ProAVLMEA January–February 2024 MICA (P) 016/05/2023
LIVE SOUND LIGHTING RECORDING INSTALLATION AV BROADCAST POSTPRODUCTION January–February 2024
LUSAIL CIRCUIT SPRINGS TO LIFE All systems go in Lusail as the F1 comes to Qatar
ELEVATING THE EXHIBITION
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CHOOSING THE RIGHT AMP
THE FUTURE OF VENUES VISION BEYOND RDL PROFILE AUDIO AT SAE Singapore: MICA (P) 016/05/2023
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Contents
Volume 21 Issue One
January–February 2024
Editor’s Letter It’s hard to believe that yet another year has already passed us by – and 2023 has been quite a 12 months. For many it was the year that computers and AI finally began to encroach on the world of AV, with ChatGPT becoming a household name. Luckily, I imagine that most of us still have a few years left before our jobs are on the line, but the technology – particularly in applications like the boardroom – is becoming smarter and smarter by the day. Regionally, the Middle East has had its fair share of ups and downs in 2023. When the UAE and Israel signed the normalisation agreement
back in 2020, it signalled a new period of stability that paid dividends for industries across the board. That stability has been put in jeopardy given recent events. Local companies I’ve spoken to recently have already reported renewed uncertainty over long-term orders as companies prepare to wait the situation out. Thankfully, supply chain issues hanging over from the pandemic are no longer a serious issue being faced. So, I’m raising a glass to 2024 and the hope for regional politics to once again disappear into the background. Wishing you all the best for a peaceful and prosperous new year!
Email: sluckhurst@proavl-mea.com
NEWS 4 News 22 Powering down with Isabelle Wear 24 Listen Technologies on neurodiversity 26 Kramer special report 4 28 Distribution 30 Appointments FEATURES 32 A change of scene for Flair 34 Making a statement 36 COVER Lusail Circuit springs into action
32
40 Bridging the physical and remote 42 Elevating the exhibition 44 Coming Soon BUSINESS 48 MFA company profile
50 34
50 Letters 52 RDL company profile 56 AES/NAB New York show report
54 44
Follow us on social media @ProAVLCentral
58 Choosing the right amplifier
Contact us
NEW PRODUCTS 61 The industry’s most comprehensive product news
Richard Lawn
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ANALYSIS 86 David Claringbold explores the future for venues Published by: LICENCES: Singapore: MICA (P) 016/05/2023; Malaysia PPS 1604/05/2013 (022953) 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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January–February 2024 PRO AVL MEA 3
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NEWS
Lusail Winter Wonderland keeps its finger on the pulse
Harman Professional acquires Flux:: WORLD
QATAR
Situated in the heart of Qatar’s entertainment hub, Al Maha Island, is Lusail Winter Wonderland, a theme park featuring over 50 rides and attractions, food and beverages, live entertainment and retail outlets. The attraction is organised by IMG International, the company responsible for London’s Hyde Park Winter Wonderland. Last year marked the first edition of Lusail Winter Wonderland, which was said to have been a success. Naturally, organisers felt the pressure to deliver a sense of magic and grandeur on an even larger scale. Pulse Middle East was responsible for bringing the event to life. The park featured 200m2 of outdoor LED screens, 400 RGB lights and hundreds of Prolights moving heads, as well as an array of LD Systems and TW Audio speakers across 30 zones within the space. The team had to take care of planning locations, Dialux calculations for lighting coverage, producing EASE Focus layouts for audio coverage, planning VLANs over the AV fibre networks for six AV rooms and creating schematics and wiring diagrams to support the event over a six-month period. From water projectors on an ice rink in the desert to rollercoasters on a man-made island, the complexities of these attractions meant
that there were last-minute changes and additional requirements needed, which did initially prove challenging for Pulse. The park runs automatically daily with scheduled power ons, screen information, audio playbacks, lighting and sound controls and shutdowns using PixiLab Blocks task management. A script is used to integrate the local prayer time to automatically switch off the music in the park and show prayer time information on-screen. Drivers are added to Blocks to control Resolume Arena, Q-SYS, ChamSys, Visual Productions, Novostar and Modbus devices.
Q-SYS was selected to route audio across six different cores, enabling priority audio for emergencies and special events, while Dante audio feeds from each ride’s cabin facilitated control of sound. “In the beginning, the project scope seemed simple, but Pulse Middle East’s team worked tirelessly to create a truly immersive experience. From multimedia outdoor LED screens to intricate lighting and audio, their dedication and expertise were remarkable,” said Greg Brown, director of operations at Pulse Middle East.
pro.harman.com
played at very low levels, while still being heard everywhere, with no hot or dead spots.” To support the HH Electronics Tessen TNi-W8 Pros, De Vrye included five HH Electronics TRS-1500 Tensor Series powered subwoofers. “Once we achieved the distribution and clarity we were after at low levels, we knew the system had the room to achieve the high-energy vibe we wanted after dinner.” De Vrye explained his reasons for selecting HH Electronics: “I was introduced to the brand about a year ago by ApexPro, the brand’s distribution partner in Southern Africa. I was immediately impressed with the high quality and robust design of the installation speakers on offer, which come at a surprisingly competitive price point for the quality they deliver.”
SOUTH AFRICA
management, by ensuring that other tenants in the mall were not negatively affected by audio spillover from the venue. De Vrye specified eight HH Electronics Tessen TNi-W8Pro wall-mounted loudspeakers to serve as the heart of the system. “We wanted to ensure that we achieved even coverage throughout the interior of the lounge, including across the bar area, the dining booths on the outer edges and the more open atrium at the front of the restaurant,” he explained. “One might argue that eight loudspeakers are a lot for a venue of its size,” De Vrye pointed out. “However, we wanted to achieve a very clean, even coverage,
www.flux.audio
www.pulse-me.com
White chooses versatility for Melville lounge White, a brand specialising in lounges that combine luxury dining with entertainment, has opened its second space in Melville, said to be one of Johannesburg’s trendiest suburbs. With its first lounge in Sunninghill, Sandton, White has reportedly gained quick popularity, so consistency in quality was key. The owners specified an audio system that could produce high-quality, evenly distributed, ambient dinner music but also cater for lively post-dinner events, and White called on Pieter De Vrye of De Vrye Automation to deliver this. As well as fulfilling the brief, De Vyre had to factor in the strict parameters set by Campus Square
Harman Professional Solutions has entered into an agreement with Flux:: Software Engineering, a company specialising in immersive audio production, audio plugin design and audio analysis. Broadening Harman Professional’s offerings and also bringing together both companies’ teams of hardware and software engineers, the purchase will include Flux::’s solution across live production, content creation, installation sound and postproduction. “The Flux:: acquisition is part of a technology investment Harman Professional is making to bring outstanding immersive experiences for live and recorded productions,” said Brian Divine, president, Harman Professional Solutions. “From creation to real-time immersive delivery, we aim to empower artists, designers and engineers with a comprehensive product offering across the entire system. The foundational technology developed by the talented Flux:: team opens many opportunities for future integration with our portfolio of brands.” French manufacturer Flux:: was founded in 2006 by sound recording engineer and current CEO, Gaël Martinet. Now, the portfolio of nearly 20 products is used globally by professionals across many applications. “The future integration of our software technology with Harman’s industry-leading brands make for exciting opportunities not only for touring applications, but for installed audio where spatial audio will play an increasingly important role,” said Martinet. “We’ve been pioneering and engineering immersive audio solutions for many years and to be among these Harman brands is very compelling for our team and customers.”
and therefore decided to go with more loudspeakers distributed strategically across the venue. As a result, the system can be
www.apexpro.co.za www.hhelectronics.com
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NEWS
Røde acquires Mackie WORLD
In a deal reportedly valued at US$120 million, Røde Microphones has announced the acquisition of Mackie from Transom Capital. The addition of Mackie to a portfolio including Aphex, Event, Røde and SoundField, significantly enhances The Freedman Group’s audio production ecosystem. Mackie’s Melbourne-based chief technology officer and respected engineer, Danny Olesh, also now joins Røde. “I am absolutely thrilled to welcome Mackie to The Freedman Group’s roster of iconic audio brands,” commented Røde founder and chairman, Peter Freedman. “They are true legends, with a pedigree of live sound expertise that is simply unmatched. With this acquisition, The Freedman Group is now a premier audio technology company offering world-class products to an even wider range of customers, from up-and-coming content creators to professionals working in live production and everyone in between.” Current Mackie CEO, Alex Nelson, added: “Having worked in the audio industry for many years, I have always held Røde in high esteem. Their manufacturing capability and technology leadership is second-to-none in pro audio and I think they are the perfect partner to help Mackie expand as we enter an exciting new chapter in our history.”
PRO LAB brings Martin Audio Demo Day to Dubai UAE
PRO LAB recently held a Martin Audio Open Day for live sound professionals in Dubai. Taking place at the PRO LAB Experience Center, the event provided an opportunity for guests to receive the latest updates on the British loudspeaker manufacturer’s portfolio, as well as to hear the new products first-hand through a series of live demos. The event was aimed at rental and systems integration partners, of which around 30 attended – some new and some already familiar with the brand. “We are thrilled to declare the Martin Audio Open Day a resounding success,” commented Rami Haber, CEO of PRO
www.mackie.com www.rode.com
L–R: Robin Dibble and Pavel Shemiakin
LAB. “It was a day filled with innovation, inspiration and a shared passion for audio excellence. Our team worked tirelessly to create an immersive experience, showcasing cutting-edge audio solutions, and the positive feedback from attendees affirms our commitment to delivering top-notch events that push the boundaries of what’s possible. We look forward to continuing to elevate the audio experience for our clients and partners in future endeavours.” The Martin Audio technical team guided attendees through their line-up and showcased some of the tools available to help design and operate the systems effectively, such as Display 3 Optimisation Software. Highlights included the BlacklineX and BlacklineXP Series portable systems, the flagship FlexPoint Series, TORUS Series
constant curvature arrays and Wavefront Precision. PRO LAB’s head of audio, Pavel Shemiakin, said: “This event gave a great opportunity to personally experience and hear the new flagship FlexPoint and Wavefront Precision series of products alongside other systems from the brand’s portfolio.” “It was great to be in Dubai for the first time, and to have such a warm welcome from the team at PRO LAB,” added Martin Audio product support manager, Robin Dibble. “An engaged audience for the open day was good to see, with plenty of questions and opportunities for learning for all.” www.martin-audio.com www.prolabllc.com
Celebrating Bulgari’s Serpenti collection UAE
Italian luxury fashion house Bulgari has relied on Digital Projection’s TITAN and M-Vision range to give Dubai’s Gate Building a serpentine makeover to celebrate the 75th anniversary of its Serpenti collection. Founded in 1884, Bulgari is famous for its jewellery, watches and accessories. As part of a worldwide tour, Dubai hosted Serpenti: 75 Years of Infinite Tales to celebrate Serpenti’s heritage. Projection mapping expert company, Artabesk, implemented an immersive projection mapping show held at the Dubai Financial Centre (DIFC). The Gate Building stands at 72m x 66m (HxW) and is a national landmark that symbolises the flow of investments into and out of the region. Artabesk specified 10 Digital Projection TITAN Laser 37000 WU 3-Chip DLP projectors, complemented by eight 1-Chip DLP M-Vision 23000 WU projectors. The show featured a stage platform, created by Artabesk, to rig the projectors and angle them towards The Gate Building. The company also double stacked 1-Chip DLP M-Vision laser projectors in order to reach similar brightness levels as one TITAN 37000. “We didn’t have enough TITAN 37000 projectors, so we decided to double stack the M-Vision 23000 WUs,
which was very straightforward thanks to their integrated stacking mechanism, meaning we didn’t have to use any additional rigging frames,” explained Mounir Harbaoui, managing director, Artabesk.
“Once we stacked the projectors, we aligned them and adjusted the brightness with the help of our media server.” Harbaoui anticipated extremely harsh weather conditions, what with the event
running every night for over a week under 80% humidity, coupled with high levels of ambient light in the area. “Light pollution always affects projection mapping shows,” he explained. “We asked the surrounding venues to try and reduce the light around The Gate Building and even though there was still a significant amount of light pollution, we anticipated this challenge and were ready for it with the bright TITAN projectors.” Alongside Digital Projection projectors, Artabesk chose a Dataton WATCHOUT media server to deliver the video content for Serpenti: 75 Years of Infinite Tales. Harbaoui said: “Serpenti’s 75th anniversary projection mapping show not only provided us with the privilege to work with an iconic luxury brand but also challenged us technically to project content from the ground to The Gate Building at a short distance, seamlessly accomplished by Digital Projection’s technology.” He emphasised that the “end result was a resounding success by delivering the project’s ultimate goal to leave a powerful luxury experience to the guests who came to celebrate the brand”. www.digitalprojection.com
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NEWS
FBT amplifies cultural venues throughout Sari
IRAN
AV and lighting specialist Farestech recently installed a series of sound systems throughout Sari in Iran as part of a contract with the Ministry of Culture and Arts. This included a theatre hall that can hold 612 people, a
165-seat music hall and a cinema and convention hall with a capacity of 190. Building acoustics have proved challenging throughout the process, as the halls are situated near busy streets, and a noise-free
environment is a key requirement to venues of this kind. Technical considerations had to be made, ranging from the design of the building itself, sound absorbing materials and placement of acoustic panels. The Farestech team decided to build a second wall to prevent audio noise from outside. And to ensure what it deemed to be good sound quality throughout each space, Farestech selected a range of products from FBT. The theatre hall included 20 Muse 210LA line array systems, eight Subline 218SA, four Ventis 206A as near-field speakers and four Ventis 115MA as audio monitors for the stage. The music hall was completed using the HORIZON Series – specifically five Horizon VHA 406A for satellite, in horizontal configuration, two Horizon VHA 112SA subwoofers and a Ventis 115MA for audio monitoring. For the cinema and convention hall, two HORIZON VHA line array systems were chosen, as well as six VHA 406A and two VHA 112SA in vertical configuration.
The theatre hall Sound engineer Mr Modarres said: “We experienced one of the best sound systems we’ve ever heard, due to good room acoustics and the choice of equipment.” The client requested that the halls underwent an assessment by the Road, Housing and Urban Development Research Center to ensure that they met official acoustic and sound system parameters. The results were said to be outstanding, and the team received praise from project manager, Amir Mosleh. www.farestech.com www.fbt.it
Bosch realigns and refocuses WORLD
Bosch has announced that it is realigning its Building Technologies division, with the division set to focus on its regional integrator business – which encompasses solutions and services for building security, energy efficiency and building automation. The company plans to sell most of the Building Technologies division’s product business, which includes the video, access and intrusion and communication business units, in turn affecting some 4,300 associates at more than 90 locations worldwide. Bosch is now looking for a buyer who will take on all three business units together with its associates and locations. The product business with fire-alarm systems, however, is not to be sold, instead being merged with the integrator business. “We want to become one of the global leaders for systems integration in building technology and to seize the favorable opportunities for growth in this market. To
achieve this, we need to consolidate. This is why we will in the future be focusing on systems integration as our core business,” said Christian Fischer,
deputy chairman of the Bosch board of management. “We are confident we will be able to find a buyer who will take over all three business units, and who will
further strengthen the business and give it a secure future.” Thomas Quante, president of Bosch Building Technologies, added: “The product business is excellently positioned for a promising future under a new owner: innovative products, highly skilled associates and a market environment with attractive opportunities for growth.” Following the realignment, the Building Technologies division will employ some 7,600 associates and operate at 40 locations in eight countries. As a brand-independent systems integrator with a wide-ranging portfolio of energy and building solutions, the division intends to benefit in the future from digitalisation and a growing customer demand for integrated, intelligent and cross-domain solutions in the areas of building security, energy efficiency and building automation. www.boschbuildingtechnologies.com
Masterpiece hosts packed Harman event UAE
Masterpiece recently conducted an event co-hosted by Harman, held at Inter Place, Intercontinental Festival City, Baraha Ballroom. Five representatives from Harman were on-hand to provide company updates, as well as demos for recently launched products. Over 300 participants from various AV, retail, events and touring companies were also in attendance, with a particular emphasis on rental and install. Simon Daniel, general manager of Masterpiece, welcomed the group, before Harman’s Stefan Lewis hosted a live demonstration of Intellivox. Harman’s Andy Legg then led a live display of the Soundcraft Ui24, followed by an interactive presentation on performance audio and technologies by
Harman’s Ed Jackson. Fellow colleagues John Church and Takis Tsonopoulos were also in attendance. The day concluded with a quiz on everything the guests learnt that day, with prizes on offer for the winners, as well as a dinner accompanied by performances from a saxophonist, a violinist and a DJ, who kept guests entertained throughout the day. The event, which had been a long time in the planning, was very well received. “This was our biggest event to date with an attendance of over 300 people,” said Daniel. www.masterpieceproav.com pro.harman.com
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NEWS
S
Melomani brings Turkish AV industry together TURKEY
Turkish distributor Melomani recently hosted more than 500 live sound and audiovisual professionals from the live and install market for a two-day event at the Amon Hotel in Antalya. The Waves, DAS Audio, Starway Lights, Lewitt, JTS, Rhyno and Pequod distributor rented out the entire hotel to create an exhibition fully showcasing all of its brands, complemented with focused conferences for Waves and Starway delivered by representatives of each brand.
surely beats a booth in an expo,” explained Nadiyam. “For us at Waves, it was a great opportunity to talk to our clients – something that has been rare since the pandemic. Spending time with these audio professionals in a resort environment while also getting focused time in a function room led to many meaningful conversations. Hasan and the Melomani team pulled off a very well-organised event in a highly commendable fashion.” www.melomani.com
L–R: Hasan Dündar and Ravisankar Nadiyam “We hosted fair stands for each of our brands that were open from 9am until midnight, but apart from this we also gave attendees a range of different activities to experience across the two days,” explained Melomani owner, Hasan Dündar. “On the first day, Waves regional sales manager, Ravisankar Nadiyam, delivered a conference for sound technicians and tonmeisters that even featured a guest appearance from Iron Maiden’s FOH engineer Ken Pooch, who joined us at the conference via zoom from the US. Turkish technicians had the privilege of being able to ask him questions directly.” To cap off the opening day, a large stage and screen were set up outside, and a
launch party was held for DAS Audio’s newest loudspeaker model, the ARA series, which consists of the compact SARA, larger model LARA and DAS ALMA software. Augmenting the fair on the second day was a special conference on lighting, held for professional lighting engineers and customers, where technicians from Starway provided information about the brand and its products. “In the evening, a soundcheck of the band performing at night was done in the presence of all the guests, during which we displayed the Waves LV1 screen for everyone on the large LED display behind the stage,” added Dündar. “This served as a great opportunity to educate our customers and technicians about the LV1. We showed which plugins we use frequently and how the platform can make soundchecks easier. Additionally, technicians and customers witnessed two FIT control units operating in the same housing case for the first time. The housing case for this, which is produced by our own factory Rhyno, attracted a lot of attention. Aside from this, Lewitt’s new MTP W950 vocal microphone, which has a changeable capsule, fascinated all guests.”
Rent suppl nights Bhos Sean The to be organ Soun sat d the in to avo Hav Arena usual syste artists
“Almost the whole of the live audio industry was at this event, which provided a great opportunity to mix work with networking and partying. Being able to try out a mixing or lighting console with a beer in hand in an open-air environment
AEQ equips Universities of Canada in Cairo EGYPT
The Universities of Canada in Cairo opened in 2018 as the first International Branch Campus (IBC) in Egypt, currently hosting the University of Prince Edward Island (UPEI) and Toronto Metropolitan University (formerly Ryerson University).
With the help of integrator Wahsh Engineering, two radio studios have been provided with AEQ equipment for the professional development of the students. The new ONAIR studios have been supplied with an AEQ FORUM IP SPLIT console with 16 faders, a signalling box AEQ Studiobox and an AEQ HB02 micro headphone with gain control. AEQ FORUM IP SPLIT is a mixer designed for ONAIR broadcast control. It incorporates all the basic features necessary in this type of environment. www.aeq.eu www.wahsh.com
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NEWS
SoundKraft kits out Coca-Cola Arena UAE
Rental company SoundKraft recently supplied the equipment for two consecutive nights at the Coca-Cola Arena – ASHA Bhosle @90 Live and Divine, featuring Jay Sean, Juggy D, Raghav and Manj Music. The client, PME Entertainment, is said to be one of the Asia’s biggest concert organisers. Using a brief and design, SoundKraft’s lighting designers and team sat down to understand the entire flow, with the initial idea having to be reworked slightly to avoid technical challenges. Having held concerts at the Coca-Cola Arena previously, SoundKraft said the client usually opted for its in-house JBL system as the PA. However, the artists, band and the client itself
a happy moment for the entire team,” said Bharti AB, director of business development at SoundKraft. Despite SoundKraft only having 10–12 hours each day to set up the entire rig, which the team found to be challenging, every department worked closely together to meet the set timeframe and avoid any delays. Both concerts were said to be a “complete hit”, with SoundKraft claiming to have received positive feedback from both the client and the audiences. www.soundkraft-me.com
wanted to use L-Acoustics. The setup included 48 K2 line array tops, 32 KS28 subwoofers, 30 Kara IIs and eight SB18s. Using its recent purchases, SoundKraft also utilised the Avid S6L-32D with the E6L-192 engine for FOH, and Allen & Heath’s D-Live S7000 with the DM64 on monitors. For stage monitoring, 12 L-Acoustics 115xt HiQ were utilised, with two Pioneer CDJ3000s and a DJM A9 mixer deployed for the DJ’s opening set. For lighting, SoundKraft used over 72 Claypaky Mythos 2, along with 32 Claypaky A.leda K20 and 32 Claypaky A.leda K10 washes alongside. For the FOH truss, it selected 16 Martin Mac Vipers along with 12 LED Molefays. The FOH was controlled by a grandMA3 full-size with a backup grandMA3 full-size, all
networked via Luminex Gigaocore-10 networking processors. For video, SoundKraft deployed over 322m2 of Absen P4.8 LED screens to achieve the designs shared by PME Entertainment. There was also an LED screen tunnel with a split screen mechanism, supplied by the rental company’s in-house automation department. “From render to achieving the actual outcome was
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NEWS
Audio Technology celebrates 30 years EGYPT
BeWunder and Takenaka join forces for Expo 2025 WORLD
Audio Technology recently gathered at St Regis Cairo for a special ceremony to celebrate its 30th anniversary, honouring the hard work and dedication of those that have contributed to the organisation over the years. Emad Adly, CEO of Audio Technology, led a presentation covering previous projects to be proud of, as well as the challenges and innovations that have taken place over the past 30 years across AV, security, truss and machinery, to name a few. He said: “Looking back on the past three decades, we see a legacy of achievements and milestones that have shaped us into the organisation we are today. From humble beginnings to a thriving and
dynamic entity, we have come a long way. This is a testament to the resilience, perseverance and commitment of our team.” End users and consultants were in attendance, as well as sound engineers, IT directors, armed forces and technical engineers, equalling about 300 people in total. The ceremony was hosted by presenter, Dina Abdel Kerim, who handed out trophies to vendors. There was also a tombola, in which three winners picked at random were presented with tickets to Dubai, as well as Bose and Harman products. The ceremony finished with a performance from Ali el Haggar.
BeWunder, a specialist in immersive spatial experiences, and Takenaka have come together in an exclusive partnership for Expo 2025 Osaka. BeWunder also announced the forthcoming establishment of BeWunder K.K. in Japan, thereby reinforcing its local presence in addition to its collaboration with Takenaka. With a history dating back to 2010, BeWunder has designed and delivered more than 20 thematic and national pavilions at five consecutive World Expos, including the Japan Pavilion at Expo 2020 in Dubai. BeWunder offers end-to-end support, cost estimation and feasibility studies to design, engineering, execution and maintenance. Takenaka is poised to offer a comprehensive package of local resources, including equipment, a highly skilled workforce, strategically located warehousing and offices in the vicinity of Osaka, in addition to expert logistics,
a wealth of local insights and access to well-established local supply networks. Both entities are members and partners of the AV Alliance, further solidifying their shared dedication to the AV industry. Ioannis Petros Katsoudas, head of Expo 2025 projects, BeWunder, said: “Our partnership with Takenaka is a remarkable privilege and an honour for our team. Together, we aim to create extraordinary experiences at Expo 2025, showcasing our shared commitment to innovation as well as best-in-class service.” Hideaki Takenaka, CEO of Takenaka and the broader Symunity Group, said: “Our collaboration with BeWunder further reinforces our commitment and dedication to excellence in the AV industry. We are excited to support them in their pursuit of delivering exceptional experiences at Expo 2025.” www.bewunder.com www.symunity.co.jp
www.audioteceg.com
CR van Wyk streamlines conferencing SOUTH AFRICA
Stage Audio Works (SAW) Namibia has specified a Samsung and Logitech conferencing solution for Windhoekbased accounting practice, CR van Wyk (CRVW). CRVW is an accounting and audit practice based in the Namibian capital. In addition to serving their business clients, the company is also invested in providing opportunities for students. When CRVW made the decision to modernise its boardroom solutions, it returned to its long-standing partner SAW Namibia. “It was a fascinating experience to reverse our roles, but we were delighted to have the opportunity to extend our services to one of our primary service providers,” said SAW Namibia general manager, Johadrie de Villiers. CRVW asked SAW Namibia to help modernise its boardroom in order to improve the quality of its video conferencing and team meetings. SAW Namibia specified and installed a fully integrated video conference solution based on Samsung screens and a Logitech Rally Plus bundle with integrated Microsoft Teams. An interactive whiteboard with a Logitech Scribe whiteboard camera along with a Logitech Tap scheduling panel completed the package. “The Logitech Rally Plus is an ideal solution for a mid-sized boardroom like CRVW’s, and can also cater for larger rooms with ease,” explained de Villiers. “Everything you need for high-quality video conferencing is there – an Ultra HD imaging system with lots of neat, built-in
rendering, both for meetings with an international client base as well as for the recruitment of international students for our training programme. “Also, being able to host high-quality virtual meetings at the click of a button further expedites turnaround time on service delivery since collective decisionmaking is sometimes required to proceed,” she continued. “The new systems have significantly enhanced the overall experience and increased efficiency. I especially love the integration of the interactive whiteboard, which is visible to all participants whether remote or in the room. SAW have done a great job for us.” www.stageaudioworks.com
technology to ensure a really high-class video experience; two sleek loudspeakers for intelligible front of room audio; up to seven mic pods for impeccable audio capture – we used three at CRVW – plus all the requisite cabling and mounting options. In addition to massively elevating both audio and video quality, the whole system is exceptionally easy to use and seamlessly integrates an interactive whiteboard at the customer’s request.” Ronel Ellis, personal assistant to the managing partner at CRVW, was thrilled with the results. “The quality of our meetings has improved measurably,” she said. “Having the technology to host flawless virtual meetings has improved our flexibility, and in turn our service
12 PRO AVL MEA January–February 2024
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NEWS
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Chauvet opens global headquarters WORLD
Chauvet’s new HQ in Davie, Florida, spans over 16,258m2 and houses dedicated centres for its product development, quality control, customer service and global supply chain teams. Company founder and CEO, Albert Chauvet, pointed out that the move to a new, expanded, green-thinking facility is about much more than having the size to handle a growing business that designs products for productions in over 100 nations globally. The new facility was built around the vision of enhancing the company’s delivery of service and customer engagement at every level and supporting R&D efforts behind its growing family of brands:
allow the Chauvet team of developers to take their efforts to new heights. The HQ also includes an expanded quality control centre in its new building, which features advanced testing equipment. The company’s repair centre has also been boosted with more space and technology. The new Flagship Experience Center will provide customers and guests with an opportunity to immerse themselves in lighting and control technology, providing a comfortable setting for product demos, seminars and hands-on learning. Chauvet Professional, Chauvet DJ, Kino Flo, ChamSys, LynTec, Iluminarc and Trusst.
The new R&D centre features advanced measuring and testing equipment that will
www.chauvetlighting.com
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Meyer Sound showcases Spacemap Go
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The Venuetech experience centre recently hosted a live demonstration of Meyer Sound’s Spacemap Go for G&K Security Systems. Led by Meyer Sound brand manager, Alice Macaluso, the event aimed to provide attendees with first-hand experience with the spatial audio technology. The session began with an overview of spatial audio, including detailed insights into calculations and a demonstration of the Spacemap Go spatial sound design and mixing tool. Attendees then had the opportunity to explore spatial sound design practically, gaining insights into the tool’s capabilities through a live demonstration.
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“It’s very difficult to get the opportunity to play around with a fully-fledged immersive system,” said Andrea Granata, MEA sales manager at Meyer Sound. “This is why Venuetech decided to build an experience centre in Dubai, equipped with state-of-the-art Meyer Sound speakers, Galaxy and SpaceMap Go and made it available to every professional, audio enthusiast and student, with the guidance of one of the best and most experienced engineers in town. The goal is not just to prove that the system is great, but to give everyone the chance to have a better and deeper understanding of spatial audio.” www.meyersound.com www.venuetech.ae
14 PRO AVL MEA January–February 2024
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Altair takes flight for Hürjet TURKEY
Carried out by local distributor Start Elektronik, Altair intercom systems have been installed in control rooms and simulators of the Turkish Aerospace Industries (TAI), being a tool for daily use in the development of the new Hürjet aircraft for the Turkish Air Force. The Hurjët is a supersonic, singleengine, two-occupant tandem jet aircraft. With a wingspan of 11m x 13.4m, this light aircraft has been designed for pilot training, surveillance, light combat and air support. The development and manufacturing have been entirely carried out by TAI, and the Hürjet aircraft has already performed its first flight tests, with Altair as the main control room communications system, in
combination with various headsets and other devices used by the ramp crew. Altair has also been used for pilot training, in simulation cockpits, always in combination with the usual very high isolation headphones used in the aeronautical industry. The Hürjet project started in 2017 with the first flight taking place in 2023. Featuring a modern cockpit, equipped with the latest technologies to maximise the safety of both pilot and aircraft, this model will substitute the Northrop T-38 for training duties and will supplement the F-16 fleet for close air support. www.altairaudio.com www.startelektronik.com.tr
MediaCast collaborates with Blackmagic MIDDLE EAST
In a significant announcement for the filmmaking and content creation community, MediaCast, in collaboration with Blackmagic Design, has introduced the Blackmagic Cinema Camera 6K to the Middle East market with an exclusive two-day Open House event at the MediaCast Experience Centre, located at MediaCast’s head office. Attendees had the opportunity to engage with the team from Blackmagic Design, experience the camera first-hand and delve deep into its features. Two time slots were available on both days to accommodate and ensure convenience for all guests. “We were incredibly excited to bring this unique experience to the UAE,” said
Jaffer Sadique, head of marketing and business development at MediaCast. “The Blackmagic Cinema Camera 6K has already generated an immense buzz in the industry, and we were eager to showcase its potential to our regional audience.” Sadique added: “This event was a great opportunity for the Middle East’s cinematography community to familiarise themselves with the latest in camera technology. MediaCast extended a warm invitation to all enthusiasts, professionals and media representatives to join them in celebrating the launch.” www.blackmagicdesign.com www.mediacastsys.com
January–February 2024 PRO AVL MEA 15
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VIOSO acquires domeprojection WORLD
VIOSO, a global provider of automated alignment solutions for projection and visual systems, has announced that it has acquired 100% of the shares of domeprojection.com, opening up new horizons in the AV and simulation sectors for systems integrators worldwide. domeprojection will continue to operate under current managing director, Christian Steinmann, as an independent brand under the name “domeprojection – a VIOSO simulation company”. Steinmann will also become a shareholder of VIOSO. Benjamin Fritsch, managing director of VIOSO, said: “This acquisition is a major milestone in our company’s history, with the competition becoming partners in the best sense. VIOSO’s overall expertise in the AV market and the massive growth in
L–R: Christian Steinmann and Benjamin Fritsch the simulation market perfectly aligns with domeprojection’s competence and reputation in the simulation branch. This is a unique alliance with a grand
vision and incredible possibilities for our customers.” The Magdeburg location and the existing team of domeprojection will remain
unchanged. The collaboration will align domeprojection’s technological advancements with VIOSO’s simulation technologies and infrastructures. “VIOSO’s AV business, which has completed thousands of projects in the AV and media server sector in the last few years, will also benefit from new opportunities, including solutions for XR installations and LED screens,” added VIOSO chief sales officer, Raul Vandenberg. Steinmann said: “This union represents a win–win situation for our two companies. We are thrilled to be part of the VIOSO family and confident that this partnership will further enhance our innovation capabilities.” www.domeprojection.com www.vioso.com
Avenger Electronics hosts Peavey and Maxhub event UAE
Avenger Electronics, Peavey Commercial Audio and Maxhub recently collaborated for a product launch for Crest Audio, MediaMatrix and Maxhub at Metropolitan Hotel Sheikh Zayed Road in Dubai. Approximately 60 people from the AV industry were in attendance. Peavey Commercial Audio unveiled its new DSP, Scion, with Maxhub then showcasing its new commercial displays. Later on, visitors had the opportunity to get a hands-on look at Maxhub’s ND 55 CMA, ND 65 CMA, ND 86 CMA and UW 105NA, with the help of Nasim Akhtar Khan, technical
projects – all hosted in fantastic surroundings with great hospitality and all the trimmings provided,” said James Kennedy, operation manager, EMEA, Peavey Commercial Audio. “I would like to acknowledge the wellorganised event and the positive response we received from partners, despite the rain affecting attendance. The presence of promising partners made the event successful, and the one-on-one interactions further showcased the value of our commercial displays,” said Surya Prakash Bhatti, BDM, Maxhub.
