Pro AVL MEA March–April 2018

While the majority of the installed A/V market was focused on ISE in Amsterdam, there was some big news that broke in the broadcast sector, Grass Valley completed its purchase of SAM (Snell Advanced Media). There have been plenty of mergers and acquisitions in recent times, but the scale of the companies involved means that this deal stands out as the biggest since Samsung bought Harman last year.

To me, the combination of two of the biggest manufacturers in this segment highlights two points industry was formed by problem-solvers who built solutions that grew into businesses. With a mature market, it makes sense that some of these smaller companies become part of larger organisations that can offer a wider range of systems to their customers. While this may not be to everyone’s taste, it is a path that has been followed by plenty of unrelated industries around the world and is becoming increasingly more common in ours.

broadcast specialists with stands at ISE, and this was because they were looking for new potential customers against the backdrop of a slowing market. In isolation this is a sensible move but, when combined with a merger between two very large players in that market, that should start to raise some concerns about the state of the sector. If large players are merging and smaller companies are looking at different markets, that points to some serious challenges ahead for everyone focused on traditional broadcast.

With the acquisition now complete, Grass Valley and its parent company, Belden, have made a statement of intent. It will be interesting to see how the rest of the market reacts.

Enjoy the magazine!

IN THIS ISSUE

Richard Lawn:

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GENERAL MANAGER rlawn@proavl-mea.com

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Carolyn Valliere:

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CIRCULATION circulation@proavl-mea.com

Nats gets ministers talking

addition, a Crestron AM-101 wireless presentation solution and iPad controller allow users to take control of the visual elements of the system.

‘Crestron proved the reliability of its products in terms of HDBaseT and sending high-quality video signals over very long distances,’ stated Mr Al Kurdi.

‘The new Crestron Avia Audio processor is an amazing piece of equipment. It helped the team to achieve the requested audio results.’

visual solution.

Away from the equipment, Mr Al Kurdi believes that relationships with distributors are a very important part of projects such as this. ‘Having good relationships enables the systems integrator to use a variety of products to meet end user requirements,’ he reasoned. ‘Limiting the systems integrator to one brand is not always the right solution.

‘Thomsun has been a very good partner for Nats Solutions and has provided the latest technology

OMAN: Nats Solutions has designed and installed a conferencing solution for the minister conference hall at the new HQ building of Oman’s Ministry of Education. The installed solution is built around equipment from Taiden and Crestron.

Nats became involved with the installation through its strategic partner, Teejan, which was the project. It was challenged to design a conference room where stakeholders at the ministry could meet and make ministry required a high-quality audio system that could be controlled via a user-friendly touch panel.

To meet this challenge, the systems integrator opted to use Taiden’s HCS-4100 digital conference system

for the project which was supplied by the manufacturer’s local distributor,

HCS-4331 series chairman and 16 delegate stations have been installed around a large round table that serves as the conference hall. The solution also includes a 2-channel simultaneous interpretation system.

‘We chose Taiden because of the clarity of sound and because it is easy to control and manage,’ said Nats Solutions managing director, Anas Al Kurdi. ‘The software provides a comprehensive tool to control the audio conference and works over long distances, which was important because the table is 30m away from the rack room.’

This distance provided the project’s main challenge. ‘Due to the long

distances between the conference room and the rack room, we used HDBaseT to send HD signals over long distances using Cat-6 cables,’ explained Mr Al Kurdi. ‘We also needed to install monitor speakers in the rack room and route the audio to there.’

The Crestron portion of the design included a distributed ceiling speaker solution controlled via the manufacturer’s Avia processor. In

The visual side of the project includes a Christie LWU501 projector mounted on a Kauber screen. ‘Christie is one of the top brands in the market,’ noted Mr Al Kurdi. ‘We always choose Christie products when it comes to largeformat projection solutions.’

A Denon recording solution completes the audio portion of the signal chain, while a pair of Samsung 75-inch monitors and a Wolfvision Ceiling Visualiser presentation system rounds off the

products and support for its brands,’ he continued. ‘They helped Nats to meet the customer requirements without delays.’

With the solution installed, Mr Al ‘My client is happy with the end result,’ he stated. ‘They now have the room they wanted for a very long time and they would consider Nats to build other meeting rooms in the future.’

www.nats-solutions.com

www.thomsunmusiconline.com

Riedel acquires Archwave, forms R&D hub TW Audio setup pulls double duty

WORLD: Riedel has acquired Swiss engineering company Archwave Technologies, resulting in the creation of a new R&D hub in Zurich. This expands Riedel’s global engineering team to more than 100 engineers while increasing its R&D capabilities for IP and standards such as AES67.

Archwave specialises in audio networking and streaming. As part of the deal, Riedel has also acquired Cymatic Audio, an audio manufacturer within the music industry, which enables Riedel to enter new markets. Archwave and Cymatic Audio will retain their individual identities and remain autonomous, while Riedel will adopt Archwave technology for its own product portfolio.

‘At Riedel, IP standards are vital not only for our intercom portfolio but also for all of the other Riedel product lines,’ said Thomas Riedel, founder and CEO of Riedel. ‘By collaborating with Archwave, we are taking another

important step towards providing complete networking solutions that allow broadcasters to work the way they want to work. With our new engineering team in Switzerland, we now have all the tools we need to create the plug-and-play workflows that our clients need for their transition to IP.’

Arie van den Broek, CEO of Archwave, expressed excitement about moving forward as part of the Riedel family. ‘It is not often that such a strong and obviously strategic fit presents itself, but that is what I found with Riedel,’ he said. ‘Riedel’s strength, operational excellence and commitment to open technology were the factors that drove the development of this new relationship. We also appreciate that the deal offers new channels to markets within the existing Riedel organisation.’

www.riedel.net

ZIMBABWE: Events Evolution turned to its rental roster of TW Audio solutions as it supplied the audio setup for the National Peace Concert produced by Heal Zimbabwe in Epworth, as well as staging and trussing. The event was headlined by Zimbabwean reggae/dance music star Winky D.

The rental company faced an immediate challenge once on site, as it had planned to cater for an anticipated audience of fewer than 5,000 people. However, the actual attendance was approximately double this, at 10,000. The audio setup brought in comprised 12 TW Audio Vera36 loudspeakers, flown six per side, and four BSX subwoofers ground stacked in front of the stage. A pair of C15 cabinets served as monitors for the performers, while power and processing for the entire

setup was provided by TW Audio’s Rack10T and SysRack solutions.

‘The Vera36 did an amazing job, despite there being too few cabinets set up for the event,’ said Blessing Bero of Events Evolution. ‘Endelani Kachepa, our system tech/and FOH Engineer, managed to handle the overwhelming crowd by balancing and tuning the system for the PA’s best performance.’

www.eventsevo.co.za

www.twaudio.de

Martin Berger, CSO of Riedel Communications, Matthias Bode, CEO of Archwave and Thomas Riedel at ISE 2018

QSC establishes new EMEA operations

local offices across the region and work alongside companies it has termed ‘industry market partners’, which will offer support and repair services. Comm-Tec, representing the brand in Germany and Austria, and UK-based Audiologic are QSC’s first industry market partners. As a result, QSC will open sales and business development offices in Germany and the UK and end long-term distribution arrangements with Shure Distribution Germany and Shure Distribution UK.

DLC goes 4G

UAE: DLC Events has recently expanded its 2-way communications inventory with Lugra Technologies L210 and L300 cellular devices. The units are more commonly found in large organisations and department stores with this purchase making DLC the first company in the events industry to embrace this technology.

Mark Breakspear. ‘Range is limited to a few kilometres and is extremely dependent on environment/building infrastructure without the use of expensive repeater technology; most have a maximum of 16 channels available that all require TRA approval to use; and battery life is limited to around 12 hours.

EMEA: QSC has opened a new EMEA headquar ters in Sinsheim, Germany, to serve as a management and support hub for its Systems business in the Europe, Middle East, Africa and SAARC sub regions. Alongside this, the manufacturer has announced a new distribution model for its Systems division in the region. ‘QSC maintains a leading position in North America,’ explained Markus Winkler, senior VP at QSC Systems and MD of QSC EMEA. ‘Establishing a regional headquarters in Europe

brings us closer to key geographic markets and enables us to expand in-region services to better serve our distributors, channel partners, influencers and end customers. The corporate AV&C systems market is of particular focus to us. Given the ongoing convergence of A/V and IT, multinational end user clients increasingly expect closer ties with manufacturers to inform better longterm investment decisions.’

The new distribution model, meanwhile, will see QSC set up

‘This new approach is a win–win for both QSC and our partners,’ said Ron Marchant, senior director of sales at QSC EMEA. ‘Through local presence, business development and support, we will drive incremental business to our industry market partners and leading systems integrators in the region. Industry market partners will continue to serve national accounts in their countries as traditional distributors.’

www.qsc.com

Live Grass Valley solutions the choice for Cubic Production

UAE: Cubic Production has moved to boost two of its OB vans with 20 LDX 86N WorldCam cameras and 20 XCU Universe XF Camera Base Stations from Grass Valley.

‘We selected the LDX 86N WorldCam cameras from Grass Valley because they offer the most technologically advanced quality for multiple formats,’ said CEO of Cubic Production, Muder Abu Fashah. ‘The cameras provide state-of-the-art picture quality

is especially crucial for our sports productions. In addition, the cameras are software upgradeable, which means we can use all of our cameras at the same time in XtremeSpeed operation when required.’

Jan-Pieter van Welsem, vice

president sales and marketing, EMEA, Grass Valley, commented by Cubic Production. ‘They can among all their competitors with a take advantage of multiple formats, including IP, without changing anything at the camera side.’

www.cubicproduction.com www.grassvalley.com

The rental company has purchased 15 L300s and 35 L210s. Rather than replace its existing stock of 250 Motorola 2-way radios, the Lugra models have been acquired to fill a gap in DLC’s capabilities, enabling it to facilitate the events that it would not otherwise be able to cater for and to meet its clients’ needs better.

The new devices are essentially rugged smartphones with industrial power batteries that run a pushto-talk app and use 4G technology instead of radio frequencies.

‘Motorola radios have been the industry standard for event and film production communication systems for years but they come with certain limitations,’ reasoned DLC Events’

‘Lugra’s 4G communication handsets overcome these barriers as range is unlimited subject to internet connectivity, there are no restrictions on channel quantities and no additional licensing is required,’ he continued. ‘The government entities are accustomed to this technology and despite the recent publicity surrounding the restrictions on VoIP services, these devices are unaffected as they are 2-way channels rather than open communication and hence do not fall into the same category as VoIP.’

Having put the new devices through their paces on a variety of events, the DLC team has been impressed with the functionality. ‘The devices have proved extremely popular with sporting events such as marathon organisers due to the range capabilities, long battery life, lightweight design and the ability to customise the units with client logos and altering device and channel names within the app,’ said Mr Breakspear. ‘The additional features of GPS positioning, picture messaging and private calling enhance the value of the devices for the clients and operators. They really do fill a gap in the market which we are hoping will be beneficial to our clients.’

www.dlcevents.com

www.lugra.ae

AVC Sales and Marketing Consultancy for the MEA Region

Projects we’ve generated and managed for our prestigious clients:

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Abu Dhabi Gas Liquefaction Company (UAE), Abu Dhabi Investment Council (UAE), ARAMCO (KSA), Binzagr (KSA), Dubai Marina Yacht Club (UAE), Equate HQ (Kuwait), IPA (KSA), Kuwait University (Kuwait), Muscat Hospital (Oman), Pepsi HQ Middle East (UAE), Petroleum Institute (UAE) and many more…

www.vivid-avmedia.com

QSC EMEA headquarters in Germany

Lugra Technologies’ L210 and L300

SOUNDBITES

SHIDCO OPENS RCF SHOWROOM

IRAN: Shidco has opened a dedicated RCF showroom in Tehran. Dubbed Sound Centre and located on Jomhoori Street, the showroom displays a variety of the Italian manufacturer’s products, as well as equipment from DTS.

L-ISA joins UAE National Day celebration

UAE: As part of the United Arab Emirates’ 46th National Day celebrations, the Abu Dhabi Department of Culture and Tourism organised a series of events, including the hour-long Here is the Future show staged inside a custom-built, temporary stadium. The programme was developed by event producers Done + Dusted UK, while Australian A/V design company Auditoria supplied engineering services and Delta Sound Dubai deployed an L-ISA immersive audio system.

‘We believe that a perfect showroom where people can listen to the quality of our products would lead to a sustainable growth in sales,’ said Shidco CEO, Mehdi Darab. ‘Last year we opened a big showroom in Mashhad and for next year we are going to open more around Iran. As a result, people can listen to RCF sound quality and compare it through the wide range of its products.’

www.rcf.it

www.shidco.com

NEXT GOES EXPRESS

WORLD: Next-proaudio is introducing an ‘Express Order’ option for some of its popular models. Distributors will be able to use the manufacturer’s website to see stock availability and if it is possible to place express orders for immediate delivery of selected equipment.

‘We are looking to the future with these improvements to enhance convenience and service excellence for our clients’ immediate needs,’ said Andre Correia, Next-proaudio’s manager. ‘The focus is on a better service, providing fast delivery with readily available stock.’

