and system logic for advanced tasks.

The software’s new control panel designer is described as a comprehensive toolbox that allows the creation of standalone,

sound engineers, facility managers or service personnel in hospitality areas.

Together with the new system logic and customising functions, the applications can be loaded with dynamic content for specific application modes. The update also includes an activated update routine for loudspeaker databases and an overview that displays the current firmware versions of all supported devices.

In addition to the Sonicue updates, Dynacord has also made third-party loudspeaker presets from popular manufacturers available inside the software, expanding the lineup of thirdparty loudspeaker options for integration into Sonicue. A complete list of supported brands is available on the manufacturer’s website. lockable applications. The design of the user interfaces is customisable and assignable

with different functions according to the required user type, such as system and

www.dynacord.com

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AquaControl software update

Improved layout workflows in theWall 4.4 SEVERAL SIGNIFICANT features have been incorporated in Lawo’s version 4.4 software release for theWall multiviewer control application, resulting in an “unparalleled multiviewer experience”, the German manufacturer promises. The primary new features include the ability to perform live editing in the Layout Builder, the introduction of a new snap grid option in the Layout Builder to aid with object alignment, editable layout names, enhanced files dialogue and the addition of support for three UMDs and three OMDs and several control options.

Furthermore, in the Layout Builder, it is now possible to manually change the Pip IDs. The manufacturer has also announced VSM 2020-2. vsmStudio now comes with

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Merging Technologies goes MAD

MERGING TECHNOLOGIES has developed an entirely new Merging Audio Device (MAD) for windows computers as the existing ASIO driver supplied with its interfaces was “beginning to show its age and lacked some key features”.

MAD is said to offer significant improvements to the free version and also introduces a new additional Infrastructure package for broadcasters wanting the advanced features.

The first of the major enhancements is a multi-ASIO capability that allows different applications to run simultaneously sharing ASIO inputs and outputs. Additionally, internal bridging allows channels to be defined to send audio between applications concurrently using MAD. While ASIO is the most popular driver option for the recording industry, Merging recognises that there are other markets where the official

Bessel 5th-order (30dB/octave), Bessel 6th-order (36dB/octave), Bessel 7th-order (42dB/octave), Butterworth 1st-order (6dB/ octave), Butterworth 5th-order (30dB/octave), Butterworth 6th-order (36dB/octave), Butterworth 7th-order (42dB/octave) and Linkwitz-Riley 6th-order (36dB/octave).

Designed to assist the setting up of stereo or multi-zone systems, the Link Groups feature allows DSP functions to be linked across the channels.

a fundamental change in the internal processing and visualisation of sourceto-destination connections: Cross Point Centric (CPC) processing. CPC is an adapted method of processing and visualisation of crosspoints within vsmStudio, reflecting the changing technical prerequisites in IP infrastructure setups. It aims to provide immediate confirmation of crosspoint triggering actions to VSM users operating IP environments where controlled devices may not respond in time. In addition, vsmGadgetServer now includes a driver which provides generic NMOS IS-05 support (connection management) for VSM.

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ASHLY AUDIO has launched the first major update to its new AquaControl software suite.

Following partner and customer feedback, new changes including templates, additional filter types and link groups are free to download.

Integration setups can be saved and recalled with updated template capabilities.

Mic/line input, stereo input and output DSP signal chain configurations can be stored and imported into other AquaControl-capable devices. Eight new filter types for crossovers have been added to the software, in addition to high- and low-pass filters. These include

Microsoft WDM (Windows Driver Model) is essential and this has now been incorporated into MAD. The combination of ASIO and WDM gives flexibility by allowing WDM channels to be sent or mixed to the same outputs as ASIO or redirected to the bridge channels.

This permits these channels to be routed or recorded by the ASIO applications, as well as allowing the user to monitor the WDM sources independently to those on the DAW or Mix, enabling the user to listen to their favourite DAW while comparing the track with playback from applications like Spotify or YouTube.

Recent developments in IP standards for the broadcast industry require a number of additional features to address stream redundancy and the migration towards centralised data centres. In addition to offering ST2022-7 Seamless Protection

Switching, the MAD Infrastructure option also adds NMOS IS-04 and IS-05 compliance to the package, as well as the option of Virtual Machine operation.

Broadcasters are increasingly leveraging centralised production machines; an editing machine in the data centre can be allocated to any remote location worldwide, making sure a news picture editing machine, for example, is shared as much as possible and generates revenue 24/7. MAD connects the machine in ST2022-7 and can be discovered and controlled by an NMOS solution, regardless of whether the machines available in the data centre are physical or virtual. The new Anubis SPS provides the high-quality audio endpoint in the editing room which can be configured remotely and provides to the end user accurate monitoring calibration as well as recording facilities.

Delving deeper into the capabilities of MAD, it is possible to have the ASIO and WDM applications at different sample rates as the WDM has its own Sampling Rate Converter which will automatically convert to the ASIO rate. This allows a recording to be compiled on the ASIO side with some files coming from a WDM source with a higher or lower rate.

Merging believes that the introduction of MAD gives existing native customers a radically enhanced set of workflows for no extra cost and that the addition of the low-cost Infrastructure option offers broadcasters cost-effective, controllable solutions to both the start and endpoints of any centralised IP network.

Xilica adds Lua scripting FOLLOWING ON from the launch of its Designer 4.0 software, Xilica has added Lua scripting language to its Solaro digital signal processor series. With Lua scripting functionality, SIs can program their own custom drivers for almost any third-party product that has a control string, while accessing Xilica’s library of pre-designed integrations.

Widely used in the AV and IT industries among control system manufacturers, Lua scripting is a universal language that enables products from third-party vendors to communicate and interoperate. With the addition of control engine functionality and a proprietary command protocol, SIs can omit traditional control systems by using the existing DSP for system command. Ideal for small-to-medium applications, Xilica has added a scalable external control system for larger projects with updated modules for AMX, Crestron and Control4 automation platforms.