Harman Professional edges closer to carbon neutrality WORLD
manager, Maxhub MEA, while application engineer Lee Freer of Peavey Commercial Audio assisted attendees with Peavey’s Scion, sWALL 2x2, Tactus Control and Aures 28. “The event was very well organised and executed by Avenger with an excellent turn out despite the adverse weather conditions for Dubai on the day. The blend of presentations and hands-on product experience was well received by the attendees and invoked some great conversations regarding solutions and
“The event was good. I got a chance to speak with the MediaMatrix guys and it was insightful to understand where they stand in today’s world of DSP+Control. When it came to Maxhub, the presentations were informative. I had a lengthy chat with Nasim regarding the commercial displays and MTR offerings from Maxhub,” said Mr Ali, a design engineer in attendance. www.avengerproav.com www.maxhub.com www.peaveycommercialaudio.com
To accommodate growth in production for Martin, Harman Professional Solutions has opened its new manufacturing plant in Pécs, Hungary. Martin provides lighting fixtures for the entertainment and architectural industries as well as certain loudspeaker products. The opening of the plant correlates with Harman’s target to be carbon neutral by 2040. Spanning 9,940m2, the manufacturing facility can be heated and cooled with geothermal energy using a water-to-water heat pump. Also, electricity for the entire space will be sourced by onsite solar PV panels from 2024. Further efforts include waste reduction in manufacturing and an overall reduction of electricity consumption in operations by 15%. “Over the past six years, the Martin brand put into production more than 20 major LED lighting product SKUs with more new products being announced soon, and it is imperative that we not only create more space to meet demand but do so responsibly and in line with our corporate goals,” said Brian Divine, president, Harman Professional Solutions. “The completion of this project is another proof point to our customers that we produce
reliable products in technologically advanced facilities while doing so with reduced impact to our environment.” Prior to the move, Harman Professional shared factory space with Harman Automotive in Pécs. The growth of both divisions led to the opening of the three-storey standalone building for Harman Professional, which now includes production, warehouse, technical services and a new contemporary office environment. “This was an ambitious project because we set out to design, renovate and move facilities in eight months while conforming to Harman’s high construction and sustainability standards without interruption to production,” said Wolfgang Heitmann, vice president, supply chain and operations, Harman. “The combined contributions of people throughout the company, and the 300 Harman employees in the new building, led to the success of this project, which is a model for future builds that will lead us to achieving our carbon neutrality goals over the next decade. We’re very proud of the example we’re setting for the industry.” pro.harman.com
16 PRO AVL MEA January–February 2024
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Fresh visuals at Future Menus 2023 SOUTH AFRICA
The recently held Future Menus 2023 sees renowned chefs from around the world support local chefs, restaurants and hotels, encouraging the use of purer, mindful food and recipes, with lower waste. Insane Sound was commissioned by experiential company Matriarch to supply both the full technical, which included the use of its new Absen Neptune NT 2.9 Lite series screen, as well as the manufacturing and installation. Future Menus 2023 ran over five venues at Unilever’s head office in Durban, consisting
of four activation areas and a main hub. “My greatest highlight was the actual set which we made from scratch,” said Insane Sound founder, Vimal Rawjee. “We did everything from printing all the branding to making the flower boxes. Equally important was having the opportunity to use our new Absen NT 2.9 Lite panels. We used the 8m x 2.5m (WxH) curved screen to create an immersive experience in one of the rooms.” www.dwrdistribution.co.za
Christie and Cinerji join forces MOROCCO
Christie and Moroccan cinema exhibitor, Cinerji, are supporting the next generation of film talent by sponsoring the Atlas Workshops at the Marrakech International Film Festival. The Atlas Workshops is a programme established to nurture emerging Moroccan, Arab and African filmmakers, and create a space for exchange among international professionals and regional talents. The sixth edition of the Atlas Workshops took place during the 20th edition of the Marrakech International Film Festival. “We’re delighted to support new and upcoming filmmakers, and it’s a privilege to do so in a region that has such abundant talent paired with a rich and diverse culture,” said Adil Zerouali, senior sales director, Christie. “Nurturing the next generation of filmmakers and photographers across the globe is an important mission of Christie’s. It’s clear that the Atlas Workshops is doing fantastic work in this area, serving as both an incubator and an important platform for films and filmmakers from the region, helping them to thrive and access a wider audience.”
The Atlas Workshops feature various mentoring, training and panel discussion sessions. Nine films that received previous support from the Atlas Workshops were shown at the 2023 Marrakech International Film Festival, with another four films featured at the Cannes Film Festival earlier last year. Famous filmmaker Martin Scorsese is the official patron of the Atlas Workshops and a regular attendee of the Marrakech International Film Festival. Co-sponsor Cinerji is a new exhibitor and is installing hundreds of Christie projectors at 25 multiplexes to provide cinema experiences in large and medium-sized cities across Morocco. The ambitious project aims to create a sustainable business model by balancing a premium offering while maintaining affordable prices for cinemagoers. Christie has supported young talent as part of a long-standing partnership with the National Film and Theatre School, and its technologies are used to illuminate screens at international film festivals worldwide, including the Shanghai International Film Festival. www.christiedigital.com www.cinerjiyapim.com
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January–February 2024 PRO AVL MEA 17
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NEWS
DAS Audio unveils ALMA platform in the Middle East UAE
Procom Middle East recently hosted a training event that also served as the regional launch of DAS Audio’s ALMA solution at its facility in Dubai. The event not only introduced the ALMA platform, but also focused on the capabilities of the software, which enables an ecosystem of networked management and control of systems and processors. Developed in-house by the Spanish manufacturer for install and touring use, ALMA powers DAS Audio’s next generation of speakers and control systems, such as the ARA line array. It boasts a graphically advanced UI that allows users to manage the systems intuitively, reducing system configuration time and helping them achieve their goals quickly,
effectively and reliably. Attendees from various regions, including Romania, Albania, Bosnia, Poland, Jordan, Georgia, Kazakhstan and Turkey, along with key representatives from the brand, participated in first-hand experiences and in-depth insights into ALMA’s multifaceted functionalities. “As the hosts of this event, we are delighted to have collaborated with DAS Audio in unveiling ALMA,” expressed Rami Harfouch, business
development manager at Procom Middle East. “We are very excited about the extended opportunity it brings to our customers, as it enables DAS Audio to deliver an end-to-end audio solution for venues.” According to Procom, the ALMA software represents a significant leap forward in line array technology, while the combination of ARA’s advanced hardware features and ALMA’s software tools allows for “unprecedented control and customisation of sound reinforcement systems”. With IP communication, users can also easily monitor and adjust global EQ in real time, without using any external processors. “This successful collaboration highlights our dedication to fostering innovation and excellence
within the industry and also highlights the opportunity in the Middle East,” added DAS Audio CEO Manuel Peris. “We are proud to have played a significant role in empowering our partners and clients to embrace the forefront of technological advancements showcased during this remarkable event.”
Neutrik Group hosts guests from MEA and India WORLD
Shortly after IBC, Neutrik Group invited its national agents from India, the Middle East and Africa to an exclusive threeday event at its facilities in Germany and Liechtenstein. The selected participants received first-hand product, sales and marketing information about the Contrik, Rean and Neutrik brands, and also took part in factory tours throughout the new Neutrik EMEA building in Dachau, as well as Neutrik AG in Schaan. The guests also got the opportunity to meet staff from different departments, such as customer service, product management, managing director of Neutrik EMEA Patric Keller and CSO of the Neutrik Group, Chris Neethling. Regional sales manager MEA and India, Chris Hellmuth, stated: “We had a fully
packed agenda and travelled through four countries in three days. The national agents had a great time, and we compensated the flood of information during the days with nice evening events, such as the Octoberfest in Munich, a chilled evening above Lake Constance and a private audience with James Brown’s trombone player Fred Wesley at Little Big Beat Studios.” Patric Keller, managing director of Neutrik EMEA, concluded: “It was a great chance to connect with our partners, exchange ideas on the latest products, trends and explore new business possibilities, and we look forward to building further on our strong partnerships.” www.neutrikgroup.com
Aaron King is hooked up by DWR Distribution
www.dasaudio.com www.procom-me.com
Clair Global elevates Cohesion WORLD
Clair Global has announced Cohesion’s transformation from loudspeaker series to fully supported product development and manufacturing organisation within the greater Clair Global Group. Cohesion was originally launched as a private brand available exclusively through Clair’s rental division but, based on “success and subsequent market demand”, Cohesion is now also available to installations worldwide. “We are investing in the people, product development and resources needed to support this venture,” said Troy Clair, president and CEO of the Clair Global Group. “We see this as an opportunity to build comprehensive, connected solutions that go beyond designing and manufacturing loudspeakers. I’m thrilled by what’s happening today, and I’m even more optimistic about what’s to come.” Designed and assembled at its headquarters in Pennsylvania, Cohesion is prioritising workflow
optimisation and a broadened ecosystem, bolstered by a dedicated team. The launch includes products never seen before, with more in development, that will expand and enhance the full catalogue. “We’ve been sound reinforcement innovators for a long time, and our clients have come to depend on our team to deliver solutions that enable audio experiences,” said Jeff Rocha, general manager of Clair Global’s product division and managing director of Cohesion. “We’re excited that this new era will now deliver those same exceptional results to high-end installations, such as sports facilities, houses of worship and entertainment venues, that align with our core DNA and passion.” www.clairglobal.com
SOUTH AFRICA
Aaron King from Crotchet Music has recently added the DiGiCo Quantum 225 digital console to his inventory. The acquisition, made through DWR Distribution, includes a Waves upgrade with additional enhancements already in the pipeline. Discussing the move, Kyle Robson of DWR Distribution noted the deliberation that preceded the investment: “When it comes to emerging technology, it’s truly remarkable to witness Aaron enthusiastically embrace it. He’s always on the lookout for the latest advancements.” “The easy workflow transitioning from studio work to the live environment is a big
advantage for me,” explained King. “The other key benefit is its seamless integration with Waves and KLANG:technologies.” Commenting on the setup, Robson said: “Aaron has kitted his Quantum 225 with an additional screen to control and monitor the left bank of the console as well as a second touch screen for control of Waves plugins which all tours together in the DiGiCo flight case. This creates a visually dynamic setup with a lot of action.” www.digico.biz www.dwrdistribution.co.za
www.cohesionaudio.com
18 PRO AVL MEA January–February 2024
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NEWS
Abacus Audio Visual builds on its RCF inventory UAE
Abacus Audio Visual in Dubai recently purchased 16 units of RCF’s HDL 6-A active line array, along with six SUB 8004-AS 18-inch active subwoofers, adding to its existing inventory of 16 HDL 20-As and eight SUB 8006-AS units. The company works largely on corporate events and conferences. Nidheesh Hari, executive director at Abacus Audio Visual, said: “We have been using RCF since we started our company. We own multiple series of RCF line arrays and point sources in our rental fleet. Our business
relationship with Avenger Electronics grew stronger over the years, along with the RCF stock in our store. The flexibility, availability of stock and ease of doing business with Avenger has been exceptional. The quality of audio produced by the brand and the value for money has played a remarkable role in the success of Abacus Audio Visual.” www.avengerproav.com www.rcf.it
Katara Studios looks to 8K with AJA QATAR
Nidheesh Hari (second from right) and his team
Al-Ghad TV is given Ideal solution
Doha-based creative shop, Katara Studios, recently completed a facility overhaul, with AJA’s Kona 5 an integral part of the design to enable up to 8K I/O. The updates span Katara Studios’ full Dolby Atmos facility, which supports multi-studio music recording, 5.1 mixing and mastering and complete post from editorial to VFX and colour grading. Senior technical engineer, Thahasin Kasim, who led the redesign, noted that while the studio has been equipped with new technology since its inception in 2018, a recent surge in 6K and 8K client footage brought new challenges tied to encoding and file sizes. The studio’s edit machines could no longer handle projects at that resolution, prompting the need for a complete infrastructure overhaul. The goal of the upgrade was to implement a futureproof setup leveraging the latest technologies while ensuring the highest quality of product possible for clients spanning the music, film and commercial industries.
chassis made by Sonnet with Apple Mac Studio, with more cards planned for the second phase of the studio upgrade. Outside of Kona 5, Katara Studios also uses AJA Hi5-4K-Plus Mini-Converters in its colour grading suites and Kona 4 audio and video I/O cards to give clients an Ultra HD output for review sessions. This combination of products helps the team convert 4K SDI to 4K HDMI and unlocks HDR options through AJA’s Mini-Config software. For Thunderbolt I/O, AJA Io 4K Plus is also tapped by Katara Studios for mobile recordings and shoots outside the studio. During the initial stages of design and research, the team previewed a range of I/O cards to support its Avid Pro Toolsbased sound mixing and video post workstations, but Kasim found Kona 5 capabilities to be unmatched. He noted: “Kona 5 is compatible with such a wide range of media production software so it’s easy to integrate anywhere in our post pipeline. Using it with Adobe Premiere Pro, Adobe After Effects, Foundry Nuke,
EGYPT
Ideal Systems Group has announced the completion of a turnkey project for Al-Ghad TV, to design and build visually appealing and technically advanced TV news studios in Cairo. Ideal Systems was selected to migrate Al-Ghad TV from its existing HQ in Egyptian Media Production City (EMPC) to new facilities nearby, which were fully designed and built by Ideal Systems. The Ideal Systems design team worked with Al-Ghad to create news studios with a variety of sets to support different programming styles. The main studio design concept centres on a stylised globe as the core of the design. Curved features surround the globe providing additional visual impact which is captured by Sony studio cameras. These features become multi-layer backdrops for all the sets, expressing how the Al-Ghad TV news platform is connected from the centre to the whole world. The dual-level studio design also incorporates five sets of LianTronics LED display walls connected to the graphics systems, three of which are on motorised tracks with one on a rotating frame to allow for portrait or landscape content.
Ideal Systems designed and integrated Avid’s iNews NRCS and Media Central Cloud UX Production Asset Management system (PAM) with Vizrt’s V5 Graphics Engine including AR and VR graphics functionality. The audio network is entirely IP with Dante, controlled by fully redundant S300s and Tempest Control Rack from Solid State Logic (SSL). The facility also incorporates Sennheiser’s Dante microphones and in-ear monitoring systems. Ideal used Imagine Communications for playout, automation, routing and core broadcast infrastructure with Lynx Technik Green Machines for additional AV processing. The full turnkey project spans over 743m2 of fixed and virtual studios over three floors, with redundant studio production control rooms, transmission and master control rooms and a lines room for satellite bookings. Also included are seven near line edit suites, eight creative desks and workstations for over 130 journalists. www.idealsys.com
The studio “We implemented a host of updates to our pipeline that have helped our entire post team to work faster and more efficiently, and I/O was a big part of that,” shared Kasim. “We looked into new I/O cards and chose Kona 5 because of its ability to handle 8K; the high resolution, high bit rate video processing power that you get with the card is impressive. Also, we’d used past iterations of AJA Kona cards in our audio systems and had good experiences.” Katara Studios uses six Kona 5 cards across Windows, macOS and Linux workstations. Presently, the cards are installed on a Thunderbolt 3 PCIe expansion
Baselight, Avid Pro Tools and many other creative applications, we’re able to confidently conduct quality control and preview the output on professional-grade monitors.” With the new facility infrastructure in place, Katara Studios has been able to resolve a number of challenges, and Kasim credits the upgrade to providing artists the efficiency and flexibility to invest more time in their creative work, improving productivity and accelerating creative output. www.aja.com www.katarastudios.com
20 PRO AVL MEA January–February 2024
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NEWS: POWERING DOWN
Isabelle Wear
Camaraderie and a clear head Global AV recruitment company Interfacio’s Isabelle Wear sits down with Libby Stonell to discuss her love for hockey that has led to great bonds as well as balance to her working life What does a typical 9–5 day look like for you as a director at Interfacio? Busy, energetic and packed! A typical day normally includes a lot of exchanges between clients and candidates, phone calls, following up, chasing, organising, nurturing. Listening is key in my role as I’m the soundboard that both clients and candidates look to for reassurance. We take the time to understand their background and align a candidate with a client so both their needs are met. It’s not just a case of talking about knowledge, skills and expertise, but also speaking about soft skills, values and goals.
How did you get into hockey? In 2017, I lost my mum, so was not in a great place. At the beginning of 2018, I felt something needed to change and I thought that a team sport would help. Working remotely, doing yoga and running all felt slightly too singular with not enough interaction. Along with my husband and son, I brainstormed and narrowed my options down to netball, rowing and hockey. Netball didn’t massively appeal to me, and the idea of being on the river during wintertime was a no-no! However, I enjoyed running, so gave hockey a go and never looked back.
Where does your love of hockey stem from? Pure luck! I’d never played before – it isn’t a common sport in France where I grew up. There is a camaraderie in the team, along with fun, support and competitiveness that gives you a high.
Do you compete or is it purely for fun? Both. I play for the Old Cranleighan Hockey Club in Thames Ditton in West London and train and play with one of the ladies’ teams in the league.
How does being part of a team with that associated sense of community make a difference to you? It makes a huge difference. We are a lovely bunch of competitive ladies that support and encourage each other. We like to have a laugh even in defeat. Over the years, we’ve built something pretty solid, both on and off the pitch. We all go through challenging times, but I know I can trust and tap into them when necessary.
How do you find the time to fit hockey in around your work life? I train every Monday evening and take part in a match over the weekend – sometimes even twice. Whether it’s raining or snowing, you can play hockey – unless the pitch is frozen! Even on those cold nights when you could easily get comfortable on the sofa, I go to hockey and always finish feeling reenergised.
What is the most memorable moment you’ve had so far? When I was a goalie – I’d never done this before but I got a clean sheet! This wouldn’t have been possible without the help of my team, covering those angles where I had no knowledge as a goalie. It was an epic moment.
What is it specifically about hockey that is so beneficial to you? Fitness, competition, camaraderie, my free time and space and having a clear head. It makes me so happy. I don’t think about anything else while I’m playing – all I can do is focus on the ball and where to pass it, how to defend the goal and who to tackle.
Why do you think it’s so valuable to have a hobby outside of work? It’s all about balance and it is tricky to manage everything – with parenting, working and playing hockey – but having an interest for me is really important. It is something I look forward to every week. It is a commitment, and you can’t let your team down but, above all, it’s fun. Over the years, I have formed very strong bonds with my team, and we have each other’s backs, which is priceless.
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NEWS: SPECIAL REPORT
Embracing difference
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Mikey Shaffer, consultant liaison at Listen Technologies, suggests steps that concert venues can take to be more inclusive of neurodivergent people
WITH THE PAST FEW YEARS HAVING SEEN A RISE IN diagnoses of various neurodiverse conditions like ADHD and autism, there has also been a growing demand for earplugs and other devices that cater for their needs, as well as those generally triggered by background noise and sound pollution. Do these two trends directly correlate? Mikey Shaffer, consultant liaison at Listen Technologies, thinks the need for such products could be down to a few factors, such as increased comfort with using technology and wearing headphones and earbuds in public spaces, coupled with time spent at home during the pandemic, in which users might have grown used to a less chaotic, quieter way of life. Shaffer explains: “I think we have an improved understanding and acceptance of our differences and people have learned to better advocate for accommodations that allow them to experience life in a way that meets their needs. Listen Technologies’ products can be used in some cases to cut through distracting background noise to deliver content at the appropriate level for the individual. This is also true of different learning styles and needs – in the case of someone with Auditory Processing Disorder, for example, background noise may cause distraction and confusion. Students given the option of using an assistive listening device can have educational content delivered directly to their ear.”
Mikey Shaffer
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NEWS: SPECIAL REPORT In highly stimulating sensory environments, such as concerts or attractions, headphones or earbuds can be helpful to block out noise that is overwhelming or triggering to individuals, or to play soothing sounds and music that help them relax and cope. 4 Wide, an Australian cover band, hosted a free “silent” concert for neurodivergent individuals, who may not have felt comfortable attending a traditional rock concert due to noise, crowds and possible overstimulation. The band chose an accessible venue, Emmanuel College Warrnambool, as well as Listen Everywhere from Listen Technologies, so that individuals could adjust the music experience according to their comfort level.
4 Wide’s concert At the concert, live audio was broadcast directly to audience members’ headphones via their smartphones. The band had iPads to loan to attendees who did not have a smart device. Concertgoers could choose from two audio channels through the Listen Everywhere app. One channel broadcasted the concert while the other played meditation music, so attendees could tune into more calming audio if required. 4 Wide also provided a quiet and dim respite room for attendees who needed a break. Fifty people, including children, were estimated to have attended. Shaffer adds: “One woman in her 50s drove four hours from Melbourne because she had never been able to participate in a rock concert before.”
Shaffer says that in some cases, diagnosed neurodivergence is considered a disability, with several laws put in place notably across the USA, United Kingdom and Australia, in particular, to protect those that may suffer discrimination. She adds: “It’s important that venues understand and meet compliance requirements. This will ensure they provide positive guest experiences and foster inclusive environments where all guests, including individuals who are neurodivergent, feel welcomed, supported and respected.” So, how can concert venues, as well as venues in general, easily accommodate the needs of those that are neurodivergent? “Venues can train staff to recognise and respond to guests’ needs and host events specifically for neurodivergent individuals, just like 4 Wide did with their concert,” Shaffer suggests. Venues can host specific shows and performance dates when audio is played at a lower volume, visuals such as strobe lights or pyrotechnics aren’t used, seating capacity is reduced and guests are given access to open, quiet areas if they feel they need it. “Organisers should promote these offerings clearly online and onsite. Another way venues can support guests is by sharing information about the space and/or performance on their website, so that guests know what to expect before they attend,” adds Shaffer. When thinking about the future of assistive listening, Shaffer says that while Listen Technologies caters primarily to the hard of hearing community, the company is keen to continue learning and developing solutions that improve the experiences of those with neurodivergence, as well as other disabilities. “I believe we all benefit from including other perspectives and one way we can do that as a community is to provide reasonable accommodations so that we can all participate and contribute equally.” www.listentech.com
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NEWS: SPECIAL REPORT
A continental shift at Kramer
With the world sometimes appearing “too global to care”, AV heavyweight Kramer is refocusing its mission for more intimate regional operations in the Middle East IT HAS CERTAINLY BEEN A TIME OF transformation and development for Kramer; changes in ownership including considerable investment from Fortissimo Capital, and even changes to the company’s widely recognised black K logo, have all ignited a fresh impetus to the brand, and customer relationships are being placed front and centre. Forty years of expertise combined with what is claimed to be one of the broadest solution stacks in the market, Kramer products are behind the scenes and on tabletops in boardrooms, classrooms and control centres around the world. With its new HQ in Amsterdam, plus a new management team and regional heads, the company has restructured in a way that provides more autonomy to its EMEA division, with global support available when required. Pete Baxter, formerly of Logitech, recently joined the team as senior VP and will oversee Kramer’s EMEA commitment to providing a more localised, customer-centric offering. “Building on Kramer’s strong performance, we are fortifying our leadership team and establishing a solid foundation to fuel exponential growth,” he explains. “This is crucial for creating a scalable organisation that excels in delivering solutions that empower the physical–digital realm. By building a customer-centric regional office in Amsterdam, we aim to enhance market intimacy and improve responsiveness to customer needs throughout the Middle East, Europe and Western Asia.” The company’s new management structure also differs greatly from past years, with country managers across EMEA now reporting to Baxter, who is based at the new European HQ in Amstelveen, south of the Dutch capital. For Kumaran Kannan, regional business development manager in the Middle East, the new focus and
Pete Baxter, Kramer EMEA autonomy brings exciting opportunities to the market, particularly in the networked AV space. “With Kramer being in the ME market for the last three years, we have gained a reputation for our unwavering commitment to delivering highquality products,” Kannan offers. “Kramer’s new AVSM range with USB-C connectivity is leading the way in the AV market. We are seeing our cloud-based, enterprise-class AV control platform with an on-premises option helping institutions efficiently manage their AV infrastructure across campuses.” Kramer recently launched its new range of Control interfaces – another piece in the jigsaw that allows the manufacturer to now offer full solutions rather than specifying individual products. “The launch of an upgraded version of Kramer Control transforms the control experience, end-to-end,” Kannan adds. “Going far beyond the traditional boundaries of AV, it enables control of any in-room AV and automation devices from anywhere for corporates to gain control of their organisation’s AV architecture. We are now very much solutions-
focused, with the ability to offer complete solutions to our customers with dedicated, individual support for their project, spanning design to completion and beyond.” With different cultures, currencies, tax requirements and languages to overcome, Baxter is confident that he has the team in place to further reinforce the brand in the hearts and minds of regional customers. “EMEA is a large and complex market. By having these trusted managers and teams, we will continue to deliver the personal experience and expertise for which Kramer is known. There is rarely a substitute for local knowledge. “The key to our success is our relationships and we are very fortunate in that regard,” Baxter furthers. “Our aim is to further reinforce those relationships, while cementing new bonds in our target vertical markets. Operating at a more regionalised level will help enormously with this aim. Kramer is committed to the ultimate customer experience – we listen, we act and we go the extra mile.” EMEA marketing director Robert Methorst joined Kramer a year ago – at the same time that its new Amsterdam offices and Experience Centre opened. He has seen first-hand the “new direction of the company” and is excited about what the future holds. “Kramer has big ambitions in EMEA and, in the past 12 months, I have seen a passion and commitment that is tangible,” he says. “Since the implementation of our new direction, we have not only seen employees change their roles, but also experienced others returning, which is a testament to the impact of our new path.” This new recipe of trusted experience alongside dynamism is already serving up successes, with many new projects coming to the fore. “What I really like is that Kramer’s focus isn’t fixated on
Kumaran Kannan, Kramer business development manager, Middle East outdoing our competitors; instead, we prioritise our customers above all else,” Methorst adds. “We commence by understanding their requirements and then proceed by working backwards from there, and it is proving a huge success.” Kramer is one of the more globally renowned manufacturers of AV solutions, yet managing such a footprint requires a broad understanding of the business nuances between continents and the ability to dovetail when required. “We’re striving for a world where technology puts people first and where the feeling of here and there, online and offline, fades into the background,” Baxter concludes. “Kramer’s partnership with SI and distribution partners extends beyond mere collaboration; it reflects the shared vision of providing exceptional customer experiences on a global scale. I believe I speak on behalf of all at Kramer when I say we are excited to embrace the future.” www.kramerav.com
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French loudspeaker manufacturer NEXO has partnered with Thomsun Trading for distribution in the UAE, Oman, Qatar, Bahrain and Kuwait. As one of the longest-running AV distributors in the region, Thomsun’s distribution network is extensive and spans operations in
message’ and the DNA of our brand. Davis has built a fabulous team up at Thomsun. I have a great feeling about this partnership and we are very lucky to have them involved.” “Adding NEXO to our portfolio allows us to provide a full turnkey solution to the market,
L–R: Peavey’s Shayne Thomas, James Kennedy and Courtland Gray
Peavey Commercial Audio teams up with Avenger ProAV UAE/QATAR
L–R: NEXO’s Alain Boone and Thomsun’s Davis Varkey retail, dealer/reseller networks, commercial AV, live events and rental, as well as the production and broadcast industries across the GCC. “I’d been seeking a new partner for the GCC region since returning to NEXO,” commented NEXO business development manager Alain Boone. “As we look to re-expand deeper into the Middle East market, it’s important to have a very good, technically skilled team behind the brand in order to effectively pass on the ‘NEXO
catering to any and all types of projects,” added Davis Varkey, general manager at Thomsun. “Furthermore, we’ve been the distributor of Yamaha products for almost 35 years in the Middle East, and the NEXO catalogue perfectly complements this. We see great promise in events, the education sector and conference halls.” www.nexo-sa.com www.thomsunmusic.com
Avenger ProAV has recently increased its portfolio with the addition of Peavey Commercial Audio. Avenger ProAV now represents Crest Audio, MediaMatrix and Peavey Commercial Audio in Bahrain, Kuwait, Oman, Qatar and the UAE. Avenger ProAV product manager, Nikhil Rayaroth, said: “Peavey Commercial Audio is a well-known name in the professional AV market. The most recent MediaMatrix and Crest Audio solutions broaden the industry’s potential. They will be an excellent addition to our portfolio, and
I am delighted to provide their solutions to our consumers.” Peavey Commercial Audio operations manager, James Kennedy, added: “We are delighted to be working together with Avenger ProAV. The recent launch of our thirdgeneration MediaMatrix platform and s Series ecosystem coincides nicely with Avenger’s ambition, vision and growth in the UAE.” www.avengerproav.com www.peaveycommercialaudio.com
Blaze Audio and Sonic Electronics join forces MEA
Sonic Electronics, a Qatar-based AV, control, lighting, rigging and stage effects equipment company, has offices based in Saudi Arabia and the UAE to cover the GCC and MEA regions. Sonic Electronics has recently announced that it has partnered with
Blaze Audio, becoming the brand’s distributor for the Middle East. Blaze Audio specialises in pro audio solutions catering towards the commercial and leisure install markets. Santhosh Vasu, MD, Sonic Electronics, said: “This collaboration symbolises our commitment
to delivering cutting-edge technology and exceptional sound quality, bringing innovation to every corner of the AV industry.” “Sonic Electronics possess the right blend of technical knowledge and commercial savvy that will allow us to serve Middle East integrators
and end users with first-class support for our market-leading products,” said Anders Olsen, regional manager of Blaze Audio. www.blaze-audio.com www.sonicelec.com
Optimal Audio appoints Zirbo Zambia to distribute Adam Hall brands MDC for Qatar ZAMBIA
QATAR
UK manufacturer Optimal Audio has announced the appointment of MDC as its exclusive distributor in Qatar. Based in Doha, MDC supplies AV and IT to specialist integrators and solutions providers in the country, also offering onsite training for its customers and end users as part of its aftersales service. Rajesh Kunnath at MDC said: “The Optimal Audio ecosystem perfectly aligns with the market’s requirement for commercial audio solutions that, whilst technologically advanced, are competitively priced and easy to operate and install. We’re delighted to have added Optimal Audio to our portfolio and are confident
that it will prove hugely popular with our customers.” Alex Barrand, EMEA sales manager of Optimal Audio, added: “MDC’s vastly experienced team have an eye for quality and pride themselves on being a real valueadded distributor. The company has built a strong customer network in Qatar, based on its reputation for distributing brands which offer innovation and reliability, supported by expert training and after-sales support. We look forward to MDC establishing Optimal Audio as a leading player in Qatar.” www.mdc-qa.com www.optimal-audio.co.uk
Adam Hall Group has expanded its international sales network by signing a distribution deal with Zirbo Zambia. The distributor will now sell the LD Systems and Gravity brands throughout Zambia. Founded in 2004 by Italian pro audio veteran Alessandro Borzi, Zirbo Zambia is based in the capital city Lusaka, and regularly works for government institutions, international artists, houses of worship and local events, also offering its customers access to its AV studio for content production. “We are very pleased to be able to represent these two strong brands exclusively in Zambia,” commented Borzi. “Zambia is a comparatively young and dynamic country with numerous events and lively construction activity. We see a lot of potential here for the solutions from LD Systems and Gravity.”