The move has reportedly come due to an increasing demand for the manufacturer’s products and has also seen Next-proaudio’s facilities expanded to create space for the extra stock holding. The manufacturer will retain the same order and manufacturing cycle for large and planned orders.

www.next-proaudio.com

Here is the Future was described as ‘a 3-scene, 11-chapter spectacle showcasing a future that will benefit from innovations such as artificial intelligence, space sciences and renewable energy’. It was attended by the UAE royal family and leaders, senior state officials, heads of government, representatives of the armed forces and police, as well as members of the public.

‘With an event themed on the future and innovation, Done + Dusted logically wanted to feature the very latest technology in their proposal,’ recalled Auditoria’s Scott Willsallen.

‘This was the ideal environment to

deliver something really special from a sound perspective, so I briefed them on the L-ISA immersive system and how it can be used to create a perfect match between the show image and sound, enhancing the connection between the audience and the performance.’

Mr Willsallen worked with L-Acoustics’ founder and L-ISA creator, Dr Christian Heil, and Guillaume Le Nost, director of R&D at L-ISA, on the system design.

‘I spent a few weeks with the team to understand the system in detail and how it could be used in different environments,’ Mr Willsallen explained.

‘Using L-Acoustics, 3D acoustical simulation programme Soundvision,

which includes the qualification tools required, we certified the L-ISA design.’

The stage was 40m wide and 20m separated the front of the stage from the first row of the audience area, which was approximately 50m x 50m. To cover this area, the L-ISA setup comprised a Scene System of seven L-Acoustics line source arrays at 5m intervals along the proscenium arch, hidden by a projection surface. An array of nine central K2 cabinets and three arrays of nine Kara enclosures each side were also flown. In addition, an Extension System of four Kara arrays (two per side) was deployed, while low frequencies were handled by 18 SB28s, set up in a single 3x6 block behind the rear LED screen.

‘We also added a surround system of 10 arrays of six Kara – four each on either side of the audience area, plus two at the rear,’ added Mr Willsallen.

‘But the most impressive part of the system was the arrangement of overhead loudspeakers, which

were suspended from four catenary lines strung across the seating, each supporting multiple X8 coaxial clusters. The overhead system was fed with 12 outputs from L-ISA and allowed us to use multiple reverb outputs to effectively add a ceiling to the outdoor venue. The effect of these overhead loudspeakers was remarkable. When they were switched off, it was like watching a performance “over there” somewhere; when they were on, it was like being inside the performance.’

A total of 226 speakers were used to present spatialised audio for the audience of 1,800. ‘We found the hardware reliable and the team at L-ISA were only a phone call away if we had any questions,’ said Mr Willsallen. ‘The software provides lots of information for fault-finding and signal metering. We worked on one mix for all music stems and another for all sound effects, then we recorded it all together for playback.’

The EQ, dynamics and bussing resources required by the L-ISA processor’s 80 outputs were delivered by a DiGiCo SD5 digital mixing console. The processor then delivered 40 outputs back to the console (one for each loudspeaker array with several mix-downs) for monitoring and delivery to the audio nodes.

‘The event was a huge success and the L-ISA system was outstanding,’ concluded Mr Willsallen. ‘Nick Levitt, the event’s production director, said it was even better than he had imagined it would be, and the team at Done + Dusted were thrilled with the way the sound and vision worked together to deliver a truly unprecedented immersive experience.’

www.auditoria.systems

www.deltasound.ae

www.l-acoustics.com

www.l-isa-music.com

Showtech supplies the goods at international talent show

UAE: Showtech supplied the technical production services for the recent Masterpiece talent show, providing the sound, light, A/V and roof truss systems at the Dubai Festival City event.

Organised by Milestone Entertainment and managed by Design Connexion, the show saw 250 contestants from across the world showcase their talents in front of a panel at what was described

multi genre talent festival’.

The lighting setup included 36 PAR 64, 36 Claypaky Sharpys, 90 LED PARs, 22 Robe MMX Spots, four Antari haze dimmers controlled by an Avolites Pearl 2010 and two MA Lighting grandMA2 consoles.

With regards to the sound, the main PA system at the auditorium was formed with 16 JBL VTX-V25 and 12 JBL VTX-S28 speakers

with four JBL VRX932-LA tops as

Ten JBL Eons served the backstage area and a Soundcraft Vi7000 was deployed for FOH. The A/V setup included an 82m² P5 LED screen with DUI splitters

www.livingtalent.org

www.showtechme.com

and an Ascender switcher.

The L-ISA Scene System comprised seven L-Acoustics line source arrays

A DiGiCo SD5 digital mixing console was used at FOH

The Shidco team

Distributors Of :

Exclusive

Funktion One scores a VII

UAE: VII is a nightclub and lounge aptly found on the seventh floor of the Conrad Dubai hotel. The club’s owner, Rocky Bhatia, met Andy Williams and Alex Bracken of Funktion One’s Dubai-based distributor and installer, Em-Tec, at the Formula One Grand Prix in Abu Dhabi. Impressed by the Funktion

One system in use at Yas Marina Circuit, Mr Bhatia invited the EmTec team to design a new sound system at VII, as part of a complete refurbishment.

The design brief was for a highend, DJ-led nightclub. To meet this, Em-Tec designed a sound system formed entirely of Funktion One speakers, comprising a full speaker system of six Evo-6Es; four Res 2 full-range speakers; two F101s; four F1201s; a BR118 and six BR218

and four F218 Mk2 bass enclosures; and an Infrabass 218. ‘The sound played by these speakers covers

the full range from deep bass to crystal clear highs with no loss of quality,’ explained Mr Williams. ‘They

are able to play at extremely high volume with very low or no distortion and still keep the clarity of audio.’

Power for the system is courtesy of MC2

Also in the rack is a trio of XTA DC1048 processors. ‘As audio is a

used in the system ensure that the full potential of amazing Funktion

Mr Williams. ‘The MC2 that were used across the venue not only give an amazing audio quality but are extremely reliable and by Funktion One.

‘XTA processors provide great DAC converters along with great functionality to control the loudspeakers to their maximum potential,’ he added.

The club is divided between three DJ performance spaces: the club area, garden terrace and lounge. These can operate as separate zones with different music, or as one, streaming the same set throughout the entire venue. This option is provided by a Formula Sound ZMR-80 zone mixer and AAVC2 limiter.

In order to ensure minimal audio spill into the rest of the hotel, Em-Tec worked with acoustic consultancy Acoustic Logic’s Matthew Carter on ‘This project was highly enjoyable to work on, utilising the latest models of high-end equipment available to ensure that our client and his guests have the best audio experience

www.funktion-one.com

Pro Audio pioneers a new showroom

SOUTH AFRICA: South African distributor Pro Audio has moved into a brand new 1,400m2 premises in Sandton, Johannesburg. Having recently assumed the distribution responsibilities in the territory for Pioneer Pro Audio, Pro Audio

Joss Pack, managing director of Pro Audio. ‘Doing demos in our showroom is very easy; we’re able to demo any product in our range at the touch of a button.’

In addition to the ‘club’, the distributor has constructed a stage that showcases the full range of

has dedicated a large portion of the new 600m2 showroom to create a virtual nightclub that can showcase the new Pioneer products alongside Lab. gruppen amplifiers that power the passive cabinets. The series was launched to much success at a dedicated event, alongside the new Rekordbox updated software, Toriaz TSP-16 professional sampler, Toriaz TAS-01 Synth and XDJ-RX2 all-in-one system for Rekordbox.

‘We have always had a working showroom with all our products connected and working,’ explained

Turbosound speakers and RCF line arrays that the company offers. Again, ‘everything is connected

‘The system is run on a Midas M32 console as a monitor console and Midas Pro2 as front of house desk.’

There are also dedicated areas for RCF active speakers, the complete range of Behringer, TC Electronics and TC Helicon products, and an area for commercial 100V line products from Tannoy, Lab.gruppen and RCF.

www.proaudio.co.za

VII at the Conrad hotel

Protec moves into Europe

UAE: Dubai-based rental company, Protec, has acquired British firm, Aventeq, and rebranded it as Protec European Events. Following the deal, Aventeq will continue to be led by Chris Bramwell.

‘I have a lot of time for Chris Bramwell and the team,’ said Protec founder and CEO, Steve Lakin. ‘They have built up a strong business and I’m thrilled to welcome them into the Protec family. I am looking forward

Moving to IP

UAE: Abu Dhabi Media is upgrading its central technical facilities to accelerate the transition to IP

‘The direction of technology is more towards softwarefrom hardware,’ said Ahmed Al-Menhali, director of projects at Abu Dhabi Media.

to the opportunity to introduce their customers to a wider global reach and more exciting tools and technology to create unique and memorable event experiences.’ The acquisition will reportedly mean that Protec European Events will have access to a much larger palette of event production resources, including state-of-the-art technology, equipment and highly skilled staff. The company hopes

that this will enable it to extend its services to a larger client base and offer a more comprehensive and creative approach to its technical productions.

Mr Lakin believes that it is creativity and technology that will help drive the business for both

companies. ‘There is greater demand for a break from the typical sit and listen conference format to a more imaginative, dynamic, immersive and

‘This spurs us to continually think creatively and develop new ways of delivering our productions. So

although we are one of the largest events technical and staging solutions companies in the world, in my mind, our creative approach to all our projects and the ability to consistently create extraordinary experiences through clever use of technology is what sets us apart. It is this approach that Protec European Events will take on which I’m sure will be an important factor to ensure that their clients are thrilled with every event delivery. Protec European Events shares our passion and I’m looking forward to extending this commitment across the UK and Europe.’

www.productiontec.com

A target of May 2018 has been set for the new installation to be fully operational. The system currently supports baseband/ SDI, but is future-proofed to incorporate IP connectivity. The hybrid architecture supports a mix of on-premises and cloudready solutions, including Imagine Communication’s Broadcast and programme scheduling. The new ingest and asset management system is based on the Imagine Nexio Motion, while the Versio playout solution supports the playout automation.

‘Currently, we do not feel the need to invest in replacing all the existing infrastructure,’ Mr Al-Menhali said. ‘We have the HD-SDI infrastructure in place, and we intend to continue with this infrastructure for routing until we decide to move on. The important thing is that what we are building now is capable of shifting the underlying routing from SDI to IP without changing anything else.’

www.admedia.ae

www.imaginecommunications.com

Steve Lakin and Chris Bramwell

Ahmed Al-Menhali, director of projects at Abu Dhabi Media

Delta helps to deliver two world records

UAE: Delta Sound supplied equipment to a pair of Guinness World Record breaking spectacles as well as a host of other events for New Year’s Eve celebrations across the UAE. The company delivered equipment for the record attempt for the largest light and sound show on a single building at the Burj Khalifa and the largest aerial fireworks attempt on Al Marjan Island in Ras Al Khaimah.

Starting with the record attempt in Dubai, Delta provided the audio, signal transport and communications for the Burj Khalifa Downtown Dubai celebration. The rental house installed a lighting, laser and video data network within the world’s tallest building, as well as numerous locations in the surrounding area. In addition, it supplied the audio system for the project which covered the entire Downtown precinct.

In total, over 10km of single mode data transport networks. The network for the Burj Khalifa event was built around 24 Luminex 14R network switches, as well as six Luminex 26i

units, all on individual networked UPS supplies. Audio and video transport was achieved using 12 Riedel MediorNet and networking cards. Optocore

X6R-fx units were deployed across multiple locations throughout the mall area and within the Burj Khalifa to transport audio feeds, as well as timecode links to key server rooms located in the structure. Communication was achieved with a Clear-Com matrix system, with IP panels on each of the node locations. The audio system in the Downtown Dubai precinct called on more than 300 L-Acoustics line array cabinets which were installed over a 10-day period. A 2km stretch of Sheikh Mohammed Bin Rashid Boulevard was covered by the system using 24 towers placed in the central reservation to provide full range coverage on both sides of the strip. The systems were linked to the main control room in Dubai Mall using an Optocore system. The entire system was networked using LA Network Manager and controlled from a central point. In addition,

Delta provided feeds to Burj Park, outside broadcast, Dubai Opera, Burj Khalifa, The Address Hotel and Dubai Mall. The feeds were derived using a mixture of Optocore, Soundweb, MediorNet as well as FM and high-powered IEM links.

‘In addition to the projects at Burj Khalifa and Downtown, we also provided a full concert and control system for Flash Entertainment’s Katy Perry concert and comms and control system for Flash Art’s pyrotechnic in Abu Dhabi,’ said Delta Sound MD, Andy Jackson. ‘We also delivered comms and control systems at Grucci’s Guinness World Record breaking – largest aerial Island in Ras Al Khaimah. It shows the strength in depth and talent that we have within Delta Sound to deliver.’

www.deltasound.ae

Reacting to lighting requirements

UAE: Pro Lab has supplied more than 300 lighting fixtures and a trio of lighting consoles to advertising agency React Mena. Possessing its own lighting inventory negates the need for React Mena to rent solutions for its projects and events.

‘We were previously renting equipment for our projects through vendors,’ explained Joe Badr, managing director at React Mena.

Ultimate Radial acquisition

WORLD: Mike Belitz, president and CEO of Ultimate Support Systems, has acquired Radial Engineering. The news coincides with the announcement by Radial Engineering founder Peter Janis that he is retiring from his post as president and CEO.

established in 1991, launching a range of cable products. It was in 1996 that the company Radial JDI, and transitioned into a manufacturer of direct boxes and other audio solutions. Over the years, Radial and its distribution network grew, becoming the parent company for brands such as Primacoustic, Tonebone, Reamp, Transformers.