Lua control modules are available inside the Xilica Designer software interface. For those situations where a particular brand may not be available, Xilica’s Lua Device Driver Builder function enables a programmer to create custom functionality specific to a product and application. Xilica’s customers further benefit from new USB I/O capabilities that improve compatibility with the latest Unified Communications (UC) platforms, including Microsoft Teams and Zoom. www.xilica.com

www.merging.com

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The BZ40H series

Remote education SONY HAS unveiled its Bravia 4K HDR BZ40H series of displays that have been designed with flexibility, connectivity and ease of use in mind. The lineup includes 55-inch (FW-55BZ40H), 65-inch (FW-65BZ40H), 75-inch (FW-75BZ40H) and 85-inch (FW-85BZ40H) options for use in various education applications.

The BZ40H series combines Sony’s System on a Chip (SoC) platform with “intelligent, convenient professional features”, providing flexibility to customise the display to meet any educational facility’s requirements.

Other products in the Bravia series have also been redesigned with a flat bottom bezel, all aluminium bezel, a reinforced rear cabinet and all input terminal position on the side.

The screens form part of a new remote learning solution from Sony that combines

the MAS-A100 beamforming microphone with its Edge Analytic appliance, enabling lecturers to teach and students to learn remotely. The combination of Edge Analytics, MAS-A100, Sony PTZ cameras, projectors and the new Bravia 4K displays when used together gives universities a complete solution for distance learning in these challenging times. Once installed, there are fewer touchpoints and very few, if any, AV staff required to work the system. The solution also enables teaching to be customised for any requirements, irrespective of whether students are allowed on campus or not, or if a classroom is limited to a certain number of people at a time to adhere to social distancing rules. pro.sony

Pandoras Box opened and CounterAct defending CHRISTIE IS shipping the Access II range of discreet LCD displays. Designed as budgetfriendly UHD displays, Christie Access II Series panels are available in 55-, 65-, 75-, 86- and 98-inch ultra-thin formats. Designed for meeting rooms and retail applications, the plug-andplay solution integrates connectivity features, including OPS slot and USB playback. Flexible RS-2322, Ethernet, Crestron Connected and CEC can be adopted for management control.

Developed for cinemas, theme parks, museums, sports complexes and other indoor spaces, the CounterAct line of commercial UV disinfection products integrate Care222 far-UVC light technology. Designed to be installed on ceilings, the remote-controllable Christie fixture uses Ushio’s narrowband filtered Care222 excimer lamps that emit far-UVC 222nm light. This includes a shortpass filter that prevents the emission of longer wavelengths of UV light (+230nm) that are capable of penetrating human skin and eyes.

The first Christie CounterAct fixture contains two Care222 excimer far-UVC lamps that are said to significantly reduce pathogens on surfaces of any indoor space. Equipped with instant on/off at full output power and Care222 technology lamps, the fixture has been shown to be effective at reducing pathogens such as

CounterAct

Access II Series

coronaviruses in the laboratory and may be used when people are present.

Resulting in a near-seamless display with a bezel width of 0.44mm (0.88mm combined), the FHD554-XZ-H features an OPS slot and a variety of embedded processing modules on the panels, including Phoenix EP. Additional built-in processing includes videowall scaling, bezel compensation and staggered power-up. The platform supports 4K UHD signals at 60Hz on large-tiled videowalls with the factory-calibrated panels matched for image uniformity. The FHD554-XZ-R uses remote and redundant power via external AC-DC hot-swappable supply modules.

The Pandoras Box family of hardware and software tools provide real-time, high-framerate 3D stereoscopic video playback and processing. Version 6.5 software now features a new render engine for improved image quality and efficiency to deliver 10-bit colour depth for Rec. 2020 and HDR applications, while preserving the full colour palette (4:4:4) without any chroma subsampling.

ODL-815

Barco ODL receives nextgeneration laser engine BARCO’S NEXT-GENERATION RGB laser rear-projection videowalls are able to provide more space in control rooms thanks to their smaller ecological footprint. For missioncritical control rooms, rear-projection remains a key technology, especially for mid- to large-sized installs. The next-generation laser engine introduced in the RGB Laser ODL series features new laser banks, improving the light source lifetime in different operational modes. A guaranteed 10 years of maintainability secures the system for the future, while the manufacturer’s accompanying WallConnect software, a cloudbased remote monitoring, diagnostics and

control solution for its videowalls, has further evolved to improve setup, configuration, operation and maintenance. Along with the ODL-series’ motorised seven-axis alignment, this is said to make the installation process smoother.

The new engine will be available within the full RGB Laser portfolio, covering 7- to 80-inch sizes and supporting both FHD and SXGA+ resolutions. Multiple screen options are available to deliver the optimum result depending on the application, control room environment and budget.

DESCRIBED AS an evolutionary step forward in display technologies, LG’s new micro LED digital signage solution, Magnit, has entered the market. Magnit promises increased durability thanks to its LG Black Coating and streamlined installation as a result of its block-assembly design.

Micro LED screens features self-emissive, micrometre-scale pixels applied directly to the substrate board, which are said to deliver sharper images with improved contrast and a wider viewing angle. LG’s new Black Coating technology, applied to the front of the displays, is designed to improve contrast and colour accuracy while helping to protect the tiny LED pixels from moisture, dust and external impact. The Black Coating is also anti-glare and antifingerprint, minimising distracting reflections and making it easier to remove unsightly smudges.

The Magnit displays integrate the manufacturer’s webOS smart signage platform for navigation and control of useful functions, including features and presets. Picture quality is boosted by an AI-powered α (Alpha) image processor that intelligently analyses content and source and automatically optimises visual output in real time.

Each Micro LED cabinet measures 600mm x 337.5mm x 44.9mm (WxHxD) and can be linked to other cabinets to erect large-scale display onsite. The blockassembly design allows power to be sent to each cabinet via pin connectors located on the edges of the LED cabinet hub. Cable management is aided with only a few wires on the back of the displays to link the cabinets to system controllers and power mains.

www.barco.com

LG launches first micro LED digital signage display

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When distance matters DESIGNED FOR a range of demanding applications such as conference rooms, universities, galleries and museums, Vivitek has introduced the DU4371Z-ST short-throw laser projector. With a brightness of 5,100 lumens with WUXGA resolution, the laser projector offers flexible installation with 360° positioning options. At a distance of 2m from the wall, the 0.5 short-throw lens reportedly ensures the projector can achieve an impressive image size of 4.7m. At 3m, it can deliver the 7m full diagonal image projection.