The Zirbo Zambia team with Alessio Foti (centre) from the Adam Hall Group Alessio Foti, global BDM of the Adam Hall Group, said: “Zirbo Zambia impressed us with its extensive experience and established company and customer structure.”
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Powersoft partners with aDawliah GCC
Powersoft has added to its global network by welcoming aDawliah Universal Appliances as its newest distributors in the rapidly growing GCC market. Based in Riyadh, aDawliah was established in 1979 with a mission to provide pro audio products and services to its customers who create original audio experiences for their clients. The new distributor is already planning to provide the market with product demos and regular training, with a particular customer focus on presales, design and onsite support while further growing Powersoft’s brand awareness through seminars and exhibitions in Saudi Arabia.
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L–R: Zuhair Sarhani, Adbilrehman Walid Al-Braikan, Fabrizio Romano Bolzoni, Mostafa Al Khalaf and Varun Jagger “I have strong confidence in the potential of our market, considering the rapid development
in the entertainment sector, which has a direct impact on the audio industry. Our goal for
Powersoft is to establish it as one of the leading brands here in Saudi Arabia, all while delivering exceptional service to our customers,” stated Zuhair Sarhani, brand manager at aDawliah Universal Appliances. “The GCC region, and the Middle East in general, is growing exponentially and the appointment of aDawliah Universal Appliances will help address the specific needs of certain verticals and applications. We’re very pleased to welcome them on board,” said Varun Jagger, EMEIA sales manager, Powersoft. www.powersoft.com
JoeCo comes to South Africa SOUTH AFRICA
AV Worx has partnered with UK-based JoeCo, creator of the BlackBox and BlueBox series of multi-track recorders and players. JoeCo products, distributed in over 40 countries, serve a wide range of applications, including touring bands, broadcast facilities, theatres, places of worship, theme parks and postproduction facilities. Mark Malherbe, theatre sound designer and co-director of AV Worx, is a long-time user of JoeCo recorders. He said: “Having personally experienced the efficiency and reliability of JoeCo recorders, I am confident in their value for a broad spectrum of professional applications.” Graham Murray, business development manager at JoeCo, commented: “Reliability has been critical to the success of the JoeCo brand. With the added technical sales and customer support know-how provided by the team at AV Worx, South African customers can be assured of a bestin-class experience. We’re delighted to welcome AV Worx to represent the JoeCo brand in Southern Africa. We’re looking forward to a vibrant and long relationship with AV Worx and together further expand JoeCo’s presence in the South African market.” www.avworx.africa www.joeco.co.uk
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NEWS: APPOINTMENTS
Cyril Matar joins Meyer Sound appoints Melissa Barco Garcia as CFO MEA
• KARAMJIT SINGH • TECHNICAL DIRECTOR, GCC MOOD MEDIA
• CLAUS GÄRTNER • CFO LAWO
Barco has introduced Cyril Matar, who has joined the MX team as sales manager MEA. In his new role, Matar will be overseeing the ClickShare channels and corporate customer business development, leading the growing MEA go-to-market team. The MEA MX sales and marketing team will all be directly reporting to Matar, who will be reporting to Ekta Puthran, sales director, APAC and MEA. Matar brings to Barco a rich background of over 17 years of experience in the IT, audiovisual and collaboration industry. Prior to Barco, he was associated with Shure, having been responsible for distribution and channel business for the Middle East and Pakistan. Before his tenure at Shure, Matar worked with Mersive
WORLD
Melissa Galicia has been selected as chief financial officer for Meyer Sound. Galicia is now responsible for all financial and accounting activities, including budgeting, financial reporting, risk management and regulatory controls. She has plenty of experience in finance
and accounting positions, most recently as CFO of Anova Applied Electronics. Meyer Sound executive vice president, Helen Meyer, said: “Melissa is charged with continuing the efficient and robust financial operations of the company.” James Bolton has also joined as director of logistics, while Michael Heard has been chosen as director of procurement. “Our three hires are new to the professional audio industry, but they certainly are not new to their fields of professional expertise,” noted Meyer. “Once again we are exceptionally pleased that, in today’s highly competitive employment market, we are able to attract such talented and highly skilled people to join our team at Meyer Sound.”
Melissa Galicia
www.meyersound.com
Cyril Matar Technologies and Microsoft. Matar said: “I am thrilled to join the Barco Collaboration/ MX team. I was born in Lebanon and have spent most of my professional career in the GCC.”
Manzini heads sales at Prosound Cape Town
APPEAR
Leletu Manzini has joined Prosound’s new Cape Town office, where he will take care of technical sales, having progressed rapidly throughout his career, from the sales floor at a retail level to representing some of South Africa’s most well-known distribution companies. “Leletu is well-known in Cape Town’s professional AV community, with a reputation for being highly skilled and deeply committed to excellence in all aspects of his work,” said Prosound director, Mark Malherbe.
Leletu Manzini
• MARCO KRAAK • GM
• JOE GRAZIANO • BOARD MEMBER EMEA
• LOTTA SCHIEFER • DIRECTOR OF SALES
• JOANNA MUGGERIDGE • DIRECTOR OF MARKETING
VIZRT
THEMED ENTERTAINMENT ASSOCIATION
BROMPTON TECHNOLOGY
BROMPTON TECHNOLOGY
• IA •B M
“I am very excited about the opportunities that being a part of the Prosound team opens, not only for myself as a professional but, most importantly, for businesses and end users in the Cape Town region,” said Manzini. “Cape Town is an international tourist and business destination of choice, and I am pleased to be in a position to support that growth through the deployment of well-designed, high-quality AV installations in the months and years to come.” www.prosound.co.za
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• ANDY RAYNER • CTO
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NEWS: APPOINTMENTS
Kramer selects Brooke Ellingworth EMEA
Kramer has announced the appointment of experienced AV and Unified Communications and Collaboration (UCC) channel executive Brooke Ellingworth as its first-ever director of EMEA channels. Reporting to Peter Baxter, senior vice president at Kramer, Ellingworth is tasked with refreshing and restructuring Kramer’s existing channel strategy, to maximise sales and growth opportunities across both local and international markets, while extending brand awareness on a global scale. “Brooke is a serial achiever and someone who has an incredible record of implementing hugely successful strategies and transformation to business – often from scratch – with quite stunning results,” said Baxter. Ellingworth commented: “The most important thing for me right now is getting to know the channel intimately and building true and long-term relationships. That means really understanding who they are, their relationship with us and ways that can be improved. The
Mac Lean takes over at PRG Middle East UAE
Brooke Ellingworth passion I have seen from the Kramer team across all parts of EMEA, together with the company’s creative and disruptive nature, is something I absolutely wanted to be a part of.”
Bruce Mac Lean has been promoted to the position of vice president Middle East, following Peter McCann’s transition to a consulting role focusing on key regional clients. Having established himself as Dubai’s general manager since 2010, Mac Lean has played a pivotal role alongside McCann in the company’s regional growth. A PRG spokesperson commented: “Mac Lean has cultivated strong relationships and bolstered revenue streams, by applying his market expertise and network. The transition signals an exciting phase for PRG in the Middle East, underlining our commitment to further growth and success in the region.” www.prg.com
Bruce Mac Lean
www.kramerav.com
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Meyer
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• IAN DEBSKI • BUSINESS DEVELOPMENT MANAGER, MIDDLE EAST
• RAPHAEL KIESEL • SENIOR VP OF BUSINESS UNIT, LIGHTING
• GLENN ROOP • KEY ACCOUNT MANAGER AND CONSULT LIAISON
• ORIOL ICART • SENIOR DIRECTOR OF TECHNICAL OPERATIONS, EMEA
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FEATURES: CORPORATE
Change of scene Dubai’s Flair Event Services adds a new string to its bow as the company courts the corporate world
THE ABILITY TO EVOLVE AS MARKET NEEDS CHANGE IS key to staying on top of the competition in business. Flair Event Services, well known in the region for its support of several prominent live concert and touring productions, has turned its attention to an entirely different type of project, utilising a range of new skills to join the company’s portfolio. UAE leisure and retail developer Majid Al Futtaim Development had recently announced the launch of a new waterfront neighbourhood in Dubai’s Tilal Al Ghaf community, near
Sports City. Named Plagette 32, the exclusive residential neighbourhood features 28 townhouse-style club villas and four water bungalows designed by luxury studio Bergman Design House. Keen to make a statement with the launch of these ultra-exclusive properties, the developer held a launch event for more than 400 guests in late 2023, enlisting Flair to provide audio, video and lighting production services along with extensive scenic support. “The launch of Plagette 32 was held at Drift Beach Dubai where we turned the beachfront and pool club into a vibrant event space,” explains Flair project manager Ryan Kearns. “Turning a pool/beach club into a corporate event space has its challenges, but it was one that I knew we could produce. The custom scenic aspect was a big way in which we did this, by creating elements that both fit the vibe of the beach club and that are also suitable for the event. For example, we custom-made a large 6m Plagette 32 sign that was able to float in the pool. We also created a scrim projection screen designed to fit in the well-known Drift Beach Club frame. We used this to create a projection during the launch, which the venue said had never been done before. To create the look and feel that was required, I wasn’t only having to add and create our own scenic elements, I was also having to modify certain elements that were already there. It had its challenges but going that extra mile for the client is something that I love doing.” Augmenting these scenic elements was the usual complement of audio, video and lighting technology from Flair. With the frame structure serving as the rig, Robe Lighting and PWR Lighting fixtures were used to create the aura and vibe of what the client wanted to present, while the large scrim mesh projection screen and various INFiLED outdoor LED screens from Flair’s portfolio were also erected. Catering to the audio element was the company’s d&b audiotechnik KSL system – the region’s first – which supported the DJ and MC throughout the night. “As with any event, the AV side is always so important and this is why we go that extra mile,” furthers Kearns. “The reveal moment for Plagette 32 was the main element of the
The launch event welcomed more than 400 guests event, where we programmed a timecoded AV show, which really added an impact to the reveal moment and provided the audience with the full Plagette 32 experience.” A well-known name in the industry, Kearns has recently joined the Flair team to help make new connections with the corporate sector. “Flair’s previous expertise has been mainly large-scale festivals,” he explains. “I’ve joined as a senior project manager with over 15 years’ experience in the industry, with the aim of growing Flair’s connections within the corporate world. The company has just hit its 10-year anniversary, which is a huge achievement, and looking at their growth over the decade is something that I really admired.” With its first corporate gig declared a resounding success, Flair Event Services is looking forward to a fruitful 2024 – where not only its traditional audio, video and lighting solutions are being utilised, but the team also gets to introduce this new scenic production side on a larger scale. “Over the years, we have been broadening our offerings to our clients, keeping in line with our ethos of consistently exceeding expectations,” concludes Sameer Rahman, managing director at Flair Event Services. “We are thrilled to showcase our new services at such prestigious events.” www.flair.ae
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Made in Italy
Made in Italy
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FEATURES: HOSPITALITY
L–R :
Making a statement
The m
The Greenhouse on Festival, a newly launched fine-dining venue in Pretoria, is setting the standard for audio excellence in South Africa’s restaurant industry BRINGING SOPHISTICATED, FINE-DINING TO PATRONS IN Pretoria’s growing business hub, JMVR Restaurants has recently opened the doors of The Greenhouse on Festival, a brand-new upmarket restaurant in Hatfield. Conceptualised and designed by the well-established restaurant and entertainment venue management company, The Greenhouse on Festival is the latest addition to the team’s coveted portfolio of successful, high-end entertainment establishments spread across the country. JMVR director, Mike van Reenen, and his partners have been focused on creating a haven of sophistication and comfort. The
A mobile DJ booth has a Meyer Sound UP-4slim fully integrated into the installed solution
modern space offers sumptuously designed open and private dining areas, a trendy bar complete with a wine cellar and an open kitchen, inviting diners to witness the excitement of a worldclass professional service. In line with this ethos, selecting the most appropriate audio technology to serenade diners was given high priority. “When approaching this project, we knew we wanted to have ambient music across the floor but, at the same time, we wanted to retain an atmosphere conducive to conversation,” van Reenen points out. To help achieve this vision, the restaurateur turned to Pieter De Vrye of De Vrye Automation. “I’ve had the privilege of overseeing a wide range of audio systems for JMVR Restaurants over the years and respect the high standards set by Mike, a dedicated audiophile in his own right,” says De Vrye. “When Mike explained what he wanted for The Greenhouse on Festival, I knew we were looking for a solution with exceptional tonal quality that would fit in seamlessly with the luxurious look and feel envisioned by his team. The main idea behind the whole audio installation was that at lower volumes, it sounds exactly the same wherever you are. They want to make sure that each and every table section gets the same quality and attention to detail at all times. Aside from their unquestioned audio excellence, the Genelec loudspeakers are robust and, coupled with their extremely versatile mounting options, can be fitted into any aesthetic hospitality space.” De Vrye turned to AV Worx solutions engineer, Dwaine Schreuder, to assist in specifying the system. Schreuder invited both van Reenen and De Vrye to a series of listening tests at the AV Worx head office in Johannesburg. After exploring an array of options, the team unanimously agreed that Genelec’s 4000 Series installation loudspeaker range would be the ideal solution to serve as the anchor of the audio system at the venue. “The frequency response on a Genelec is not something you get on many speakers – it’s a studio monitor after all, so has been first and foremost designed for quality and clarity,” adds De Vrye. “Deploying it at The Greenhouse was absolutely a no-brainer. “We originally spec’d the Genelec 4020,” he continues, “but the client liked the 4040s so much when hearing them at the
Ceiling-mounted Genelec 4040s provide BGM across three zones listening sessions at AV Worx, we upgraded to that model. He just loved the full-bodied sound from the 4040, which is the flagship installation speaker in the range.” While the set of considerations facing the owners was certainly nothing new, van Reenen’s personal passion for audio might have had some influence on the decision to go with such a studio-style powered cabinet. It’s far from the tried-and-tested approach when delivering restaurant audio in South Africa, but that’s a perception which local representative AV Worx is keen to change. “For restaurateurs seeking to create a truly exceptional dining experience, the 4000 Series offers the perfect blend of
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sonic comm accur imagin is bot diners the he unwav advan engin reprod Beyo cabine Green ceiling throug in mo been Green Genel lookin Reene them we ha added On c boast of 24 throug achie restau zones divide contro respo after Augm freque “Thes and lo not cr
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L–R : Pieter De Vrye of De Vrye Automation and JMVR director Mike van Reenen
The main dining area is littered with the unique leaf green colour-matched cabinets sonic excellence and aesthetic refinement,” comments Schreuder. “With their unrivalled accuracy, natural timbre and exceptional imaging, these loudspeakers deliver audio that is both captivating and refined, ensuring that diners will leave with a lasting impression. At the heart of the 4000 Series lies Genelec’s unwavering commitment to accuracy. Utilising advanced driver technologies and meticulously engineered enclosures, these loudspeakers reproduce sound with unparalleled fidelity.” Beyond their acoustic attributes, the active cabinets certainly look the part inside The Greenhouse on Festival, where they’ve been ceiling-hung to stand out and draw attention throughout the dining and bar areas. Available in more than 100 colours, the cabinets have been colour-matched to perfectly suit the leafy Greenhouse aesthetic. “Not only were the Genelec loudspeakers exactly what we were looking for in terms of performance,” van Reenen points out, “the fact that we could order them in the signature leaf green around which we have built our décor and design was an added bonus.” On completion, The Greenhouse on Festival boasts a multizonal audio system consisting of 24 Genelec 4040 loudspeakers spread throughout the venue. The placement achieves even coverage in every section of the restaurant, without any “hot spots” or “dead zones”. In addition, the space has been divided into specific audio zones, which can be controlled by staff collectively or in isolation in response to fluctuating noise levels during and after service. Augmenting this precise coverage with low frequencies are nine 18-inch subwoofers. “These are spread out throughout the venue and located in positions to make sure they are not creating any unwanted standing waves,”
says De Vrye. “In each and every space there’s a fully rounded, independent system, which has been broken up into the vital areas and can be controlled as zones.” Elsewhere, there is a mobile DJ booth for special events which has a Meyer Sound UP-4slim system as a point source that is fully integrated into the installed solution. The system is processed through a central DSP unit that provides zone selection and level control via a user-friendly smart device application. Beyond the balanced, high-fidelity sound and precise bass reproduction they have become known for, the cabinets also provide sufficient power and headroom to easily accommodate higher levels when the dining room is full and bustling, or during events at the bar. “Aside from the outstanding audio quality, which is a given when utilising Genelec, the well-designed distribution achieves comfortable foreground music levels while ensuring that normal conversations can be maintained,” comments Justin Acres, director of AV Worx, who attended the opening night. “We are extremely impressed with the audio installation delivered by De Vrye Automation at The Greenhouse on Festival,” says van Reenen. “When I first heard the Genelec 4000 Series at AV Worx, I knew that we had found the right solution to achieve our vision, and I could not be more pleased with the result.” “The Greenhouse on Festival is a very elegant venue,” concludes De Vrye, “and I really like the fact that the client has opted to accentuate the speakers and make them a focal point, rather than just hiding black boxes away. They’re not only getting exceptional quality of sound but also an incredible statement piece.”
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FEATURES: HOSPITALITY
Lusail Circuit springs into action
The view of the 400m-long screen on the TV broadcast
Following a new 10-year contract between Formula 1 and Lusail Circuit, the Qatari racetrack has undergone a raft of new renovations FORMULA 1 HAS BEEN BRANCHING OUT TO SEVERAL new territories in recent years as it looks to bring the world’s most watched racing series to an increasingly varied audience. Qatar’s Lusail Circuit was added to the F1 track list in 2021 and, after a small absence in 2022, returned at the end of 2023 to kickstart a new 10-year contract at the site located just outside the capital city. As a result, the track has undergone somewhat of a technical renovation as it sets itself up for the next decade of pedigree racing. The needs of this renovation were primarily two-fold. Firstly, a new electronic race system was requested to fully cater to evolving race regulations and, secondly, a range of new audiovisual equipment would be integrated to better support the guest experience around the circuit. “We were enlisted to participate in this project by the overall contractor, GET, and our scope was divided into two main parts,” recalls Ali Awwad, project manager from local systems integrator Techno Q. “The majority of our work comprised new AV solutions – track-side audio systems, plus a host of LED screens spread throughout the paddock. The second element was the race electronic system. For a solution such as this, you need to have a technical person who is very familiar with the sport. For this reason, we partnered with Sport Total from Germany.” In total, Techno Q’s responsibilities spanned infrastructure and the race control management system, the complete fibre-optic backbone, two separate data networks, a VoIP telecommunications system, racetrack video surveillance and storage, timekeeping, signalling, a broadband antenna TV system delivering an internal TV network, a race voice announcement system, PA system for the main grandstand, and a variety of giant LED screens, PIT‐LED strips and projections. “There were a lot of different parts but, in reality, everything we’ve provided at Lusail Circuit is one integrated system,” notes the Techno Q project manager. “For instance, the fibreoptic backbone – for which we pulled more than 150,000m of cabling – is used to deliver all the communications and data transmission of the video signals from the server. It’s a key part
of the project. Everything is connected to it and it’s the backbone of the entire operation. People see the screens and they hear the speakers, but they rarely appreciate the amount of effort expended on the background systems.” This network consists of a range of Cisco switches providing data points for the screens, which comprise more than 1,250 Samsung 43- and 55-inch units located across the circuit. Serving as the main opening backdrop for the TV broadcast and watched by millions, the huge LED screens on display at Lusail Circuit unsurprisingly grab the eye, the largest of which sits atop the pit lane and can only be viewed fully from helicopters filming above. The cornerstone of Techno Q’s activities, the colossal 5,000m2 screen was made using an INFiLED 71mm IN71P 0.8 RGBW mesh LED customised display spanning 414m x 12m. “Spectators cannot view the rooftop screen, even watching from the second floor of the hospitality area. It can only be seen from drones and helicopters, so they can get an impressive shot for the TV broadcast,” says INFiLED Qatar sales manager Ashish Saarsar. “This screen was typically used to display the F1 logo, the Qatari flag and glamour shots like that. When Max Verstappen won, for instance, he was blasted all over them. Technically, installing everything on top of the roof made it quite challenging to check what exactly was going on and there was very little space to work in.” Along with providing service and support onsite, INFiLED supplied the panels for the whole project to Darwish Technology, which in turn supplied them to Techno Q. The other main area adorned with the latest display technology is the hospitality area, which features 16 large indoor INFiLED mesh screens of 3.47 pixel pitch, each measuring 13m x 3.5m and installed behind glass panels. “To achieve a smooth and visually immersive screen experience in the hospitality area, we opted for a specialised approach by customising glass panels as a single, unified piece,” explains Awwad. “This strategic design choice eliminates any disruptions or alterations to the screen’s visual integrity. By doing away with joints in the glass panels, we ensure that the display remains seamless, free from distractions and true to its original design and resolution. The outcome is a
A Unilumin USURFACEIII 6 reflective screen greets visitors as they enter
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FEATURES: HOSPITALITY user-friendly and visually refined experience that prioritises an uninterrupted and engaging viewing environment.” Furthermore, as visitors enter the paddock area, a large screen overhead displays a range of visual content curated by the organiser. Unilumin USURFACEIII 6 LED panels were chosen for this purpose. “We call this one a reflective screen,” explains Awwad. “It’s a 27m x 10m display hung from the ceiling above one of the VIP entrances and you can watch it upside down. The challenge here was ensuring that a tailored and optimal display also harmonises with the overall theme and objectives of the event, contributing to a cohesive and impactful visual presentation that resonates with the audience and aligns with the essence of the occasion. “We also integrated a giant 7,000 nits, 10mm pp Unilumin USURFACEIII 10 screen on the pit building in the spectator area spanning 8.8m x 4.8m. Furthermore, there are 47 team garages, and above each garage we installed Unilumin USURFACEIII 6 panels in a 560cm x 90cm configuration. I haven’t seen this done at any other racetrack before it was used for the teams to display whatever graphics they wish. The gantry is also littered with screens.” Lastly, on the visual side, the track houses 16 villas for drivers and each of these has been treated to a 13.5m x 13m INFiLED IL-OCS-KTR 3.47 pp indoor mesh LED video hidden behind glass, while the main control room houses a further 40 Samsung HG55AU800 screens used by Formula 1 referees and judges. The integrator also supplied a variety of technical furniture inside the main control room. Beyond displays, Techno Q’s support for race announcements saw the team install a variety of AtlasIED ceiling speakers both in the grandstand and on 10m poles beside the start line. These are used for public address of any speech or race
The main control room housing 40 Samsung screens used by referees and judges
The hospitality area announcements for nearby spectators, and comprise 90 AtlasIED FS12T-94 90° x 40° 12-inch two-way multipurpose horn speakers with FS12TSUB 12-inch low-frequency horn units. Announcements are fed into the system via AKG CGN321 STS tabletop microphones, Sennheiser HMD-300-XQ-2 boom microphones, t.bone GM 5212 gooseneck mics and a Behringer X32 digital audio mixer. The electronics race system was the second major aspect of Techno Q’s work, and was created using a collection of HORUSSDA386 cameras for video surveillance and storage, in addition to Blackmagic SDI MultiViewers, HyperDeck Studio HD Plus, record/playback decks, Smart Videohub 40x40, Teranex AV and Videohub Master Control Pro. “It spans 54 cameras in total,” shares Awwad, “and these are used only for judging the race, checking for penalties and issuing fines in case any of the drivers do something wrong. This system is also linked with the signalling and timekeeping systems, as well as the telecommunications system, for the race marshals positioned at posts around the track. Again, it’s one big integrated solution at its core.” Despite the new 10-year Formula 1 contract with Lusail Circuit being the kickstarter for the recent work at the track, everything delivered by Techno Q is for permanent use and planned for well into the future. The MotoGP in mid-November saw everything come to life once again. “Everything achieved by Techno Q was completed under a contract between us and GET that will see us continue to support the infrastructure into the future,” says Awwad. “It’s a permanent installation and will not be replaced any time soon, and this is probably a good thing as it was not an easy project to work on. The working conditions were very harsh, especially in July, and we were there all day and night. Plus,
due to the time constraints, we were obliged to work in parallel with many other teams. As you can imagine, they were building the wall as we were installing our equipment, or they were painting, and we were there fixing the screens. It was a massive challenge.” “The Formula 1 project exemplified the seamless fusion of technology and design, creating a mesmerising visual canvas that elevated the entire event,” adds Saarsar. “I feel immensely honoured to have had the opportunity to be a part of such a prestigious project.” “Our client was not really expecting us to be able to deliver the 400m screen, let alone operate everything flawlessly,” the Techno Q PM concludes. “Not only was it the first time something of this calibre had been created, it was ordered quite late into the project and no one really knew if it would work. We not only got everything installed and operating on time, the screen performed flawlessly throughout the event.” Beyond Techno Q’s all-encompassing activities servicing the circuit renovation, Creative Technology’s Qatar office was also tasked with providing several services at the site throughout the F1 race weekend, supplying over 600m2 of LED and a d&b audio system on behalf of its client, Lusail International Circuit. “Our video solution consisted of 10 LED screens strategically placed opposite the grandstands and facing the VIP area, while our audio system comprised 81 speaker towers. Alongside this, we provided a camera monitor system to monitor all the screens from one central control location and a Dante distribution system for the audio.” www.ct-group.com www.infiled.cn/en www.technoq.com
Atlas IED speakers cover the grandstand spectator area
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FEATURES: EDUCATION
Bridging the physical and remote
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ACTS upon AT-HD contro progra anima
The American University of Cairo recently seized the opportunity to improve remote learning, consistency and content quality through a new classroom technology upgrade initiative THE SPRAWLING CAMPUS AT THE AMERICAN UNIVERSITY of Cairo (AUC) spans over 1,000,000m2, with a diverse community of nearly 7,000 students from 70 countries working towards a liberal arts education. As part of AUC’s mission to provide state-of-the-art facilities for advanced research, innovative teaching and lifelong learning, the in-house AV and IT teams came together to address a common challenge in the higher education community – how to effectively bring the physical and the remote world of learning together. “We call it dual delivery,” says Amir Gamal, associate director for IT Academic Support Services. “Like most universities, we wanted to develop a permanent model where the instructor can teach classes to students both on- and off-campus, and bridge the physical and remote divide.” It was a big job to undertake with such a small on-campus team, who would ultimately be responsible for systems design, equipment procurement and overseeing all AV and IT integration phases across 135 dual-delivery classrooms. “The existing technology footprint varied across many of these spaces, though most contained a projector and display screens along with standard computers and IT infrastructure,” furthers Gamal. “What we lacked was a consistent backend infrastructure to connect and control all these technologies, including switchers and extenders that could also help us better reach remote learners.” Gamal and his colleague Abdallah Kassam Hussein, who serves as officer of classrooms, first identified some defining characteristics for potential technology choices. The equipment needed to be easy to use for both student and instructor, including simple interaction with AV devices through a control interface. They also favoured durable equipment that wouldn’t require substantial maintenance, given its spread over all 135 learning spaces. Lastly, it would need to be fully 1080p
The Atlona extenders interface with Logitech cameras and Epson projectors HD-capable to ensure consistent quality of instruction and support for high-resolution images. Additionally, the pair wanted equipment that could support several room functions in one device. When it came to extenders, that meant a solution capable of sending both HDMI and USB
signals over a single Cat6 cable. While there were several vendors under consideration, they set their sights on Atlona for several reasons. “There was no question Atlona’s HDBaseT extenders, like others, had the bandwidth to handle HDMI and USB extension,” notes Hussein. “When you start adding up the number of spaces we needed extenders for, the monetary investment quickly escalates. Atlona had the best price point of any vendor we seriously evaluated, and they were proven to work with our existing Logitech cameras and Epson projectors.” Its price point has been an important part of the strategy behind Atlona’s Omega AT-OME-EX-KIT-LT, an HDBaseT extender kit designed precisely for such situations – providing a value-priced configuration optimised for smaller learning and meeting spaces with shorter extension requirements. The AT-OME-EX-KIT-LT, which features a transmitter and receiver, extends 1080p/60 HDMI and USB signals up to 70m. Its USB 2.0 interfacing and extension capabilities enable interoperability with Zoom for remote learners who participate via the platform. To facilitate integration, the university hired an external firm to run new Cat6 cabling through all the learning spaces, while the in-house team, Academic and Campus Technology Support Services (ACTSS), installed the extenders. “We used this cable to transfer images and connect our Logitech cameras in the back of the classroom to the podium,” explains Hussein. “Images are transferred from a classroom PC to a Samsung HD LED display – each room has one display – and we receive the output from the camera via USB, which is transferred to the computer. The result is absolute reliability for HDMI and USB transport, improved camera output resolution and uniformity across all spaces for easier troubleshooting when required.” While equipping learning spaces with extenders was essential to equalising in-person and remote learning experiences, the
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FEATURES: EDUCATION The AT-HDR-H2H-44MA switcher is capable of developing full-motion, highly detailed presentations of 4K graphics, while two Velocity AT-VGW-HW-3 hardware server gateways, each of which can support AV control for up to three rooms, will replace the Visual Arts programme’s legacy control system. “Velocity will exist on a separate virtual network and not connect directly to our main network, and we understand that Velocity will be mainly used for AV control in meeting rooms,” notes Hussein. “However, the same IT network team will make the most of our AV technologies accessible on the Wi-Fi network so that students and instructors can see them and control them on their devices.” “We have come a long way with the technology upgrades on this project, and the new and improved services they enable within our dual-delivery classroom,” concludes Gamal. “It wasn’t long ago that our learning spaces were all VGA. Now we have full 1080p HD capability in all classrooms plus some 4K, and a fully interoperable infrastructure for modern hybrid learning models.” www.atlona.com www.cacegypt.org
AV and IT have been integrated in phases across 135 dual-delivery classrooms ACTSS team came away with additional technology upgrades upon evaluating Atlona’s broader portfolio. These included AT-HDR-H2H-44MA 4K HDR matrix switchers and a Velocity control system for two specific learning spaces. “The Visual Arts programme prepares students for careers in graphic design, animation, film and more, and the instructors have specialised
content to show students that benefits from higher-resolution image presentation,” says Gamal. “We added two Atlona 4x4 HDMI matrix switchers to podiums inside two learning spaces that use higher-quality content during instruction, as well as a Velocity system to control the switchers plus all AV source and destination equipment.”