Mr Belitz has stated that under his leadership, Ultimate Support

from shared strategic and logistical advantages with ‘the end result of wider availability to retailers, distributors and end users all over the world’.

‘After almost 42 years in the business and my turning 60 decision to retire,’ said Mr Janis.

‘It has been an amazing journey and I want to make sure I enjoy retirement while I still can. I want to take this opportunity to thank you for your amazing support. Without you, Radial would not exist.

‘I also want to assure you that Radial will continue to roll with our same amazing team,’ he continued.

‘Moving forward, my friend Mike Belitz will be taking over as CEO.’

www.radialeng.com

www.ultimatesupport.com

‘This wasn’t a feasible approach as we faced challenges where the vendors would provide gear that is old or not operating as expected and renting it for each project would end up with us paying more as it was a recurring cost. We have projects lined up for the next two to three years, so the most feasible approach was to stock our own equipment and re-rent it or use it whenever required instead.’

React Mena reached out to several companies in looking for lighting equipment. ‘We found Pro Lab provided the best-quality products within our budget,’ said Mr Badr.

‘We supplied a massive inventory of over 300 pieces of lighting equipment for React Mena, with brands that are exclusive to Pro Lab,’ revealed Pro Lab’s managing director, Rami Haber. ‘This included 200 moving heads, 90 Vision XS4, 50 Vision XWash 1200 and XWash 600, as well as other Vision moving heads such as the VPC 200, VPC 1528, VFR 200 WW and VLED 934. We also supplied three consoles from Chamsys – the MagicQ MQ500, MQ80 and MQ40 – along with the Movecat Ecolite 1000 chain hoist.’

‘The other challenge, and the reason why we changed our approach from renting equipment, is that when we rent for a setup, during the execution phase the team would often realise that they are short on certain equipment or that some equipment needs to be replaced and we would have to rent additional products,’ furthered Mr Badr. ‘So instead of going through

we believe it is better to have an inventory at our own disposal.’

In addition to React Mena’s own events, Mr Badr has other plans for the company’s new lighting inventory. ‘We also want to become the leading provider of such equipment for other large-scale events and projects as there are not many in Abu Dhabi and we see it as a big opportunity for us,’ he said.

The lighting equipment has already been put to use for React Mena’s

work on the television series Shaer Al Malyoun, which showcases the work of poets.

‘We had to give each set of participants their own identity when they recite the poems,’ said Joe Saad, light and set designer on the show. ‘It boils downs to an emotional facet and the lighting plays an important role as a theatrical element. That’s why these lights and the kind of colours we use is crucial for the show. The stage is a classical set, which change the continuity of the set and we have to stick to the same scheme but still give it a new look every time, so integrating beams and moving heads was a challenge, but we managed to embellish a unique identity to the show with the equipment provided by Pro Lab.’

Peter Janis

Joe Saad putting React Mena’s lighting inventory to use on Shaer Al Malyoun

MAKING TOUR-GRADE FEATURES AND PERFORMANCE MORE ACCESSIBLE THAN EVER

• Onboard DSP and advanced FIR-Drive includes multi-band PEQs, crossovers, limiters and delay per channel

• Multi-Amplifier Remote Control (MARC) software enables configuration and control of up to eight amplifiers

• Powerful, linear amplifier design and sophisticated protection circuitry for flawless, safe and reliable operation ensuring constant 2 ohm stability

SOUNDBITES

HK AUDIO PARTNERS WITH GRÄF & MEYER

WORLD: HK Audio has teamed up with Gräf & Meyer with the aim of soon being able to offer a range of services related to standard-compliant and highquality audio playback in voice alarm and evacuation systems.

Bose creates dedicated tour sound sales division

EMEA: Bose Professional has created a new sales division aimed at the tour sound market. The division will have representatives in the US, Japan, Singapore and India, while Sean Martin has joined the company as the rental and touring sales manager for EMEA.

there already. We can support it out there because we do have the Bose network with technical guys in the

eclipse expands PSM 1000 stock

The ‘non-exclusive collaboration’ has seen the two companies set a goal that will offer architects, planners, project developers and integrators a series of products and services with the first results unveiled at ISE 2018.

‘Venues and spaces that are challenging to fit with appropriate PA systems can be even more complex when it comes to the technical implementation of a sufficient voice alarm system,’ said HK Audio CEO, Nils Stamer. ‘Now, with the partnership between HK Audio and Gräf & Meyer, we are opening a new chapter for both companies, with pro audio technology and alarm system technology coming together to meet these demanding requirements.’

www.gplusm.de www.hkaudio.com

UDAYA DEBUTS NEW SCREENS IN SHARJAH

UAE: Udaya Sound used its new recent concert at the Sharjah cricket stadium. The rental company invested in 150m2 of screens, which formed the visual backdrop for the event.

The content on the screens was controlled via an Arkaos Grand VJ and delivered by an Analog Way Pulse PLS350 matrix mixer. The lighting portion of the system comprised 48 Claypaky Sharpys as well as Arri 2K Fresnels and

For the main PA, Udaya Sound cabinets and 18 SB218 subs. The system was controlled by

Martin Audio LE monitors mixed on a Yamaha M7CL console were used for the performances by Aryan Khan, Laila Khan and Gul Panra.

www.uscreation.net

‘My real attraction was that Bose has now set up a dedicated division aimed at the rental market, which really created the opening for me in tour side,’ said Mr Martin. ‘Until now, they sold their tour products through their existing rep sales, without dedicated rental and tour specialist support. Now we have a global team in place that provide sales, technical and training resources, freshly created just to deal with this side of the market.’

The new division will initially focus on the manufacturer’s ShowMatch system and target rental companies that offer full service productions.

‘We are looking for partners that do full productions and serve the more local business who are not necessarily rider driven,’ explained Mr Martin. ‘For providers with staging, video screens, lighting and

the audio, ShowMatch is ideal. We back it up with array calculation tools and performance prediction

In Europe it has really taken off well, there are about 30 or 40 systems out there. The Middle East is a very interesting market for us because we have a couple of systems down

Mr Martin is under no illusions about the challenge he is facing in his new position. ‘I guess I won’t be the only guy in the industry who fell into the same trap of thinking of Bose as ceiling speakers and background music stuff, and not really understanding what they had to offer for the touring side. With the system’s audio performance a given, my job now is to change that mindset,’ he stated. ‘We have got the brand acceptance and recognition, but not necessarily the desirability within the touring market. My job is to try and create that desirability.’

However, despite this challenge he the right position to be successful in this market. ‘I’ve joined Bose at just the right time because they really want to progress this side of the business,’ he reasoned. ‘I could see that they were serious about the way they were dealing with this so ultimately that really attracted me.’ pro.bose.com

One Systems solution for Goya Beach Club

on the other hand offers more of a club-like atmosphere thanks to two 106/HTH loudspeakers along with two 108/HSB subwoofers. The beach area, which required high output and intelligibility to cover the two 208/HTC loudspeakers that are mounted to poles near the beach bar entrance.

The indoor lounge, bar and

UAE: eclipse Staging Services now has the largest stock of Shure PSM 1000 in-ear monitors in the region. The company’s inventory now contains 16 transmitters and 24 receivers which have been purchased through the manufacturer’s local distributor, NMK Electronics Enterprises.

TURKEY: Akhan-TT Ses Isik Gorsel

sistemler has installed a One Systems sound reinforcement setup at Goya Beach Club in Alanya. The manufacturer’s loudspeakers are designed as ‘direct weather’ systems, making them a suitable solution for the beach club and its proximity to the salty sea air.

‘The pool area required a system that would provide high-quality background music while the beach system had to be intelligible with a high enough SPL to reach a distance into the sea,’ recalled Faik

Haluk Akgun, owner of Akhan-TT. ‘The restaurant and terrace, which convert into a nightclub after dinner hours, needed a system that would provide background music as well as higher impact club music later in the evening.’

his decision to go with One Systems for Goya Beach Club after comparing its products with four of One Systems’ 104/HTH loudspeakers to cover the pool area with medium-high output that would not overpower guests. The pool bar

two 108/HTH and four 106/HTH loudspeakers. Further low end reinforcement is provided in this area during the winter months, as the two 108/HSB subs from the pool bar are brought indoors.

‘The client was extremely pleased with the end result,’ concluded Mr Akgun. ‘The Beach Club is extremely popular with both locals and tourists in the area, much of that due to the exceptional sound reinforcement system. One Systems provides products that consistently exceed expectations. It’s a pleasure to complete another successful installation.’

www.onesystems.com

‘We stock a large amount of both radio and wired mic products, all of which are in day-to-day use for us,’ noted eclipse head of audio, John Parkhouse. ‘We opted to buy a large amount of Shure PSM 1000 because our market needs it. I can say that in the last 12 to 18 months, every touring rider I have seen requests them in most cases; the incoming tour is not willing to accept any option. This is not limited to concerts; the corporate market has also now got to a point products are often requested too.’ The rider-friendly nature of the solution is not the only reason that eclipse has chosen to invest in the PSM 1000. ‘The build quality and reliability is second to none but equally the sound quality of this product is exceptional and paramount by the very nature of what it is,’ explained Mr Parkhouse. ‘Add to this dual diversity and the frequency management capabilities using Shure wireless workbench and it is simply an ideal product.’ Mr Parkhouse is equally full of praise for the distributor. ‘NMK have always been a go-to company for all the products they represent since I have been in the UAE,’ he stated. ‘They understand the needs and demands of a company like eclipse perfectly, because like us they exist in an environment where timing, response and prompt delivery is essential and they never let us down.’

www.eclipsestagingservices.ae

www.nmkelectronics.com

www.shuremea.com

Sean Martin

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Lucidity avoids a hard area with MLA Mini TASCAM becomes Ambeo VR partner

SOUTH AFRICA: Lucidity recently turned to its full Martin Audio MLA Mini inventory to provide the technical audio services for the inaugural BCX Disrupt Summit at the Kyalami Grand Prix Circuit and International Convention Centre.

‘Knowing we were going into a tough reverberant venue, the plan was to try and not “excite the room” unnecessarily where the audience isn’t and keep the levels down when and where possible,’ said Pierre Slabbert, Lucidity’s chief systems technician who had designed and programmed the system. ‘Given that possible, out of the sight lines of the screens, this meant that we wouldn’t be able to “come in close” to the audience. But this did mean that we could achieve a good physical angle relative to the audience area and away from the back wall.’

cabinets back in November 2014 from Audiosure, Martin Audio’s South African distributor. A further purchase was made in mid-2015.

the Kyalami Conference Centre with the rig of 24 MLA Minis and six MSX subs for the 2,000 delegates. The summit aimed to urge the delegates to ‘change their way of thinking’ in the modern age with the concept being put together by Dean Carlson, founder and CEO of events company, Brainfarm. Several notable speakers also featured at the event.

software to calculate the angles and set “Non Audience” and “Hard Avoid” areas as normal and only go back into the software once we have it all up and passing audio, when I can listen for any problem areas,’ added Mr Slabbert. ‘In this case, I was pleasantly surprised that, although the room had an RT60 time of about a week, the PA behaved very evenly across most of the audience area.’

Lucidity owner Paul Newman’s PA design was based around two main hangs, left and right of the stage, comprising eight mid-tops and two subs. Two further hangs of four MLA Mini and a single sub provided

any heavy musical content – the playback was predominantly speech, with speaker intros and videos,’ commented Mr Newman. ‘It poses a challenge getting the audio to cut through without the low-end reverberation interfering, but we managed to do this exceptionally well.’ Mr Slabbert, meanwhile, had adjusted the coverage stop position to hit the back wall less, and increase the ‘Priority Slider’ of

the ‘Non Audience’ area by a few percent before then uploading it to the boxes. Then noise would pass through again. ‘At this point, most of the other people in the room were thinking I had some dark power over reverberant waves and the big brass were saying that the room sounded

pretty good – so that’s a win for us and I’ll take that every time,’ pointed out Mr Slabbert.

‘By putting the PA hangs on separate matrix busses, I was then able to walk-in a few milliseconds of delay to the outside hangs and to account for the things going on in the room and then to account for the differences in the PA hangs due to the inside hangs being bigger than the outside hangs,’ said Mr Slabbert. ‘This also helped in that I could reduce the level or even shut off the outside PA hangs depending on the audience size from one session to the next. This helped tremendously in not sending unnecessary energy to where the audience wasn’t.’

www.lucidity.co.za

www.martin-audio.com

PRG Gearhouse opts to bring in gx2 media servers

UAE: PRG Gearhouse has boosted its inventory in Dubai after acquiring disguise gx2 media servers. The purchase reportedly follows a demand for projection mapping as well as large-scale content across corporate, special events and the concert touring market. ‘We are extremely excited about the arrival of these units as we are the only provider in the Middle East to offer complete main and back-up servers within this range,’ noted Phil Smith, director of projects at PRG Gearhouse.

‘The gx2 will allow us to offer the clients,’ furthered Matthew Holmes,

fully trained and show ready.’

offering from disguise (formerly d3 Technologies). It has been developed to support real-time, generative content and includes gold support for Notch with a Notch playback licence. The new system will supplement PRG’s existing investment in other products such as Christie’s Pandoras Box and Dataton’s Watchout.