Integrated DLP DarkChip3 and BrilliantColor technologies combine to create optimal black levels and colourful images with a dynamic contrast ratio of 20,000:1. In addition, the WUXGA laser projector is equipped with a 3D synchronisation port for compatibility with the passive 3D synchronisation protocol for infrared. The advanced laser phosphor light source is said to ensure optimal brightness and colour uniformity.

The lamp-free design boasts maintenance-free operation of up to 20,000 hours. Using the HDBaseT

rooms. Thanks to integrated NovoConnect features, such as wireless presentation and moderator functions, the projectors are suited for the BYOD era and do not require additional equipment. It is also possible to display up to four screens simultaneously, allowing up to 64 people to participate in a meeting. In addition, the all-in-one projectors provide cross-platform compatibility with Windows, macOS, Ubuntu, Android, iOS and Chromebook.

Staying in the meeting room, the DU857 DLP ultraportable projector with DLP and BrilliantColor technology delivers 5,000 lumens of brightness with 4,000 hours of lamp life. In addition, it has a six segment colour wheel which reportedly generates vivid and accurate colours, while viviBlack provides a user-controlled enhanced contrast ratio for detailed images. A user-controlled Colour Manager can be calibrated according to the content being displayed. A Direct Power On function automatically puts the power on when plugging the power cord into an outlet. It is also Crestron RoomView certified for simplified communications with remote control over an IT network.

DU4371Z-ST interface, the image signal can be transmitted to the projector over long distances by cable and a standard Cat-5e/6-LAN interface which has been integrated in the DU4371Z-ST for digital audio content. The projector is shipped with Crestron RoomView software for network monitoring and management.

In other news, the manufacturer has announced the release of two NovoProjectors, the DH3665ZN and DH858N, both of which feature integrated NovoConnect wireless collaboration capabilities. The projectors offer a 4,500-lumen light output and 1080p resolution and are designed for medium-sized meeting

www.vivitek.eu 1 17/12/2020 DH3665ZN ai160822001215_AUDAC-MFA-series-190x135mm-with-award-logos.pdf

New generation of single-chip DLP laser projectors comes of age WITH THE creation of the 23,000-lumen M-Vision 23000, Digital Projection has developed the world’s brightest single chip DLP laser phosphor projector to date. Designed to bring budget-sensitive applications a

16:46:53

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The DisplayPort accepts frame rates up to 60Hz and HDMI 1.4b for Side by Side, Frame Packing and Top Bottom 3D formats.

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large-screen imaging solution, the new lamp-free, laserphosphor projector provides a 10,000:1 contrast ratio and provides saturated colours with ColorBoost + Red Laser technology. Venues needing power ful, large-format imagery without sacrificing colour accuracy, in addition to those contending with ambient light, can directly benefit from the M-Vision 23000’s light output, contrast ratio and colourimetry.

The 0.96-inch DarkChip DMD comes with blue and red lasers and a four-segment colour wheel.

Edge Blend and Geometric Correction are standard features of the M-Vision 23000, including the ability to blend stereoscopic images. A complete suite of professional lenses offers throw ratios from 0.9:1 to 7:00:1, all featuring motorised shift, zoom and lens memory.

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WITH LESS All-in-one audio solution Visit audac.eu/mfa to find out more!

www.digitalprojection.com

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ATEM performs live streaming Magic CREATED FOR multi-camera productions and PC use in livestreaming via Ethernet, Blackmagic Design has added the ATEM Mini Pro ISO to its portfolio of production switchers. A five-stream recording engine allows separate H.264 video HDMI streams from a live production to be recorded in real time using multi-camera

video files which include metadata tags such as synced timecode and camera numbers. The HDMI output for projectors accepts desktop and lapel mics for interviews and presentations.

A miniaturised control panel comes with four input buttons for the selection of various sources, video effects and

Ross keeps in touch DESIGNED SPECIFICALLY for technical directors, Ross has unveiled the latest update to its Carbonite range of production switcher panels. TouchDrive is a new family of control panels and brings the same touch technology from smart phones to video production switchers. Every display on the control panel is touch enabled. These high-resolution displays, based on IPS LCD technology rather than monochromatic OLEDs that fade over time, reportedly make source and device control faster and enable functions like bus map creation without having to dive into menus. The new curved panel design is said to put every button within easy reach and the custom colour schemes enable users to configure and organise the panel look to their specific preference.

Ross virtual studio and augmented reality applications. Lucid comes with a new user inter face and is the first Ross product to feature the new Aura visual language that will be a key aspect of many future solutions. The inter face enables operators to design their own customised layouts, as well as save and recall layouts based on personal preference or production stage.

Several software updates have also been released. Ultrix V4.4 is the latest version of Ross’ Ultrix routing and AV processing platform and sees the introduction of Ultrimix-MXR, a full virtual audio mixer licence option. With 128 inputs and 64 outputs (partitionable into smaller mixers so users can have multiple instances within the frame), Ultrimix-MXR has access to any audio source in the system. It includes four-band parametric equalisers, noise gate and compressor/limiter on every input.

In addition, it has 128 direct outputs for simple audio processing as part of its standard feature set.

ATEM Mini Pro ISO features and saved in the DaVinci Resolve project file for editing and remixing following the event. Audio on each input can be recorded as a separate ISO file, while the in-built audio mixer supports limiting, compression and a six-band EQ. The ATEM Mini Pro model is equipped with record and streaming control in addition to output selection buttons that can change the video output between cameras, programme and multiview. On the rear panel there are HDMI connections for cameras or computers, extra

microphone inputs, USB for webcam out plus an HDMI aux output for programme video. The USB port operates as a simple webcam source and allows any streaming software to be adopted, while the ATEM Mini Pro model adds livestreaming and recording to USB disks. Each of the four HDMI inputs feature their own dedicated standards converter to automatically convert 1080p, 1080i and 720p sources to the video standard of the switcher.