One of the newly outfitted classrooms at the American University of Cairo
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FEATURES: EXHIBITION
Elevating the exhibition
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Modulo Pi provided the best of both worlds when the Geneva Motor Show made its debut outing in Doha THE GENEVA INTERNATIONAL MOTOR SHOW (GIMS) is one of the most important events on the motoring calendar, with many car manufacturers using it to unveil their newest models and latest technology. Not held since 2019 and before the pandemic, the original plan for this year’s exhibition was to split the show into two editions, the first taking place in February in Geneva and the second in November in Doha, Qatar – also becoming the first time the format had been taken outside of the host city. Ultimately, the Geneva event in February was unable to go ahead, making Doha in late October the pedigree car event for the whole year. Taking place at the Doha Exhibition and Convention Centre (DECC), the event organisers collaborated with French designer Auditoire to help make the opening of the inaugural event something special. The French team has been working with the same client on the Swiss show for several editions and was in pole-position when it came to designing and creating a visual experience in Doha that would elevate the overall show programme. “There is an entrance way that leads to the central part of the exhibition floor and all of this area was designed by us,” explains Auditoire’s head of operations, Maxime Le Vot. “The task was thinking up what masterpiece we could create for the guests as they arrived at the show. The manufacturer car booths themselves are typically a copy and paste of the booths in Geneva, just smaller. We were put in charge of organising the whole space, to provide a specific experience for the guests. What we proposed was this large floating structure that would be hung in the middle of the floor.” Upon arriving inside the DECC, guest attention was immediately drawn to the action above, where a ring of LED screens and moving lights hung on a bespoke structure from the ceiling would create an energy-filled audiovisual showcase. This was flanked on either side by a pair of large
screens in a stacked cube 3x2x1 configuration showing content on all sides which pointed to a central hanging cube in the middle. “We produced the content for this, did the scenography and then we called on Novelty to perform the setup,” explains Le Vot. “The concept though was ours – the design came from us, the images and media were created by us.” To help execute this vision, the French team called upon the services of Novelty Middle East which, while based in Dubai, also has a local office in Doha and team members permanently on the ground. “When we receive an inquiry from a client like Auditoire, we’ll get the technical brief and a set of 3D renders which give us the general guideline to understanding where we need to target our efforts spec’ing equipment,” explains Nathanaël Henrist, senior AV engineer at Novelty Middle East. “At that point, we start putting our heads into how we are going to make the concept a reality. Clients like Auditiore will come to us with a concept that is already extremely well-thought out, but it’s our job to make that work with the technical side of things. “In this case, everything was pretty doable from the get-go,” Henrist furthers. “The challenges we had were mostly structural-related. Essentially, how do we hold this whole thing together? Knowing that you’re in an exhibition hall, that you’re on technical flooring and need to be able to spread the load evenly to support all the screens. In total, we were using something like 900 panels of Absen LEDs – likely around 10 tonnes of screens – so everything was LED.” Aiding this process, Novelty received precise CAD drawings of the layouts with measurements down to the centimetre in terms of where everything needed to be fitted. “Essentially,” says Henrist, “before we got onsite, we sent out a binder with our technical plans, stating that
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The Novelty Middle East team onsite
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YOUR TRUSTED PRO-AV PARTNER The panels were carefully arranged into a series of tiles
Constructing the cube we need to have flooring that’s cut out to this dimension with this thickness, etc. When we got onsite, everybody knew what we were coming in to install.” While logistics were a huge headache, on the technical side it was the requirement for massive video resolutions that defined the most suitable equipment. “Figuring out how to drive this whole installation was also key – it uses big resolutions,” explains Henrist. “The setup for the media servers was four 4K outputs to provide the required resolution. We needed a system that would drive this content reliably for the whole show and also be flexible enough to make any changes quickly. At Novelty, we’re predominantly using Modulo Pi as the media solution for complex jobs like this. It’s a fully integrated playback solution with show control, automation and media ingest, all in one package.” To power the setup, Novelty specified two Modulo Player 2x4K servers and a single 4K licence. Signals from the servers were sent over fibre to Novastar H2 LED processors, which combine slicing and processing in a single unit to disperse the video feed over the various Absen LS 3.9 EDGE panels which create the cubes. A Novastar Nova Pro UHD Jr all-in-one controller and HP 45-G8 Control PC were also deployed, with everything tied together via a Swissonic etherCON PoE switch and fibre HDMI cabling. Furman PDU power conditioners and Eaton 3KVA UPSs were used for power management.
Commercial Audio Visual Equipment. Broadcast and Production Equipment. Equipment for Live Events. Meeting Room Solutions.
A trigger was created to open the exhibition and kick-off the showcase “We did everything with the three Modulo Pi servers plus backups, so six in total,” shares Henrist. “All of that gear was consolidated into a compact 20U rack and hidden inside the cube. All the processors were genlocked and had full redundancy so, if anything happened physically with the connections, the entire system was ready to failover instantly without any issues.” Despite the complexity of such a rig for an exhibition use case, the nature of the format does mean that once it’s begun, changes are likely to be few and far between, and generally planned well in advance. The advantage is greatly simplified show control. “We had one show controller that was only for the operator and included very basic controls and test patterns for diagnostics,” says Henrist. “This was another nice benefit of the Modulos. Furthermore, getting to the same endpoint if you’re not an experienced user can be quite terrifying with many other systems. In this region where turnover in terms of jobs and being able to quickly respond to client requests is key, it’s invaluable to be able to have a solution that can be easily operated by a junior technician who has only received basic training. Everything is so simple that the whole system could easily be handed and driven by them for the duration of the show without a single problem.”
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January–February 2024 PRO AVL MEA 43
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FEATURES: HOSPITALITY
Coming Soon
MM-10 subs with MM-4XPs serve the alcove areas
Soon is bringing the classic experience to downtown Dubai IF YOU’RE JAPANESE, GOING TO AN IZAKAYA IS ONE of the country’s quintessential experiences. Most guides translate the word to mean a “pub” or “tavern”, but it doesn’t really fit neatly into either of these definitions. Izakaya really means “stay, eat, drink”, says Dymitro Shevchenko, general manager of Soon Izakaya, a brand-new restaurant outlet in Dubai’s JLT that is aiming to popularise this tradition outside of its origin country. Izakaya are different from bars in that diners are always seated (usually at a table or on tatami). While drinking is a big part of an evening out, there’s also a constant stream of typically shared dishes. Music, of course, is the constant backdrop that ties the whole experience together. When Shevchenko began exploring audio options for the new space, audio quality and coverage were his primary concerns. “For people eating and drinking during the day, the aim is to keep the sound levels very low but still good quality,” he says. “Typically, we are playing some quiet hip hop and a little bit of city pop inside during this time, making sure that people have the possibility to chat freely and that the music won’t interfere with that. But then in the evenings, especially on Tuesdays, Fridays and Saturdays, our main busy days, the music gets louder with people starting to dance in the middle of the restaurant from around 7pm onwards. The DJ gradually increases the volume and the music tempo throughout the night.” Moving to Soon from a nearby Hilton, the general manager has been closely involved in setting up the new establishment, which included liaising closely with local distributor Venuetech on audio requirements. “At the time I joined, everything was still a work in progress – we hadn’t even started the fit out,” Shevchenko furthers. “I took on certain responsibilities from our project manager who was busy at other locations, which meant dealing with all the suppliers, fit-out team and the music setup. When it came to the audio, I worked closely with Ismat Assafiri from Venuetech on what we were going to do, how we were going to install the speakers, how the system was going to be broken down into
L–R: Andrea Granata and Dymitro Shevchenko the different areas, where it will need to be louder or if we would need to constrain the sound to ensure that people can talk and sit freely without also being bothered by it. Ismat had a few approaches. In terms of both the quality, and what we wanted to achieve here inside the restaurant, it was an easy decision to opt for Meyer Sound.” The venue is loosely divided into one main central area hosting a split bar configuration with tables around the perimeter, along with what the manager describes as an indoor terrace housing additional dining tables. Providing the primary coverage in the central area surrounding the bars are six Meyer Sound Ultra-X20 wall-mounted just above head height. These are paired with two 900-LFC subwoofers, placed centrally at either end. Extending the coverage to the alcove areas are three zoned MM-10 subwoofers combined with six MM-4XP ultra-compact 4-inch self-powered speakers. Hidden in the nearby rack room is the MPS-488X
power supply, a Xilica Solaro FR1 for audio processing and zone control. “When we got involved in this project, there were several interesting characteristics. Firstly, the place itself – it wasn’t just about building another posh venue in Dubai, which we have plenty of. This is something quite different as a concept where the idea is to be a place where a community can be built around,” comments Meyer Sound MEA sales manager, Andrea Granata. “On the technical side, it was also very interesting. Our products are mainly popular in the live industry, so big line arrays raising a lot of volume for guitars and rock ‘n’ roll. This type of work requires a completely different skillset for an engineer. The audio needs to complement the atmosphere and enhance the overall experience. Designing a restaurant club that can be versatile, flexible, have an identity and a sound signature without ever being noticed by the customers, is a really interesting challenge.” The Meyer Sound approach seems to have paid off – since opening its doors, the manager says he has received rave reviews about the sound from others also working in the industry. “The system allows us, first of all, to carefully control the sound how we like it, concentrated to only the areas where we want it to be. Furthermore, the audio can also get very loud when needed but the quality is so good that it still sounds great at low levels to facilitate chatting. We have a lot of compliments and also people who are working on new projects coming and asking about it and who did the work for us. So definitely we’re 100% happy. “I think we have hit our target,” concludes Granata. “We’ve been able to achieve a comfortable environment for the customers where they can talk, chat and, later on, they can dance without these activities having any conflicts. That’s more difficult and way more interesting than it looks.” www.meyersound.com www.soondxb.com www.venuetech.ae
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INSPIRING EXPERIENCES, MEMORABLE MOMENTS
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BUSINESS: COMMENT
A letter from America
Dan Daley reports that music touring is roaring back but looks quite a bit different
YOU MAY NOT HAVE NOTICED IT BUT EARLY LAST year, Backstreets, the venerable Bruce Springsteen fanzine, announced that after 30 years, it would be shutting down due to the rock icon’s high ticket prices, which reached as high as US$4,000 on The Boss’s most recent tour dates, due in part to Ticketmaster’s dynamic pricing system that adjusts ticket prices in response to demand. You may not have noticed it because it wasn’t announced in Rolling Stone or NME, but rather in Business Insider, which is usually found in the same digital magazine racks as The Wall Street Journal or the Financial Times. That’s appropriate, since live music – and by extension, live professional sound – have become much bigger businesses than ever since Covid receded. Taylor Swift’s Eras tour netted her personally between $10–13 billion. Morgan Stanley estimates that Swift and Beyoncé tours in 2023 contributed $5.4 billion to the US economy in total spending. And that’s before they went overseas. Those two artists alone have moved financial mountains, literally impacting national GDP with hotel and restaurant chains raising prices in anticipation as the tours move from city to city. Airlines have benefitted, as well, with fans flying to see multiple shows beyond their home towns, or if their resident cities have been bypassed by tour itineraries. In fact, as Swift’s tour moves to Mexico, Brazil and Argentina,
travel agencies are offering packages that tout the fact that the tickets, in local currencies, will be cheap enough to offset the cost of a business-class seat to get there. Those same financial publications that are following the year’s megatours also reported that the mechanisms behind the curtains are also doing splendidly; for instance, Live Nation, the world’s largest concert promoter, posted a revenue rise of 32% to $8.15 billion in the quarter ended 30 September 2023, which handily beat Wall Street estimates of a mere $7 billion. There are more concerts now than ever before; Live Nation alone held over 12,000 of them – just in the third quarter! – from stadium shows to club dates, to which they sold 155 million tickets. Not surprisingly, this is having an effect on the live sound business. There are more manufacturers than ever in the sector, and they’re branching out into immersive systems, in pursuit of technological differentiation. That’s also not surprising, since competing on sonic quality is a moot point at a time when bad sound is increasingly rare. The technology and the science of sound has simply become that good. Then there are the sound system providers, some of which have experienced the financialisation of the live music industry more directly, in the form of mergers and acquisitions, perhaps most notably Clair Global, which has
gobbled up marquee names in the sector including Eighth Day Sound, Sound Image and Britannia Row, among others. However, everyone is also experiencing another holdover from the pandemic: a severe and growing shortage of qualified personnel. Many of the venerable road dogs of the pre-pandemic era of touring have either aged out, found alternative ways of making a living when Covid shutdowns curtailed live music or are simply no longer with us in a physically gruelling industry whose obituaries routinely start in the early 50s. Pro audio education academies have developed live event curricula in recent years, but music’s siren call has been one of beats rather than rigging. Getting more able and willing bodies into the business is a priority but one with few formal recruitment programmes. So it’s never been a better time to bet on live productions but it’s also never been a more fraught moment for them in many ways. As in much of the rest of life, capital and profits are being focused on an increasingly narrow top end, with startups finding it harder to gain traction. On the other hand, AI and other automation advances are helping mitigate the manpower shortages – musicians onstage pretty much mix their own monitors these days. There likely never will be a time when there won’t be live music on tour, but how it gets there, what it costs and who most benefits from it, remains to be seen.
A letter from Europe
Phil Ward takes a deep dive into the use of immersive audio to promote alcohol sales TO THOSE THAT KNOW THE BRAND AND ITS heritage, what could be more surreal than Genelec monitors in an outlet called World of Wine? What kind of booze emporium has Finland’s finest export to lull shoppers into that ill-advised extra case of Tinto Alentejo? We know that this is a manufacturer that has deftly diversified from stateof-the-art studio monitoring to networked installation across a wide range of cultural and commercial destinations. We know that Power-over-Ethernet is the key now unlocking markets that stretch further than Ilpo Martikainen’s beard. But we didn’t know you could ever buy Mateus Rosé while listening to the speakers that mixed parts of Back To Black* at Metropolis. Or, if we did think as much, we would be wrong. Because World of Wine is not at the back of a car park in Neasden. It is, in fact, a remarkable visitor attraction in Porto, Portugal’s second largest city and the place that gave its name to the rich, ruby red and fortified source of a million headaches. The 400+ Genelec speakers installed are all there in the service of Europe’s latest craze: the “interactive experience”. We don’t go to museums anymore, or art galleries or theme parks. We have interactive experiences, and the more
sophisticated, networked AV there is to light the way, the more interactive and immersive they are. I don’t have a shower these days. I have an immersive auto-sanitation experience. Back to Porto. World of Wine is a whole cultural district, devoted to the history of Portugal and its many contributions to food, drink, exploration and bottle tops. You heard correctly – don’t miss Planet Cork: “an educational and interactive experience for families”. Thanks to Genelec, you can hear the sounds of cork’s vibrant ecosystem. This should end with the vibrant “pop” of a cork leaving its womb at the top of a nosey Tinta Barroca, but I don’t think it does. Other areas of the complex include The Wine Experience, Porto Region Across the Ages and The Chocolate Story, all expertly designed by Porto-based Gema Digital, one of the new breeds of multimedia agencies transforming the AV landscape into something far beyond mere digital signage. With supreme confidence, at least in English, World of Wine acronyms comfortably into WOW. Encouragingly, Gema Digital’s Francisco Brandão emphasises “the importance of sound as an immersive component and its direct effect on the mood of a room”, and
this goes a long way to explaining the deployment of Genelec models including all of the 4000 Series and 192 ceilingmounted AIC25s from the Architectural Series. Genelec ceiling speakers? Damn right. And the fact you can buy Buenas Vides Argentinian Malbec in the Aldi supermarket chain got me thinking: what would be more surreal than Genelec monitors in World of Wine? That would be Genelec monitors in a real supermarket; one that sells butter and stuff. Just imagine. What? Where? Helsinki? You’ve got to be kidding me. Well, would you believe it. Turns out K-Supermarket in the Finnish capital’s Herttoniemi district has 12 4030s above the fridges and eight 4020s in the drinks section – its own little world of wine – plus more, all controlled by Q-SYS. Apparently, sensory marketing specialist Sevende Aromas has specified the audio alongside scent machines. “Studies have shown that the right kind of sound environment can increase sales by up to 30% and it also has a positive effect on the work efficiency of employees,” says founder and CEO, Eero Niskanen. So, it’s official. Even shopping for fruit and veg needs digital AV. *By Amy Winehouse, yes. Keep up.
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NEW
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BUSINESS: COMPANY PROFILE
The beauty of rigging Relative newcomer MFA Technical Services is taking the world of rigging by storm in Dubai, discovers Simon Luckhurst
The Dubai Air Show in 2021
Insid
L–R: MFA CEO Gleb Kharchenko and general manager Vladislav Boitsov PRO AVL MEA TENDS TO FOCUS ON THOSE PIECES OF equipment that quite literally steal the attention of the audience at a concert or event; however, there’s plenty of other integral gear at play. Of course, it is crucial for a production to have the latest AV and lighting equipment, but all off this still needs to be supported in a safe and accessible manner, or else the show simply could not go on. Structures and rigging are somewhat of a science all of their own, and relative newcomer to the UAE, MFA Technical Services, is hoping to drive the industry in the region even further forwards by taking a different approach to the market. Since the company’s inception in 2021, the team has steadily invested in both facilities and staff, adding key skills and new regional territories to its profile, seeing the company securing some impressive projects over the last 24 months. Led by founder and CEO Gleb Kharchenko and general manager Vladislav Boitsov, MFA was established as an independent entity in 2019, just before Covid hit. “We started life originally as just a staging company – we bought a brand-new stage deck and some material from Prolyte, such as roofs, ground supports and things like that. It arrived right as Covid hit,” recalls Boitsov. “I mean, there were both good and bad things that came from that period, but we were lucky to survive.” Perhaps working in the pair’s favour at the time, the plan in those early days was always to take things step-by-step. “We were never thinking to go big right away, and during the pandemic that worked to our advantage,” furthers Kharchenko. “We have a small warehouse, which we’ve stocked with material to the roof, but didn’t have massive overheads.” As the pandemic eased, one of the first events back on the calendar in 2021 was the Dubai Air Show, for which MFA was tasked with devising a structure for the main 55m x 35m pavilion housing a jet aircraft. “The Dubai Air Show project really gave us a kick to start scaling up operations and looking bigger,” Boitsov continues. “Not only was the whole project quite interesting and one where we made a big
Ice hockey at the Coca-Cola Arena statement to the market, it was the first time we started to verge more into full technical production. It was the biggest pavilion at the whole show and required us to make a significant investment to support the project. As a result, it really jumped us up to the next level.” “What we designed was a combination of a Prolyte structure with additional scaffolding but, because of the size, the
solution was really out of the box,” explains the CEO. “It was a completely flat roof structure, 10m high, which still had to be strong enough to support all the other ancillary AVL equipment. We were in discussion with engineers from Dubai’s civil aviation authority for more than one month to confirm the static. When the client first saw it, he didn’t believe it was possible and he was also a civil engineer. When you build a standard roof with truss, you get a certain angle for the roof apex to provide maximum strength. The further you push that angle, the more strength you lose. We made the roof structure almost flat, yet it was still able to carry the required load – it was quite an achievement. They were hosting a show inside, so above the jet you had lights, screens and speakers hung all around, which all had to be factored in.” It was around this point that the pair stopped considering MFA as being simply a staging specialist, expanding its service offering to something more akin to a technical production specialist. Bigger and more involved projects quickly followed as a result. “The next major project was Sleeping Beauty in the Coca-Cola Arena, which took place concurrently with an ice hockey match in the same venue,” says Boitsov. “We were involved in the whole production from the outset, with Gleb serving as the show’s technical director. It was very unique as the event was paired with the ice hockey match the next day. This meant two entirely different production teams, with different rigging points that all had to be combined into a single structure. The hockey league also has very strict requirements.” Of course, as activities have scaled up, so has the size of clients that MFA is increasingly working with. “While this is true,” notes Boitsov, “it doesn’t matter how big the client is or how much money they are offering, the main idea behind MFA – and this is what I tell our shareholders as the general manager – is that service comes first. You can be brilliant as a technician, but at the end of the day if you are not servicing your client, he’ll never come back. This is what I’ve learnt being in this market for more than 20 years.” Clearly the veteran GM is doing something right. Clients keep returning en masse, leading to the need to scale up MFA’s small team quite dramatically in 2023. “We practically doubled our crew last year,” Boitsov confirms. “We had quite a busy season in Saudi Arabia, both in terms of dry hiring our material and in terms of crew. We’ve also been working quite closely with the French agency Novelty, which has been heavily involved in luxury brand events. These are actually some of my favourite kinds of projects, as everything has to be so precise; sometimes you are working down to the millimetre.” More recently, the team has found itself becoming a regular contributor of staging and rigging for
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BUSINESS: COMPANY PROFILE
Inside the Museum of the Future
An in-the-round boxing setup at The Agenda
events taking place at The Agenda, an events industry hub of sorts inhabiting the old Dubai Palladium building. So, what’s next for the now not-so-young company? “To be honest, we don’t dwell on the future too much, and we’re happy with how everything is going right now,” adds Boitsov. “We’re in showbusiness, so you never quite know what is around the corner. Even though we’ve scaled up quite a lot
since starting, we don’t want to go huge with our operations. Medium-sized companies can be more flexible and, as you get bigger, you also tend to get more expensive. I think staying somewhere in the middle is ideal, for the very simple reason that this is where you can service your clients most effectively. Saying that, we are planning to open a branch in Saudi Arabia, probably through cooperation with partners.”
“People typically think that rigging is quite boring, and if you’re only making basic structures then I can understand why,” concludes Kharchenko. “But the structure sits at the core of everything. If the skeleton is broken, the body will fall. For us, there’s real beauty in that.” www.mfa.ae
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BUSINESS: COMPANY PROFILE
RDL’s customers are demanding more Dante-networkable interfaces
Assembled XLR input modules
Mission control
The manu outsid chara produ goods sheet stock worth “RD marke
Richard Lawn pays a visit to RDL, an Arizona-based manufacturer with quality and attention to detail at its foundations
LIKE THE CENTRAL ARIZONA CITY OF PRESCOTT, Radio Design Labs (RDL) is currently “Planning the Future”. However, the professional audio developer has already followed a trajectory that nobody in the corporate world would dare to follow. Shareholders would possibly have rebranded the company, red flagged the relocation from Carpinteria, California and questioned the number of SKUs (stock keeping units) – currently 800 and counting – in its catalogue. With a resilient focus on precision engineering and design excellence, RDL has gone from strength to strength, continuously proving sceptics wrong. Futureproofing did not concern founder Joel Bump, who used his extensive experience in broadcast engineering to create the brand in early 1986 and has built the family-owned business over 36 years. Renowned today as a pioneer of application-specific modules, today’s main audiovisual and control products pushed radio broadcasting firmly down the menu. Private investment equity firm Vopne Capital signalled the start of a new era in 2022. Focusing on the lower middle market, Vopne partners with business teams engineering products that cover a wide spectrum of industrial services. “Their history of investing in businesses like ours makes them an ideal partner,” says Bump. “They share our values and will continue our legacy of focusing on the highest product quality and service for our customers.” Industry veteran Erik Tarkiainen was revealed as RDL’s new president in December 2022, with a 30-year career including spells as CEO/GM of House of Marley in the FKA family of audio brands and VP of global marketing for Harman’s Professional Solutions division in addition to management roles with Line 6, iZotope and Bose. “Having assembled the right team around the right products and technology, RDL is well-positioned to expand their market leadership,” comments Tarkiainen, undeterred by the 90-minute commute by plane from his home in southern California. “I cannot recall hearing one single negative reaction towards RDL and personally respect the brand for being associated with excellent quality and customer support. For someone like me with a marketing background, RDL is a dream brand to work with. Their solid reputation simply needs to be introduced to a wider audience.”
RDL founder Joel Bump Bump’s vision to distinguish RDL as a designer and manufacturer of products to exacting standards of performance and longevity continues today. RDL has created core product groups of single-function modules for mixing, equalisation, source selection, signal routing, signal distribution, signal detection and remote control. Isolating functions into low-cost, reliable modules is a breakthrough for system designers seeking to interconnect multiple modules in unlimited combinations. Beyond product design, a broad base of technical and system design support was provided by a team of engineering staff with field experience in Carpinteria. Manufacturing relocated to Prescott in 1993 and the sales division followed 11 years later. Exports increased following the establishment of Amsterdam-based RDL-Europe BV in 1998 as a subsidiary company and master distributor. “Historically, RDL has not invested enough attention outside of the USA and is perceived by some as a niche underground brand,” highlights Tarkiainen. “With the right products and infrastructure in place, RDL is now focusing on building brand awareness for global distribution sales and marketing.”
L–R: RDL’s Erik Tarkiainen and Chuck Smith outside the Arizona headquarters
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BUSINESS: COMPANY PROFILE
RDL has continually invested in automation and an efficient industrial plant The two buildings on Sixth Street, Prescott – where RDL manufacturing takes place – are unassuming from the outside. Within, however, the broad vertical integration characterises a company that demands complete control of production processes from incoming raw materials to finished goods in the shipping department. In the south building, solid sheets of steel are cut to size by CNC machinery while a large stockroom at the rear of the property stores up to 18 months’ worth of components, ensuring delivery within days. “RDL has always been focused on engineering rather than marketing,” confirms operations manager, Pat Phillips.
“All our employees are long-term and highly committed. The company has always invested and pours millions into plant and state-of-the-art production facilities. Take our fabrication department, for example, where metalwork is powder-coated in white, black and grey before being baked in an enormous oven. As a result, the metal fabrications are super durable, robust and scratch-resistant. By retaining all these processes onsite, RDL saves a lot of time by not outsourcing, remains in full control and, over time, saves money.” All assembly processes are maintained in-house, including plastic moulding and encapsulation, metal fabrication,
product printing, panel laminate manufacturing and precision laser cutting. Assembly, including component placement, soldering and product testing is automated using computerised machine control. All RDL products, except power supplies, are made in the US, and are CE and RoHS compliant with a three-year warranty. Manufacturing and packaging employ environmentally safe, recyclable materials and processes. The raw products are then transferred to the north building. Here, the steel modules and plates are printed in high detail using scratch-resistant epoxy inks.
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BUSINESS: COMPANY PROFILE Batches of products enter and leave in varying quantities according to the customer order. “We are often asked why we retain so many SKUs,” exclaims sales and marketing manager, Chuck Smith. “As a solutions company, if a customer wants a product, you must supply it. Whatever the quantity, we will produce it. For less popular items, we always keep a small stock in our inventory. When our customers are confronted with an unusual challenge that needs a special product, they typically turn to RDL. It would be easy to focus on the 20% of products that generate 80% of our sales, but that’s not who we are.” This extends to the packaging department and shipping area, which generally has six months of stock. With products demonstrating longevity, there has been little reason for RDL to change its decades-long processes. Smith explains how laminates are made with custom-formulated ink that resists fading, even in direct sunlight, with a clear surface of scratch-resistant plastic. “Continued investment in machinery, plant and production has allowed us to engineer our products with extreme quality yet stay competitive in the market,” he reports. Surface Mount Device (SMD) technology rapidly loads thousands of parts onto a single circuit board as an automated machine flows mercury onto the rear of the boards to permanently affix larger parts. “Some of our products – such as one with four mic preamplifiers – can contain over 1,000 parts, as one mic preamp has hundreds of components alone,” continues Smith. The R&D department is insulated from RF interference to protect against electromagnetic frequencies. “We don’t need a 3D printer as prototypes can easily be created in-house,” continues Smith. “When R&D wants to create a new product, the design can be directly loaded into the software and one proto unit can be created on the factory floor for immediate testing. Every department seamlessly integrates with the sitewide software we have adopted for all our operations.”
Skilled workers and mechanised engineering rapidly transform raw sheets of steel orbiting around the Earth in a satellite: ultra-cold when the craft is in the Earth’s shadow and extreme heat when in direct sunlight. We also build in power conditioning to help protect our products from electrical and lightning bolt strikes.” RDL continues to manufacture for the broadcast sector. Three generations of Amplitude Component Monitors continue to be used and specified by FM radio stations wishing to maximise their effective coverage by several miles. This longevity in demanding broadcast applications has been applied throughout the catalogue. “From our roots in broadcasting, RDL has easily transitioned to networked audio,” explains Tarkiainen.
Lasers precisely cut and etch
Larger components are assembled to the circuit boards
Sheeted screenprinted face plates
Smith puts a higher value on the R&D equipment than that of RDL’s entire plant and machinery. The electromagnetic testing room is the reserve of product compliance. “RDL is one of the few manufacturers in this industry who can conduct their own compliance testing,” claims Smith. “In the rare event that we receive a failure, we don’t have to ship a faulty product to a third-party test lab and then await a report over a two-month cycle. For RDL, it takes hours.” Smith jokes that only cockroaches and RDL products – tested in an environmental chamber from +350°F down to –275°F on a 10-minute cycle – will survive the end of the world. “We test the epoxies, glues, laminates and other materials,” he explains. “It is vital for products placed in extremely hot or cold environments. Many of our products have been commissioned by NASA or the military and must withstand extreme temperatures. The Space Station, for example, turned to RDL when previous mic preamps were failing in orbit. Think of the extreme temperature swings our products endure every day when
A growing suite of Dante-enabled products interface Bluetooth, standard microphone and line level audio signals, in addition to connecting the entire group of RDL Format-A endpoints to a Dante audio network. The manufacturer’s Format-A system comprises more than 60 products for transmitting, receiving and distributing audio over standard Catx cable as a pointto-point system that doesn’t reside on a network. By Dante/ Format-A hybrid modules, each Format-A endpoint can be located as required, allowing for cost-effective system designs. Multiple audio endpoints – including amplifiers, headphone amplifiers, mic/line XLR and stereo audio wall plates – can be daisy-chained via Catx cabling to help reduce installation time and costs. “Rather than be a pioneer and drive the market, RDL’s role is to produce the endpoints, connections and interfaces that support current trends, currently Dante and AES67,” explains Tarkiainen. “As a hardware company, RDL is supporting standards and technologies for our customers’ requirements. In addition, when a customer has their own design environment
such as Q-SYS, they can configure our hardware through Q-SYS-compatible plugins. Although designs are increasingly more software-centric and cloud-based, it is important we make it easy for specifiers to integrate our products into their environments.” RDL has not followed the trend of outsourcing manufacturing to Asia or Mexico, continuing to see its future in Arizona. “Our products provide high quality and reliability because we oversee every step of the production process,” comments Tarkiainen. “Each and every product made here is fully tested before it is shipped as both the quality and attention to detail are the foundations of this company. We know that our customers place a high value on sustainability, affordability and functionality as our products are used in extreme locations.” Tarkiainen is currently focused on increasing production to keep pace with growing sales. “One of the main challenges RDL faced in 2022 and 2023 was to supply to increasing demand. Despite being a relatively small company, RDL has not been constrained by component or chip shortages. We came into the pandemic with an 18-month store of components and that saw us through.” Significant growth also means growing pains. “By recruiting and employing the right people in addition to making investments in machinery and improving manufacturing efficiencies, we are succeeding. Monthly production records are being realised in an efficient, sustainable way. The investors realise the potential in the business and have fully backed RDL by investing in people, machinery and equipment. RDL has always been able to support its growth and we are making huge investments for the future.” However, Tarkiainen is cautious of growing the business too quickly. “There is a risk of compromising quality and existing customer support. By appointing the right partners in addition to placing the right support in place with the right products, our three-year plan aims to develop a similar market share in Europe and APAC as we currently have in the USA. As we may be perceived as a new brand in some new export territories, we really cannot compromise.” Obliged to grow the company’s sales, Tarkiainen takes greater satisfaction from the culture and ethos that currently exists at RDL. “Our employees are empowered to develop their own ideas that will not only improve their roles but the company in general in terms of efficiencies. It’s exciting to witness employees feeling part of a team for the future.” As Tarkiainen experiences a warm glow from within the company, Smith takes satisfaction from RDL’s customers. “We receive positive accolades from time to time, but one of my favourites came from a systems integrator based in Kansas recently,” he recounts. “They are astounded that we consistently deliver within a few days of them sending the order. But I was even more proud of the fact that they could not recall any failures from RDL, having specified our products for 22 years.” www.rdlnet.com
54 PRO AVL MEA January–February 2024
PAME Pg52-55 Company Profile RDL.indd 54
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BUILT TO MOVE YOUR AUDIENCE
SUB 7 MK3 SERIES
ACTIVE SUBWOOFERS
The new self-powered, portable SUB 7 Series mk3 subwoofers feature state-of-the-art transducers and a 1400 Watts Class-D amplifier. Available in three sizes, with 10-, 12- and 15-inch cones, SUB 7 Series boasts 133 dB of maximum sound pressure level, ultra-fast attack with accurate power handling and proprietary DSP algorithms including RCF Bass Motion Control. SUB 7 series is designed to be the ideal low-frequency complement for 8” to 15” portable loudspeakers, providing outstanding performance in any sound application.