WORLD: Japanese manufacturer TEAC Corporation and its TASCAM brand have joined the Sennheiser Ambeo for VR partnership programme. The programme is intended to create seamless production workflows for VR and AR by promoting collaboration between manufacturers of field recorders, VR live cameras and live streaming software, mixing plugins and VR platforms. TASCAM’s DR-701D 6-track audio recorder joins products from Zoom, Aaton Digital, Orah, Sphericam, Noise Makers and Harpex. A firmware update for the recorder means it now fully supports recording in A

‘For years, TASCAM has supported audio professionals in the areas of video production and broadcast, and we are proud to partner with Sennheiser Ambeo to support the rapidly growing world of VR,’ said TEAC Corporation president and CEO, Yuji Hanabusa. ‘The addition of ambisonics support to our industry-leading DR-701D will enable yet another dimension of creativity for DR-701D owners and will help to shape the future of digital entertainment, education and information sharing.’

‘Sennheiser warmly welcomes the TEAC Corporation to the Ambeo for VR partnership

Larcher, Ambeo immersive audio co-director at Sennheiser. ‘We are proud to have their TASCAM DR-701D audio system on board, as it is a product held in high esteem by content creators across the globe.’

will host a

training session that will be held at our local

www.disguise.one www.prg.com

www.sennheiser.com

www.tascam.com

PRG’s head of video for the region. ‘We

two-day

TASCAM’s DR-701D

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Showtech Productions delivers for Bahrain National Day

BAHRAIN: Showtech Productions deployed its Adamson Systems Engineering equipment for three days of festivities to celebrate the country’s National Day at the Bahrain International Circuit (BIC). The main challenge for the event was covering the large audience area at the circuit. Freelance pro audio consultant, Scott Mason, who also acts as a consultant for BIC on this kind of event, was asked by Adamson to support Showtech at the event. ‘The requirement was a high-end, high SPL system for the National Day festival and some major local artists,’ recalled Mr Mason. ‘The audience area was spread over 140m so a combination of main and delay systems were used and time aligned to act as one system covering the huge area.’ To achieve this, Showtech deployed 24 E15 array cabinets alongside

24 E119 subs. On stage, 20 of the Canadian manufacturer’s monitors were in use with varying quantities of M15s, M212s and M12s all

called into action. Power was via six Lab.gruppen PLM+ 12K44 units. FOH engineer, Moosa jaafar Ali al Baqali, and FOH assistant, Mohammmed Shihabdudheen, had a Midas Pro2C while monitor engineer and stage manager, Kiran Tauro, mixed on an Avid patch, Jerin Alex, used the Klotz multilink 48-channel splitter and six 48-channel XTA DS 8000 active splitters.

The wireless side of the project saw six Shure UR4D+ wireless systems in addition to four of the manufacturer’s PSM 1000 IEMs. Shure antenna distribution systems all running on the latest version of Wireless Workbench were used to co-ordinate frequencies. On stage, the performers used a variety of mics from Shure, Sennheiser, DPA and Audix.

‘The event was a huge success with close to 100,000 people over

air shows and live bands,’ said Mr Mason. ‘The production went very smoothly with no issues, due to the awesome efforts of Showtech Bahrain and the great work from the monitor engineer Kiran, who had the stage so organised the multiple bands went on and off without a hitch. There were no logistic or venue issues thanks to the way BIC is organised and operated by the entertainment department manager, Mohammed Alansari.’

is happy with how everything went. ‘My role was relatively easy thanks to all the great people involved,’ he offered. ‘The best indication is always the feedback from key people. FOH engineer, Moosa, was thrilled to use the PA and the BIC venue was extremely happy. They re-booked the same production and crew for their next event immediately.’

www.adamsonsystems.com

www.facebook.com/showtechbahrain

www.frontofhouseme.com

MediaCast simulates real-world environments

UAE: MediaCast’s showroom in Oud Metha, Dubai has undergone a renovation that has seen the distributor add emphasis to the audio brands it represents by demonstrating how products can be used in real-world applications. The video products that MediaCast offers are now demonstrated at its office in MediaCity.

‘We decided to create a real-world scene in our showroom where individuals who walk in feel like they’re walking into the “scene” and not just a store,’ said Khadija

Khalid, marketing manager at MediaCast. ‘The new setup creates an opportunity for our partners and customers to be able to try the products they want while being “on set” by feeling more comfortable since the setup creates a good ambience, whether it is EDM, music production or even a stage-like feel. The setup has also helped with putting together similar products and linking different products, which fall under the same category. The showroom now comprises several sections, including a stage,

a music production section and a DJ area. ‘The different areas help categorise the products and brands by application,’ Ms Khalid explained. ‘The music production section has all the brands we distribute that fall under that category, including hardware, such as an audio interface, studio monitors and MIDI controllers, as well as software section has DJ controllers, digital instruments and synthesisers.’

www.mediacastsys.com

AudioLab-lb doubles up with S6L systems

LEBANON: AudioLab-lb has purchased an additional two Avid Venue S6L systems in a bid to keep up with an increase in business.

‘We only use Avid equipment at AudioLab-lb,’ said AudioLab-lb founder, Imad Mrad. ‘We have an Avid Venue SC48 and an Avid busy, but, as we continue to grow, we need additional equipment. And of course, we want to stay up to date with the latest technology.’

from Litewaves, Avid’s audio reseller in Lebanon in July last

and has been used regularly for both broadcast and live events by the Lebanese-based company.

being purchased six months later.

‘It’s an easy and fast console to work with. It also has good studio plug-ins – and added to Avid’s

plug-ins, we have a lot of choices without needing any external hardware or software for that. The dynamics and pre-amps are also very good.’ Mr Mrad added: ‘The

Pro Tools, which is important as we often need to record concerts on multitrack directly into Pro Tools.

handy because you can choose whatever channels you want in your bay and have them all in front of you. I like to work with several screens, and it’s easy to set this up fader on the screen – it’s all right there.’

Prepping for a live show has also been made easier thanks to the ‘The Virtual Soundcheck function meant that we could get a head continued Mr Mrad. ‘Once we got to the venue, we only needed around 15 minutes with the band. Without this function, we would have faced a lot of problems.’

www.audiolab-lb.com

www.avid.com

The Showtech Productions crew

The Avid Venue S6L has been kept busy at AudioLab-lb

Gearhouse rocks the AfroPunk look

monitors. All inputs were controlled via Lake LM 44s and signal outs were handled by several Meyer Sound Galileo units.

SOUTH AFRICA: The AfroPunk Festival recently made its debut in Johannesburg at Constitution Hill. Providing the technical solutions, including staging, lighting, A/V, LED screens, power and rigging, for the 40 acts that performed at the global event was Gearhouse Group. ‘The stage was divided into three performance areas – each with its own audio setup and each manned independently by its allocated technical team,’ revealed Jako de Wit, audio engineer at Gearhouse. AfroPunk began in New York in 2004 and has staged its brand of alternative punk music events in

major cities around the world. At Constitution Hill, the crowd was treated to a variety of house, kwaito, punk, hip-hop, soul, reggae, roots and pop performances that were reinforced by an L-C-R loudspeaker setup comprising Meyer Sound Milo cabinets for the main hangs and delays.

The central section of the stage, known as The Gold Stage, hosted performances from more than a dozen DJs and relied on a Yamaha LS9-32 digital mixer, while the Green and Red stages to the left and right were each managed by an Avid

DirectOut extends warranty

WORLD: DirectOut has extended the warranty on its entire range of audio connectivity products, networking and bridging systems to 36 months. The German manufacturer states that its solutions ‘run reliably under critical

operating conditions’ due to a ‘comprehensive’ testing process.

‘For almost 10 years, the DirectOut Technologies brand has been synonymous with professional equipment in the pro audio and broadcast markets,’ said Jan

For lighting, the Gold, Green and Red stages possessed individual rigs formed from Robe ColorWash 700s, ColorSpot 700s and Martin rig also included six Martin Atomic strobes and four lamp bars for key light and additional punch during the evenings. Control was offered in the form of three MA Lighting grandMA2 desks. Gearhouse subsidiary LEDVision supplied the LED screen setup, which drew the two outer stages together visually to appear as one. The two outer and single rear delay

screens displayed camera feeds with a centre screen in between the two stages running a variety of content and information. Roe LED strips were used to enhance the look of the stage wings and to indicate which stage would go live next. On stage, Lighthouse R16 and DuoLED 18 screens were used to augment the lighting and enhance the daytime performances.

Graphics playback was controlled using Resolume servers as well as switching a 4-camera setup.

Show Sync’s Clinton Seery managed the production direction. ‘Technically speaking, it is always more interesting to work between three stages, bringing them alive individually,’ he said. ‘Lighting, LED screens, audio and cameras

took on the challenge with open arms however, and we managed to paint what we believe to be an “inaugural-perfect” picture! Of course, in situations like this, when you haven’t a second to waste, you need to be able to trust your supplier’s understanding of the client’s vision, the Gearhouse team was there with me every step of the way, even through those inevitable last-minute, problem-solving moments.’

The last-minute, problem-solving moments were due to the weather. A thunderstorm hit, with heavy wind and rain, as well as extreme hail on the Saturday. ‘The weather came, shook us, shook the sound, shook the screens, shook the lights, shook the cameras and even shook the crew,’ recalled Mr Seery. ‘But nothing stopped the show technically.’

‘For us, clear and continuous communication between stage and the front of house show call was absolutely key to the event’s success and it was testimony to our tight teamwork that it ran so smoothly,’ concluded Nickolas Chapman, Gearhouse project manager.

www.gearhouse.co.za

www.ledvision.co.za

Ehrlich, DirectOut managing director. ‘Whether in demanding live situations, in the studio or in 24/7 use in broadcast environments, customers rely on the high quality and the fail-safe operation of our equipment. By increasing the warranty period from 24 to 36 months, we can demonstrate our in-house production.’

www.directout.eu

1/4 PAGE

AfroPunk (Photographs courtesy of Ryan Purcell)

The Montone.42

Audio Video Electronics Network Accessories

Ready and SET

UAE: A new rental and technical production company, Stage Efficient Technical Works LLC (SET), has been established in the UAE, offering technical crew, including riggers, sound, engineers, lighting technicians and video engineers.

‘SET is a technical support entity for event production companies and venues,’ explained Jossy Thomas, sales manager at SET’s parent company, Worldstage Management. Mr Thomas formed the brand along with business partner SreeRam Srinivas.

The company was initially conceived to offer rigging services; however, customer demand quickly drove the business to adapt.

ground riggers to serve the events industry,’ recalled Mr Thomas. ‘This opened up more doors in rigging and we then started getting requests for trussing systems for various companies and venues, along with the crew.’

When it came to exploring options for trussing solutions,

Mr Thomas explained that the emphasis was on looking for a strong brand. ‘We sat down with Kevin Boujikian from Provision AVL [Prolyte’s Dubai-based distributor] and decided to buy Prolyte truss. That stock has already grown to 600m and Prolyte is supporting us. We are happy with the brand and the services provided.

‘We also bought Liftket motors and 24 chain blocks with a huge inventory of rigging accessories,’ he added.

www.provisionavl.com

www.worldstageme.com

Fine tuning People

WORLD: Genelec used ISE in Amsterdam to officially announce its entry into the A/V market. While the manufacturer’s products have long been used in A/V installations, this move marks its commitment to the sector.

‘We already have a tremendous amount of A/V installations throughout the world, particularly in the Nordic region,’ stated Genelec AV installation business manager, Sami Mäkinen. ‘Over time it has become increasingly clear that the demand for studio-quality audio products in A/V is rising steadily; consequently, we regard the A/V business segment as having great potential for high-quality installations with modern design loudspeakers. Another important factor is the growing demand

A/V

to innovation. Hence, the time is right for us to formally expand our actions and address the A/V market needs with a dedicated strategy, resources and product range.

‘We will soon be launching a new, dedicated A/V section of our website which will contain improved

TURKEY: SF Ses ve I ık Sistemleri

A has enjoyed regular work from Jupiter Group, installing and tuning sound systems at the group’s various clubs. The most recent of these clubs is People in Istanbul, which has been subjected to an audio upgrade. ‘We have supplied sound tuning for People as well as live music performance and music distribution systems in the past,’ revealed SF had worked in this venue when the us again as we knew the layout.’ a range of JBL cabinets, including PRX815 and PRX812 speakers and PRX818XLF and PRX815XLF subwoofers, which join the club’s existing Bose RoomMatch Utility RMU208 speakers. Behringer X32 mixers and S32 stageboxes, as well as AKG C411 PP pick-up mics and

BSS AR-13 active DI boxes were also added to the signal chain, along Blu-100 processors and Blu-Bob break-out boxes.

In addition to a range of separately supplied Shure microphones, an Apart Audio PC1000RMKII professional multisource CD/USB/ SD-card music player was installed into the chain by SF, while a range of stands from Adam Hall’s Gravity line were also delivered.