Media pool images are saved with the

transitions such as dissolve, dip to colour, DVE squeeze and DVE push. An integrated DVE allows picture-in-picture effects and can instantly set up different pictures for commentary. With the ability to access every feature in the switcher, the ATEM Software Control App features a visual user interface with parameter palettes for making quick adjustments. For news or on-set presentation work, the ATEM Mini can be used as an upstream ATEM Advanced Chroma Key plus an additional downstream linear keyer.

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TouchDrive TouchDrive also includes a built-in DashBoard computer, enables integrated DashBoard control for various Ross products (such as XPression graphics, Ultrix routing and Tria replay) and reportedly features convenient power/display/control connections for an additional external display. Available in five different sizes, from a single-row, 15-button panel to a three-row, 25-button panel, TouchDrive replaces all current Carbonite Black models except for the compact Carbonite Black Solo.

The Lucid platform is a replacement to the UX solution and will become the primary configuration and control inter face for all

OverDrive V20 features a big update to QuickTurn, a tool to automate the production of segments for websites and social media. QuickTurn connects to the rundown in OverDrive and records a production live into a ser ver that automatically encodes and prepares clips of content for publication to the web.

Piero V16 is the latest version of the Piero spor ts analysis graphics system and has been updated to include suppor t for 4K-UHD and HDR. It also includes a Down and Distance feature for American football. www.rossvideo.com

Designed to connect video links directly from any ATEM Mini Pro model switcher, the ATEM Streaming Bridge decodes a live video stream before conver ting it back as SDI and HDMI video. Using H.264 codecs at low data rates promotes high-quality video that can be transmitted remotely over the local Ethernet network or via the internet globally. www.blackmagicdesign.com

Lucid

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V8.0 turbo powers Broadcast Pix systems V8.0 SOFTWARE is shipping on all new Broadcast Pix integrated production systems in addition to being available to download, allowing FX4 and FX6 users to upgrade to FX8 and FX10. Additional network inputs have resulted in the creation of the FX8 and FX10 BPswitch video switcher models. Each model comes with four external network inputs, eight internal inputs for clips, stills and graphics and four/six physical video inputs, respectively.

With v8.0, Zoom and teleconferencing streaming can be hosted, in addition to multicast livestreaming for up to five online destinations simultaneously. Enhanced

remote production features include realtime graphics editing and streaming and recording control from the Commander touchscreen. New H.264 and .mp4 recording formats can be shared and used amongst third-party systems and editing platforms. Visca camera control includes the auto-detection of NDI addresses and the audio mixer allows any Windows audio device to be used as a source. In addition, RoboPix and PTZOptics PTZ camera control is enabled through a serial or IP connection. www.broadcastpix.com

AJA streams, converts and updates AJA VIDEO Systems has developed Bridge Live to transport UltraHD or multichannel HD video between uncompressed baseband SDI to and from a wide range of streaming and contribution codecs (H.265, H.264, MPEG-2 and JPEG 2000) in real time. The plug-and-play gateway 1U solution supports a flexible array of containers and protocols, including SRT, RTMP/S, RTP, UDP and MPEG-TS. Bridge Live provides video processing with SDI encode or decode for one channel of UltraHD up to 60p or up to

four channels of 1080p60 simultaneously via four 12G-SDI connections that are also backwards compatible to 6G, 3G and 1.5G SDI. The openGear OG-ROI-SDI scan converter has been created for converting 3G-SDI

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inputs to 3G-SDI and HDMI mirrored outputs. The card features audio functionality, image scaling, aspect and frame rate conversion, together with image rotation including frame sync functionality.

Region of Interest support promotes the extraction of video source signals for scan convert, scaling and conversion to HDMI and SDI from SDI sources.

OG-Dante-12GAM is another openGearcompatible solution developed specifically for bridging 12G/6G/3G SDI sources with embedded audio to and from the Dante IP audio ecosystem with 64 channels of simultaneous bridging. The insertion of the OG-Dante-12GAM card creates a highdensity infrastructure solution for bridging Dante to SDI and back in large venue

production environments. Compatible with openGear frames, the card provides up to 640 channels of SDI/Dante audio bridging within a single 2U frame housing 10 cards.

Available as a free download, Ki Pro Ultra 12G v2.0 firmware brings several new improvements to the AJA Ki Pro Ultra 12G single-channel 4K/UltraHD recorder/player or four-channel HD recorder. The latest update introduces features that streamline high raster workflows with varied video input sources, including new input frame sync for genlock-free recording, and 8K link VPID to power 8K/UltraHD2 workflows when four Ki Pro Ultra 12G devices are used in tandem in 12G- or 6G-SDI mode. www.aja.com

Dejero shaken to the Core NEW VERSIONS of the WayPoint 50 and CuePoint 50 have been developed by Dejero as part of a portable flyaway kit to support a facility with its complete evacuation in response to social distancing regulations during the Covid-19 pandemic.

The WayPoint 50 single-output compact receiver reconstructs broadcast-quality video transported over multiple IP connections from a Dejero transmitter, decodes HEVC or AVC and outputs to SDI or MPEG-TS workflows. In addition to in-vehicle and portable kit installation, the WayPoint 50 is the ideal tool for stations that need just a single output for their broadcast workflow.

The CuePoint 50 return feed server sends low-latency live programme video and teleprompter feeds to on-air presenters, camera operators and other production personnel in the field. Serving as a link with central production during live broadcasts, up to eight output feeds can be viewed on tablets, smartphones or regular monitors.

The WayPoint 50 and CuePoint 50 can be

integrated into a portable flyaway kit and easily moved to any location to support remote production workflows.

software Hybrid Encoding Technology provides high-quality video in challenging bandwidth-constrained scenarios. Users of the

and EnGo 260 mobile transmitters and the WayPoint 104 receiver. A closed-captioning feature is also available for the FlexPoint

FlexPoint 111 transceiver can now transmit and receive resolutions up to 4K UHD at 60fps, with live bitrates up to 60Mb/s 4K UHD supported in both live and recording modes. The update also introduces two-way intercom communications to several other Dejero products, including the EnGo 1.3

transceiver and the new WayPoint 50 receiver.