#ExperienceRCF
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BUSINESS: SHOW REVIEW
AES and NAB 2023 For the first time, the two shows were held in separate halls. Sue Gould reports from the show floor TAKING PLACE ONCE AGAIN AT THE JACOB K JAVITS Convention Center, AES New York marked a milestone 75th anniversary for the organisation. Co-located with the National Association of Broadcasters (NAB) Show New York, the October iterations collectively attracted 20,000 media production professionals from across the recording, broadcast, streaming, online and live sectors. Despite announcing a 15% increase in participation from 2022, AES has contracted since its glory days and arguably no longer has the pull it once did; nevertheless, it retains a certain kudos within the audio world. This was particularly in evidence from
DiGiCo MD Austin Freshwater (second from right) with the Fourier Audio team during the launch of the transform.engine
John DiNicola showcases the new Focusrite Scarlett 2i2 audio interface
the Audiotonix Group, which chose the show as a platform for its family of brands to launch a variety of new products on the first day. Kicking off on the Harrison booth was the 32Classic console which, according to president Gary Thielman, “has been designed from the ground up to include the sound and features that Harrison consoles are known for, set in a modular design that accommodates modern workflows”. A press call on the DiGiCo booth swiftly followed as the UK team welcomed Fourier Audio into the group and revealed the transform.engine, which brings Dante-connected, studio-grade audio software plugins to productions and broadcasts in a 2U rackmount server. Finally, Solid State Logic revealed additions to its music and audio production range in the form of the Pure Drive OCTO and QUAD mic preamps. Long-term supporter Meyer Sound returned once again with a full schedule of demos running throughout the show, highlighting its new generation of point source speakers as well as introducing NADIA, its networked digital audio platform that can connect directly to Milan AVB digital networks. “New York is an important market for us,” commented director of business development, John Monitto, “not just for all the world-class theatres and concert halls but also for cutting-
edge venues like National Sawdust and Jazz at Lincoln Center. Also, we regard AES as a critical organisation in developing standards, something we value highly as shown by our company’s role in developing the new AES75-2023 standard for measurement of maximum linear sound levels.”
L–R: Rehman Leigh, Daniel Schindler and Norbert Bau from Stagetec
The Wohler team at NAB
L–R: sound engineer Aditya Srinvasan getting some tips from DiGiCo’s Dan Page Unlike previous iterations where the shows combined across one floor, both AES and NAB each had a separate hall. With NAB organisers citing a 65% increase in exhibitors, major brands among the 275 on the floor included Avid, Blackmagic Design, Grass Valley, Ross Video, Canon, Imagine Communications, Calrec and Wohler, and clearly the organisers required more space. Conversely, AES’s footprint appeared to have shrunk. In previous years, Lawo had been present at both shows but, this time around, the decision was that NAB was the priority event to present an extended IP portfolio tailored to the broadcast and professional audio communities with the launch of its new crystal mixer. “The booth has been slammed and we’ve had some great feedback from visitors,” said chief marketing officer, Andreas Hilmer. “It’s a very successful micro NAB for us as all the east coast people are here that we wouldn’t see in Vegas, but it’s a
pity that it’s not sharing the hall again with AES. The lines are blurring with some of the manufacturers, so if you want to focus more on the TV broadcast audience and you also have video products in your portfolio, you need to be at NAB. However, as AES is pure audio, you would miss your audience. Audio people walk in here to NAB but video people won’t go to an audio show.” RCF had taken a prominent booth at the front of the AES hall to introduce its new TT+ Audio brand. “I think there was an expectation for us to be here – it’s the next logical step, giving customers the option of having remote amplifiers and the option for higher-end products. Our core clients are very excited to see we have a product that goes to the next level,” explained product specialist, Oscar Mora. “The interest has been off the charts with both new and existing customers excited to see us. There’s a great variety of people – it’s for recording engineers but New York brings together an incredible network of people so we see a high level of integrators and consultants and it’s great show.” During NAB, a full conference programme was on offer, including sessions such as Cybersecurity for Broadcasters, The AI Creative Summit and TV2025: Monetising the Future among the offerings. On the show floor, Cine+Live Lab focused on the convergence of cinema technology and live broadcasting. And as you would expect with AES, a full programme of events was on offer during the week with tech tours providing an insider view of both the historic venues such as the David Geffen Hall that shaped audio history as well as the Dolby Atmos Music tour providing insight into the cutting-edge technology shaping its future.
2023 Dates:
AES: 25 – 27 October / NAB: 24 – 26 October
2024 Dates:
AES: 9 – 11 October / NAB: 9 – 10 October
Total exhibitors: AES: 127 / NAB: 275 Attendance:
AES: 8,100 / NAB: 12,200
Venue:
Jacob K Javits Convention Center
Contact:
www.aes2.org / www.nabshow.com
56 PRO AVL MEA January–February 2024
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Make sound more profound. Feel music—mind, body and soul. Introducing the
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BUSINESS: TECHNOLOGY
Choosing the right audio amplifier
Jeremy A Smith amplifier manufacturer’s website for examples of working with other manufacturers’ devices or best practice tech notes can go a long way towards ensuring a successful installation.
System monitoring
LEA Professional’s Jeremy A Smith discusses the various considerations when it comes to specifying the right amplifier THERE ARE A MULTITUDE OF AMPLIFIERS ON THE market, varying widely in wattage rating, size, channel count and more. Wading through all the specifications can be time-intensive. You can’t compare products from different manufacturers easily because they often measure their specs using varying attributes (idle vs ⅛ power vs ⅓ power or 2Ω vs 4Ω vs 8Ω, etc.). Choosing the right amplifier for each installation is a key aspect of every system design. An improper choice can lead to signal clipping, loudspeaker damage, overheating or simply an unsatisfactory audio experience for the end user. Here are some criteria to consider when choosing an amplifier for your next job.
Hi-Z and Lo-Z support Hi-Z and Lo-Z are designed for different applications. Hi-Z is for distributed applications requiring many loudspeakers for adequate coverage but without the need for a concert-level experience. In contrast, Lo-Z applications are primarily about higher-fidelity requirements like cinemas, performing arts centres and concert halls. Lo-Z speakers are often larger-format speakers, which allow for lower bass responses so you can reproduce the rumble of the dinosaur’s foot hitting the ground or the bass guitar or kick drum in a concert. While the system design typically calls out the type of loudspeaker (Hi-Z or Lo-Z) in advance of buying system components, being able to select Hi-Z or Lo-Z output on a per-channel basis provides integrators with a lot of flexibility should something change in the design mid-stream. Additionally, there are several scenarios where an end user may have a higher-fidelity requirement in a space adjacent to one requiring a distributed speaker solution, so having an amplifier that can support both requirements can be very advantageous. Another potential issue is how low the Lo-Z support goes. Most amplifiers support 4Ω and 8Ω loads, but 2Ω support is a little more grey. Some models don’t do well with impedances that low (even if the spec sheet says otherwise), so it’s worth requesting a demo in advance if the system design calls for very low impedance.
Wattage, wattage, wattage There are several ways for loudspeaker manufacturers to specify wattage – programme, RMS and peak, to name a few. Plus, the test attributes for achieving the stated ratings vary as well, so check the footnotes on data sheets to ensure you’re comparing like-for-like between different manufacturers’ loudspeakers.
That said, the continuous or RMS and peak values are of primary interest when selecting an amplifier. You should always match the continuous rating to the amplifier rating. For example, if you specify a 300W continuous speaker, you want to specify at least a 300W per-channel amplifier. That doesn’t provide any headroom for peak signals, though. Typically, having 20% headroom in additional wattage is good practice because it allows for better dynamic range. For Lo-Z applications where audio fidelity is paramount, like a nightclub, you’ll want to hit both the continuous and the peak or maximum ratings of that loudspeaker. So why not buy the highest wattage amplifier available? It comes down to cost, mainly. Not only in the amplifier cost but also downstream costs like electricity and HVAC. Typically, the larger the wattage the amplifier supports, the more heat (BTUs) it generates. One of the most common problems with amplifiers is overheating due to poor ventilation or an underpowered cooling system. From a design standpoint, most amplifier manufacturers implement limiters on their amplifiers so you can control how much wattage is transmitted to the loudspeaker to prevent damage. Make sure to verify the proposed amplifier can limit the output, as well as to consider how easy it is to make changes to the limiter (it’s easier on some products than others).
Bridging channels Channel bridging has been an industry solution for many years, and it primarily solves a problem stemming from budget constraints. Ideally, you should purchase the right-sized amplifier for the installation, meaning that the per-channel wattage is sufficient to power the loudspeakers and subwoofers without needing to bridge channels. Often when you bridge channels on a four- or eightchannel amplifier, it comes at the cost of available wattage (and potential headroom) on the remaining channels.
Interoperability The most significant issue when using equipment from different manufacturers is interoperability. Even when standards are developed (for example, AES67), it doesn’t mean the implementation of the standard is the same between manufacturers. Interoperability challenges can be even more basic – analogue vs digital, inconsistent firmware versions or mismatched connectors (XLR vs Phoenix). AV-over-IP systems introduce additional concerns like clock synchronisation and potential network congestion. Reviewing the
Once the system is installed and commissioned, uptime becomes the priority. Monitoring the system to prevent issues from occurring or handling them quickly is a priority for the support team, whether onsite or remote. Many facilities don’t have full-time support staff to maintain the AV equipment; instead, they rely on systems integrators for servicing. AV technicians can often identify and address problems before end users even notice. Informal relationships between the systems integrator and onsite IT or facilities teams are common to help overcome certain issues, such as troubleshooting air conditioning issues in the rack room if thermal warnings are indicated. This proactive approach minimises downtime and ensures a smoother user experience. By monitoring AV equipment remotely, organisations can potentially reduce the need for onsite visits and service calls, which leads to cost savings in travel expenses, labour and time. Conversely, integrators can benefit from recurring revenue streams created by service contracts for remote monitoring services and can schedule their technicians more effectively for value-added service calls across all clients. Remote monitoring – especially cloud-based services – is scalable, making it suitable for organisations with multiple locations or a widespread AV infrastructure. It allows technicians to oversee and manage numerous AV setups from a centralised location, ensuring consistency and control. Perhaps the most significant benefit of remote monitoring is the peace of mind it provides to end customers. In today’s digital world, we expect our technology to just work, and having expertly trained technicians working behind the scenes makes that expectation a reality.
Technical support Not all manufacturers are created equal – the adage “you get what you pay for” applies to purchasing amplifiers. Too often, amplifiers are value-engineered because “it’s just an amp”. But they aren’t – they’re equally important to the audio system as other components. Whether during commissioning or post-installation, if something goes wrong with the system in general or one of the amps in particular, you may need to lean on the manufacturer’s technical support teams to help troubleshoot the problem. Will someone at the manufacturer answer the phone or your email promptly? It’s worth investigating the manufacturer’s stance on technical support to see if you’ll be set up for success should something go wrong.
Final thoughts Many people in the pro AV industry consider amplifiers to be commoditised products with few differentiators. Often the first component value engineered in the audio system, the problem with this is that it only considers present cost/investment and not the total cost of ownership over the life of the installation. Amplifiers play an important role in speech intelligibility and music clarity, and a wide gamut of products that span cost and ability are available. Choosing the right amplifier based on current system requirements (with room for potential expansion), which a manufacturer backs with a solid post-sales support infrastructure, will lead to fewer trouble tickets and happier customers. www.leaprofessional.com
58 PRO AVL MEA January–February 2024
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NO WORDS NEEDED
www.DiGiCo.biz
Quantum8_PROAVL_Sept_Oct23.indd 1 Untitled-2 4
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Reliability In All Weathers
NEWPRODUCTS
INSTALLATION • AV • LIVE SOUND • BROADCAST • POSTPRODUCTION • RECORDING • LIGHTING A–ZCONTENTS
Lawo shines like a diamond with crystal Lawo has unveiled the crystal broadcast console with six, eight and 14 faders THE IP-NATIVE mixing system is based on the open Ravenna/AES67 audio-over-IP networking standards and complies with SMPTE ST 2110-30/-31 for audio and ST 2022-7 for redundancy. Powered by the Lawo Power Core Engine, crystal supports expandable I/O, accommodating AES67, MADI, analogue and AES3 in addition to Dante audio sources and destinations. Available with six, eight and 14 faders, together with the Power Core and Controller modes of operation, crystal has also been designed as a companion for a variety of broadcast applications that straddle radio. These include audio production workflows such as smaller on-air studios, regional studios, news and commentary suites, smaller production studios, MCR control and OB vehicles, podcast recording studios, remote production applications, DAW control and integration plus workflow uniformisation. The IP-native crystal is available in both a light and dark finish, with both versions offering varying shades and colours for customisation. Silent, motorised faders based on mc² audio production consoles and encoders promote integration with
programme automation and playout systems, including multiple-layer operations with voice tracking, remote production or DAW control. Programmable, colour-coded LED buttons and encoder lighting highlights common control functions. The optional Virtual Extension modules feature Full HD TFT displays and touch control. Ember+ and HTML5 integration enables control of third-party hardware and software. Like diamond, the inclusion of the LUX provides a consistent interface across the entire Lawo product portfolio. Assistive mixing technologies are said to help operators produce compelling programming. The AutoMix function automatically maintains the balance of multi-mic productions, AutoMix Grouping allows intelligent automatic mixing to be applied to multiple independent source groups and the AutoGain automatic gain setting function optimises mic levels. An unlimited number of snapshots and DSP profiles can be recalled from any networked console, and individual talent profiles or customised show setups are remotely available. The Power Core mode allows the console to be operated in combination with the high-density DSP Power Core mixing
EBC25
NEUTRIK FIBERFOX portfolio launching FIBERFOX EBC25 in is is fully compatible with the MIL-DTL-83526 military
engine and modular I/O device. In this mode, crystal supports the Power Core Compact licence for single six-fader or extended 14-fader setups, and the Power Core MAX licence. Accommodating up to four consoles, one Power Core with the MAX licence allows four studios to share its processing power in a variety of configurations. Controller mode caters for a small IP-native extension panel for mc² audio production consoles. A crystal Main or Fader module can be used as a control panel for an mc²/A__UHD Core-based backend. When used as a companion in an mc² system, most console strips can be mapped to the crystal surface. crystal also integrates with Lawo’s Home management platform for IP-based media infrastructures. The manufacturer has also released V10.8 software for the mc²/A__UHD Core/ Power Core platform. In addition, NMOS support for the mc² Gateserver bolsters device compatibility, offering seamless integration into Lawo’s ecosystem.
Adamson Systems ArrayIntelligence V1.1 Allen & Heath Avantis Solo AMX MUSE Automation Platform Austrian Audio MiCreator Studio Ayrton WildSun K9 Wash Blackmagic Design Cinema Camera 6K Bose Professional AudioPack Pro C4W Canon Multi-camera control app CAST Group BlackTrax One (BT-1) Chauvet Professional Ovation Rêve P-3 IP Christie 4K860-iS Claypaky Actoris Profile FC Clear-Com EHX 13.1 CODA Audio CiRAY Contacta Systems RX-30 Crestron Videobar 70 update Dear Reality dearVR Spatial Connect for Cubase 12 Digital Audio Denmark DADlink Digital Projection Projection Simulator DirectOut PRODIGY.MX DPA Microphones 2017 Shotgun Microphone Earthworks Audio SR5117 EAW SM12 Elation Proteus Hybrid MAX ETC Eos v3.2.4 Extron XTP II CP 4o HD AT 8K Fourier Audio transform.engine Genelec 9401A Grass Valley Kayenne Harrison Audio 32Classic HK Audio FINEO Innovox Audio HLA-820 JBL IRX One Key Digital KD-Pro4x1X-2 update KLOTZ AIS HC72P25 L-Acoustics LC16D Lawo crystal LD Systems TICA Series Lightware Visual Engineering CAB-USBC-AOC800K Mackie Thrash212 GO Magewell Director Mini Martin Professional P3-175 Merging Technologies Venue Mission Meyer Sound NADIA Microtech Gefell Generation 4 NTi Audio IB01 Impact Ball Optimal Audio WebApp 1.2 Pan Acoustics Pan Speaker CX series Panasonic UCU700 Pliant Technologies MicroCom 900XR PPDS Tableaux 5150I PreSonus Studio One 6.5 Q-SYS AD-C4T-ZB RCF NX 932-A RDL DD-RN Series RF Venue RF Explorer Pro Riedel Communications RiMotion R10 RME ADI-2 Remote RØDE White Collection ROE Visual Topaz Series Sharp NEC Display Solutions Europe NC1503L Shure SM7dB Solid State Logic Pure Drive Quad and Octo Sommer Cable HICON BNC0.8/3.7-6G-SM Sony LMD-XH550M SoundTube MCA2004t Tascam Sonicview v1.5 Tasker C283 / C284 / C290 TVU Networks TVU Search Vaddio EasyIP PCC Waves Audio Waves Online Mastering Wharfedale Pro DP-F and DP-N update WORK PRO ARENA Series WyreStorm NHD-124-TX
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www.lawo.com
multimode. It specifications.
Thanks to the jam nut design the FIBERFOX EBC25 will fit industrial, governmental and other industries outside of the broadcast & entertainment market.
Features & Benefits
Extremely robust, heavy-duty No special cleaning or measurement tools required (EBO Technology with 3 mm lense) IP68 (mated & unmated) Wear-free connectors < 10,000 mating cycles without any maintenance Cables are prolongable without couplers Compatible with MIL-DTL-83526
Email: info@nmkelectronics.com | T: +971 4 266 5244 Website: www.nmkelectronics.com |
NMKelectronics
January–February 2024 PRO AVL MEA 61
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Reimagining an icon CODA adds to its VCA family CODA AUDIO has announced the launch of its CiRAY compact full-range, dual 10-inch line array system. As the third element of CODA’s VCA family, alongside the ViRAY (dual 8-inch) and the flagship AiRAY (dual 12-inch), the CiRAY has been developed by CODA to deliver “ultimate flexibility” for rental companies and provide a full spectrum of line array products for installation. The CiRAY is an ultra-light, ultra-compact standalone system that can also be paired with its siblings to provide an optimum mixand-match configuration and obtain “the best sonic and logistical outcomes” for a a host of live and installed applications. All VCA units include the manufacturer’s patented Dual Diaphragm Planar Wave Driver (DDP), Coupler technology and FS-FIR Filters, with the CiRAY also benefitting from the addition of CODA’s latest Dynamic Airflow Cooling (DAC). From a setup point of view, a hang of 12 loudspeakers (2x6) can reportedly be set up in minutes by a single operator, with all cabinets set for their relative angles to drop into place once lifted. Three cabinets can be powered from
one channel of CODA’s LINUS14 DSP amplifier, meaning that only one amplifier is required for a full hang of 12 using an industry-standard power amp cable. The CiRAY uses the same unique Coupler technology as the rest of the VCA family, giving horizontal dispersion control down to 200Hz with coverage options of 60°, 90° and 120°. The speaker comes with CODA’s Quick Release grille and the ability to change horizontal dispersion by means of the manufacturer’s proprietary Instafit Magnetic Couplers. Compatible with the VCA family, the SC2-F dual 15-inch sensor-controlled, low-frequency extension overlaps the VCA line arrays in the 35–200Hz range. It can be strategically deployed either to increase the low-frequency impact and headroom of the system in a long-throw configuration or to provide an accurate cardioid dispersion pattern over the entire frequency range when flown behind the line array. Additionally, the SC2-F can be used in a beam split configuration.
WITH THE launch of the 32Classic, Harrison has produced its first mixing console following the Solid State Logic acquisition in April 2023. Designed and engineered by Harrison Audio in Nashville, Tennessee, and manufactured in Oxford, England, the 32-channel in-line/splitrecording console is a “purist” console, taking a 50-year legacy in analogue console design and combining it with modern studio integration. Available in 32- and 48-channel variants, the DAW-compatible frame design can accommodate a variety of “traditional” and
modern “hybrid” workflows. Featuring 32 mono mic/line channels, 100mm faders, transformer balanced mic preamplifiers and 32C four-band parametric EQ with variable high- and low-pass filters, the 32Classic comprises 64 channels of AD/DA conversion, gold-plated switches, in-line or split recording/ monitoring status, conductive plastic potentiometers and summing busses carried by PCBs. An optional Dante AoIP interface extends the 32Classic’s appeal for mixing environments and classic tracking rooms. www.harrisonaudio.com
www.codaaudio.com
SM12 stage monitor flexes its muscles INSPIRED BY the Microwedge acoustic design, EAW’s SM12 Stage Monitor is a two-way passive loudspeaker for festivals, performing arts and house of worship applications. Designed to be used as both a stage monitor or fill speaker, the SM12 has a concentric driver attached to a CSA waveguide which EAW says provides even coverage throughout the 90° x 60° pattern. Meanwhile, a large ground-coupled port extends low-frequency response down to 60Hz from its 12-inch woofer.
frequency port. The low-frequency port also houses an input selection switch that selects the first or second set of NL4 pins as the crossover input to reduce the number of speaker wires onstage. In addition, a second set of input connectors are located on the bottom of the loudspeaker to accommodate wiring when used in the fill orientation, wall-mounted or on a pole.
Designed to be deployed in multiple orientations and wiring configurations, the SM12 has two cabinet orientations for use on a flat surface and can also be mounted on a pole. An integrated kickstand offers additional positioning options when used as a stage or floor monitor. Integrating with EAW’s UXA4403 amplifier, the loudspeaker features two input connectors concealed in the low-
www.eaw.com
Genelec’s 9401A brings AoIP connectivity to SAM GENELEC HAS further expanded its UNIO Audio Monitoring Service Platform with the introduction of the 9401A System Management Device for audioover-IP networking. The device adds AoIP connectivity to the manufacturer’s range of Smart Active Monitors and Subwoofers in ST 2110, AES67 and Ravenna formats. With 16 monitor outputs, the 9401A supports all formats from stereo to 9.1.6 and brings flexibility of multichannel networked audio to the UNIO platform. The 9401A provides 16 channels of digital connectivity, plus dedicated subwoofer and auxiliary stereo outputs, all via AES/EBU. The auxiliary output serves as a feed for headphones, enabling binaural and
secondary stereo loudspeaker monitoring, while the 9401A’s integration with Genelec Loudspeaker Manager (GLM) software allows entire system calibration, including
capacity can be expanded with more 9401A devices, to provide compatibility with 22.2 and other high channel count immersive formats.
subwoofer alignment and support for bass management. The 9401A’s separate subwoofer output enables Smart Active Subwoofers to be chained to increase the low-frequency SPL output, and channel
Loudspeaker management and calibration is achieved via the proprietary GLM network connectivity of the 9401A. Tactile control of the entire monitoring system can then be achieved via the new 9320A
Reference Controller, which acts as a bridge to the UNIO platform and provides one-click access to a vast number of monitor features built into the Smart Active Monitoring family. Performance wise, the 1U rackmount 9401A is compatible with sample rates from 44.1–192kHz, using 16-, 24- and 32-bit resolution per sample. Employing Gigabit Ethernet for low latency, the device supports the ST 2110 broadcast suite with ST 2022-7 redundant network connectivity and NMOS integration to enterprise management and automation systems. www.genelec.com
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Truthful audio monitoring, anywhere.
Reach the highest standards of audio production – even if you don’t have access to a professional studio. Our Smart Active Monitors and Subwoofers (SAM™) work with Genelec Loudspeaker Manager (GLM™) software to offer the finest room adaption available, so you can cut out the guesswork and move on with confidence.
Visit genelec.com/studio-monitors
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PRODUCTS
Innovox unveils column or side-by-side speaker options INNOVOX AUDIO has released its HLA-800 speakers in 20°, 25° and 50° vertical opening angles as well as two form factors. Customers can choose between a column (HLA-8xxV) or a sideby-side (HLA-8xxSxS) orientation to best meet space and aesthetic requirements. The V and SxS variations are functionally identical. The HLA-820V and HLA-820SxS are selfpowered hybrid integrations of an eight-element J-array and a directional dipole lowfrequency loudspeaker pair. This integration is said to yield precise vertical control not previously possible in such a compact package. The line source portion contains eight proprietary 3.5-inch midrange and eight high-frequency ribbon drivers. The low-frequency portion incorporates two 8-inch low-frequency drivers in a dipole configuration to extend vertical LF control. An onboard Innovox DSP amplifier provides 1,600W of Class-D power. The HLA-820 has been preconfigured for an asymmetrical 120° x 20° (HxV) coverage pattern with vertical directivity to 240Hz and LF response to
Column and side-by-side variants of the HLA-820 60Hz. The HLA-835 has a 120° x 35° coverage pattern and for the HLA-850 it’s 120° x 50°. www.innovoxaudio.com
JBL IRX One Column is a pillar for hospitality and education FEATURING A three-channel mixer and Bluetooth 5.0 audio streaming, JBL has designed the IRX One as a portable, plug-andplay, all-in-one column loudspeaker system. Equipped with six 2-inch high-frequency drivers and an 8-inch bass-reflex woofer providing lowfrequency response down to 40Hz (±10dB), the IRX One incorporates directivity control, resulting in a C-shaped array. In addition to dbx automatic feedback suppression (AFS), five EQ presets and audio ducking, the three-channel mixer supports most connections, including ¼-inch and XLR inputs with included 48V phantom power and ¼-inch balanced mix-out. Weighing 15.5kg, the IRX One incorporates an optimised carry handle, while ease of setup is extended with column spacers and an array cabinet designed to fit into the rear of the base unit. With the inclusion of a Bluetooth 5.0 audio streaming chipset, the IRX One is capable of delivering long-distance streaming. Optimising frequency and phase response, JBL has also introduced FIR tunings for select Control Contractor Series loudspeakers. The FIR filters were designed to meet JBL Pro’s latest V6 FIR tuning standard. Features include equalisation to a neutral frequency response, matched gain together with improved signal coherence and linearised phase response above 300Hz. Users can adopt a known flat voicing for further equalisation to the needs of the application to allow for smooth system tuning and subwoofer integration. The V6 FIR tunings are for the COL600 and COL800, SLP12/T and SLP14/T, GSF6 and GSF8 and Control 68HL models. The posted tunings are for use with Crown DCI-N and DCI-DA power amplifiers. Additional
IRX One tuning files are expected to be released shortly for Crown CDI DriveCore amplifiers. www.jblpro.com
Pan Acoustics caters to immersive audio needs with CX series SPECIFICALLY DESIGNED for use in systems with virtual room acoustics and object-based audio, Pan Acoustics has unveiled its latest speaker range, the Pan Speaker CX series. The German brand is presenting it as the ideal solution for demanding audio projects that require precise sound reproduction and immersive audio experiences. With a frequency range of 48Hz–22kHz and a wide symmetrical dispersion pattern, these speakers are said to offer an exceptional listening experience.
All featuring a coaxial design, there are 8-, 10and 12-inch woofer versions in the series, offering the ability to select the appropriate speaker type based on room size and performance requirements. Regardless of size or power unit, the sound signature of the speakers is said to remain uniform to ensure consistent sound results, with equalisation of the speakers already done via the integrated passive crossover. The speakers can be painted in any colour according to the customer’s wishes, allowing
for visually unobtrusive integration. A stable front grille made from perforated sheet metal and an integrated connection plate protect the speakers from external influences. Due to the design, the speakers are already tilted downwards by 15° and can be mounted flat on the wall. Additionally,
various mounting points for accessories offer flexibility and ease of installation, including wall mounting and ceiling mounting. The CX speakers can be used individually or in combination with subwoofers from the Pan Subwoofer series for extended bass response and immersion. www.pan-acoustics.de
LD Systems launches TICA Series for installations A PRODUCT range specifically for the installation market has been unveiled by German manufacturer LD Systems. The TICA Series offers compact solutions for any size project that are said to be flexible, easy to install and with features that deliver better sound and control. The series includes everything from media streaming and mixing preamplifiers to a range of amps with different channel and power outputs. There
are also Dante networked audio interfaces, transformers, headphone amplifiers and control interfaces. Installers can build entire systems using workhorse products from the series or, alternatively, the TICA Series can be integrated into an existing installation providing additional connections or zones. The AMP 205 is a two-channel mini amplifier that combines compact size with passive cooling and efficiency. It’s powered by a 2x 50W Class-D
amplifier, features 4Ω outputs and has a userfriendly front panel. The AMP 106 T is a singlechannel 60W Class-D amplifier that can drive low impedance or 70V/100V line loudspeaker systems. Its small form is suitable for installers that are working on projects with limited space or where aesthetics are important. The TICA Series has been designed for hospitality, retail, corporate and education
applications. All the products are compact – integrators can install them under tables, behind screens and in ceilings, or can use the 1U TICA rack tray to put four devices next to each other. The TICA Series gives integrators the ability to build a system that fits the exact project requirements with minimal rack space. www.ld-systems.com
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PRODUCTS
HK Audio introduces its extended family
Mackie takes live sound to new places
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MACKIE HAS unveiled the Thrash212 GO, a 300W battery-powered 12-inch loudspeaker that “allows high-output professional sound to go anywhere”, whether the user is a musician, working DJ or live event producer.
AD-
FINEO
WITH THE introduction of five passive mid/high units and five passive subwoofers, HK Audio’s FINEO product family aims to maximise flexibility across a variety of professional indoor fixed installations. The FINEO range consists of the FO 5, an ultra-compact 5-inch/1-inch coaxial speaker suitable for both wall and ceiling installation; the FO 8 with its 8-inch woofer; the FO 10 with a 10-inch woofer; and the FO 12 with a 12-inch woofer. As the most powerful mid/high unit in the range, the FO 15 features additional low end and a 15-inch woofer. For dispersion in all positions, every FINEO mid/high unit except the FO 5 has a rotatable HF horn. Meanwhile, the FO S112 is a compact 12-inch subwoofer; a flyable version is also available in the FO S112 F. Similarly, the FO S118 has an 18-inch subwoofer to extend the low-frequency output of any FINEO system, and also has a flyable version
in the FO S112 F. Both flyable versions can be installed either with a U-bracket or four standard M8s. HK Audio’s most powerful subwoofer of the series is the FO S218, with double 18-inch drivers and the lowest cut-off frequency of 33Hz. The speaker specialist says the largeformat, bass-reflex channels on all FINEO subwoofers are protected against foreign objects. Cut-outs for cable routing facilitate installation close to a wall, and flyable models can also be mounted at a slight downwards angle so that any foreign objects thrown in can simply fall out. HK Audio provides a range of accessories from adjustable U-brackets to 360° mounts, swivel and tilt brackets to tripod mounts and L-brackets to facilitate a range of installation requirements. Standard VESA connections on all FINEO mid/high units mean that installation fixtures from third-party suppliers can also be used.