‘The client was very happy with the end results and has received a lot of positive feedback from both their customers and the artists performing

an upcoming project at their new underground club, Bialtkat in Taksim, would be awarded to SF.’

for integrated IP technology, an area in which we have already demonstrated our commitment

application examples, case studies and other resources so that integrators and consultants can one place,’ he continued. ‘We are also evaluating ways to optimise our exposure in the A/V market at a technical level as well as undertaking a range of marketing and commercial initiatives with new and existing partners.’

www.genelec.com

Sami Mäkinen

Plans emerge for Ataturk Cultural Centre

WHEN IT OPENED IN 1969, THE

Ataturk Cultural Centre (AKM) was the most sophisticated entertainment complex of its kind. Standing as a dominant feature at the heart of Taksim Square in Istanbul, the multi-purpose complex quickly became an important example of Turkish architecture of the period and an icon of the city. Despite its status, time has taken during a performance in 1970 forced repairs, not re-opening until 1977. Then in 2008 it was closed for preparation for the city’s ‘European Capital of Culture’ celebrations in 2010. This project stalled with the tender eventually halted in 2013, and the building has now sat unused for a decade.

However, in a speech on 6 November 2017, Turkish president, Recep Tayyip be rebuilt as a new opera house and cultural centre. Studies into the health of the concrete structure were commissioned to see if the building could be restored or if it would need to be rebuilt from the ground up. These studies reportedly pointed to a complete rebuild and, as such, plans for a new larger cultural centre were drawn up. The architect for the project

of 2019 was set. According to the information gathered by Pro AVL MEA, the theatre consultant working with Mr Andreou has references from

such as the National Congress and Cultural Centre.

The plans for the new AKM consist of an opera house, a theatre, a concert hall, cinemas, small conference rooms, art galleries, restaurants, book shops and coffee shops. In addition to this, on the rehearsal rooms, recording rooms and a recording studio.

The design of the main performance spaces has been based on a new concept, dubbed ‘cultural architecture’. In the opera house, for example, every part of the design such as the way you choose the steps, the way you create a section, the sight-lines, the seats, the rows, the corridors, the entrances and the exits, the distance from the stage, are all being tied in to the acoustics of the room.

Moving the acoustics to the centre of the project in this way has led to some extensive acoustical studies of similar buildings around Europe to help create the space. The conclusion of these studies has created a real challenge for the venue. It has been decided that the optimum reverberation time for the room would be 1.6s. But sources close to the project are citing three major

factors that will make achieving this

First, the capacity of the venue needs to be over 2,000 so it will be a

second challenge comes from the architect’s plans, which see the opera house itself situated inside a dome. Finally, there will also be a very large chandelier in the centre of the room. Overcoming these issues has

for the acoustic design of the venue. But these have reportedly been solved. By using QRD diffuser to control the house, the studies show that the RT of 1.6s can be achieved without any static waves and without any concentration or echo cancellation.

While the acoustics have been at the heart of the project, there has also been a large amount of consideration placed into the style of technology that will also be installed. While it is assumed that the room will sound at its best without reinforcement, there will also be a hidden sound system to cater to the needs of other events in the cultural centre, such as concerts,

As a result, the sound system has reportedly been designed to serve any form of processing that an event requires.

To achieve this, AKM’s opera house will feature a large number of loudspeakers in just about every

imaginable position, including any potential immersive audio applications. These will then be driven on separate channels. Sources familiar with the project believe that if this can be done and combined with multiple microphone points, then any processing system can be used.

This concept is also set to be replicated in the theatre. The space will once again hide all of the loudspeakers behind acoustically transparent decorative elements in an attempt to ensure the entire focus of the audience is on the stage and performance rather than on the architecture and technology.

While the plans for the sound systems seem relatively advanced, it is important to note that they are still brand neutral. At this stage, the system design has been about establishing a concept while a second phase will explore which technology can deliver the desired results.

This being said, there is one technical decision that has been made already. The venue’s infrastructure will include a large digital network that can handle video, audio and communications. This will form a matrix that will allow the user to root everything from any performance to any other space in AKM. The backbone of this architecture will be a triple

around the whole building. There will be three master backbone hubs that will communicate with spread all over the venue. The idea behind this is to reduce the overall amount of equipment required by the facility to put on productions rack-mounted equipment in these three hubs.

The most important portion of the facility to have its technical plans established is the stage engineering system. The same site visits to other similar venues to explore the acoustics also examined the possibilities of different stage mechanical systems. As a result of this, the AKM will have one of the most advanced stage engineering systems that has been designed and developed recently in this family of venues.

All systems have been designed under the highest international safety standards and the control systems are very sophisticated reportedly allowing any production that exists to be executed with full success.

The plans for AKM are still very much on the drawing board and there will likely still be many innovations and changes to the design before the cultural centre re-opens in 2019. However, if the concepts seen by Pro AVL MEA do come to fruition, the end result should be spectacular.

Having sat empty for a number of years, one of the icons of Taksim Square is set for a full refurbishment. James Ling reports

Broadcast 3.0

AdiPdti

Production

With experience gathered over more than 40 years, German audio innovator Lawo is distinguished by its engineering and manufacturing of the most reliable and most advanced audio mixing consoles available. Originally developed for mobile and studio broadcast environments with zero tolerance for failure, Lawo consoles are also widely chosen for their audio quality in theater, studio and live performance applications.

With the mc² 96, the mc² platform is pushed beyond limitations, culminating in a pure, unparalleled audio production tool dedicated to those who can tell the difference. Whether it’s intended to be used in broadcast, theater or recording – in each of these applications it stands out with a unique set of features. The mc² 96 provides optimized performance within IP video production environments with native SMPTE 2110 support. In addition, the revolutionary LiveViewTM feature enables thumbnail previews of video streams directly in the fader labeling displays, and innovative mix-assist systems support the engineer in achieving outstanding results.

Curious? Visit bit.ly/LAWOmc96 for details.

EDUCATION NEWS

SEMINAR

Bose launch tour hits Dubai

Foundations of Crestron Programming Dubai,

UAE

This 3-day instructor-led course will teach the basic programming skills a new Crestron programmer needs those looking to be able to make changes to, and create programming for, basic single room systems.

www.crestron.eu

10 – 12 APRIL

Vocia Design and Installation

Dubai, UAE

The goal of Biamp’s Vocia training is to provide systems integrators with the necessary tools to design, integrate and troubleshoot Vocia implementations.

www.biamp.com

17 – 18 APRIL

Prolyte Campus Dubai, UAE

Provision AVL teams up with Prolyte Group to deliver a 2-day training opportunity focusing on health and safety, rigging and trussing, led by Eric Laanstra. The campus will also include Le Maitre, represented by Elaine Frost, who will be giving an effects and pyro presentation.

www.provisionavl.com

17 – 19 APRIL

Extron Control Professional Johannesburg, South Africa

designed to prepare participants for successfully deploying and maintaining customised A/V control systems built around IP Link Pro Series and TouchLink Pro Series systems.

www.extron.com

UAE: Following the launch of 15 new products in 2017, Bose Professional has been hosting regional launches around the world to better demonstrate their virtues. Over 200 invited guests, dealers and customers converged on the Sheraton Grand Hotel in Dubai on 9 January to be educated on the benefits of four of these products. The attendees

were divided into two groups for which half was initially given demonstrations of the EdgeMax EM180 and EM90 in-ceiling loudspeakers in the spacious Nexus meeting rooms. Intended for in-ceiling mounting near a wall, Bose stated that ceiling speaker launch in over 20 years.

GSL Professional in TASCAM drive

UAE: GSL Professional recently held its inaugural TASCAM Day in Dubai, with participants offered training on the brand’s products. The event included an overview on the evolution of TASCAM and its role in the pro audio industry and handheld market, before introducing two new products – the ML-32D 32-channel and ML-16D 16-channel analogue/Dante converters – to the local market.

Participants were walked through the TASCAM catalogue and informed of what the future holds for the TEAC audio division. Products showcased included TASCAM’s USB audio interfaces, and products such as the MD-CD1MK3, CD players, HS-20, SS-Series of recorders, MH-8, the LA series, LM-8ST and DSLR recorders,

training.

‘We strongly believe in supporting our clients via education,’ said Abboud Aljuneidi, regional sales manager – ME, MI and retail, GSL

Professional. ‘We had a large turnout of key industry leaders from across the region, including broadcast integrators, end users, retailers and recording studio users.’ Takashi Tsunoyama, chief sales at TASCAM TEAC, and Dirk Born, technical marketing manager, were also on hand at the event. ‘We were very excited to introduce new products during the event, which can accommodate a variety of purposes including professional usages in broadcasting studios, public address and recording systems,’ said Mr Tsunoyama.

Following its success, TASCAM Day is expected to become a biannual event. ‘The number of attendees and their attitude was better than we expected,’ added Mr Tsunoyama. have planned.’

www.gslprofessional.com

www.tascam.com

Meanwhile in the Starlight Ballroom, Bose provided listening sessions of the passive, compact dual 10-inch subwoofer referred to as the MB210.

Utilising the same high-excursion woofers as the Bose F1 subwoofer, it has been designed for permanent installation in small-to-mediumsized rooms. The Panaray MSA12X digitally steerable line array

column loudspeaker was also demonstrated in the same room. ‘Different from steerable arrays of other brands, the modularity and ability to stack up to three MSA12Xs avoids the sometimes long lead times of models in offer steerable columns at a very attractive price point,’ commented Bose marketing manager, Lauren McCabe.

Following the demonstrations, guests enjoyed a buffet and star hotel. ‘Our customers really have to listen to the virtues of these speaker systems to better appreciate their qualities, so naturally we’re all delighted that so many VIPs came here tonight,’ commented Bose UAE distributor and NMK founder, Nicolas Kyvernitis. ‘Bose will be launching another 15 products in 2018, so it’s going to be a busy year.’ pro.bose.com www.nmkelectronics.com

Martin Audio extends monthly webinars

WORLD: The monthly webinars launched by Martin Audio in late 2017 have proved such a success that the manufacturer has extended the series to highlight additional products and software platforms, as well as looking at deployment for specific applications with guest presenters. The webinars are streamed live, feature Q&A sessions and can be accessed for free from anywhere in the world.

FOH engineer Simon Honywill. ‘Simon has been a long-term advocate of Martin Audio and his

experiences of MLA in particular are rich and engaging,’ said James King, director of marketing at Martin Audio. ‘I’m delighted that he will conduct two new webinars – one on MLA Mini and one on MLA at festivals.’

Mr Honywill is looking forward to taking part in the webinar series. ‘I have lots of insights and stories to share which I think will be of interest to fellow professionals in how to maximise the use of Martin Audio products, particularly the MLA series,’ he said.

www.martin-audio.com/training

Simon Honywill

BRAIN TRUST

In business, education, and in the arts, having trust in your partners, your team and your AV network is critical to success.

The most informed and experienced professionals understand this, which is why the brightest in the business trust the agility, scalability and security of Audinate’s Dante audio networking and award-winning Dante Domain Manager.

Jonathan White, Audio/Video Manager at the AT&T Performing Arts Center in Dallas is among them. To learn more about how Jonathan is getting the most from his trusted Dante network, visit audinate.com/braintrust.

AT&T Performing Arts Center Dallas, TX

Stage Tec extends Gulf reach with Romco

KUWAIT: Stage Tec is expanding its reach and sales networ k across the Gulf States. As part of this strategy, the German manufacturer of audio mixing consoles and routers has appointed Romco Trading Co as its new distribution partner for Kuwait.

Romco specialises in pro audio and broadcast solutions. It represents several other

notable brands, including Avid, beyerdynamic, DPA Microphones and Mipro. The company’s customers include broadcast studios, theatres, government institutions and ministries.

‘We are confident that Stage Tec is the ideal partner to complement our portfolio with top-of-the-line innovative audio mixing consoles and network equipment,’ said

Romco’s director, Ali H Al Roumi.

‘We are very excited about the partnership, which enables us to offer customers competitive broadcast products.’

‘We have chosen Romco because of its many years of experience in the industry, and we intend to grow in the Middle East together,’ explained Alexander Nemes, head of sales at Stage Tec. ‘We see

Provision AVL adds the effects

UAE: Provision AVL has become the official UAE distributor for Le Maitre smoke, haze and fog machines as well as pyrotechnics. The deal came about following an introduction from one of the distributor’s other brands at Prolight + Sound Middle East.

‘The deal happened fairly quickly while Elaine Frost, head of sales for Le Maitre, was visiting PL+S Middle East in Dubai,’ recalled Provision AVL general manager, Kevin Boujikian. ‘After an introduction via Prolyte, we were delighted to seal the deal by the end of 2017.’

Having added the manufacturer to its portfolio, the new distributor the other brands it represents.

‘Le Maitre is a tried and tested brand with a long history of manufacturing top quality

products,’ said Mr Boujikian.

‘We felt the need to represent these quality products after many

with the rest of the product line that we carry because we only work with high-quality brands.

With Le Maitre’s superior smoke and haze machines, we know

that our product line will only be enhanced.’ Provision AVL has

Le Maitre equipment and plans to meet market demand by keeping stock readily available in Dubai. In addition, it will raise awareness through a series of training and demonstration events. ‘We’ll be introducing the brand to our list of clients during our onsite campus and training sessions, so they can test the products in action,’

www.lemaitreltd.com

www.provisionavl.com

dBTechnologies turns to Al Fanny for Egyptian market

‘We are delighted to work with dBTechnologies,’ said Al Fanny CEO, Rami Lucas. ‘When I visited their headquarters I immediately noticed the passion that the entire team has. We are impressed by the quality of their products and are happy to be able to add the brand to our our market’s needs and we are very pleased to become dBTechnologies’ partner in the Egyptian market.’

great potential, for example, for sector, where we can meet all customer requirements with our broad range of mixing consoles. We are also very well placed for infrastructure projects with our versatile Nexus network.’

www.romcokuwait.com

www.stagetec.com

Pioneer finds a new home in Turkey

TURKEY: Istanbul-based distributor, Infogroup, has added the Pioneer DJ and Pioneer Pro Audio brands to its roster. The company announced the news with a high-profile launch event and demo at 360Istanbul.