With an additional hour of operation, users of the EnGo 260 transmitters benefit from three hours of live video transmission from the internal rechargeable battery.

The CuePoint 50 and WayPoint 50 Dejero has made the latest version of its Core software available for users. Version 5.4 software runs on all Dejero transmitters, encoders, transceivers and receivers together with Smart Blending Technology for enhancing the reliability of the connection paths and delivering greater bandwidth. The hardware/

www.dejero.com

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Datapath introduces IQS4 videowall splitter DATAPATH HAS created a new one-in/fourout splitter solution engineered for videowall applications, which when paired with its Image4K graphics cards, creates a solution for powering

videowalls consisting of up to 96 screens. The IQS4 splitter is said to reduce the total number of graphics cards needed, streamlining the videowall controller by reducing load and optimising capacity.

The splitter also gives integrators the option to distribute video in 4K and split the signals at the videowall rather than having to use separate, expensive extenders for every HD output.

The IQS4 can be flexibly mounted to suit a range of applications. VESA mounting is supported for direct mounting behind displays.

Where the IQS4s are hosted with the videowall controller, various rack-mount options are

available depending on the number of splitters required, and there is a standalone option for placing on desks, workstations or shelving.

“With the IQS4, we have used that same basic splitter technology to provide a reliable, discreet solution for powering large videowalls,” commented Ben Dale, product marketing manager for Datapath. “With zero configuration required, the IQS4 is a plug-andplay device which offers near-zero latency. By having true ‘splitting’ of quadrants, users and integrators can reduce cabling by distributing video content from the processor in 4K, and then splitting via the IQS4 at the videowall.” www.datapath.co.uk

Prism Player digitally bends the spectrum CREATED FOR media previewing and encoding, Avolites has debuted a software application called Prism Player. Designed to work as an auxiliary tool for the Avolites Ai video software platform, the application is the first release under the Prism product range. With the player’s clear user interface, Prism aims to expand its user base by introducing the discipline to a widening group of video designers and operators. The set of complementary tools aims to help designers integrate video into their individual projects, while improving the user experience for current Ai users. Prism Player’s tool allows the previewing and encoding of media clips without having to connect to a server or Ai application. The Player supports the HAP codec for clips from other servers to be

previewed and transcoded for use in Ai, which can be encoded in batches to save time.

Video clips in most common video formats can be encoded into the AiM codec, ready to be loaded into the server. Avolites devised the AiM video codec for projects requiring up to 16 layers of 4K content without losing visual integrity. Content rendered in AiM can also be previewed without uploading to a server.

The software also includes a playlist function to preview different pieces of content together.

In brief, Avolites has also released Titan v14 including features such as virtual faders, open workspace window overlay, mask effects, handle options and manual crossfade effects. www.avolites.com

Magewell updates and expands Pro Convert family

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DESIGNED TO expand the support for NewTek’s NDI media-over-IP technology, Magewell has added new updates for the Pro Convert for NDI to HDMI and Pro Convert for NDI to HDMI 4K standalone IP decoders. The upgrades have been created for applications such as multi-site video distribution, monitoring, image magnification (IMAG), digital signage, remote production and next-generation media infrastructures. Complementing the decoders’ existing support for full-bandwidth NDI streams, the free upgrades add compatibility with the lowerbitrate NDI | HX mode in NDI 4.

The Pro Convert NDI encoders and decoders can bring traditional video signals into and out of IP-based production and distribution workflows, enabling existing sources and displays to work in next-generation media infrastructures.

The Pro Convert for NDI to HDMI and Pro Convert for NDI to HDMI 4K decode NDI input streams for output to HDMI monitors, projectors, production or distribution equipment. In addition to NDI technology, the decoders also support SRT, RTSP, RTMP, UDP, RTP and

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Pro Convert 12G SDI Plus

Pro Convert for NDI to HDMI 4K HTTP (HLS) streams with H.264 or H.265 compression. The NDI | HX mode supports full-resolution, full-frame-rate video delivery over wireless and limitedbandwidth networks.

The Chinese innovator has also introduced a trio of new models within the Pro Convert family of low-latency, videoover-IP encoders and decoders. Designed to bridge traditional video signals with IP-based production, distribution and streaming workflows, the Pro Convert encoders and decoders enable existing sources and displays to work in nextgeneration media infrastructures.

The Pro Convert 12G SDI Plus encoder converts 4K/60fps, 12G-SDI input signals into full-bandwidth NDI streams, while the Pro Convert for NDI to SDI and Pro Convert H.26x to SDI decoders transform NDI, H.264 or H.265 streams into high-quality SDI outputs for connection to monitors, projectors and legacy equipment. www.magewell.com

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Claypaky heads to the theatre THE AXCOR Profile 600 Teatro is a newer version of the Axcor Profile 600 ST and features an updated cooling system with mechanisms that are said to significantly reduce the unit’s acoustical footprint (from 38dB to approximately 34dB ambient).

This fixture has been designed for venues where noise is a concern and offers a flat, uniform beam with no visible hotspots.

With the same physical features, size and effects as its Axcor 600 siblings, the fixture has a zoom range of 5.3–47.2°, CMY colour mixing, linear CTO, a fivecolour wheel, a rotating gobo wheel with seven gobos, a rotating four-facet prism, an interchangeable animation wheel, a motorised framing system on four focal planes, a variable frost filter, a highprecision iris, an electronic linear dimmer and an electronic strobe. It is available

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Axcor Profile 600 Teatro

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PRODUCTS

MA Lighting expands grandMA3 MA LIGHTING has introduced two new products for its grandMA3 onPC solutions: the grandMA3 onPC fader wing and the grandMA3 onPC xPort Nodes DIN-Rail.

The grandMA3 onPC fader wing has been designed to be the most suitable

a reliable backbone of synchronised data transpor tation. The Nodes can be configured remotely from any console or onPC station within the session to provide easy access to DMX output or DMX input.

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hardware playback expansion for the grandMA3 onPC software. In combination with this free-of-charge software, the grandMA3 onPC fader wing offers users full playback capabilities and adds 2,048 parameters to the grandMA3 onPC parameter count.