DSP presets for Lab Gruppen IPX and LEA Professional, as well as filter sheets for other DSP platforms, can be downloaded directly, while simulation data in GLL format for EASE and EASE FOCUS 3 are also available. The manufacturer has also announced that simulation files in GLL data format for the LINEAR 5 MK II series are now available for EASE and EASE FOCUS 3. The LINEAR 5 MK II GLL files are now available for download from the LINEAR 5 MK II product page.
The Thrash212 GO has up to 10 hours of playtime from the swappable, rechargeable battery. Designed as a solution for countless setup challenges, the Thrash212 GO lets users bring Mackie sound to remote outdoor gigs and non-traditional venues with unstable power options. The speaker is portable and light enough to carry with four built-in handles and features Bluetooth connectivity for music streaming and stereo linking. It also allows users to connect two full-size, 12-inch 300W loudspeakers to a laptop or smart device for a music playback setup that’s “ready in seconds”.
www.hkaudio.com www.mackie.com
High power in a small format SPANISH MANUFACTURER Equipson has expanded its WORK PRO range with the launch of the ARENA Series of loudspeakers, said to deliver a reliable, outdoor sound solution, whatever the weather. Available in a range of sizes to suit different applications, the ARENA Series is described as durable and robust and can reportedly transform any outdoor space into a high-quality sonic experience. Engineered to withstand all weather conditions, a key feature of the ARENA Series is its ability to deliver high power in a small format. These compact coaxial full-range speakers are available in four sizes (6-, 8-, 10and 12-inch) and deliver between 300W and 600W of pure power depending on the model size selected. In all cases, clear highs, efficient low-frequency performance and minimised distortion are said to provide a balanced audio experience. In addition, the range features a dual 8-inch 800W band-pass waterproof subwoofer that adds “a powerful low-frequency punch” to any ARENA Series installation. The manufacturer has also introduced upgrades to its WORK PRO range of DSPenabled Synthea amplifiers. Boasting an
location and at any time. Operating in low impedance (4–16Ω) and high impedance (70V/100V), the Synthea range is available with four-channel and power output options. The upgrade covers all four Synthea models. The Synthea 2125 offers two channels with 125W of power each or one channel with 250W; the Synthea 2500 comes with
ARENA Series expanded feature set, users can now combine input sources in two or four separate mixes, and configure any output to high or low impedance. Other new features include Talk Over (ducking) with priority routing, and the inclusion of an input high-pass filter and output routing (S/PDIF). Equipson has also updated Synthea’s generator to include pink noise and sine wave, and incorporated a band pass filter and parametric EQ on each analogue input.
Specifically designed for AV installations, Synthea amplifiers all feature integrated DSP technology and web control. DSP is controlled via TCP/IP, GPIOs and S/PDIF in/out, enabling signals to be mixed to any output and making it straightforward to link multiple amps. Synthea amplifiers’ in-built web server can be accessed from any Wi-Fi or Ethernet-connected device to give users the ability to adjust and control their loudspeaker system from any
Synthea 4500 two channels with 500W per channel or one channel of 1,000W; the Synthea 4125 provides four channels of 125W each or two channels of 250W; and Synthea 4500 offers four channels of 500W each or two channels of 1,000W. www.workproav.com
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Q-SYS launches zero-bezel models of AcousticDesign speakers
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RCF is tour-ready THE NX 932-A and NX 945 -A have been designed by RCF for sound providers, small bands and DJs. The combination of a respective 3-inch or 4-inch titanium/ neodymium compression driver, a 12-inch or 15 -inch woofer, a two-channel 2,100W amplifier and the constant directivity True Resistive Waveguide produces coherent 100° x 70° coverage for the listening area with up to 132dB or 135dB SPL. The speaker can be used on its own for a FOH system, as a satellite
AD-C4T-ZB, AD-C4T-LPZB, AD-C6T-ZB and AD-C6T-LPZB
Q-SYS HAS released a “zero-bezel” refresh of the 4- and 6-inch AcousticDesign (AD) Series ceiling loudspeakers. The new models, including the AD-C4T-ZB, AD-C4T-LPZB, AD-C6T-ZB and AD-C6T-LPZB, feature a white grille without a bezel, designed to meet the architectural needs of modern applications while preserving the acoustics of the existing AD models. Additionally, retrofit accessories are available to add the new grille to recent Q-SYS loudspeakers (NL-C4, AD-C6T-HC and AD-C6T-HP) and black grilles are also available separately for all models. The QIO-AES8x8 and QIO-TEL2 have been added to the manufacturer’s QIO Series I/O peripheral portfolio. The modular devices expand Q-SYS system capabilities to enable streamlined interoperability with non-networked audio and analogue telephony systems. By decoupling local I/O from processing hardware, QIO Series devices allow users to place the I/O exactly where it is needed to support the desired topology. The QIO-AES8x8 features eight AES3 digital inputs and eight AES3 digital outputs, allowing users to integrate a wide range of digital sources into their systems, including
media servers, mixing consoles, digital audio workstations (DAWs) or other digital recording and playback devices. The QIO-TEL2 integrates two PSTN (POTS) phone lines on standard RJ-11 connectors to integrate analogue telephony systems into Q-SYS. The QIO-TEL2 is designed to handle PSTN subscriber lines, PBX phone and paging systems, and retrofit applications. Q-SYS has also introduced what it claims to be the first Certified for Microsoft Teams solution for Microsoft Teams Rooms that supports spatial audio. It includes any Teams-certified Q-SYS Core processor, SPA Series amplifiers or AD Series surface-mount loudspeakers paired with the Sennheiser TeamConnect Ceiling 2 (TCC2) beamforming microphone array. By adopting this solution, Q-SYS says that organisations will be able to enjoy crystal-clear spatial audio in their meetings, with voices coming from their relative positions on the Signature Teams Rooms screen, which enhances meeting equity by creating more natural and engaging discussions for in-room and remote participants. www.qsys.com
Bose Professional creates AudioPack Pro packages FORMED FROM a combination of in-ceiling and surface-mount FreeSpace loudspeakers and a FreeSpace amplifier, Bose Professional has unveiled its AudioPack Pro systems as a ready-to-install pre-designed package. Depending upon the AudioPack Pro system selected, the package includes either four or six FreeSpace loudspeakers and an IZA 190-HZ integrated zone amplifier, specifically matched and optimised for the solution. The systems are said to eliminate guesswork and combine durability, a clean design and ease of installation with consistent tonality. With either the in-ceiling or surface-mount option, clear
voice reproduction and rich music are promised, while the speakers will reportedly blend into any environment. The packages are available in several configurations. The AudioPack Pro C4W comprises four white in-ceiling FreeSpace FS2C loudspeakers and a FreeSpace IZA 190-HZ amplifier; the AudioPack Pro S4W includes four white surface-mount FreeSpace FS2SE loudspeakers and an IZA 190-HZ amplifier; and the AudioPack Pro S4B includes four black surface-mount FreeSpace FS2SE loudspeakers and an IZA 190-HZ amplifier. www.boseprofessional.com
www.rcf.it
NX 932-A (with subwoofer) or stage monitor, or it can be flown. Merging RCF proprietary FiRPHASE and Bass Motion Control DSP processing, the NX 932-A and NX 945 -A are described as tour-ready, rugged all-wood cabinets that are easy to carry and secure to install on a pole-, flown-, wall- or truss-mount using the dedicated rigging points available.
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Wharfedale Pro updates DP-F and DP-N amplifiers UPDATES TO Wharfedale Pro’s DP-F and DP-N series amplifiers have been announced. While the output power, model
means that not all of the new software features are backwards compatible with original DP-F/N hardware. However, users
The DP-N family numbers and configurations remain the same, the DP-F and DP-N models will now feature updated DSP Controller software features, increased internal DSP functions, new IPS colour displays, locking XLR connectors and AES/EBU inputs. The upgrades are supported by the simultaneous release of the v1.1.8 DSP Control software. The scale and expanded feature set of the DP-F and DP-N upgrades
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The SUB 905-AS MK3 and SUB 8003-AS MK3 are self-powered, extended, lowfrequency subwoofers with internal DSP. The compact cabinets house a 15-inch (18-inch for the SUB 8003-AS MK3) transducer featuring ceramic magnets and a 3-inch (4-inch) voice coil. The internal amplifier manages up to 2,200W power output, delivering SPLs up to 133dB (135dB). Proprietary Bass Motion Control processing provides extended linearity, while rear panel controls include presets, crossover frequency, polarity selection, cardioid and output delay settings. The tour-ready, rugged all-wood cabinets with a scratch-resistant polyurea coating are stackable and lightweight and have been built for demanding applications. Finally, the S 15 is a high-power, compact subwoofer system suitable for installations where the physical small size and impact of a 12-inch driver are desired. Extending the frequency response below 35Hz, the S 15 is reportedly capable of providing output levels normally associated with larger enclosures. It has been developed for music playback in applications ranging from clubs, bars and cafés, as well as theatres and corporate applications. The low-frequency transducer is a 15-inch woofer with a 2.5-inch voice coil.
of current DP-F and DP-N series amplifiers will still reportedly benefit from multiple improvements in the DSP Control Software and will gain various new features through the release of DSP Control Software v1.1.8. DP-F and DP-N series models are also supported with downloadable loudspeaker FIR presets from the Wharfedale Pro preset library. www.wharfedalepro.com
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PRODUCTS
SoundTube amp avoids overdrive WITH AN integrated matrix mixer and subwoofer mode, the MCA2004t Class D amplifier from SoundTube is designed for continuous use in a wide range of commercial and professional audio settings, from performance venues to retail spaces and educational institutions. Boasting 200W at 8Ω direct or 70V/100V constant voltage output per each of its four channels, the amp’s 1,200W power supply allows it to output full power to all four channels simultaneously with peak power at 1,000W per channel. With selectable 70Hz high-pass filtering, the amp avoids overdriven bass frequencies that could cause distortions. The amplifier
also has a subwoofer mode selectable on channels one and two which applies a 120Hz low-pass filter and allows users to select 120Hz high-pass to the other channels. When subwoofer mode is selected for a particular channel, the output impedance is automatically changed to 4Ω. Meanwhile, the amplifier’s input routing feature uses a matrix mixer that allows all connected speakers to be driven by single or multiple sources. Catering to both balanced and unbalanced audio signals, the MCA2004t includes auto signal sensing or a standby trigger, along with an auxiliary port that can be used to remotely monitor the health of the amp. Other features include forced air cooling
with a variable speed, thermostatically controlled fan, and overload, short circuit, DC offset and thermal protection circuits with Power/Standby, limiting and protection LED indicators.
The amp measures 88.9mm x 482.6mm x 400.05mm and uses a compact, two-rack space chassis. www.mseaudio.com
SSL unveils mic preamps
WITH THE Pure Drive Quad and Pure Drive Octo microphone preamplifiers, Solid State Logic (SSL) has developed two 2U rack-based studio tools. Available in four-channel (Quad) or eight-channel
(Octo) configurations, both preamplifiers incorporate SSL’s SuperAnalogue PureDrive Technology. With Drive mode, both rack-mountable units feature analogue and digital connectivity
options together with an integrated USB-C soundcard. Providing four mic preamp input impedance options, various tonal possibilities or mic pre impedances can be matched closely to the microphone. Additionally, each mic pre includes independent +48V phantom power, polarity inversion and a high-pass filter, which is sweepable on Quad. Both Quad and Octo feature three different Drive modes with Classic Drive, Clean and Asymmetric Drive. Retaining the clarity of previous SSL designs, the units offer the added versatility of switching its character to a warm, harmonically rich tone that varies with gain. The PureDrive Classic microphone preamplifier was first introduced within the Origin recording console for generating predominantly odd harmonics. Clean mode delivers SSL’s signature ultra-low noise floor, linear preamp. Finally, Asymmetric
Drive provides comprehensive digital connectivity and a USB-C interface, and can be characterised by a pronounced thickness, colouration and softening of transients. Both units feature four front-mounted Hi-Z/ DI instrument inputs with automatic input detection, rear-mounted combo XLR inputs, D-sub connectors for line level inputs, in addition to insert send and insert return. All insert returns/ADC inputs operate up to full +24dBu line level, for interfacing with other professional equipment. The integrated USB-C soundcard offers up to 32-bit/192kHz conversion, AES/EBU outputs and ADAT out with SMUX. The AES and ADAT outputs can be individually repurposed to be fed from the onboard USB soundcard as outputs from a DAW. An auto-ranging word clock input and output for digital clocking is also included. www.solidstatelogic.com
DirectOut unveils PRODIGY.MX SAID TO elevate the audio routing, converting and processing capabilities of the PRODIGY Series to the next level, the PRODIGY.MX multiformat audio matrix offers a capacity of 1664x1668 audio channels. Its modular hardware simultaneously accommodates multiple audio formats, selectable between Dante, RAVENNA/AES67, SoundGrid, AVB/ Milan and MADI, and ensures seamless interconnectivity among them. The modules feature bidirectional sample rate conversion (HD SRC), enabling connections across various clock boundaries. Operational control is facilitated through globcon control software, compatible with both Mac and PC, while local operation is simplified with an intuitive touch display, providing essential monitoring and control capabilities. Third-party control protocols, like Ember+, are available as options to ease integration into larger systems. The PRODIGY.MX incorporates processing features such as gain control for all inputs and outputs, and channel grouping. Additional DSP functions are planned for
PRODIGY.MX
future updates, further expanding the application scenarios. DirectOut is also introducing new high-channel count MADI modules shaped for the audio network slots of the PRODIGY devices and adding extra capacity and flexibility to the series.
Redefining the way audio solutions are designed to emphasise flexibility for engineers, the manufacturer has also unveiled the Audio Solution Model (ASM). Providing modularity in both hardware and software, while ensuring both adaptability and longevity,
ASM evolves with customers’ needs using a five-layer structure built on hardware platforms. The “Skin” layer customises the device performance, providing users with the required tools. Control protocols together with a software GUI further enhance flexibility, and templates simplify complex solutions, prioritising creativity over technical complexity. The top layer promotes an open approach by integrating hardware components from any manufacturer. Add-ons are said to enrich and extend the solution as required. DirectOut’s PRODIGY.MP currently embodies the ASM philosophy with modular hardware, scalable DSP, adaptable control and comprehensive software. As a logical consequence, the latest Prodigy.MX inherits core features from Prodigy.MP and ASM’s DNA. With six network slots and extensive I/O, it is designed to remain open and expandable, regardless of the digital multichannel format or control system it is working with. www.directout.eu
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PRODUCTS
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PRODUCTS
DAD goes for speed
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DADLINK IS a proprietary audio and data format from Digital Audio Denmark (DAD) that is capable of handling up to 128 bidirectional channels with a latency of less than 100 nano seconds. The proprietary audio and data format can be used via optional SFP modules to establish a connection between DADlink-compatible units such as the AX64, AX Center, Core 256 and AX32, and it is also compatible with NTP Technology’s Penta 720 and Penta 721s units. DAD says the actual channel count depends on the chosen sample rate, which can be between 44.1kHz and 384kHz. According to the company, the DADlink format acts as a digital audio signal extension that
connects directly into the “belly” of the digital processing system of any DADlink-compatible unit. Using a DADlink connection means that analogue audio signals have already been through DAD’s A/D converters. Within the digital domain, the transfer resolution via DADlink is happening at a 28-bit floating point, which adds another 96dB of headroom for a total dynamic range of 237dB. DAD also says that phase alignment is applied within the system delay.
DESIGNED TO power future installations of Constellation, Meyer Sound has developed the NADIA integrated network-based digital audio processing and distribution platform. In addition to the processing power and inputs reserved for active acoustics, NADIA also provides separate inputs, processing and matrixing to enable Spacemap Go spatial sound “without performance compromises”. Comprising three hardware modules, the NADIA platform supports up to 96 inputs for Constellation acoustic processing in addition
acoustical zones in a single unit. A standard licence is available for all 12 VRAS processors and a lower-cost lite version can be applied for three processors. In comparison to the D-Mitri processor solution, Constellation systems based on NADIA benefit from reductions in both rack space and overall costs. The processing power of NADIA allows for a separate partition dedicated to integrating sound reinforcement systems alongside Constellation. Many inputs are reserved exclusively for Constellation, with additional inputs available for
NADIA-CP to 128 independent program audio inputs. All NADIA-based systems require at least one NADIA-CP core processor that supports 128 outputs. Additional NADIA-CP modules can be added to increase the number of outputs in the extended system by 128 for each module. All communication to and from the NADIA-CP module is via a Milan-compatible AVB network and all the processing is at 96kHz/64-bit floating point resolution. For analogue input, the NADIA platform offers the NADIA-AI12 input module, providing 12 channels of analogue input with a preamp on each channel to accommodate Constellation microphones. For analogue outputs, the NADIA-AO16 provides 16 channels of analogue line level output. NADIA outputs can be routed directly via the network to Milan endpoint loudspeakers such as Ultra-X20 series speakers and USW-112P subwoofers. In an active acoustic system, which requires discrete output channels for many loudspeakers, this eliminates separate output modules to reduce rack space requirements. Each NADIA-CP module hosts up to 12 VRAS (Variable Room Acoustic System) processors, enabling the configuration of up to 12 discrete
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Meyer Sound introduces the NADIA platform
multichannel spatial audio processing backed up by a new signal path featuring two matrix sections. Along with an input matrix addressed by Spacemap Go, new levels of granularity and control are available with a separate output matrix. NADIA can also connect to Galileo Galaxy 816 and 408 processors, mixing consoles equipped with direct Milan outputs, multichannel computer playback from AVBcompatible Apple or Windows computers and Avnu-certified format converters for other digital audio networks. Backed up by the power of CueStation 8 as a calibration and programming tool, an updated control interface enhances how users work with Constellation‘s active acoustics in their venue. When implemented, Spacemap Go NADIA provides a separate user interface for controlling dynamic spatial sound in integrated PA systems. NADIA systems also can be controlled by OSC commands to enable integration with third-party protocols when incorporating NADIA-based systems into wider AV and building control systems. www.meyersound.com
NTi makes an impact THE IB01 Impact Ball from NTi Audio is described as a lightweight, easy-touse and professional impact source for stimulating ceilings during impact sound insulation measurements in accordance with the DIN EN ISO 162832:2020-11 standards for buildings as well as ISO 10140-5:2021 and ASTM E 966-10:2018 standards for laboratory applications. This reportedly provides building acousticians with a timesaving product, with the Impact Ball suited to simulate low-frequency sound events, such as those caused by footsteps or children jumping on wooden beam ceilings. Every ball is tested on the manufacturer’s specially developed test bench to ensure that all relevant standards are met. In addition, the Sound Insulation Reporter software supports the evaluation of the measured values recorded with the Impact Ball. Wooden buildings are becoming increasingly popular due to their numerous advantages, such as sustainability,
affordability and aesthetics. However, wooden beam ceilings are more susceptible to transmitting low-frequency impact noise to lower floors. Measuring impact sound insulation using a simple and effective method is important. The IB01 Impact Ball is being promoted as a practical impact sound source, not just in terms of dimensions and weight. The excitation spectrum produced is also lower in frequency and therefore more applicable in many cases. According to the manufacturer, anyone who has ever had to carry out an impact sound measurement with airborne sound correction will appreciate that the rubber ball only emits minimal airborne sound. The application is described as uncomplicated and the results are reproducible – the ball is brought to the standardised height of 1m using the included measuring stick and dropped at the desired location. The sound level LAF is measured in the reception room.
Designed as a turnkey solution for plugin hosting, the transform.engine is controlled by a remote Windows or macOS client application following connection to the engine via an Ethernet cable and installed plugins. Should a plugin crash, the rest of the system will be unaffected and the transform.engine will immediately restart that plugin and restore the original integrity of the mix. Designed to be integrated directly into live audio workflows, the transform.engine
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DiGiCo and Fourier Audio set FOLLOWING THE announcement that it has joined forces with DiGiCo, Fourier Audio has revealed the transform.engine. Previously known as codename “Project Core”, the Dante-connected server can run all VST3-native software plugins that run on Windows in a live environment. Housed in a strengthened 2U chassis with dual redundant power supplies, the transform.engine is said to bring premium studio software to live sound and broadcast applications.
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PRODUCTS
Ready, screw down, go! THE HICON BNC0.8/3.7-6G-SM connector from Sommer Cable can be mounted without bulky crimping tools, with its plugin system said to simplify the mounting of BNC and RG cables. The connector can be mounted by hand or with the help of two wrenches (size 12mm and 13mm). To do this, customers need to strip the cable using a sharp knife or stripping tool, insert the cable into the connector and lock it in place by tightening the end cap. The connector is ideally suited for safe and uncomplicated assembly or repair of cables on the road.
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Data and power in one THE HC72P25 hybrid (data and power) cable from KLOTZ AIS has a robust, highly flexible soft PVC outer jacket and enables a wide range of applications as a connection to modern, computercontrolled devices and systems. Two flexible Cat7 lines connect components of digital audio networks such as Dante, CobraNet and EtherSound or transmit DMX control signals based on the Art-Net, MANet or Pathport protocols. The cable also serves as a solution in the IT sector when a network connection plus power line is required. Thanks to the double shielding (Al-foil + dense copper braiding)
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HI-UC series to simplify attribution. A 3μg hard, gold-plated pin, as well as a robust metal enclosure, are said to ensure a high number of mating cycles. The quality and durability of the mating cycles are regularly tested in-house by means of a specially designed automatic machine. In addition to BNC connectors, the HICON Screw & Play series also includes jack plug connectors and RCA/phono connectors.
The HICON BNC0.8/3.7-6G-SM connector reportedly fits almost all 0.8/3.7 video cables and transmits the 3G and 6G video standard. It is also predestined for connecting S-PDIF units. The robust SC-VECTOR (600-0162) is a suitable counterpart, as it can be used for secure data transmission over longer distances and reportedly guarantees a low return loss. The HICON BNC connector has a discreet matt black end cap and can be coded with two stretchable colour rings from the
of the Cat7 cables, the interference-free transmission of high data rates up to 10 Gbit over long distances is possible, even in electromagnetically influenced environments. For Adamson, RCF and JBL sound systems, the HC72P25 can also
be used in a Cat + audio + power (instead of 2x Cat + power) combination, with one of the two Cat7 lines assembled with high-quality XLR 3p connectors (instead of RJ45). This is realised thanks to the cable’s stranding and its 110Ω impedance. Not only audio signals but also DMX signals often have to be merged via a
stagebox. The DMXV TrussLink stagebox series by KLOTZ is specially designed for this purpose. The lightweight but extremely robust aluminium housing is powdercoated and features abrasion-resistant laser engraving. It houses eight or 12 DMX output channels as well as RMP multipin connectors according to MIL-C-5015 standards. The models offer parallel wired Neutrik XLR 5p and XLR 3p female connectors with hard gold-plated contacts. This allows the flexibility to connect either XLR 5p or XLR 3p DMX devices. It also eliminates the need for DMX adapter cables. The housing is equipped with non-slip rubber feet, an M10 thread on the bottom and four eyelets for safety ropes. There are two variants in the series: the DMXV-08XF53MF (eight XLR 5p||3p F - 2x RMP 25p M/F) and the DMXV12XF53MF (12 XLR 5p||3p F - 2x RMP 37p M/F).
Multipurpose cabling from Tasker THE DEMAND for products capable of integrating several services in a single cable has started to grow again, in particular combi cables that are made up of one or more elements for digital audio and DMX protocol with power. It’s a common solution in multiple operational applications, including wiring active speakers and managing moving heads.
www.klotz-ais.com
ne C283 Tasker offers a wide range of pre-made solutions, such as the C283 series with a single 3x1.5mm² DMX power-integrated cable, fitted with Neutrik NC3M/FXX-B and NAC3M/FX-W-TOP connectors. The models come with a soft PVC sheath. The C284 and C290 pre-made series (3x1.5mm2 and 3x2.5mm² respectively) both come with two DMX cables and the same Neutrik connectors as the C283.
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DMXV-08XF53MF www.tasker.it
to transform live sound
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is starting to add plugin control into work surfaces, including DiGiCo consoles. The Fourier Audio device is capable of operating in conjunction with virtually any professional digital console on the market via Dante, using the Windows/macOS application to control the engine. In addition, the transform.engine can process audio standalone with no computer required. Managed remotely by a Windows/macOS application, with plugin
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user interfaces teleported and controlled in low latency over the network, the product can reportedly deliver the market’s lowest-latency solution for hosting VST3 plugins, while preserving the reliability of the server. The transform.engine will feature an optional software subscription bundle. www.digico.biz www.fourieraudio.com
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Get in touch with the RF Explorer Pro spectrum analyser AS MORE devices compete for less spectrum, the ability to visualise and monitor RF signals in real time has become critical for wireless audio. Claiming to provide all the information required to optimise wireless microphone and in-ear monitor audio systems, the RF Explorer Pro is a handheld RF analyser distributed by RF Venue which delivers RF spectrum data via a high-resolution touchscreen. Combining an integrated 6GHz spectrum analyser with frequency coordination analysis tools, the unit boasts an
RF Explorer Pro 8-inch touchscreen interface and an internal 4,500mAh lithium ion battery which provides up to five hours of operation. The RF Explorer Pro can be fully remote controlled to monitor, manage and capture spectrum data, while its internal CPU enables fast frequency coordination calculations, real-time interference monitoring and intermodulation analysis out of the box. The unit’s built-in memory automatically records, saves and replays spectrum data scans and users can export data to a USB drive for use in other software applications such as RF Venue’s Wireless System Builder, Shure’s Wireless Workbench, Audio-Technica’s Wireless Manager and Sennheiser’s Wireless System Manager. The RF ExplorerWiFi analysis feature extends its capability to the 2.4GHz and 5GHz frequency bands for troubleshooting the
growing range of Wi-Fi-controlled pro audio gear, such as digital mixing consoles and tablet-controlled PAs. RF Venue has also released the latest additions to its family of bandpass interference filters. These filters reportedly simplify picking the right filters for a geographic area so that customers no longer have to worry about matching frequency blocks to the proper filter. The company’s band-pass filters help eliminate “out of band” signals that can saturate the front end of wireless microphone receivers and greatly improve dynamic range by reducing noise and third-party interference outside the range of operation. They feature industry-standard BNC connectors and a small 3-inch x 1.75-inch footprint, require no power or user configuration and can be easily connected inline with wireless microphone antennas to reduce noise and improve wireless system performance.
Solo doubles up the range in half the space UK MANUFACTURER Allen & Heath has announced the launch of Avantis Solo, the second member of the Avantis mixer family. Condensing the full power of the Avantis mixer platform into a 12-fader, singlescreen package, the Solo delivers the same 64-channel, 42-bus architecture as its larger sibling. Running at 0.7ms latency, it has full onboard processing as well as 12 RackExtra FX slots, with everything housed in its lightweight alloy shell and tubular frame. With six layers, the 12-fader architecture provides access to 72 fader strips, while the console has a 15.6-inch HD touchscreen with dedicated rotary controls and an additional 18 assignable SoftKeys. Combined with A&H’s
Continuity UI, the Avantis Solo provides the same connection between physical and graphical controls as the dual-screen Avantis. The Avantis Solo is equipped with six XLR analogue inputs and outputs, plus AES (stereo in, stereo out). An integrated SLink port enables connection to A&H’s Everything I/O ecosystem, as well as the company’s ME Personal Mixing System. In addition, two I/O ports allow the use of the full range of dLive/Avantis option cards, including Dante, Waves, gigaACE and MADI. Meanwhile, Avantis Director software enables online control and offline editing. www.allen-heath.com
The 470-608MHz covers all conventional wireless mic frequencies in North America, while the 470-698MHz BPF has been designed for the rest of the world (especially as all the frequency rebalancing is completed over the next couple of years). The additions join the existing filters that cover the 470–530MHz, 470–560MHz, 530–590MHz and 560–608MHz spectrums. www.rfvenue.com
Microtech Gefell introduces modular microphone system GERMAN MICROPHONE specialist Microtech Gefell has launched its Generation 4 modular microphone system. The setup includes the ultra-compact MV 400 microphone preamplifier with two alternative connectors, the microphone M 40 (cardioid), M 41 (super cardioid), M 42 (omnidirectional) and M 43 (wide cardioid) capsules as well as options and accessories for professional use.
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The manufacturer believes that the advantage of a modular concept is a fast reaction to changing requirements and a more productive workflow. With Generation 4, Microtech Gefell is evolving from its existing tradition of modular microphone systems into a more ultra-compact focus. www.microtechgefell.de
Finding space in Cubase SPATIAL AUDIO specialist Dear Reality has introduced its dearVR Spatial Connect mixing controller to Steinberg’s Cubase 12 to extend its built-in Dolby Atmos capabilities. The update enables in-headset control of the most-used DAW functions and enables the positioning and automation of audio tracks via gesture control in a virtual 360° environment. The company says that the addition of its dearVR Pro spatialiser and dearVR Monitor virtual headphone mix room provides a complete spatial audio ecosystem for mixing engineers to spatialise, control and monitor spatial audio sessions. By linking a VR headset like the Meta Quest or HTC Vive with the DAW, users can position and automate audio tracks in the virtual space by pointing at them with two handheld controllers. dearVR Spatial Connect enables direct VR access to the position, channel volume, solo, mute and automation status, as
well as providing overlay modules for extended navigation and control in the VR headset. The main control module enables direct control of Cubase 12’s transport functions like start, stop and rewind, while users can directly jump through the timeline and set markers and loop points. A meter bridge module provides control of every channel’s volume, solo and mute status, while a “minimap” module provides a comprehensive overview of all audio sources in the scene. dearVR Spatial Connect can run on the same Windows machine as the DAW or in a two-machine setup. This allows the user to run the VR application on a Windows machine while running Cubase 12 on a macOS. dearVR Spatial Connect now also supports Apple M1/M2 processors and connects with Nuendo 12, Cubase 12 and Reaper. www.dear-reality.com
72 PRO AVL MEA January–February 2024
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On target with compact shotgun MEASURING 184MM in length, DPA’s 2017 Shotgun Microphone is an ultracompact shotgun mic that has been designed to endure extreme weather and mechanical impact. Tested in temperatures up to 40°C with 90% relative humidity, and cold environments as low as –40°C, the company claims the 2017 will hold up to travel and repeated use in harsh environments, including humid conditions and direct rain showers, as well as dry, arid environments. Optimised for a range of broadcast and live events, it provides a high degree of offaxis rejection, which reportedly permits the main source to stand out, while its heavily attenuated off-axis audio can be mixed into the entire soundscape. Meanwhile, for broadcasts that take place at quieter locations, the 2017 delivers low self-noise, even in the presence of many open microphones. DPA says it is ideal not only for fixed or booming applications but also on a FOH
SR5117 wireless capsule completes the 117 family
boom or fly bar; for indoor or outdoor booming while capturing location sound; or to pick up a musician’s ambient blend for in-ear monitoring during live musical performances.