Turkish DJ schools and will support them for new students.’ A further way the new distributor will promote the brand is through regular demo events and educational sessions. ‘We have training areas in our showroom

in Bologna. Founded in 1979, the Egyptian company has played an active role in the local audio installation market and worked on projects at theatres, concert halls, clubs and restaurants.

this new partnership,’ added dBTechnologies’ export sales manager, Manuele Poli. ‘At the that Al Fanny’s work will put dBTechnologies in the best condition for further growth in Egypt.’

www.alfanny.com

www.dbtechnologies.com

Infogroup’s relationship with the manufacturer started through the distributor’s Info Music Shop, which had been selling Pioneer DJ equipment for a number of years. Having now taken on the distribution for both brands, Infogroup will look to grow the manufacturer’s presence in Turkey by establishing a dealer network for Pioneer DJ and Pro Audio.

‘All dealers will be located in different cities to control the whole Turkish DJ market directly,’ said Infogroup international business development coordinator, Özge Can. ‘They will have uniquely designed showrooms and a professional DJ will work with each of them permanently to train customers. We also signed with two big

and all customers can have training when they need it,’ explained Ms Can. ‘They are also able to try all products live before they buy.’

The launch event was focused on the distribution deal, but also saw a demonstration of the manufacturer’s XY series. The event was attended by Pioneer DJ Europe MD, Mark Drury, and Raf Rettel, the manufacturer’s manager of EMEA distributors alongside a guest list of wellknown DJs as well as restaurant and club owners. Following the success and popularity of this event, the new distributor plans to host a larger launch party.

www.infogroup.info

www.pioneerdj.com

www.pioneerproaudio.com

EGYPT: Al Fanny has been unveiled as the new exclusive distributor for dBTechnologies in Egypt. The deal was struck following a meeting between the two companies at the dBTechnologies headquarters

Ali H Al Roumi and Alexander Nemes

Manuele Poli and Rami Lucas

GSL named Harman distributor of the year

UAE: GSL Professional has been named as Harman Professional’s Best Audio Distributor of the Year for 2017. This was the first time that the Dubai-based distributor has won this award and comes as a recognition of its overall performance in 2017.

forward we intend to have a stronger brand presence in the region along with bolstering support for our clients.’

The award was presented by Chris Smith, VP EMEA for Harman Professional Solutions, at the manufacturer’s annual Business Technology Conference held at the Hard Rock Hotel in Las Vegas over four days in January. The event saw more than 200 Harman employees ‘educate, inspire and entertain’ over 4,000 customers, partners, reporters, Samsung investors and colleagues.

‘We are very happy to have been awarded “The Best Distributor of the Year” by Harman Professional this year and would like to thank our customers and Harman,’ said GSL’s Faegh Fowzi. However, he insists the company will use the award as an impetus to build on the service it already provides. ‘Moving

The Harman Professional Solutions team joined forces with people from all areas of Harman to share the manufacturer’s 2018 strategy and showcase its latest technology. The manufacturer describes its conference as ‘a resounding success’ and is ‘looking forward to welcoming more of our partners next year’.

www.gslprofessional.com pro.harman.com

ClearOne appoints Make IT Smart

MOROCCO: Make IT Smart has been selected by ClearOne to distribute its range of conferencing, collaboration and streaming solutions in Morocco and the surrounding region of North Africa.

‘Make IT Smart understands the audio and visual communications needs of customers across a broad range of vertical markets in Morocco and throughout the region,’ said

director of sales for EMEA, India and all areas of AV/IT, coupled with their understanding of what the local market needs, makes them an ideal choice to represent our expanding line of solutions.’

www.clearone.com

www.makeitsmart.ma

NMK takes on Mersive

UAE: NMK Electronics Enterprises has become the GCC distributor for Mersive Technologies. The Dubai-based distributor believes that the wireless media streaming and collaboration solutions manufacturer will be a complementary addition to its current portfolio.

The manufacturer reportedly selected NMK due to its experience, sales network and technological credentials. The of Mersive via training sessions and seminars focused on its Solstice Pod meeting room solution as well as proof of ‘Mersive is a great new addition to the is focused in the A/V market,’ stated Dino Drimakis, business development manager at NMK. ‘The technology is miles ahead of other regional market players that have already been established in

the GCC. We found really good synergy between both companies after having

have been super supportive and have embraced the technology. We are really excited to start working with the Mersive team and developing a long-term,

www.mersive.com

www.nmkelectronics.com

APPOINTMENTS

The Yamaha distributor, whose showroom and offices are located on Deira’s Salahuddin Road, is currently restructuring its internal sales divisions. Mr Davis’ initial key task will be to oversee and implement these changes, which will in due course lead to the addition of several new product lines to the distributor’s current portfolio.

MIDDLE EAST: With Darren Beckley having been promoted to the role of sales manager at ETC, Mark Larcombe has taken over as regional sales manager

for the Middle East. In addition to overseeing sales across the United Arab Emirates, Saudi Arabia, Qatar, Oman, Kuwait, Bahrain and Iraq, Mr Larcombe’s role also covers India.

UAE: Having loyally served at UAE distributor, VV & Sons, for more than 24 years, PV Davis has emerged as the new general manager at Thomsun Trading LLC.

‘This is a fresh new chapter in my career after a long, happy tenure at VV & Sons,’ commented Mr Davis. ‘I am incredibly proud to be appointed as the general manager for Thomsun Trading and equally excited and energised by the opportunities and challenges that lie ahead. We are currently looking forward to developing a team that will closely work with our partners in the region, as we continue to grow in our commitment to provide innovative services and solutions for our clients.’

www.thomsunmusiconline.com

WORLD: Pro audio veteran Graham Murray has joined Astro Spatial Audio (ASA) as global business development manager. He brings aboard more than 35 years of industry experience gained at the likes of Fairlight and AMS Neve, as well as in his most recent role as sales director, EMEA

knowledge, we are ready to leap to the next level.’

for Harman’s Studer brand, and during his stint as APAC regional sales director at Calrec. ASA is currently enjoying what it describes as a ‘period of rapid expansion, with a string of having taken place over the last 12 months’, such as the Berlin Opera House. Mr Murray hopes to drawing upon the success of ASA’s product catalogue.

‘We have been watching carefully for the right person and the right opportunity to help us expand even further,’ explained Bjorn Van Munster, director of Astro Spatial Audio. ‘Now, with Graham’s extraordinary experience and

‘Having watched ASA’s progress over the last two years, it is now the team and become part of the company’s amazing journey into the 3D, immersive audio arena,’ Mr Murray stated. ‘Bjorn Van Munster has done an outstanding job building the brand with some venues across the globe. With this exciting technology and the brand agnostic nature of the Sara II Premium Rendering Engine, I look forward to helping ASA establish itself as the industry standard platform it deserves to be.’

www.astroaudio.eu

WORLD: Stefano Zaccaria has transitioned into the role of VP of sales and marketing at K-array, while Daniel Strasserra has been promoted to sales engineer at the company’s headquarters in San Piero a Sieve and Daniele Mochi takes on a new position as project manager.

Mr Zaccaria initially joined K-array in 2016 as a temporary manager, becoming a full-time employee at the start of 2017 and assuming responsibility for strategic sales and business development.

Mr Strasserra, meanwhile, has

Mr Larcombe joins from British systems integration, sales and rental company, Stage Electrics, where he worked for eight years and most recently served as an international sales manager. There he was involved in numerous global projects, including the PAAET Theatre in Kuwait City, the Oman Convention and Exhibition Centre and the Royal Opera House Muscat. ‘I have known Mark for many years and I am delighted to pass the mantle to him,’ said Mr Beckley. ‘With his enthusiasm, persona and market knowledge, Mark will be a valuable addition to our international sales team. I have to drive the business forward and maintain our high levels of service in his region.’

www.etcconnect.com

New GM for Thomsun Mark Larcombe fills Graham Murray joins Astro Spatial A trio of promotions at K-array

been with K-array for eight years, serving in the sales and service departments. His new position will involve approaching key customers and building the brand in the nightlife sector.

In the four years since joining the manufacturer, Mr Mochi has been involved in several major projects, including Teatro di Habana in Cuba, Vodafone Arena in Turkey and White Nightclub in Dubai. www.k-array.com

Juan Bautista handed top African role at Fenix

appointing the former purchasing analyst, legal and trade advisor as sales manager for the African markets.

Mr Bautista had previously held international relation roles in various countries including GWP Consultores and ICEX in Mexico. During his younger years, he spent month-long periods in Armenia and Morocco where he did human rights and civil rights volunteer work. He speaks six languages, namely Spanish, Catalan, English, French, Italian and Russian.

WORLD: Juan Bautista has joined the expor t department ranks at Fenix Stage with the Spanish manufacturer of lifting towers, trusses and stage platforms

‘I have always tried to contribute with effort and passion everywhere I have worked,’ commented Mr Bautista. ‘Now, I have the chance to work on the other side – the sales department. Once I started knowing the products better, I

realised how much work is behind them and how important it is for Fenix Stage to be constantly collaborating with our clients –speaking with them and listening to their needs in order to offer them the right solution for every situation.’

Alex Bryan, who is export manager at the Valencia-based company, added: ‘The addition of Juan is an important tool for new and unexplored markets, within the ambitious, but realistic, expansion strategy for the coming years. He will also offer valuable support in developing and consolidating some of the existing markets and enriching the relationships with our customers.’

www.fenixstage.com

Thomsun Trading’s new GM, PV Davis

Mark Larcombe

Graham Murray

Juan Bautista

‘With Graham’s extraordinary experience and knowledge we are ready to leap to the next level’

Stefano Zaccaria, Daniele Mochi and Daniel Strasserra

Giacomo Previ to oversee Powersoft OEM division

WORLD: Following an almost 15-year stint at Eighteen Sound, Giacomo Previ has joined Powersoft as sales manager for OEM solutions. He most recently served as sales director at Eighteen Sound and gained a familiarity with Powersoft’s patented IPAL technology as the transducer specialist adopted its Powersoft’s amplifier hardware module, IpalMod.

In his new role, Mr Previ will oversee OEM sales around the world, explore strategic business development opportunities and develop a technology roadmap for future market needs. He will also loss) in Powersoft’s OEM division and will manage a team of six sales support staff.

‘It’s a great honour for me to join the Powersoft family and I can’t wait to introduce OEM customers to the most innovative products available on the market,’ Mr Previ commented. ‘I have no doubt that

Giacomo Previ

the exciting new product roadmap will further reinforce its position.

My years of experience have given me a deep understanding of the OEM customer business

and I am committed to building relationships with partners old and new based on mutual trust and strong cooperation, taking Powersoft’s successful operations to the next level.’

Luca Giorgi, sales and business development director at Powersoft, explained why Mr Previ made a ‘fantastic addition’ to the team:

‘His professional background combined with his strength of character makes him the take on the challenges ahead in an increasingly competitive marketplace. With customer experience front of mind, Giacomo will ensure our commitment to a true end-to-end partnership is something we live and breathe, leaving partners in no doubt that Powersoft is the only brand to offer a comprehensive, best-inclass solution.’

www.powersoft-audio.com

UAE: Dubai-based distributor, Pro Lab, has named Waqas Ilyas as its new key account manager. In this role, Mr Ilyas will head the sales division and be responsible for managing and optimising sales operations, channelling revenue and facilitating brand relationship management.

‘It’s a very proud moment for me to join the Pro Lab family at this stage of my career,’ said Mr Ilyas. ‘Pro Lab has an impressive footprint in the region with reputed brands that have broad acceptance and appeal. I’m committed to building relationships with partners old and new based on mutual trust to strengthen cooperation with the goal of taking Pro Lab’s successful operations to new heights.’

‘It has been a promising start to the year and we anticipate 2018 to be a year of growth for Pro Lab,’ added Pro Lab MD, Rami Haber. ‘With Waqas heading a large vertical in the sales department, we are optimistic about further growth in the UAE and the Middle East market.’

www.prolabllc.com

Waqas Ilyas

Powersoft lays roots with Duecanali extension

as it completes the Duecanali Series

POWERSOFT IS well-known as the systems for the live sound and touring industries; its heritage is built on live entertainment applications. However, in recent years, the Italian company’s focus has market since the launch of the Ottocanali, Quattrocanali and Duecanali ranges.

what we sold in amplifiers was used in live entertainment applications and the revealed Marc Kocks, business development manager for the install market at Powersoft. ‘This has flipped we’re continuing to target this market with our new products.’

These new products, unveiled at ISE 2018, are the two new additions to the Duecanali Series – the Duecanali 804 and Duecanali 4804. These two amplifiers each offer two channels with the option for DSP and Dante (DSP+D versions), are aimed primarily for use at leisure and retail spaces, and complete the Duecanali range.