The range of grandMA3 onPC xPor t Nodes DIN-Rail have been specifically designed for increasing demands for in-fixed installation applications to build

The grandMA3 onPC software delivers the same software functionality as the grandMA3 full-size, light and compact models and has been designed for events and installations with a maximum of 4,096 parameters. The showfiles of the grandMA3 onPC solutions can be used across the entire grandMA3 system.

Chauvet expands Ovation CHAUVET PROFESSIONAL has revealed the latest addition to its line of Ovation house lights. The new, compact Ovation H-55FC offers versatility in houses of worship and other venues by fitting into smaller spaces.

The RGBAL fixture works with the larger H-605FC, as well as other Ovation house lights, to provide an even field of light throughout a room. The installation process is simplified with the removable fixture yoke, sconce mounting kit and recess.

The H-55FC features interchangeable lens plates to adapt to different mounting heights.

The convection-cooled H-55FC reportedly operates in complete silence, which makes it suitable for applications that need to eliminate distractive background noise. The fixture’s RDM and W-DMX control is said to provide users even greater flexibility.

The compact fixture weighs in at 3.4kg and measures 334mm x 176mm x 115mm. It features an array of performance features, including 16-bit dimming, a selectable red shift and virtual colour and colour temperature presets.

In other news, Chauvet has released the IP65-rated COLORado Batten Q15 which comes with an array of rigging options said to make it right at home in a wide range of designs. The adjustable trunnions on this 1m-long RGBW LED batten, which can be adjusted without tools on its integrated track, have reportedly been given an even greater degree of versatility with the addition of ¼-turn omega brackets.

Adding to the COLORado Batten Q15’s adaptability is a new system for joining different units together. Integrated into the end caps of the fixture is a system to

H-55FC connect units for perfect row alignment.

Since these attachments are weight bearing, the COLORado Batten Q15 can be hung “icicle style” or arranged in tower configurations using the included hanging/ floor mount plate. Features include an elliptical 42–15° beam spread, a stowable glare shield, colour temperature presets from 3,200–10,000K and selectable smooth dimming curves. www.chauvetprofessional.com

www.malighting.com

COLORado Batten Q15

e in two different CRI versions: the Axcor Profile 600 Teatro has a CRI of 70 and an output of 28,000 lumens at 6,500K and the Axcor Profile 600 HC Teatro has a CRI of around 90 with an output of 21,000 lumens at 5,600K. Claypaky’s second addition is the HY B-EYE K25 Teatro, which is a special version of the HY B-EYE K25. Like the Axcor Profile 600 Teatro, the newer version is designed for venues that need quiet operation without sacrificing bright colours.

The HY B-EYE K25 Teatro has the same optical, electronic and mechanical features as the HY B-EYE K25 but changes have been made to the overall design to reduce the acoustical footprint. This luminaire has 37 40W Osram Ostar RGBW LEDs, a zoom range of 4–60°, a uniform light spread and a rotating front lens with an enhanced

electronic engine for dynamic beam pattern design. Individual control of each single LED is said to produce kaleidoscopic projections and eye-catching effects. The

Kling-Net protocol reportedly enhances creativity and simplifies the management and synchronisation of LED light parameters and functions.

Lastly, the MIDI-B is Claypaky’s new LED-based moving head luminaire with 19 Osram 40W RGBW LEDs. With a zoom range of 4–50°, the fixture has been developed for a wide variety of applications.

The narrowest angle is ideal for aerial effects as the beam produced is ultradense and concentrated. At its widest zoom, the MIDI-B turns into a uniform wash light and can replace the heavier and bulkier fixtures. The 19 LEDs are arranged in three independently controllable rings, which can be used for bright back lighting effects. Other features include colour macros, a 2,500–8,000K colour temperature control range, a 16-bit dimmer with four curves, a 25 flashes per second electronic strobe and Ethernet access.

HY B-EYE K25 Teatro

MIDI-B

www.claypaky.com

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PRODUCTS

PR Lighting move outdoors WITH THE unveiling of the Aqua Marine 580 BWS and Aqua Marine 580 Beam moving heads, PR Lighting has added two new IP66rated outdoor moving models. A double-layer special coating of the chassis accompanied

by PR’s sealing system reportedly makes the marine-grade fixtures resistant to a wider range of corrosive media, promoting their use for projects close to or in sea water.

Housing either a Philips MSD Platinum 25 R lamp or Osram Sirius HRI 550W XL, both the Aqua Marine 580 BWS (PR-2596) and 580 Beam (PR-2568) are fully featured. Colours include a CYM linear mixing system with macros, a colour wheel with 12 colour filters, Rainbow effect with bidirectional and variable speeds and stepping/linear colour changing while the filters can be in any position.

Both moving heads accommodate one fixed gobo wheel and a rotating gobo wheel with seven interchangeable rotating gobos, bidirectionally rotatable and shakeable at

Aqua Marine 580 BWS

Aqua Marine 580 Beam variable speeds. There are four different facet prisms, which can be overlapped. The graphic effects wheel offers bidirectional rotation with variable speeds and can be overlapped with the fixed and rotating gobo wheels. Features also include an independent frost filter.

Other functions include DMX linear focus and zoom, 0–100% dimmer and double shutter blade strobe. Head movement consists of 540° (pan) and 270° (tilt), with auto-position correction. The 580 BWS’ light angles are 0–2° (beam), 2–40° (spot) and 3–50° (wash).

The 580 Beam has a dedicated 2° beam angle. Ancillary features include adjustable pan and tilt speeds, lamp/fixture hours displayed, RDM protocol, optional Art-Net and wireless DMX512. The dust- and waterproof cast aluminium fixtures are also suitable for high temperatures and resistant to marinegrade corrosion and neutral salt spray for up to 1,500 hours.

Calibrated colour matching ELATION HAS expanded its Fuze series with the addition of its automated LED Fresnel fixture, the Fuze Wash FR. The fixture is designed for any applications where an automated Fresnel fixture with a wide zoom range and framing beam control with a soft field is required.

It features a new 480W (6,500K) 92 CRI engine that uses a five-colour homogenised LED array of red, green, blue, mint and amber sources, which is the same colour system used in both the Fuze Profile and Fuze Spot to provide a calibrated colour match.