FOLLOWING THE introduction of its SR117 handheld vocal microphone, Earthworks Audio has expanded the 117 family with the introduction of the SR5117 wireless capsule. The SR5117 is a supercardiod condenser wireless microphone that is compatible with all Sennheiser wireless systems. Earthworks says it has a fast, clean and responsive frequency response that is voiced with rich, clear lows, smooth vibrant mids and open highs. Although built for touring, the rugged SR5117 is suitable for a range of environments, including stage and TV. The company says it provides both the power
and quality of a condenser microphone, but with the safety and familiarity of a dynamic mic. Meanwhile, its pattern control across all frequencies offers maximum feedback rejection. The variant comes on the back of the Shure SR3117 wireless capsule version released last year. www.earthworksaudio.com
www.dpamicrophones.com
Røde unveils the White Collection AUSTRALIAN MICROPHONE manufacturer Røde has launched a limitededition range of white products featuring the RØDECaster Duo, PodMic, PSA1+ and NTH-100. Called the White Collection, the launch marks the first time these products have been released in custom colours. The centrepiece of the collection is the RØDECaster Duo, the company’s all-in-one audio production solution for creators. Released last year, the RØDECaster Duo boasts all of the same features as the RØDECaster Pro II – the company’s flagship audio console – in a more portable form factor. Also available in the White Collection is the PodMic dynamic broadcast microphone, which features a new black grille. The PSA1+ professional studio arm and NTH-100 headphones round out the collection, offering creators the chance to build a complete audio setup all in white. These are available in two bundles, a solo creator bundle featuring the RØDECaster Duo and one mic, arm and headphones,
and a podcaster bundle featuring two of each accessory alongside the console. Both bundles come with premium XLR cables to complete the setup. Following the launch of the NT1 5th Generation in February 2023, RØDE has released a new edition of its NT1 studio
White collection
condenser microphone with the original pureanalogue design of previous generations. The NT1 Signature Series provides the same specifications as the NT1 5th Generation, but with the original XLR-only design of previous generations. It features a RØDE HF6 large-diaphragm (1-inch) condenser capsule engineered to sub-micron tolerances, and has a tight cardioid polar pattern for background noise rejection. With the same classic NT1 sound signature, the NT1 Signature Series also has self-noise of just 4dBA, which RØDE claims makes it the world’s quietest studio condenser microphone. With a rugged aluminium body and highgrade finish, the mic is available in a range of limited-edition colours, including red, green, purple, pink and blue to match the aesthetic of the user. Each microphone comes with a studio-grade shock mount and pop filter and a premium XLR cable. www.rode.com
Shure adds to its SM7 family DESIGNED FOR podcasters, streamers and vocalists, the SM7dB XLR dynamic vocal microphone brings the same sound as the SM7B but with the addition of a Shure-designed, built-in active preamp with technology licensed from Cloud, tuned by Shure engineers specifically for the SM7dB. This integrated preamp provides a supplementary +18dB or +28dB of clean gain, eliminating the need for a separate preamp, and freeing users from the hiss and noise introduced by many audio interfaces when their preamps are driven to the levels necessary to provide enough gain for the SM7B.
Suitable for users of all experience levels, the SM7dB’s additional gain brings the microphone’s sensitivity up to a level optimised for typical audio interfaces. This reportedly guarantees users enough gain on hand for their audio to be heard with maximum clarity in a recording, on a broadcast or while streaming, regardless of their audio interface. For situations not requiring additional gain, users can simply set the integrated preamp to “bypass” to revert to original SM7B performance. The SM7dB’s wide-range frequency response is suited to capture singing, spoken word and podcasting, as well as loud sound sources, including drums, vocals and amplifiers. Sporting
SM7dB
the same EQ controls as the SM7B, the SM7dB’s bass roll-off and presence boost can be applied to best fit the sound source and recording environment. A dynamic microphone with a cardioid polar pattern, the SM7dB is designed to reject off-axis audio, making certain the user’s voice is heard clearly, without distractions. The microphone’s air suspension shock isolation technology and pop filter eliminate unwanted noises and breathiness, while advanced electromagnetic shielding defeats hum from computer monitors and other audio equipment. www.shure.com
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AMX extends its MUSE platform THE AMX MUSE Automation Platform has been released, along with four MUSE Automation Controllers and several supporting developer resources. The
MUSE Automation Controller family provides a dedicated computing resource for running the AMX MUSE automation platform. MUSE Controllers can simultaneously process a virtually unlimited number of scripts written
in JavaScript, Python or Groovy and natively support Low-Code development with NodeRED. Featuring a modern embedded processor that’s reportedly 10x faster than previous AMX NX Controllers, the MUSE Controller models integrate “bountiful memory” and rugged, industrial-grade eMMC storage. Built on Harman’s secure Linux platform, the MUSE Controllers are also designed to surpass the requirements of the most secure installations. Additionally, the controllers natively support Harman’s HControl (open-API), HiQnet (legacy Harman audio devices) and ICSP (legacy AMX control devices) protocols. pro.harman.com
Contacta launches RX-30 rechargeable loop listener ASSISTIVE LISTENING specialist Contacta Systems has launched a rechargeable loop listener, offering theatre-goers, worshippers and students enhanced access to sound. The RX-30 is a complete wireless receiver, designed to help people with hearing loss who don’t use a hearing aid or cochlear implant. The pocket-sized rechargeable receiver picks up signals transmitted by existing hearing loop systems. It features a bass cut filter, flat frequency response and adjustable volume control, and comes with headphones, enabling users to access clear sound comfortably and easily. Created by Contacta’s in-house design team, the RX-30 offers up to 50 hours of battery life and comes with a range of charging options, with base stations to accommodate one, five, 10, 15 or 20 receivers. The charging mechanism prevents accidental charging of any standard batteries. Contacta hopes that by having a drop-in charging station, the RX-30 cuts out the need for cables and means the
units are all in one place and easily located when customers request them. The unit delivers speech or music from a microphone, via the hearing loop, to the RX-30’s headphones or any with a 3.5mm jack. There is no latency, and the product suppresses both background noises and low-frequency hums. According to the manufacturer, it removes the effort of trying to hear, making venues more accessible. www.contacta.co.uk
SuperRack SoundGrid V14
Waves is an online master WAVES AUDIO has introduced the AIpowered Waves Online Mastering service, allowing users to get high-quality masters, quickly and easily. The service has been designed to produce accurate, release-ready, custom-tailored masters for any uploaded track. Waves Online Mastering will help users create tracks that sound like they’ve been professionally mastered on any platform. The service integrates Waves Neural Networks technology in an advanced AI mastering engine, along with input from top-tier mastering engineers. Users can personalise the result using the service’s Style and Tone customisation options, or guide the service to the desired result by uploading reference
tracks whose sonic characteristics users wish the service to match. The manufacturer has also added an offline mode to the existing SuperRack SoundGrid application that allows users to set up sessions offline, anytime, anywhere, from any laptop or desktop, and come to the show prepared. It is available via a separate licence, free of charge, and will load like the regular SuperRack SoundGrid (except it will not pass audio). In addition, V14 of SuperRack SoundGrid is now available with Apple Silicon compatibility, expanded multilanguage support, channel colours, performance improvements and bug fixes. www.waves.com
All-in-one for wireless connectivity COMBINING THE sound quality, range and price point of its MicroCom XR with the noise isolation and flip-up microphone muting technology of its SmartBoom PRO headset, Pliant Technologies’ MicroCom 900XR all-inone wireless headset expands its MicroCom family of products. The company says the MicroCom 900XR wireless headset provides the same performance and functionality as the MicroCom 900XR beltpack, but is engineered to fit inside the SmartBoom PRO headset ear cup. Its all-in-one design features an OLED display, two intercom channels with a dual listen option and support for up to 10 full-duplex users, including unlimited listen-only and shared users. Available in single- and dual-ear configurations, it features an internal antenna and field-swappable batteries with a run time of 14 hours on the dual-ear headset and seven hours on the single-ear headset. Pliant has also announced what it claims is the industry’s first drop-in charger for an all-in-one style headset. Available with the MicroCom XR Wireless headset, up to six individual headsets can be put on the charger without having to remove their battery or plug
MicroCom 900XR in a USB charging cord to the headset itself. Users can also drop in up to six additional batteries for simultaneous wireless headset and battery charging capabilities. www.plianttechnologies.com
Building bridges
ACTING AS a bridge between legacy digital formats and a Milan AVB network, the LC16D from L-Acoustics aims to simplify the process of interfacing legacy digital formats with the Milan AVB time-sensitive network. Designed for rental, corporate, fixed installation markets, broadcast, residential
and recording environments, the LC16D is a high-capacity AES/EBU- and MADI-to-Milan AVB audio network converter housed in a rugged 1U chassis. With up to 80 legacy format inputs and outputs, it can interface with up to 128 bidirectional channels and offers dynamic
mapping of audio channels. Its embedded web interface enables full control and monitoring from any device with an internet connection, while user configurations make storing and loading different channel mappings easy. In applications that use several interfaced digital consoles, the LC16D’s integrated asynchronous sample rate converters on each AES/EBU input eliminate the need for synchronisation management, allowing digital consoles to continue using their independent clock domains. L-Acoustics claims that its comprehensive clocking options make
synchronisation effortless and distribution of clock sources across connection formats possible. It can be used as a floating converter for fixed installations deployed wherever a legacy digital connection needs to interface with a Milan AVB network. The combination of AES/EBU and MADI inputs allows any digital console to be connected simply and efficiently, while the converter’s outputs can be utilised to generate and distribute additional feeds as required. www.l-acoustics.com
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PRODUCTS
Ultra-flexible pocket recording
Q-SYS plugin for RDL’s softwareconfigurable Dante interfaces
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AUSTRIAN AUDIO has released its MiCreator Studio, described as an ultraflexible pocket recording system that combines a condenser microphone and a USB-C audio interface in a compact, rugged design that lets users record what they want, where they want and when they want. The audio interface comes with an additional input for quick-and-easy multi-tracking and optional stereo recording, higher SPL handling and intuitive on-board controls. Features include a maximum SPL of 130dB; an input for connecting a second device (MiCreator Satellite, Y-LAV mic or instrument); two headphone outputs so users can collaborate with fellow musicians; two gain settings and one knob jogwheel for easy volume control; “FlexTilt” vertical adjustment of the mic head; latency-free
AS THE latest member of the Q-SYS Technology Partner Program, RDL has released the DD-RN Series Network Audio Interfaces Plug-in.
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direct monitoring of the mic and input while recording; and a rugged metal housing with changeable faceplates for a variety of colour combinations and customisation. www.austrian.audio
Get with the times with WebApp 1.2 INTRODUCING FEATURES designed to make system configuration more powerful, Optimal Audio has announced an update to its ecosystem with the launch of WebApp 1.2 and updates to its SmartAmp firmware. WebApp 1.2 includes functionality to add system settings or preferences to a timed routine, enabling end users to remain focused on their work rather than having to make manual adjustments to their audio system. WebApp 1.2 also introduces a system diagram generator with DRAW.IO compatibility, enabling systems integrators to easily share an overview of the planned system, while system management is made easier through the ability to upload
and assigned plugins can generate model-specific control features. Each RDL plugin unit can be dragged-and-dropped and assigned in the Q-SYS Configuration Window, while input and output
and download system files for easier transportation to other sites if required. All features are available in the offline WebApp Desktop Demo to allow installers and SIs to familiarise themselves with WebApp features without needing to connect to a Zone. Offline access also enables the ability to design systems, set up routines and customise controls. Meanwhile, updated firmware for Optimal Audio’s SmartAmp series includes settings for its Cuboid 6, a two-way, full-range, passive 6.5-inch loudspeaker that also has a transformer variant.
Providing integration of its DD-RN Series Network Audio Interfaces Plug-in into the Q-SYS Ecosystem, the settings of every unit can simply be adjusted via the plugin. Supporting current DD-RN Series endpoint interfaces, RDL’s Dante interfaces can be configured and controlled within Q-SYS Designer software. Input gains and output levels can be adjusted, phantom power can be enabled
signals can be routed to other products in the system. The DD-RN Series includes the DD-RN31, DD-RN40 and the DD-RN42 Wall Mounted BiDirectional Interfaces, which are available in white, black and stainless-steel finishes. www.qsys.com www.rdlnet.com
Broadcast boost with v1.5
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www.optimal-audio.co.uk
WebApp 1.2
WITH A particular focus on broadcast users, Tascam’s v1.5 upgrade to its Sonicview 16 and 24 mixing consoles adds a number of features that the company claims will improve functionality and aid creativity. The upgrade not only provides a second monitor section, but both monitor sections now offer direct output to the output router with level control. The v1.5 upgrade also adds an option to select any input source as a talkback signal. The talkback signal can be output to mix busses 1–22, the main L-R output and the EXT 1/2 direct output. Router enhancements include level reduction (dimmer) features for talkback, both monitor
outputs and the output bus which is assigned as the talkback target. Tascam has also added a direct output for the solo signal, which can be assigned via an output router. Other features include the ability to assign monitor and talkback functions to Sonicview’s bank of user-definable keys, the addition of a switchable oscillator and the ability to automatically mute monitor speakers when a microphone input signal is detected. The Sonicview v1.5 firmware update can be downloaded from the Tascam Europe website.
microphones to mixing with enhanced plugins and exporting files in a variety of formats. Users can mix in Dolby
Atmos or additional formats that support up to 9.1.6 channels. Support for Dolby Atmos Binaural Headphone Monitoring is also included – Studio One 6.5 features a dedicated headphone channel for simultaneous Binaural monitoring, eliminating the need for switching configurations. Studio One’s plugin set has also been upgraded to support processing of multichannel signals or of any individual channel or pair of channels per plugin. In addition, Studio One 6.5 introduces a new plugin specifically designed with immersive audio
in mind. Surround Delay is an eight-tap delay with individual surround panners meaning that delay taps can be synchronised to the song tempo for dimensional and rhythmic effects. Scoring and note editing capabilities have been streamlined and further optimised for tablature, lead sheets and drum maps. These features include the addition of rhythm slashes, a chord display that’s dynamically linked to the chord track, custom string tunings and more expressive options for guitar tablature such as guitar bends and rhythmic display. www.presonus.com
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PreSonus enters the Dolby Atmos Arena PRESONUS HAS announced the most recent iteration of its music production software, Studio One 6.5, complete with Dolby Atmos immersive audio. The update brings workflow, mixing and note editing enhancements and is said to provide state-of-the-art immersive audio recording, editing and mixing capabilities through integrated Dolby Atmos tools. With this combination, users can “unlock the full potential of their mixes and transform their creations into fully fledged immersive experiences”. Studio One 6.5 has been designed to provide an integrated spatial audio production workflow, from recording with multichannel
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Adamson releases ArrayIntelligence V1.1
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THE LATEST version of Adamson’s ArrayIntelligence loudspeaker design and deploy software reflects the development team’s focus on encouraging user-generated feedback and quickly including it in the available software. ArrayIntelligence V1.1 revolves around an overarching goal: enhancing the user experience and optimising software performance. The new Header Bar graphical layout is said to bring clarity to the user interface, indicating which pages are available online, simplifying
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navigation and enhancing workflow. The Global Assign feature, described as a cornerstone of system management, has undergone a comprehensive update. This redesign reportedly offers users a more robust and efficient tool for managing entire systems of networked Adamson speakers, bridges and gateways. According to the manufacturer, ArrayIntelligence V1.1 ensures detected items are ordered accurately by switch port, streamlining system setup and minimising complexity.
allows users to include and predict these in their projects. With improved accuracy and better labelling, users will benefit from an upgraded 3D dB SPL scale that displays the absolute maximum SPL value, offering critical insights for audio system optimisation. In addition to these improvements, ArrayIntelligence V1.1 includes a comprehensive set of bug fixes aimed at enhancing software stability and reliability. Introducing the newest family members of the IS-Series to ArrayIntelligence V1.1
www.adamsonsystems.com
Clear-Com releases 13.1 for Eclipse HX Digital Matrix CLEAR-COM HAS released EHX 13.1, the latest version of the configuration software for the Eclipse HX Digital Matrix. EHX 13.1 delivers new role management advancements for a streamlined configuration process and an improved user experience, in addition to important compatibility with NMOS4 and NMOS5 standards and support for Clear-Com’s 2X10 Touch Desktop Panel. The new role-based logins in EHX 13.1 are said to streamline configuration and allow users to quickly move from device to device. Systems administrators can set a single key to contact a user regardless of the device they are logged on – saving the
effort of having to configure several keys in the instance that a user moves between several devices during a production. On top of this, the user experience is improved with a
simplified login to whichever endpoint device is closest at hand, with keys that autofill their specific configuration allowing a “follow-me” operation.
Clear-Com is also continuing development around the ST 2110-30 standard as NMOS (Networked Media Open Specification) IS-04 and IS-05 are being added to EHX 13.1. IS-04 relates to the Discovery and Registration of devices on a network and IS-05 handles the device connection and management. The addition of these specifications will reportedly make it simpler and much faster when setting up an audio network of IP-capable devices. EHX 13.1 additionally supports the new 2X10 Touch Desktop Panel, a 20-key, IP-based panel that provides a compact desktop option for Eclipse HX users. www.clearcom.com
Merging is on a mission MERGING TECHNOLOGIES has announced the release of its Venue Mission software for Anubis, designed specifically for the brand’s audio interface. Created with live musicians in mind, Venue Mission has been developed to “revolutionise” the way users manage their workflows when using multiple Anubis units together. By focusing on the needs of both musicians and technicians, the software offers control over the entire audio ecosystem and reportedly provides a seamless and intuitive user interface for multiple users. At the heart of Venue Mission is its full 16-channel mixer, delivering control across
four monitors. The mission supports up to 16 mono or stereo inputs, accommodating any sampling rate and enabling users to work effortlessly with local analogue inputs or incoming audio-over-IP streams. The ability to show or hide mixer inputs on each monitor, delay inputs from 1.4ms to 20ms and customise or colour-code input names provide an added layer of control. As with all other Anubis missions, Venue Mission is compatible with AES67. Venue Mission finds application in a wide array of use cases, including orchestral live performances, complex band monitor setups, smaller bands without monitor engineers, orchestral studio recordings and
speaking booths/ADR studios. Performers benefit from access to their own personal mix monitoring and the microphone and instrument inputs can be shared on the
network for remote control and monitoring by the PA mixer or recording engineer. www.merging.com
RME goes remote ACCORDING TO RME, the ADI-2 Remote software controller offers an easy-to-understand and complete interface for managing all settings and options of the ADI-2 series devices. The app supports the ADI-2 DAC, ADI-2 Pro AE (anniversary edition), ADI-2 Pro and FS, ADI-2 Pro FS R BE and ADI-2/4 Pro SE. The option to control the ADI-2 directly via software is described as a welcome addition to anyone who enjoys tinkering with its countless features – like the onboard parametric EQ, Loudness and Crossfeed – or experimenting with the DAC’s different filter types (SD Sharp, NOS, etc.). EQ settings and even complete setups can be saved and loaded from and to the computer
or iPad. EQs for specific headphones or applications are easily shared with others. Backups of the device’s state can be stored and loaded, and device states copied and transferred with ease, on all supported platforms.
The ADI-2 Remote software consists of several main pages: Line input (for 2 Pro and 2/4 Pro), one page per output (Line Out, Phones Out, IEM Out, etc.), a general Device page with all channelunrelated settings and a PEQ Editor that can be used to edit, save or load PEQs without changing the currently active EQ. Under the hood, the ADI-2 Remote uses a USB MIDI port to communicate with the hardware device. The connection is the same as usual – via USB 2.0 to a Windows computer, a Mac computer or an iPad. The used MIDI protocol is available for developers as a download from the RME website as well. www.rme-audio.de
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Surgical precision for monitoring Easy control for EasyIP cameras SONY’S LMD-XH550MD is a medicalgrade 4K HDR surgical monitor which boasts four times the resolution of Full HD to provide levels of detail suitable for use in hospital operating theatres, surgical centres and classrooms for education. The LMD-XH550MD is equipped with a high-quality, 4K resolution (3840x2160 pixels), large 55-inch screen and uses Sony’s Local Dimming Panel Technology that allows the monitor to achieve a peak brightness of more than 1,5000cd/m2 and contrast ratio of 1,000,000:1 The unit is HDR capable when receiving HLG (Hybrid Log-Gamma) signals, which Sony says allows the monitor to reproduce the images more realistically
4K or HD and can be up- or downscaled at the user’s discretion to adapt to the capability of the secondary display or recorder. Hands-free menu switching can also be enabled via a footswitch. The manufacturer has also expanded its line of BRAVIA 4K Professional Displays with the introduction of the EZ20L series. The EZ20L 4K series is intended for use in corporate and retail applications and will offer sizes ranging from 43 to 75 inches. The models are said to be built with usability, installation flexibility, picture quality and sustainability in mind. As the introductory offering in the line-up, the EZ20L models will provide professional features including simplified pro-settings for streamlined setup and
VADDIO HAS introduced the EasyIP PCC, a precision camera controller capable of managing up to four EasyIP cameras. According to the manufacturer, the device is low-cost and features an ergonomic three-axis Hall effect joystick. Intended to elevate video production capabilities while
only requiring a minimal desktop footprint, the EasyIP PCC provides production-grade control for smaller studios or cost-conscious environments and can be paired with the Vaddio Device Controller for expanded control features. The EasyIP PCC is PoE+ powered and can be used with a managed network switch, such as those from Luxul. A pre-configured EasyIP Switch can be purchased as a standalone item or as part of an EasyIP Base Kit. www.legrandav.com
Full control with P3 update WITH THE ability to provide full control over P3-enabled fixtures from a single location, Martin has announced additions to its range of P3 System controllers, as well as a software update. Tuned specifically for Martin fixtures, the P3-175 and P3-275 system controllers and P3 software update 6.0.0 provide automated mapping, scaling, configuring and addressing of fixtures, eliminating the need to address fixtures locally.
Meanwhile, the software update boasts a redesigned interface and has reportedly provided better support for darkened front of house and other performance-monitoring environments. It enables real-time feedback and remote system monitoring to empower systems integrators to diagnose problems before they occur. The software is not only available for the P3-175 and P3-275, but also extends the
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and in greater detail to capture the highlights and dark areas. It supports a wide colour gamut that conforms to the ITU-R recommendation BT.2020 for accurate colour reproduction and realistic visualisation, and is also designed to minimise reflective glare even in brightly lit operating rooms to provide a clear, highcontrast viewing experience for surgeons. The LMD-XH550MD also uses Sony’s A.I.M.E. (Advanced Image Multiple Enhancer) technology to enhance the display image by adjusting the colour, contrast and visibility of shadow areas for more comfortable viewing. It also features a clone-output connector that clones the display image to a secondary display or external recorder, including advanced settings like A.I.M.E. or picture-in-picture. The resolution of the output image can be
maintenance, as well as RS-232C support and standard IP control, 16/7 operation and 350 nits of brightness for high visibility indoors. The line-up is comprised of the FW-75EZ20L (75 inch), FW-65EZ20L (65 inch), FW-55EZ20L (55 inch), FW-50EZ20L (50 inch) and FW-43EZ20L (43 inch). Additional highlights of the series include a pre-installed BRAVIA signage app, administrative functionality to turn off inputs, built-in mirroring directly from a user’s device, a slim bezel, a wide viewing angle, 4K X-Reality PRO for upscaling content, as well as sustainability features including the use of recycled plastic materials, more environmentally friendly packaging and a power saving mode. www.pro.sony
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P3-275 The P3-175 and P3-275 support video input up to 4K over HDMI and NDI with increased output capacity, while real-time previews illustrate how DMX controls and video will be rendered on the fixtures even when using a mix of control methods. Integrating with third-party software via the MVR standard, the P3 controllers are able to import and export industry-standard files, eliminating duplicate actions and enabling designs (and patches) to be shared between lighting consoles, CAD programs and visualisers as well as the Martin P3 ecosystem.
Migrating to IP SUPPORTING ST 2110 integration for the AK studio camera line, Panasonic has debuted its UCU700 Camera Control Unit geared to help customers migrate to IPbased systems. The CCU is said to offer production crews and systems integrators a range of benefits. It provides the ability to use a wide line-up of camera heads with a
capabilities of the legacy P3-050, P3-150 and P3-300 models. It is also available for the P3-PC version and can be used as a basic mapping tool, addressing tool, Art-Net/ sACN to P3 bridge or a full P3 control solution. Features include mix DMX and video control, remote addressing and setting, real-time monitoring, system-wide synchronisation and a live preview for visualising results during pre-programming without connecting actual fixtures. www.martin.com
operation, as well as a variety of additional optional I/F boards, the UCU700 will create opportunities for workflows that use SRT, NDI, ST 2110 and Dante, facilitating the transition from the current baseband operation to IP operation. Because the CCU can work with existing UC4000, UC3300 and PLV100 cameras, new I/F options catered to each model will become available. common accessory infrastructure, including easy integration of a traditional CCU into
any new ST 2110 backbone or streaming production. Supporting both 4K and HDR
pro-av.panasonic.net
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Blackmagic films in all light conditions THE BLACKMAGIC Cinema Camera 6K is a high-end digital film camera that produces precise skin tones and rich organic colours. The camera features a full-frame 24mm x 36mm 6K sensor with a native resolution of 6048x4032 and a wide dynamic range, a flexible L-Mount for lenses and a built-in optical low-pass filter that’s custom designed to match the sensor. Customers also get fast CFexpress media and the camera can use Pocket Cinema Camera accessories. When customers are doing cloud and mobile work, the camera records both deep bit-depth Blackmagic RAW and H.264 proxies at the same time. Whether users are shooting in bright sunlight or in almost no light at all, the 13 stops of dynamic range with dual native ISO up to 25,600 are said to provide
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Cinema Camera 6K including uploading to Blackmagic Cloud, chat and access to advanced menus. The Videohub 80x80 12G is a larger 80x80 12G-SDI router that lets customers connect and route any combination of SD, HD and Ultra HD on the same router at the same time. It features a front panel with shortcut buttons, an LCD which can display labels or live video and a machined metal
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The Director Mini’s touchscreen interface is complemented by the Director Utility app for iOS and Android, providing remote configuration, audio controls, input switching and scoreboard control. The Director Utility can also turn the smartphone’s camera into a streaming source as a mobile input to the Director Mini hardware, with up to three mobile devices able to be used simultaneously as sources.
The Director Mini can encode video up to 1080p at 60fps and bitrates up to 30Mbps. Productions can be streamed using the RTMP protocol, while the ability to output an SRT stream makes the Director Mini capable of contributing feeds to an offsite location for remote production. Its USB-C port can be configured to display the program output, user interface or a loop-through of either HDMI input on a connected USB-C display. www.magewell.com
Riedel regroups with RiMotion
The Blackmagic Camera app “stunning” low noise images in all lighting conditions. In addition, users can shoot up to 36fps at full-sensor resolution or 120fps windowed. The Blackmagic Camera unlocks the power of the iPhone by adding digital film camera controls and operating systems. According to the manufacturer, customers can create the same cinematic “look” as Hollywood feature films and get the same user-friendly interface as other Blackmagic cameras. Users can adjust settings such as frame rate, shutter angle, white balance and ISO all in a single tap, or record directly to Blackmagic Cloud in industry-standard 10-bit Apple ProRes files up to 4K. Recording to Blackmagic Cloud Storage lets users collaborate on DaVinci Resolve projects with editors anywhere in the world, all at the same time. The heads up display, or HUD, shows status and record parameters, histogram, focus peaking, levels and frame guides – users can show or hide the HUD by swiping up or down. Users can shoot in 16:9 or vertical aspect ratios, plus they can shoot 16:9 while holding the phone vertically if they want to shoot unobtrusively. There are also tabs for media management,
EXPANDING ITS portfolio with an all-inone live production and streaming system, the Director Mini from Magewell combines multi-input switching, graphics, streaming, recording and monitoring in one device. Designed to provide a single operator with a standalone system for live event coverage and remote production, the Director Mini enables users to switch between two HDMI inputs and two USB AV inputs, as well as three simultaneous live IP sources, including SRT streams, RTMP streams or up to two NDI HX sources. File-based media assets including video, audio and images can be combined with live sources, while embedded audio is supported on the HDMI and USB inputs alongside a 3.5mm analogue audio input. The UI is accessed through an integrated 5.44-inch AMOLED touchscreen, and users can define multiple scenes that combine live HDMI, USB and audio inputs with network streams, media sources and graphics, then switch or transition between these scenes on the fly. Chroma keying enables the use of virtual backgrounds, while telestration enables real-time on-screen drawing and combines built-in scoreboard functionality to support sports productions. PTZ camera control is also available through the touchscreen.
spin knob for browsing video sources, reference connections and redundant power. The Videohub 12G reportedly eliminates cable mess because customers can plug all their SDI equipment into the router, then do connections electronically. Users don’t need complex system diagrams for their studio because they can connect any video input to any video output, or
SUPPORTING 10 video channels, up to eight multiformat camera inputs and two outputs, the RiMotion R10 from Riedel Communications expands the company’s range of live video RiMotion replay products. Integrated into its portfolio after the acquisition of Simplylive, Riedel’s RiMotion range combines replay capabilities, including superslow-motion (SSM) camera support, with a user-friendly interface. With all features concentrated on a touchscreen interface, the RiMotion package also includes a conventional hardware-based
remote controller panel for operators who wish to combine the remote controller and touchscreen interface together. The R10 comes in a compact 1U server and complements Riedel’s existing R6, R8 and R12 bundles which provide 6–12 HD channels, as well as the R84 with up to four UHD and eight HD 10-bit HDR channels. As with all RiMotion systems, the server can be combined with mini PCs to enable remote productions. www.riedel.net
Videohub 80x80 12G even a single video input to multiple video outputs. This means monitors can view any source in the studio. The Videohub 12G lets customers use multiple HyperDeck recorders for redundant mastering or route video to multiple streaming processors for all their broadcast platforms. It can also be used to add extra inputs to an ATEM switcher. www.blackmagicdesign.com
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Grass Valley combines Kayenne with K-Frame
More control with Canon upgrades
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GRASS VALLEY has released new production switcher bundles for sports, entertainment, news and any other event that attracts large audiences worldwide. By combining newly redesigned Kayenne modular Video Production Center surfaces with the K-Frame XP video processing engines, Grass Valley is increasing its support for broadcasters and media and entertainment organisations. While the Kayenne K-Frame XP bundles are specifically designed for larger productions, Grass Valley’s “Any Surface, Any Engine” philosophy means that panels such as Korona and Karerra can be paired with any K-Frame, including the CXP, SXP, V-series or software-based switcher offerings powered by AMPP. Additionally, K-Frame engines can now be fitted with a JPEG XS board, for advanced IP inputs and outputs, based on the user’s
CAMERA SPECIALIST Canon has announced the launch of its multi-camera control app alongside a raft of firmware updates for key models in its Cinema EOS line of cameras. Designed to work on an iPhone, the app controls up to four cameras over Wi-Fi. It is compatible with EOS C500 Mark II, EOS C300 Mark III, EOS C70 and XF605 cameras and provides control over recording start and stop, focus, zoom and iris, ND filters, ISO, shutter, white balance and custom picture control while viewing the image. Meanwhile, Canon’s free firmware updates provide additional functionality to multiple camera models. Both the EOS C500 Mark II and EOS C300 Mark III benefit from a digital tele-converter, camera control from the RC-IP1000 Remote Camera Controller and compatibility with the CN-E31.5-95mm Flex Zoom lens. EOS C70 updates also provide a digital tele-converter as well as RC-IP1000 Remote
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requirements complementing the native JPEG-XS support found in Grass Valley LDX 100 series cameras and the latest C135 compact camera. www.grassvalley.com
Key Digital updates its KD-Pro4x1X-2 HDMI switcher KEY DIGITAL has released a firmware update for its KD-Pro4x1X-2 HDMI switcher that adds IP to RS-232 command forwarding to the switcher’s capabilities. It also enables the second-generation 4x1 UHD/4K/18G HDMI switcher to function as part of a programming-free presentation system similarly to Key Digital Unified Communication and Control products. By connecting the KD-CamUSB PTZ camera and/or the KD-Amp220 audio pre-amp/amplifier to the KD-Pro4x1X-2
by way of each device’s RS-232 ports, and enabling control of the devices from the free Key Digital Management Software Pro (KDMS Pro) app for Windows or a new web UI, users can control the camera and amp from the free KD-App for iOS, the web UI, Key Digital’s Compass Control Pro integrated iOS control system or with TCP/IP commands from other networked devices. www.keydigital.com
EOS C70 Camera Controller support. It also receives compatibility with the RF24-105mm F2.8 L IS USM Z lens with Power Zoom Adapter and the RF Prime series of cinema lenses, as well as compatibility with Canon’s Super 35mm Flex Zoom lenses.