The Duecanali 4804’s two channels each states makes it a ‘cost-effective’ solution for small-to-medium-sized installations. The Duecanali 804, meanwhile, delivers a pair of 400W channels that offer a lower total power solution for installations where a single 2-channel amplifier is enough to meet the system requirements, without the need for additional channels or power.

launched at ISE a year prior, the Duecanali 804 and 4804 can be used in conjunction

configurations, including Lo-Z, Hi-Z, bridge mode, parallel mode and combinations

at 100V and 70V. This is increased for the 100V and 70V.

Both new models can be managed with the Armonía 2.11 Pro Audio Suite, which launches alongside the Duecanali 804 and

performance with on-board, high-end signal processing and Dante digital audio distribution.

Powersoft has also recently launched a free mobile app for Android that allows users of X Series amplifier platforms to recall saved settings by connecting their phone to the amplifier via a USB cable. The manufacturer describes this as an ‘instantaneous’ process and, as such, has named the app Snapshot Selector.

Should a user connect their mobile device to an X Series amplifier, a link to Snapshot Selector in the Google Play Store will automatically pop up. Once downloaded, the app will open automatically each time the phone is connected to the amplifier. The user interface is designed to be simple and intuitive, enabling the user to save and

the amplifier, including routing, equalisation and limiting. The app also allows the users to select the source priority that will be applied after the snapshot has been recalled.

www.powersoft-audio.com

The Italian manufacturer continues to set its sights on fixed installation applications

The

Crestron focuses on audio

THERE HAVE been several new audio-based additions to the Crestron product catalogue recently, including and Vector series speakers.

Starting with the amplifiers, the AMP-225 features two 25W channels a single 50W channel for 100V applications. Additional features of both models include EnergyStar specification, built-in fault protection and a modular construction that allows multiple units to be chained together in a single rack space, or surface-mounted under a table. The Vector loudspeakers, meanwhile, are a new line of

medium-throw performance cabinets intended for use in large commercial spaces such as auditoria and lecture halls. The Vector cabinets are integrated with Crestron’s Avia DSPs, which the manufacturer claims will reduce the harsh-sounding resonances and sound colouration caused by horn reflections, resulting in ‘superior pattern control, higher gain before feedback and improved intelligibility’. The use of the Avia Audio Tools also reportedly

Meyer hits new lows

VLFC IS the latest addition to Meyer Sound’s Leo family of line array systems. Short for very low frequency control, the speaker

operating levels. Cabinet porting and internal baffling are said to

the lower limit of human hearing.

streamlines the process of audio design and programming by allowing new control and functions to be added on the fly, without the need to ‘re-wire and recompile’ to make changes.

www.crestron.eu

IV6 arrives in the Community

AESTHETICALLY DESIGNED for indoor or outdoor applications,

I Series family with the addition of the IV6 Modular Vertical Array 600 system. The scalable, adaptive loudspeaker features widedispersion IV6-1122 array 12-inch elements that are available in both 5° and 15° vertical coverage versions. While maintaining the best qualities of long-throw line arrays, the IV6 offers up to 5° of splay between elements, thus eliminating to overcome the physical limitations of conventional line arrays. The accompanying single 18-inch above or behind any array for low-

Located on the rear of each loudspeaker, integrated Passive

Acoustic Optimisation (PAO) settings allow up to 55 different frequency response profiles to be

independently selected for each element in the array, bypassing the requirement for additional amplifiers or DSP channels. Furthermore, Community’s PAO module included within EASE Focus 3 software calculates the ideal PAO settings for each loudspeaker. Community has collaborated with audio rigging manufacturer Polar Focus to design a variety of colourmatched array frames that integrate with Polar Focus’ wide variety of install-friendly, array-to-structure hardware. IV6 loudspeakers are finishes for indoor applications. Weather-resistant versions featuring enclosures and optional powdercoated, stainless-steel hardware are available for outdoor applications.

www.communitypro.com

JBL widens the VTX A family

installations, such as theatres, houses of worship and live performance venues, with the VTX A12W.

engineered to create visceral impact at frequencies below the threshold of hearing. By focusing energy into a narrow band between 30Hz and 13Hz, variations in air pressure that are sensed by the body as compression waves.

VLFC houses two low resonant frequency 18-inch cone drivers and its on-board power is supplied by a 2-channel ClassAB/H bridged amplifier with MOSFET output stages for high peak power and ‘clean’ transient

footprint as the company’s 1100-LFC low-frequency control element, so users can reportedly use the same rigging grids and caster frames. The two products, when combined together, produce a linear bass response from 13Hz to 100Hz.

www.meyersound.com

Nova covers all bases

NOVA’S NEW Pariz integrated sound reinforcement system has been designed for both basic setups, such as conferences, and much larger concerts and live shows thanks to the system’s ability to adapt to a large variety of applications.

The P9 line array module features a dipolar arrangement with two 8-inch

for low frequencies of 27Hz, the port reportedly reduces noise from airflow down to a minimum. The optional 2-point rigging hardware is recessed into the cabinet’s enclosure, which enables the P18LEX to be flown in a column of subwoofers or at the top of a P9 line array module.

JBL PROFESSIONAL has added the VTX A12W line array loudspeaker to its VTX A range, featuring a 120° dispersion pattern for wide horizontal coverage. The Harman brand is targeting mid- to large-sized touring

When combined with a VTX A12 system in the lower part of a line array, the VTX A12W provides a wider pattern that reportedly helps balance coverage closer to the audience. The A12W is built with many of the same components as the A12 and includes the same low-, mid- and high-frequency sections. The difference comes with the redesigned Radiation Boundary Integrator (RBI) for reduced horn edge diffraction,

improved LF sensitivity, lower distortion and the 120° directivity down to 250Hz. The HF section integrates a phasing plug and waveguide for high sensitivity and linearity to suit high output levels, while the LF section includes Differential Drive woofers, with a dual magnet, dual voice-coil design

The A12W is constructed with a full-face grill design, available in an array of colours, that reduces the protecting them from all manner of environmental elements and achieving an IP55 rating. JBL has manufactured the cabinet to be lightweight and easy to rig.

www.jblpro.com

and a high precision 1.4-inch HF compression driver mounted dispersion. The loudspeaker cabinet includes a passive 2-way crossover said to ensure high efficiency in system cabling and amplifier reportedly eliminate side lobes, while said to provide precise mid-range coverage. The V-arrangement of the two 8-inch transducers and the two horizontal dispersion to 90° in the 700Hz to 1.1kHz frequency range.

The P18LEX is a cardioid subwoofer 18-inch neodymium transducer and incorporates a Neck Coupling Reinforcement membrane for a power capacity of 1,600W. Tuned

Finally, the TX20 is a 4-channel power amplifier said to offer a combination of power and audio performance combined with DSP and network control. The TX20 delivers 5,000W per channel or 10,000W for a bridged pair. The amp uses drive module presets, which are defined as the number of outputs driven from one DSP unit. The drive modules also allow for a less processorcentric and more speaker-oriented system design, according to the manufacturer. Up to 50 drive module presets are permanently stored inside the TX20 even if the TX20 is not being used with the Nova.Net software.

www.novacoustic.com

AMP-225

The P9

Plug-and-play comes to line array

DERIVED FROM the Latin words shine), Amate Audio has created the Nítid loudspeaker series for enhancing operational versatility with optimised plug-and-play set up and instantaneous operation. Following the recent launch of the Nítid stage monitors, the Barcelona-based manufacturer has extended its series roll-out with the addition of the N208 compact line array and N18W/N218W subwoofer systems. Targeted for use in mid-sized installations and live event productions, the new additions combine the same digital processing technologies common to the existing Nítid designs.

The low-frequency section of the 2-way active N208 incorporates two direct radiating 8-inch loudspeakers each outfitted with a 2.5-inch voice coil and neodymium magnet.

The HF/MF section comprises a 110° x 11° aluminium long-throw waveguide coupled with two 1.75-inch neodymium magnetic compression drivers. Designed in-house, the waveguide provides consistent signal reproduction over a greater distance than normally associated with compact line arrays, thus enhancing the number of applications for which the system can be deployed.

N208 arrays are configured in coupled pairs of active and passive cabinets in the same manner as those developed for the flagship X210 line array, while the active cabinet contains the 1,500W Class-D amplification and DSP control for both units. With a custom rigging design and wide selection of optimised DSP control presets, near instantaneous deployment of the N208 is enabled.

Matched for use with the N208, the Nítid N18W and N218W subwoofers contain single and double direct radiating 18-inch woofers, respectively, within bass-reflex tuned enclosures.

Both models are powered by Class-D 2,500W amplifiers and are equipped with dedicated DSP system control. A selection of presets configures the N18W and N218W for a wide range of applications, including various cardioid signal presets.

System control is accessed via the proprietary SensitiveTouch keypad technology, for which the

MM-Acoustics appeals to riders with the M26LA

HERALDING FROM Macedonia, MM-Acoustics has added a passive, modular line array to its touring line of products. Lightweight and compact in its design, the M26LA combines dual, symmetrically inserted 6.5-inch LF drivers incorporating 2.5-inch voice coils and a BMS 1.75-inch voice coil compression driver that can deliver 130dB SPL (continuous programme). Capable of producing 600W of continuous programme power, the 2-way design operates within a 70Hz to 20kHz (–6dB) frequency range. Measuring 580mm x 215mm x 350mm (WxHxD) and weighing

19kg, the M26LA is constructed of Baltic birch plywood and textured coating. Flexibility is enhanced as the rigging hardware is rated for up to 24 boxes per hang, while at the other extreme a pole mount adapter has been incorporated into the design for mounting two boxes.

internal crossover.

www.mm-acoustics.com

Work Pro debuts new line array elements

LCD display is located on the rear-mounted control panel. The interface enables rapid set up and recall of multiple system parameters for which an onscreen output power display helps monitor the system and ECO mode automatically powers down the amplifier in the absence of any signal. DSP control on the N208 includes a 5-band EQ menu with five equalisers, crossovers, delay, limiter, gain control, mute and input dynamic compressor. While selectable presets include dual, four and eight N208 units without and with subs, the cabinets’ custom rigging system and accessories provide ease of flying or stacking for rapid deployment of the Nítid line array.

The polyurea-coated birch plywood cabinets incorporate robust grilles and ergonomically designed handles. A range of accessories allow for flying and stacking of the N208, while the N18W and N218W subwoofers feature M6 rigging points together with M20 and M10 plate sockets for full-range enclosure coupling. Amate Audio’s universal switching mode power supply features on all three models providing 90% efficiency power supply to the amplifier circuitry with any mains condition between 85V and 265V AC.

www.amateaudio.com

THE SL 210 A and the SL 218 SA subwoofers are the latest additions to Work Pro’s Arion line array range. According to the manufacturer, the units form a system suited for use in demanding environments that require power, high-quality audio reproduction and controlled directivity.

The SL 210 A is a 2-way, biamplified line array element with the option of remote monitoring and control via Ethernet, a built-in DSP section and twin 1,000W peak Class-D Pascal amplifiers (both featuring a built-in universal power supply for international use). The low frequencies are handled by two 10-inch Faital Pro LF drivers and a bass reflex enclosure, while a 1.4-inch Beyma compression driver, with a polymer diaphragm, takes care of the high frequencies. The compression driver feeds the VI-10

waveguide which integrates the high frequencies from multiple SL 210 A units to create a ‘seamless’ HF response from the complete array. The SL 210 A provides 120° horizontal coverage and a maximum sound pressure level of 135dB. The frequency response extends from 18kHz down to 100Hz (–10dB).

The built-in DSP provides the EQ, level and phase adjustments required to produce a ‘faithful’ sound, no matter how many SL 210 A elements are being used in the overall array. The DSP also provides driver protection, with independent RMS/peak limiters for each bass and treble unit. All the DSP functions can be controlled directly on each SL 210 A unit via the rear-panel keypad and display.

By connecting a Windows computer to an SL 210 A-based array via Ethernet, users can control the array remotely via free software, monitor the array operating temperature in real-time, select factory presets for the correct number of SL 210 A elements in the array, choose the crossover frequency for the subwoofer(s) if in use, and apply delay and up to eight parametric room correction EQs.

Lower frequencies can be reproduced using the SL 218 SA subwoofer, which is powered by a 4,000W Class-D Pascal amplifier and can handle frequencies from 30Hz up to either 120Hz or 150Hz, depending on the exact user and system requirements. The SL 210 A/SL 218 SA system has been designed with audio installations, theatres and concert halls in mind. www.workproaudio.com

The rear panel of the SL 218 SA

Stacked SL 210 As

N208/N18W stacked

SL 210 A front

Better performance, quicker setup, immediate payoff: Digital 6000 was developed to exceed the expectations of audio professionals and business managers alike. Our new professional wireless series delivers reliable performance in even the most challenging RF conditions. Intermodulation is completely eliminated by Digital 6000, enabling more channels to operate in less space.

Discover more: www.sennheiser.com/digital-6000

Digital 6000 utilizes groundbreaking technology from our flagship Digital 9000. Dependability is guaranteed by our renowned Long Range transmission mode and proprietary audio codec. Digital integration is seamless with AES3 and optional Dante output. Monitoring and control of the two-channel receiver is at your fingertips, with an elegant, intuitive user interface.

Compromise is not an option when everyone is counting on you.