Colour quality and colour manipulation are central to Elation’s Fuze Wash FR. With the inclusion of a virtual gel swatch book, virtual colour correction, magenta/ green adjustment and CMY emulation, it gives designers access to a wide LED colour array, including a mixed white.

Both the RGBMA LEDs and extremely high native CRI reportedly work together to ensure accurate colour reproduction while delivering an output of up to 14,000 lumens.

The Fuze Wash FR features a specially designed Fresnel lens for a smooth and even wash and houses an 8.2–42.1° (beam) and 12.7–62.1° (field) motorised zoom for tight to wide coverage. The full blackout framing system with four rotating blades gives full control of the beam shape when required and can index ±60°.

An add-on variable frost filter is featured for an extra layer of smoothing. The 16-bit selectable dimming curves assist with the fixture’s ability to dim all the way to zero.

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The iris for advanced beam control and the high-speed electronic shutter and strobe round out the feature set.

In brief, Elation has unveiled the Polar Crisp Max, a high-output snow machine with a 20l fluid tank hidden inside a road case. The unit’s 10m hose can be rigged on a standard truss or tripod stand and can extend up to 30m horizontally or vertically. www.elationlighting.com

Fuze Wash FR

www.pr-lighting.com

Fresnel added to fos/4 series

ETC HAS announced the arrival of the fos/4 Fresnel which, according to the manufacturer, has been designed to take the most desired features of an incandescent Fresnel and add nuanced colour mixing, smooth fades and LED technology to create a true Fresnel with an LED engine. The 15–50° zoom can be adjusted from either the front or the rear of the fixture, while the accessory slot can be used to add any number of beam-control accessories, such as barn doors or soft boxes. The adjustable yoke is said to enable easy balancing of the fixture after focus and the homogenised optic gives users a “seamless beam of light”. Remote control and contactless features include wireless communication using City Theatrical’s Multiverse technology and contactless programming using ETC’s Set Light app via NFC from a mobile device. fos/4 Fresnels are available in two arrays: Lustr X8 for the full gamut of colour mixing and Daylight HDR for the brightest whites. Both arrays include deep red LEDs for nuanced rendering of skin tones, fabrics and scenery. The fos/4 Fresnel outputs up to 9,700 lumens and currently comes with a 7-inch aperture, with 10- and 5-inch variants scheduled to be available in the coming months.

kit with canopy, complete with internal wiring to provide a clean finish. The new Pendant option provides a full-range 100–277V input along with an optional, UL 924-listed variant to take care of emergency egress requirements.

Finally, the ArcLamp LED solution has received an upgrade with the addition of a new Flicker variant as well as new driver options. The Flicker lamp creates a 2,700K Fade to Warm effect by flickering randomly to imitate candlelight. Flicker lamps can also be used at constant brightness by changing the DMX value on its single control channel. www.etcconnect.com

fos/4 Fresnel In other news, ETC has added the ArcSystem Pro Four-Cell Pendant to its family of architectural LED luminaires.

With this solution, the line now features both Four-Cell Round and Pendant options, depending on a facility’s mounting needs.

The Four-Cell Round gives users a choice of hanging hardware, such as a clamp, threaded rod or aircraft cable to be secured to the fixture’s captive hanging point. The Pendant option includes a traditional stem

ArcLamp Flicker

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PRODUCTS

From daylight to tungsten FITTED WITH a full range of white reproductions from daylight through to tungsten tones, the EclPanel TWC and EclPanel TWCJr from Prolights are LED soft lights that provide a wide source of soft and precise colours. The EclPanel TWC (2x1; 740W) and EclPanel TWCJr (1x1; 370W) reportedly reach a superior light quality with high CRI, TLCI and TM-30.

The fixtures are said to provide quick and accurate local adjustment of light through three rotatory knobs with three fully featured modes: CCT with ± green shift; HSI for total control of hue, saturation and

intensity; and FX mode to access the onboard pixel cinema effects. The units can also be controlled on a per-section basis, allowing for reproduction of on-board customisable effects or to be self-made through the lighting desk. Both methods are said to provide appealing and modern front looks and cinematic special effects.

The LEDs are designed with an on-board driver and built-in power supply and, being lightweight, they reportedly offer easy rigging and cabling for a variety of locations. www.prolights.it

EclPanel TWC

ADJ presents an Encore ADJ HAS introduced its new range of Encore Profile Pro professional LEDpowered ellipsoidal fixtures, complete with a wide selection of lens options.

The Encore Profile Pro WW features a 260W warm white LED light source with a colour temperature of 3,200K. It boasts a high CRI of more than 97 and can generate an even field of light, with no hot spot. The new fixture measures a total light output of 10,000 lumens, while the LED engine has an average lifespan of 50,000 hours when operated with a 26° lens.

The new ellipsoidal utilises a 250W six-in-one RGBWAL LED engine, with a 50,000-hour average operational life. The use of the independent dimming allows control of the red, green, blue, white, amber and lime LED elements to generate a spectrum of colours, from vibrant primaries to subtle hues. This feature can also be used to produce colourcorrected white light, with a macro function providing a selection of different Kelvin colour temperatures. The fixture has a light output of 6,000 lumens (measured with a 26° lens) and offers a CRI of more than 90.

These fixtures are interchangeable with ADJ’s range of lens tubes. The industry-standard design means they can also be used with any

existing ellipsoidal lenses and accessories.

Both the models support B size metal or HT transparency gobos with a four-blade manual framing shutter system as well as a manual focus adjustment. The two fixtures offer smooth 0–100% digital dimming and variable speed strobing. A number of different dimming curves can be used.