XF605 The EOS R5 C upgrade provides enhancements to its vector scope to enable display of the vector colour and colour-space onscreen, while it also adds frame display function while recording. It provides compatibility with the RF24-105mm F2.8 L IS USM Z lens with Power Zoom Adapter and the RF Prime Cinema lenses, as well as Canon’s Super 35mm Flex Zoom lenses. The firmware also updates the XF605, Canon’s flagship professional camcorder, with support for SRT protocol, file recording in XF-AVC Full HD 25Mbps format, proxy file recording in MP4 16Mbps when in XF-AVC Full HD 25 format, chunk recording and continuous playback of multiple clips and camera control from the RC-IP1000 Remote Camera Controller. All cameras also receive added flexibility with file naming conventions on proxy files, enhancing compatibility with non-linear editing software systems. Enhanced PTZ functionality across its CR-N700, CR-N500, CR-N300 and CR-X300 models include the addition of preset and trace thumbnails, an option for still image display between presets, SRT adaptive bitrate, multiple Free-D protocol destinations for shooting in virtual production environments with multiple image processors and a partial restore option. www.usa.canon.com
Projection Simulator gets on the map PROJECTION SIMULATOR is a free web application from Digital Projection which is designed to help users find the right projector to meet a variety of install conditions. Available in nine languages, it calculates throw distances between screens and projectors, as well as determines the relationship between the size and distance of a projected image. Projection Simulator also provides recommendations for optimal projector placement. Its Single Projection mode is designed for use cases where one projector is available, while Multi Projection mode allows users
to import, select and arrange 3D objects for projection mapping. It can also provide information on projectors that align with needs and provide basic specifications of a suggested product. Providing the ability to fine-tune installation conditions such as room size, screen settings and projection position, the software provides both 2D and 3D visualisation and will also alert users if the projected image intersects with walls, ceilings or floors. www.digitalprojection.co.uk
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Extending connectivity SIGNAL MANAGEMENT specialist Lightware Visual Engineering has introduced two USB-C extender cables in 8m and 10m lengths to provide additional flexibility to AV installations. The CAB-USBC-AOC800K and CAB-USBCAOC1000K are active optical cables that are compatible with all major operating systems and support USB 3 Gen2 10Gbps “SuperSpeed”, making them suitable for high-speed data transfer use cases such as 4K webcam use, and transfer to and from SSD storage. Screw Lock USB-C plugs are said to ensure a secure connection to Lightware’s Taurus UCX universal matrix switcher. Both cables also feature a two-lane DisplayPort 1.4 Alt Mode that supports high-resolution video output up to 4K30Hz@HBR2, and offers a minimum 60W/3A charging capacity allowing for fast charging of devices. The cables are also equipped with eMarker chip, which records data speed and highest amperage. www.lightware.com
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TVU Networks expands content creation capabilities TVU NETWORKS has joined the Adobe Video Solution Partner Program and released a plugin for Premiere Pro that allows users to access TVU Search directly from within the interface of the editing application. Users will be able to search for and directly access live or archived video sources and bring them directly into an edit session. Instead of taking hours or days manually searching, the desired video content can reportedly be located in a matter of seconds, easily clipped and immediately transferred to Premiere Pro for use without leaving their creative canvas or application. The cloud-based TVU Search solution transforms media discovery with its AI-driven algorithm and automation capabilities. With the ability to ingest any live video source virtually, TVU Search analyses and indexes video content in real time upon ingest and allows users to pinpoint and retrieve exactly the content needed through its interface. Premiere Pro users have an extensive array of tools available via the plugin for creating video clips such as text highlighting from real-time speech-totext transcripts, integrated player tools with shortcut keys, quick transcript export and easy mark-in/mark-out timecode configuration. Being completely cloud-based, TVU Search allows multiple users in multiple locations to access the same content simultaneously.
TVU Search The ONE uses the latest-generation Sub 6GHz, 3GPP Release 16, 5G embedded modems. With multiple antennas per modem, it also supports MIMO uplink. This reportedly ensures transmission with wider coverage, better range, increased data transfer rates and the assurance of future compatibility of 5G network deployments. The ONE includes the latest version of TVU’s patented Inverse StatMux transmission technology fully integrated into the unit. The newly developed ISX protocol has been designed for the most challenging transmission environments and is said to ensure the full utilisation of available
bandwidth, superior video quality and extremely low latency. TVU Channel enables the user to schedule live and VOD programming from a simple web browser. According to the manufacturer, the cloud-based TVU Channel can be deployed in minutes to schedule and manage one or hundreds of live content channels, including OTT, websites, apps and social media. It supports live and pre-programmed content, dynamic ad insertion with SCTE decoration and can be set to operate continuously 24/7 with no downtime. www.tvunetworks.com
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PRODUCTS
Extron adds Dante to XTP Systems 8K boards EXPANDING ITS family of XTP II CrossPoint modular matrix switchers, Extron’s XTP II CP 4o HD AT 8K supports both 8K HDMI and Dante audio, which Exton says facilitates “convenient system expansion with our complete line of Dante-enabled audio processing products”. With four HDMI and four Dante digital audio outputs, the switcher is HDCP 2.3 compliant and supports HDMI 2.1 performance at video resolutions up to 8K/30 HDR video with 4:4:4 colour sampling at data rates up to 40.1 Gbps. Its Dante output adds the capability to take any four stereo audio signals that are routed through the XTP system and transport them as Dante audio over a network using standard internet protocols. XTP Systems provide integrated switching and distribution for multiple
the included ZipClip 200 mounting accessory, or in an equipment rack using an optional rack mounting shelf. Facilitating the integration of a Quantum Ultra II videowall processor within a secure FOX3 distribution architecture, Extron’s Quantum Ultra II FOX3 fibre-optic cards are designed to deliver end-to-end secure videowall systems to an entire FOX3 fibre ecosystem. Enabling signal extension at extreme distances with no loss of signal integrity, four Quantum IN4FOX3 models and four Quantum OUT4FOX3 models are available to provide full compatibility with the entire FOX3 product family. Both sets of input and output cards offer four channels of connectivity and are capable of distributing uncompressed video up to 4K60@4:4:4 over two fibres or mathematically
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CHRISTIE HAS launched two 1DLP laser projectors – the 4K860-iS and the 4K13-HS – described as compact and flexible projection solutions for venues including classrooms, boardrooms and places of worship. The Inspire Series 4K860-iS is said to be easy to move and install,
described as sharp and clear with 4K UHD resolution, and colours are more natural and blacks deeper, courtesy of built-in Christie BoldColor+. The 4K860-iS and 4K13-HS are compatible with the Christie Intelligent Camera (CIC), an accessory that reportedly
4K860-iS
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weighing only 15kg, and lights up screens with 8,500 lumens in 4K UHD resolution. Built-in Christie Twist and optional Mystique software provide warping and blending capabilities and camera-based alignment, respectively, to provide content that looks “picture-perfect”. The 4K13-HS delivers 14,800 lumens for projects that require a high-brightness projection solution, but without compromising on form factor. Images are
makes it faster and easier to achieve the desired image quality. Operators can use it to calibrate projector colour, trigger autofocus and, when combined with Christie’s complementary Mystique Lite software, automate warping and blending of up to three projectors in a horizontal array. The models come with a five-year/20,000hour warranty.
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lossless 4K60@4:4:4 over one fibre. 8K/60 sources can be accommodated as a quad-path signal. Ethernet to RS-232 insertion enables control data to be transmitted alongside the video when a bidirectional fibre configuration is
CRESTRON’S VIDEOBAR 70 and its AutoTracker and AutoFramer intelligent video cameras have been approved by the Zoom team for its Zoom Rooms software. Zoom is also in the process of certifying the Hawk, which features dual 12x optical PTZ cameras that show the active speaker by automatically matching audio location to the closest detected face. The manufacturer has also added to its Phone product line, which now includes a Zoom Phone Appliance optimised for individual desktop use. Available in 8- and 10-inch touchscreen models, the highresolution display provides a dedicated
meeting device with a camera and 360° audio pickup, allowing users to keep their desktops available for other focused work. With the rise of hot desk stations and permanent remote workers, the Crestron Zoom Phone Appliance is said to offer users a companion device to reduce overloading their PC for task-switching and improve their productivity. For organisations standardised on the Zoom Rooms platform, Crestron’s native Zoom Scheduling Panel reportedly provides a consistent user experience both inside and outside of the room.
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employed. The cards also support embedded audio switching for a streamlined design. www.extron.com
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Quantum Ultra II FOX3 enabling users to collaborate with minimal interaction with AV hardware. At ¼-rack width and 2.5cm high, the compact UCS 601 can be mounted within furniture or under a table using
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XTP II CP 4o HD AT 8K video formats, supporting local connectivity as well as extended transmission capability for sending video, audio, RS-232/IR and Ethernet up to 100m over shielded Catx cable, and up to 10km over fibre. Each system is HDCP compliant and features hot-swappable modular components, a selection of XTP transmitters and receivers, and 24/7 system monitoring. With USB cameras, microphones and other peripheral devices becoming more common in small huddle spaces, Extron’s UCS 601 is a pro 4K USB-C dock that connects USB-C laptops to HDMI displays. Designed for platforms such as Teams, Zoom and other Unified Communications applications, the UCS 601 supports up to three USB devices and provides data rates of up to USB 10Gbps. Its HDMI output is engineered to support resolutions up to 4K, while the USB-C input handles video/audio, USB data and can charge the user’s laptop with its integrated 60W power supply. Offering collaboration in a range of UC spaces, the UCS 601 will automatically connect laptops to a room’s display, USB cameras or other room devices. As laptops are disconnected, the display automatically goes into standby mode,
Christie makes an inspired choice
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PRODUCTS
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BILLED AS a replacement for Xenon lampbased models, the NEC NC1503L digital cinema projector from Sharp NEC Display Solutions Europe uses RB laser technology to boost performance to up to 14,000 lumens brightness. Its laser light source provides a lifespan of up to 50,000 operating hours, as well as reducing power usage and the amount of replacement materials required. Optically sealed, it minimises dust ingress and assures consistent performance without special maintenance; Sharp NEC says this means lamp or filter replacements, additional personnel costs or lamp stock are obsolete. Using the same proven cabinet as the NC1402L, the NC1503L is designed for flexible installations and usage. With no exhaust system required, the unit is suitable for floor and ceiling installations as well as versatile content playback, making it suitable for small projection booths or even boothless, mobile cinemas. Expanding its collaboration portfolio family, the LA Series collaboration models are now available in 65-, 75- and 86-inch sizes. The
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LA Series collaboration models are designed to promote productivity in hybrid meeting scenarios. An Intel SDM slot expands customisation options and enables better integration with
corporate IT systems, while the optional SDM-L slot-in PC collaboration provides access to pre-installed features such as collaborative whiteboarding, access to preferred applications and wireless screen sharing. Users can also connect their own notebooks via USB-C. High brightness and premium glass coating ensure that content is readable, even in welllit meeting rooms, while interactive features such as Windows Ink, palm rejection and pressure sensitivity are delivered by the integrated FlatFrog InGlass M5 touch system. The LA Series is also designed to reduce power consumption, and the company says energy savings can be achieved with built-in eco-sensors like the motion sensor that turns the displays on or off when people enter or leave a room, while the brightness sensor controls the display’s brightness with respect to current usage and external brightness.
PPDS HAS announced an evolution of its ePaper signage range with the launch of the 32-inch (16:9) Philips Tableaux 5150I.
The company, the exclusive global provider of Philips Professional Displays, claims to be the world’s first display manufacturer
to announce the launch of a 32-inch, fullcolour ePaper signage display running on the E Ink Spectra 6 platform. Designed for businesses looking to digitise their paper-based signage while also enhancing their sustainability credentials, the Philips Tableaux 5150I is capable of providing 24/7 content while unplugged and entirely power-free. Like its predecessor, the 25-inch Philips Tableaux Series, it can not only display static imagery without drawing on any energy source, but only requires low power input when content is being updated. It can be used as a standalone display or as part of a fleet of displays across multiple locations. For fixed installations, and in environments where regular image changes are required, the 5150I features Power over Ethernet (PoE) to ensure both power and connectivity for remote management. It features 16Gb of internal
memory and 2Gb RAM, and content can also be updated via USB, micro-USB, Micro SD, LAN and WiFi 5 by plugging into a nearby power source. Working in conjunction with E Ink, Philips Professional Displays R&D’s long-term partner, PPDS says the E Ink Spectra 6 colour platform’s colour algorithms provide a true print quality replacement for any paper sign on its 2560x1440, 16:9 digital display. A member of PPDS’ Android SoC family, the 32-inch Philips Tableaux 5150I Series can also be managed manually or remotely using either third-party or PPDS’s in-house software. This includes the PPDS Wave cloud platform which provides remote device management capabilities for Android SoC Philips Professional Display fleets of any size and in any location. www.ppds.com
ROE discovers a gem ROE VISUAL has unveiled the Topaz Series, the latest addition to its LED panel line-up. The series has been designed for AV rental companies and event organisers seeking a creative, flexible, reliable LED solution. The Topaz Series’ curved panels are said to bend and shape to accommodate the most imaginative stage designs. The specially engineered panels come together to create 90° corners and cubes, reportedly allowing for limitless possibilities in stage setups and visual storytelling. Whether it’s a curved backdrop, a multi-dimensional stage or an immersive installation, the Topaz Series gives designers the opportunity to sculpt LED panels into various shapes. The series has also been developed with an understanding of the importance of maximising profitability for rental companies. The Topaz Series is currently available in a 2.6mm pixel pitch
version, with other pixel pitches arriving in the near future. Designed especially for the outdoor rental market, the Vanish ST (VST) Series are outdoor LED panels from ROE Visual which measure 1,000mm x 1,000mm and come in pixel pitches of 4mm (V4ST) and 6mm (V6ST). The panels are designed to offer stable and reliable performance in a variety of outdoor applications, such as touring, festival and outdoor live events. They are fully interchangeable with the transparent Vanish V8T LED panel, allowing integration with existing V8T LED panels to maximise the usability of rental
stock, while the built-in curving blocks allow the frame to curve 10° in a convex or concave configuration. Both the V4ST and V6ST have integrated folding frames, making them wind-load resistant up to 20m/s to guarantee audience safety and structural stability. Meanwhile, sister company CECOCECO has announced ArtMorph, a luminous wall panel that combines advanced lighting and display technology with textures. Designed to integrate into diverse environments, ArtMorph features over 150 texture collections and has a canvas of 80x80 pixels per panel. The manufacturer says ArtMorph is “infinitely customisable”, with frames that simply mount onto the wall and panels that attach onto the frame with built-in power magnets. Topaz Series www.cecoceco.com www.roevisual.com
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PRODUCTS
WyreStorm adds to NetworkHD 100 and 120 series WYRESTORM HAS added the NetworkHD124-TX quad encoder to its NetworkHD 120 series AV-over-IP line-up, a four-input to four network stream device encoder compatible with the NetworkHD 100 series. The NHD-124-TX is an ultra-low bandwidth H.264/H.265 AV-over-IP solution for distribution of point-to-point, oneto-many and many-to-many over a managed network. The encoder is intended for use with 120 series decoders to provide a complete endto-end video distribution system. Meanwhile, the NetworkHD-150-RX multiview processor is an AV-over-IP decoder based on H.264/H.265 technology, capable of decoding 4K
over a 1Gbps Ethernet network. The NHD-150-RX is an enhanced multiview display decoder compatible with the NetworkHD 120 Series and an ultra-low bandwidth solution for distribution of point-to-point, one-to-many and many-to-many over a managed network. The NHD-150-RX decoder is intended for use with 120 Series encoders (sold separately) to provide a complete end-to-end video distribution system. When used in conjunction with the NHD-CTL-PRO system controller, complete control integration is described as simple and straightforward. The NHD-150-RX can decode AV signals using either H.264 or H.265; using H.265 is said to provide incredibly
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efficient video streams, where an H.265 5Mbps stream is equal to a 30Mbps H.264 stream. It is capable of displaying up to eight simultaneous video feeds on a single 4K display, with users able to select between different layouts. The manufacturer has also released the HALOWFA-130 and HALO-WFA-290 kits. The HALOWFA-130 includes the FOCUS 100 Webcam, boasting 1080p HD visuals with AI-enhanced lighting and an advanced CMOS sensor to deliver a crisp, distortion-free image. It can be combined with a HALO 30 speakerphone, which is a full-duplex USB conference device, optimised for 2–4 people. Users can experience 360° audio pickup with 4x noise-cancelling mics, acoustic echo cancellation and voice
Chauvet dreams of Ovation
BlackTrax scales back with BT-1
THE OVATION Rêve P-3 IP from Chauvet Professional can be used as a narrow spot or a wide flood and is billed as the manufacturer’s brightest IP65-rated, multi-colour, fullspectrum-white LED PAR. The indoor and outdoor fixture incorporates all the advancements of Chauvet’s Ovation Rêve RGBAM LED source, and offers the versatility of narrow, medium, wide and very wide lenses. The fixture provides linear colour temperature presets from 2,800–8,000K with high CRI and CQS, while adjustable Pulse Width Modulation (600Hz, 1.2kHz, 2kHz, 4kHz, 6kHz and 25kHz) avoids on-camera flicker.
INCORPORATING THE same precision and control capabilities as the original BlackTrax system, but in a more compact and portable footprint, CAST Group has created the BlackTrax One (BT-1) tracking solution.
The unit comes with a USB port for fixture software updates, along with ± green adjustment and emulated red-shift via DMX or onboard control. The light source consists of 80 LEDs – 10 red, 10 green, 10 blue, 20 amber and 30 mint – ranging from 4.4–7.8W. Other features include electronic dimming, electronic shutter/ strobe, a stroke rate of 0–25Hz, standalone colour mixing, colour temperature presets, four dim modes and built-in automated programming. The fixture measures 478mm x 300mm x 210mm and weighs 9.8kg. www.chauvetprofessional.com
NHD-150-RX enhancements. The HALO-WFA-290 kit includes the HALO 90 speakerphone with USB-C docking, offering 4K@60Hz video capabilities, dual USB 3.2 10Gbps data transmission and power supply to PCs up to 85W, catering to group meetings of 4–6 people. It can be paired with the FOCUS 200, a 4K Ultra HD Zoom-certified webcam, with 106° wide-angle distortion-free view, 8x digital zoom and dual AI noisecancelling mics. In brief, the HALO-VX10 v2 is now Zoom certified. www.wyrestorm.com
BlackTrax solution for multiple integrations and larger spaces up to stadium-sized venues. Capable of automating a followspot in a theatre or enabling media interactivity for an interactive display, the BT-1 is purpose-built
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Specifically designed for small to mediumsized productions in theatres, studios, corporate events and houses of worship, the BT-1 is cross-compatible with BlackTrax hardware. The scalable solution can be customised for varying production demands, and it can also be upgraded to a standard
to bring the impact of grand productions to a more accessible level. BlackTrax’s ease of setup and calibration features can be applied to any application through a single integration output. blacktrax.cast-soft.com
Ayrton goes wild in the sun THE WILDSUN K9 Wash is the latest fixture in Ayrton’s Multisources 9 Series. It’s been designed as a variant of the WildSun K25 TC and is geared to shooting video content and broadcasting in high definition. With a new, sleek design and a visual footprint 20% smaller than its predecessor, the WildSun K9 Wash’s weight has been reduced by 25%. The LED luminaire measures up to the classic Fresnel HMI 4000 lights in terms of pure output. Fitted with 217 next-generation, high-output LEDs, the luminaire reportedly
delivers more than 60,000 lumens of overall output with 40% less energy consumption – and does not require lamp replacements. Designed to produce high-quality, flickerfree light, the luminaire achieves a colour temperature calibrated at 5,700K and a colour rendering index greater than 92. The WildSun K9 Wash renders the colour and grain of skin “impeccably”, as well as the textures and surfaces of material. The WildSun K9 Wash comes with the same basic specifications as the WildSun K25 TC, and is equipped with tri-phase stepper motors
that are said to allow fast, accurate and silent positioning. Its optical zoom has a 6:1 ratio with a zoom range of 10–60°. Luminous intensity can be fine-tuned using a precision electronic dimmer. The light output system is equipped with a protective holographic filter in polycarbonate and a honeycomb system to prevent glare. The user can control each concentric circle individually to adjust the luminaire’s power and beam size accordingly or create dynamic effects for stage lighting. www.ayrton.eu
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More import options with ETC upgrade
MAXing out performance in a compact package
LIGHTING AND rigging technology company ETC has made its Eos v3.2.4 patch available on the ETC website. The patch includes support for General Device Type Format (GDTF) profile import, as well as nearly 100 improvements and bug fixes related to Magic Sheets, the Show Control List, the Fixture Editor, Shell popup dialogues, Partitions, Pixel Maps, Apex display reliability and launch issues on Mac devices. The update has also allowed ETC to make changes to how fixture profiles are submitted and added legacy library support, while the ability to import GDTF fixture definitions provides another option to loading fixture profiles into Eos. Designed to incorporate track lighting into a wide range of installations, OneTrack by ETC offers two 20A circuits that can be switched or dimmed independently. With a data circuit integrated directly into the track, OneTrack reportedly ensures compatibility with lowvoltage dimming via DMX, 0–10V, DALI, Lon and other signal types. OneTrack features standard lengths of 1m, 2m and 4m, as well as multiple coupler options, to create a range of lighting patterns. Meanwhile, its hardware design provides secure mechanical and electrical connections, even when
BUILDING ON Elation’s Proteus series of luminaires, the Proteus Hybrid MAX is a hybrid luminaire that Elation claims generates more powerful output in a more compact IP66 design. Able to create a range of effects from a 1.8° shaft of light to a 45° wide beam, the Proteus Hybrid MAX is a beam/spot/wash hybrid capable of true linear zoom in any configuration, while an added frost softens light to allow the unit to be used as a precision wash unit at any angle from its extra-large 170mm front aperture lens. Boasting 22,000 lumens and with lamp life of up to 4,000 hours, the Proteus Hybrid MAX is powered by the Philips MSD Platinum FLEX 500 lamp. Its optical autofocus system offers variable operation for power savings and increased efficiency, while still delivering output comparable to large-format Xenon fixtures. The Platinum lamp is dimmable to deliver even more savings, and a hibernation mode reduces power when the lamp is not in use. The lower internal heat produced extends the life of not only the lamp but all internal components of the fixture. Elation’s Fast Advanced Features (FAF) enhances the speed of the luminaire, such as for pan/tilt, zoom and colour mixing, while maintaining accuracy. In addition, a revamped CMY colour mixing system with a 16-position colour wheel reportedly offers virtually
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mounted vertically. ETC’s Source Four Mini LED, Irideon FPZ, Irideon WLZ and Desire D22 luminaires are available with OneTrack adapters. OneTrack also supports a broad range of LED track fixtures from a variety of manufacturers. www.etcconnect.com
OneTrack
unlimited colour options and is fast enough to deliver immediate, seamless transitions and instant colour bumps. Visual effects are enhanced with eight rotating replaceable glass gobos, 16 staticfixed metal gobos and a range of animation options from Elation’s Tri-Tier Animation system. Three animation surfaces with multiple motion tracks are said to add organic motion or fresh visuals, while four prisms divided between dual overlapping planes split beams of light in “virtually unlimited” combinations of lighting projections or aerials. Elation’s effects package also includes a speedy iris for beam control and high-speed shutter/ strobe. In addition, Elation’s SpinSync tracking functionality allows rotation of the head in a continuous 360° pan and guarantees that fixtures match rotation in “perfect” synchronous motion. Other features include Elation’s Sky Motion system, which transforms the luminaire into a searchlight/ skytracker and can be set up and adjusted directly from the fixture display. The Proteus Hybrid MAX is also Elation’s first fixture to feature NFC (Near Field Communication) and Aria X2 (wireless DMX). NFC allows users to set up and test fixtures from a phone, while Aria XR wireless DMX control offers more reliable, configurable and expanded range coverage. www.elationlighting.com
Modular lighting ADB’S ACTORIS Profile FC is a sixcolour ellipsoidal. The light source is based on an RGBAL + royal blue system, which reportedly means any desired shade of colour can be produced, including an array of pastel hues, with a CRI of up to 97. It has variable colour temperature correction from 2,500– 8,000K, and “perfect” Planck-curve CCT. The algorithm that regulates the colour control system is comparable to that of the Claypaky Sinfonya Profile, with advanced, standard, white and singlechannel modes. The Actoris Profile FC is a modular tool, with users able to choose from a 15–30° zoom, a 25–50° zoom and seven fixed lenses (5°, 10°, 14°, 19°, 26°, 36° and 50°). The system is also compatible with ETC optical units. The Midi-B FX has been developed as a way of adding lighting effects to a moving head wash light to get a fixture that
Actoris Profile FC
can do both RGBW wash lighting and be used as part of a set design. To do this, Claypaky has placed a long top hat on the body of a Midi-B and fit five parallel rings of LEDs around it, each of which can be controlled separately for a wide range of colours. This patent-pending technology reportedly allows dynamic, attractive plays on colour, suitable for TV studio set designs and corporate and tour lighting. As a wash light, the Midi-B FX has the same features as the Midi-B – with which it is fully compatible – including the optimised HD optical system, which provides a highly efficient, bright output. Its 4–50° zoom means it can be used in a wide variety of situations, and its 24-bit electronic dimmer provides five dimmer curves, which keep the colours balanced throughout the whole dimming range. www.claypaky.it
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BUSINESS: ANALYSIS
Venue futures
David Claringbold has held several director roles at Sydney Opera House
New York’s Perelman Performing Arts Center, opened in September 2023, has three spaces giving dozens of possible modes
David Claringbold, former director, theatre and events/technical director at Sydney Opera House and chief marketing officer at d&b audiotechnik, examines the different forces that are combining to define a new kind of performance space in today’s changing global environment AS IMAGES FROM ANCIENT TIMES REMIND US, THE concept of a seating bank facing a performance zone has been with us for thousands of years. However, while many functional principles remain, venue design and use models continue to evolve in response to the way cities are designed, cultural entities operate and our social habits change. And technology is playing a key role. So, how will future venues look and what is driving the change? Arts and culture venues are being influenced by three macro trends in global urban development. First is place definition, with Greater China, India, Africa, the Middle East and Southeast Asia all undergoing the fastest pace of urban development. Meanwhile, place restructuring is seeing established urban centres responding to changed work and living dynamics. Thirdly, societal developments including digitisation, sustainability, diversity and accessibility will have their own profound effects. Cities have experienced dramatic change to their economies due to the continuing work from home and hybrid technology trends. The “war on the couch” – which used to be an exclusively entertainment-centric consideration – is now a macro economic reality for our urban centres. Governments are sensitive to this and see arts, culture and hospitality as central to increasing the value proposition of a city as a place to work and visit. Therefore, what was once a fragmented approach to urban design and place making is being reimagined as integrated precincts, where transitions between work and lifestyle are seamless. New civic developments will focus on creating experiences that people can’t get at home or online, by putting art and culture at the centre of their design. In a relatively short space of time, venue models are transitioning from mono economies, with fixed architectures and low technical capability, to being destinations for culture, hospitality, sports and leisure, with physically and virtually adaptable spaces, own media channels, curated engagement
programmes and sophisticated technology systems that are intrinsic to enterprise functionality, customer experience and the artistic vision. The future venue will be sustainable, universally accessible, AI-enabled and emotionally intelligent. Together with these global influences, the arts and culture sector is responding to changed audience behaviours and social dynamics that are creating seismic shifts in their identity and purpose. We are already seeing the emergence of programming matrixes such as art galleries presenting music festivals, museums with expansive hospitality offerings and performing arts centres with curated digital channels. All of these are designed to attract customers across a 24/7 cycle, develop business resilience and enhance community relevance – onsite, offsite, online and virtually. Over the course of the last 20 years, AVL technology has evolved from its previously functional role to becoming a strategic enabler, taking a front row seat with architects, creatives, entrepreneurs and engineers as the venues of the future are designed and conceived. The future venue will have adaptable spaces, both physically and virtually, growing the relevance of a space, giving artists the ability to create bespoke and interactive experiences and allowing the venue manager to dynamically repurpose their offerings, according to the programme and time of day. Venues will utilise technology-enabled storytelling to deepen a person’s relationship with a space, putting human emotional connection at the centre of their content and design thinking to increase customer dwell times and provide opportunities for interactive engagement, all the while capturing data to inform the ongoing curatorial evolution of the customer experience. The venues of the future will have virtual rooms, digital stages for creation and accessibility that the physical world is not capable of, giving artists and thought leaders the ability to create work and interact with audiences, wherever they may be, without having to fly across the globe. To establish these
capabilities, venues will develop far greater technological capacity. This will mean the ongoing evolution of venues and cultural organisations from fixed classical modes to contemporary experiential modes. Every room – not just the stages – will be designed with performance capability, and the gap between acoustic design and desired performance modes will continue to widen, requiring variable room configurations and acoustics. Immersive will drive innovation across the sector as experiences become increasingly interactive and userdefinable. Hospitality will be curated as a cultural programme and a revenue driver. As entertainment technology is increasingly managed by IT systems for network control and security, this will determine platform standards across the AVL industry. Virtual stages and digital venues will be enabled by AI, hyperconnectivity and 3D rendering. Market verticals will morph to underpin business models and “place making”, and there will be significant growth in arts and culture AVL markets, with hospitality more closely aligned. The role of venue design in arts and culture is to facilitate conversations between people, place and the art, to elevate our consciousness. The venue of the future is a living organism, reflective of its community and the vision of a place. No longer constrained by the constructs of the past, we are headed into a future of vibrant possibility; one where the walls between performance spaces, audiences, surrounding precincts, borders and market verticals become increasingly transparent. Technology will be a key driver of this vision, a platform where content, community and enterprise are intrinsically intertwined. None of this spells the end of live performance and the humanity of creativity and social exchange as we know it. These fundaments have endured over thousands of years, across cultures and continents well before electricity and the internet came to be, and they will endure for many more.
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Permanent installations present their own set of expectations and need a purpose-built product for those demands. The IS-Series brings the rider acceptance and performance of Adamson’s touring products to the world of integration. The new ultra-compact IS7c point source takes the well-rounded IS-Series to 12 application-specific boxes. For more info visit adamsonsystems.com
New! - IS7c Ultra-compact , light-weight, passive 2-way coaxial speaker Frequency Response: 80 Hz - 20 kHz | SPL: 130 dB
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