The two fixtures offer DMX channel modes: 1, 3 or 4 for the Encore Profile Pro WW and 6, 9 or 12 for the Encore Profile Pro Color. The DMX addressing and mode selection can be handled via an LED menu screen on the back of each unit, while five-pin input and output sockets are provided for the DMX signal. On the rear panel, operators can find the locking power input and output connectors which can be used to connect the power supply for up to three fixtures at 120V (eight at 240V). www.adj.com

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BUSINESS: ANALYSIS

All change

As AV and ICT converge, is the way we deliver our services overdue a change? Peter Hunt, CEO of global AV, IT and acoustic consultancy Hewshott International, looks at how the AV industry should use the rapid changes forced by 2020’s pandemic to move to a different model WHILE PARTS OF THE AV MARKET REMAIN BUOYANT, others have been hit hard. One market researcher puts the global AV market at US$15.1bn in 2020 while another has it at $246.5bn – a huge difference, which I suspect is down to the definition of AV. Whether we are a $15bn or a $246bn business, we are growing at an annual rate of 12%, yet don’t sit squarely in the established departments of ICT (information and communications technology) or facilities.

Going back 12 months, adoption of new technology in any corporate environment required technical and risk assessments and a rollout plan. Within the last 12 months,

We must push at this newly opened door and lead change in the way AV is delivered many organisations have delivered the seemingly impossible: fully functioning AV systems delivered in days or weeks, not years. While accepting there are risks, the need to keep the cogs of industry turning during a pandemic won out. The realisation that it’s all worked out OK is the dawn of a new era. AV has stepped up and delivered, and, in removing the barriers, traditional blockages that have been bypassed are very unlikely to return.

This success has largely been down to an acceptable compromise in video and audio quality, availability of good products and the impetus to get it running over the network.

A recent Hewshott AV project in India

The former has been coming for years, but the latter is probably the biggest game changer. While most of us in AV strive to create quality solutions that are simple to operate, even if they are complex behind the scenes, the rollout of an IP-exclusive solution has mostly evaded us, so we must push at this newly opened door and lead change in the way AV is delivered.

The ICT industry dwarfs AV. Whether we sit at $15bn or $246bn, the ICT industry’s annual growth alone is around $150bn (2020) and climbing, with an estimated annual spend of between $2.5tn and $3.8tn. This is around 10–15 times the size of the AV industry, with mature qualifications and delivery methods that are the mainstay of most businesses and millions of careers. Physical hardware that requires services has been the backbone of ICT solutions across multiple industries but is largely invisible to the dayto-day user. Without it, most businesses would stop working pretty quickly. Switching to cloud-based technologies just moves some of the physical requirement into data centres; the need doesn’t go away.

This gives rise to the expectation that ICT, whether onpremises or remote, is standard stock that can be procured in high volumes at low margin. It’s the mandatory support and maintenance service agreements that generate income streams – ICT is mission critical, and AV is becoming increasingly so, as we’ve found out recently.

As AV becomes part of ICT, there is a ready-made implementation methodology as well as a digital highway that enables AV systems, whether on-premises or cloudbased. This begs the question: why would AV not make the most of this? If AV was invented today, it would be an ICT device and procurement, service and operations would be aligned to the existing ICT model.

But there’s a danger that AV is seen to be just another network appliance. While businesses have stepped out of their comfor t zone to sur vive 2020, the client procurement of ongoing solutions will likely see a return to traditional processes, with AV in the ICT sphere. While this should work in our favour, the challenge lies in protecting core AV skills; categorising all AV as just another network appliance would be a mistake.

Then there’s the third way: construction contractors who have long delivered WAPs, racks, network cabling and active equipment within their scope of work, the physical installation. Will IP-based AV equipment such as nextgeneration IP speakers and microphones follow suit?

Will it be extended to include IP cameras, screens and the emerging USB devices? I’m seeing a future where IP-based AV devices in 100 meeting rooms are physically installed by main contractors who are increasingly tech savvy.

This could get messy – the proliferation of off-theshelf, seemingly good plug-and-play solutions comes at a reputational or functional cost when incorrectly sourced. The AV industr y needs to make sure we’re seen as a decent meal not a fast-food takeaway. The magic of pictures and sound, the emotive atmosphere that exemplar y AV creates in a space, has a physical and vir tual requirement. A quality AV experience isn’t created with $99 devices from the local computer store, but it’s not racks full of AV hardware either.

Will the AV industr y sur vive in its historic state? Probably not. Will the supply chain bend to market pressures to sell products to non-traditional AV channels to ensure they are sold into a project? Probably, and there’s evidence it’s already happening in some par ts of the world. If this is the way the market is going, what’s next? Firstly, consultants have a role to play in steering this transition to maintain quality and accountability for the final solution. Detailing a prescriptive design is aligned to the architectural space where ever y detail is itemised to protect the integrity of the client’s AV experience. Early engagement with architecture and immersion with the client’s ICT depar tment will avoid a glorious mess.

Integrators of today will be different tomorrow. The supply of hardware will probably become a smaller par t of their business, with multiple ser vice offerings being the larger par t. As IP routing and switching of AV becomes the norm, programming capability and network architecture fluency will over take the physical element of any AV installation.

Some clients will continue to deliver in the traditional way, and there will be specialist projects where this approach is warranted. The rapid uptake of AV technology over IP in the last 12 months points to a different approach and therefore deliver y process. There is no per fect solution, but the tide has turned. To preser ve the unique nuances of AV, we must swim with, not against it. www.hewshott.com

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STUDIOLIVE SERIES III ECOSYSTEM AVB-Networked Hardware for Live and Studio

EXCLUSIVE distributor for UAE, Qatar,Oman, Kuwait and Bahrain SHOWROOM NO.6 BHATIA BROTHERS BUILDING, AIRPORT ROAD, GARHOUD, P.O BOX 105, DUBAI, UAE +971 4 268 4575 | WWW.VVSONS.COM/PRO

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K3

Full-Range. Compact. No Compromises.

Introducing K3: a versatile loudspeaker satisfying all your requirements for mid-size events and venues without any compromises.

Completing the K series line, K3 boasts an optimal mechanical design for reduced weight, Panflex™ variable directivity, laminar vents for a powerful, linear low-frequency response down to 42Hz, and class-leading SPL. Optimized for audiences of 1,000 to 10,000, K3 reduces the need for amplification and dedicated subwoofer, making it faster, more straightforward, sustainable, and economical to deploy. It’s ready for your next event. l-acoustics.com

L-Acoustics_K3_Pro AVL Asia_245×335_EU.indd 1 Untitled-1 4

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