Rational Acoustics in Smaart update

RATIONAL ACOUSTICS has released a second major version update for the Smaart v8 measurement platform, Smaart v8.2. The free update includes feature additions, interface

Clair Brothers expands One Series

module that allows users to power a passive 1.5AM with a slave output. The 1.5AM+ can

Live Manager adds to APG appeal

while the fourth,

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Klipsch provides a reference

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Shure control expanded in StageMix Version 7

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www.klipsch.com

SPEAKERS

for any application

We supply sound, not equipment.

i r p c r r ai R hl r i r ir c r i ri a pr c l p a Sh r i h r i h C S a Mi a S a Mi ac ir a C r ar a Th i p pa chi c i a i r i ha pa i cl a l icha l i p pa ch c i ha all l ipl c c i i p cha l pa ch a a r p

www.shure.com

www.yamahaproaudio.com

Mixing using StageMix Version 7

A&H adds sE Electronics to ProFactory presets

sE Electronics’ V7 with Allen & Heath’s Qu-32

FOLLOWING COLLABORATIONS with Shure, Sennheiser and channel libraries for its Qu series

Mic Presets ‘offer engineers of all

abilities an ideal starting point to effects and snapshots are

Avid Venue S6L update enhances monitor mixes

AN UPDATED version of the Avid software update and On-Stage app introduce a range of updated control walking around on stage, hearing Meanwhile, the app allows up to 16

taken this one step further with the Qu series,’ said Toni Scherrenberg, added an effects unit to its GLD subtle effects through to heavier www.allen-heath.com

Windows gains full TouchMix-30 Pro recording capabilities

WINDOWS DAW users are now able to access the recording capabilities of the QSC TouchMix-30 Pro with the latest

offering a studio-grade 32x32 channel DAW interface, that up until now was the sole preserve of

The TouchMix-30 Pro was itself launched as an enhanced version of the standard TouchMix

production professionals and live

predecessors, the TouchMix-30 Pro has 16 outputs that add to the

‘Pro’ features include a 10-inch

As well as On-Stage app support, access to sends in addition to with the new Sends on Faders

Offering over 300 processing channels, the S6L incorporates touchscreen workflows, ProTools on-

www.avid.com

eight sub-groups with 6-band full

120 presets and six stereo effects

new ceiling speaker to its

inch, full-range loudspeaker such as distance conferencing

Advanced voicing filter sets using the AC-C2T includes a 4-pole www.qsc.com

ClearOne provides upgrades with extended capabilities

THE DIALOG 20 2-channel bandwidth is delivered through

ClearOne’s new P-Link (peripheral and control connections with the P-Link connects to peripheral

incorporating ClearOne’s adaptive

additional cost, Collaborate Pro

narrowband interference because it

Collaborate Pro supports traditional cloud video and web conferencing,

presentation and professional audio www.clearone.com

The Dialog 20 wireless microphone system

AC-C2T

The Venue S6L console

NEVER BEFORE HAS THE AMPLIFIER REACHED SUCH A HIGH LEVEL OF INTEGRATION

International trade fair for event techology

HALL 3.1 BOOTH C17 10.– 13. April 2018

Frankfurt am Main www.powersoft-audio.com

Studio-quality mic on the move

SPECIFICALLY CREATED for USB connection to an iPad, iPhone, Mac or PC, the Apogee MiC Plus is a portable microphone that can be used for voiceovers, vocals, instruments and interviews.

The cardioid condenser capsule incorporates a PureDigital connection offering audio quality up to 24-bit/96kHz together with 46dB of digitally controllable mic preamp gain.

The plug-in and record MiC Plus requires no configuration and operates as an audio interface once connected to a computer or iOS device, by recording into an app.

Combining a microphone, microphone preamp and AD and DA converters, the MiC Plus also features a 3.5mm stereo headphone output and Blend function for zero latency monitoring. The Blend setting on MiC Plus provides ease of adjustment when monitoring the microphone input heard in

Dan Dugan increases automixer functionality

THE DUGAN Model M and Dugan Model N automatic microphone mixers from Dan Dugan Sound Design have both received upgrades to increase their functionality in their primary role of managing live microphones in unscripted talking situations.

Updates to both units include the addition of six internal mix busses that can be sent to any outputs or used as Music System threshold inputs. Mix bus matrix inputs include all processed channels and all unprocessed inputs. In addition, the Dugan Model N’s Dante functionality now includes AES67 compatibility, device locking and Dante Domain Manager compatibility.

comparison to the recorded signal coming from the software.

www.apogeedigital.com

Clarett goes USB

FOCUSRITE’S CLARETT range of audio interfaces has recently gained USB connectivity. Previously only available for use via Thunderbolt, the new USB models retain the majority of the other features of the original Clarett models, including the –128dB EIN low-noise mic pres, 24-bit/192kHz AD and DA conversion, and –119dB dynamic range.

The Clarett USB range currently consists of three models providing a variety of I/O configurations. The USB 2Pre features 10 inputs and four

outputs as well as MIDI I/O and an ADAT input.

The USB 4Pre offers 18 inputs and eight outputs and also adds S/PDIF I/O and two headphone outputs.

The USB 8Pre retains all of these features and also offers 18 inputs and 20 outputs. USB connectivity includes both standard USB cables as well as the newer USB-C.

Included software is from XLN Audio, Focusrite, Softube, Ableton and Loopmasters.

www.focusrite.com

The automixers have been designed to work with standard

audio mixing consoles. The Model M has MADI I/O, both optical and copper, while the Model N has Dante I/O, primary and secondary. Both models provide 32 channels of Dugan automixing at 96kHz or 64 channels at 48kHz and are PoE capable. The Dugan Speech System, Music System and Gain Limiting are all supported. In addition, the M and N include a scene memory that can record and recall all operating settings, either globally or by unit, in a library of named scenes.

Meanwhile, the manufacturer has also unveiled the Model E-2A, an automatic microphone mixing controller with analogue and ADAT I/O. The E-2A incorporates 28 channels of processing (12

One for the Tube Heads

HAFLER’S HA75-DAC is a tubeUSB digital-to-analogue converter, featuring XLR and RCA analogue audio connections. It builds on the HA75 Tube Head by adding a USB DAC for digital audio playback at up to a 192kHz resolution, allowing for the connection of a computer along with separate analogue audio sources. Analogue and digital inputs are selected via a front panel selector switch.

The on-board 12AX7 tube reportedly provides the HA75-DAC with tube character and ‘natural compression when pushed hard’. A non-radiating charge pump applies 140V to the tube for optimal headroom and vintage inspired warmth, while the device’s Focus control can be used to simulate the

ADM comes to Prism Sound interfaces

PRISM SOUND’S Titan, Atlas and Lyra audio interfaces and its Sadie workstation have been updated to support ASIO Direct Monitoring (ADM). ADM allows mixers in the interface device to be automatically controlled from within a DAW environment. This means, for example, that users recording to a

DAW can reportedly achieve near zero latency for performer foldback when ADM is activated in the software.

‘By including ADM functionality in our audio interfaces, it is possible to automate the operation of the interface mixer by combining it with muting of the corresponding

effect of listening to live speakers in a room. The unit’s headphone load impedance selector can complemented by a three-position voicing switch that can boost low frequencies, increase overall loudness or set to bypass for neutral voicing.

The Radial Engineering division has also released the PH50B and PH60B phono preamps, which

balanced analogue plus 16 ADAT) and supports all Dugan algorithms: Speech System, Music System and Gain Limiting. Channels may be grouped into three independent automixers. A six-bus pre/post matrix mixer is also provided, with 56x6 capability. The Model E-2A may be controlled remotely via the Dugan Control Panel for Java (included) or the Dugan Control Panel for iPad (sold separately); tactile remote control is available via the Dugan Model K Control Surface, also sold separately. The Model E-2A replaces the Model E-2 and can be linked with additional E-2A units as well as other digital Dugans.

www.dandugan.com

include unbalanced RCA and balanced XLR outputs. Inspired by the resurgence of vinyl, these, the manufacturer states, ‘address a growing market for high-quality, standalone phono stages’ by building upon the PH50 and PH60 with additional connection options for pairing with mixing consoles and recording interfaces.

www.hafler.com

channel in the workstation,’ explained Prism Sound’s sales and marketing director, Graham Bowell.

‘This is a much smoother and more convenient solution for end users who want to switch to a low-latency input monitor path for recording.’

www.prismsound.com

HA75-DAC

Clarett 8Pre USB

Screenshot of the Sadie workstation

No frills Dante

TWO NEW multichannel audio interfaces have been launched by TASCAM that it describes as providing Dante connectivity without ‘unnecessary features like mid-level microphone preamps, MADI and S/PDIF interfaces, and other little-used functions’ that merely add cost and complexity. Supporting digital audio at up to 24-bit/96kHz, both units house analogue line level I/O via D-Sub connectors (eight on the ML-32D and four on the ML-16D) and feature front panel LED meters to display both signal level and overload for each active channel. The ML-32D and ML-16D allow engineers to connect 32 or 16 channels of audio

between the analogue domain and Dante-enabled digital components, including the manufacturer’s DA6400, SS-R250N and SS-CDR250 multichannel audio recorders.

Additionally, the Japanese company has also recently launched a new media player that combines a slot-loading CD player, AM/FM tuner, SD recording capability and Bluetooth wireless and USB connectivity. The CD-400U can record from CD or the AM/FM source to CD or to USB media.

The player houses XLR balanced outputs, RCA unbalanced main outputs and a second set of RCA unbalanced outputs dedicated to the AM/FM source in 1U space.

1/2 VIO S318 Active semi-horn loaded bassreflex subwoofer LF 3x18” Frequency Response (-10dB) from 35 Hz 3x DIGIPRO® G3 Class D 2700W/RMS Amplifier Max SPL 143 dB Delay control up to 9.9 ms On-board cardioid array configuration preset

An -inch auxiliary input takes in audio from external sources, combining with the Bluetooth wireless. A ¼-inch stereo headphone output enables quick monitoring of operation. A standard RS-232C terminal enables external remote control, while an optional IF-E100 Ethernet card will provide IP control over Ethernet in an upcoming release. A two-line backlit LCD displays the settings for easy programming and operation. Furthermore, once configured, a Panel Lock function can disable the panel buttons to avoid unauthorised operation.

WHILE RME has based its ADI-2 DAC on its ADI-2 Pro AD/DA converter, the manufacturer insists that the new 2-channel digital/ analogue converter is more than just a stripped-back version. The removal of the Pro’s analogue inputs, digital outputs and the balanced headphone mode reportedly created space on the PCB for more relays, a different double symmetrical attenuator circuit and one additional buffer OP amp. Offering up to a reported

120dBA signal-to-noise ratio, the half-rack, 1U, 32-bit/768kHz reference converter features RME SteadyClock technology, 5-band parametric EQ, bass/treble adjustment, Crossfeed playback and loudness control for the analogue stereo outputs. Operation is through three encoders with push-button functionality and four further buttons to access dedicated menus. The unit reportedly remembers all current settings, including the menu position. The

PAGE Island

1/2 PAGE Island

www.tascam.com

AUDIONAMIX HAS released a new version of Trax that it claims can separate any song into three individual stems automatically. The Xtrax Stems software is being targeted at DJs and musicians that are looking to manipulate multitrack content during live sets and performances; however, it can also be used as a practising tool, allowing musicians to play along with their favourite tracks with, for example, the drums or vocals muted.

XTrax Stems is also intended to form an entry-point into the manufacturer’s complete line of audio separation software, which includes ADX Trax Pro, ADX SVC and ADX VVC. The software is currently only available for MacOS 10.11 to 10.13 users. The four cloud-based separation algorithms used by the software also mean that a high-speed internet connection is required.

www.audionamix.com

ADI-2 DAC more than VIO L210 Active 2-way line array module HF 1x1.4” Neodymium LF 2x10” Neodymium DIGIPRO® G3 Class D 900W/RMS Amplifier Max SPL 135 dB On-board double rotary EQ Control System

launches separation software VIO S118 NEW Active horn-loaded flyable subwoofer LF 1x18” Neodymium Frequency Response (-10 dB) 33 Hz DIGIPRO® G4 Class D 1600 W/RMS Amplifier with PFC Max SPL 139 dB Modular slot for expansion cards System auto-test for quick diagnostics

UA emulates EL8

UAD SOFTWARE v9.4 for UAD hardware and Apollo interfaces will include Universal Audio’s Empirical Labs EL8 Distressor Compressor plug-in. The plug-in has been created in collaboration with Empirical Labs and its founder, Dave Derr.

The Empirical Labs EL8 Distressor Compressor plug-in reportedly provides all the features and sound of the original Distressor design.

The manufacturer’s team of DSP experts started with a complete circuit trace and component study of Dave Derr’s selected golden unit. Simultaneously, the team analysed three more Distressors representing the lifetime of the product, creating what the manufacturer describes as ‘one of UA’s tightest circuit models to date’.

www.uaudio.com

just a stripped-back ADI-2 Pro

unit’s whole setup, as well as equaliser settings, can be stored under individual names.

The DA converter features two headphone outputs, including a dedicated in-ear connection. Input options include a coaxial SPDIF connection, an optical SPDIF/ADAT connection and a USB 2 port.

After DA conversion, the analogue signals are available at the stereo XLR and stereo RCA outputs, or at the TRS standard and mini-jack outputs of the headphone amp.

Back to basics

THE LATEST addition to Waves

Audio’s plug-in catalogue has seen it draw upon an industry standard to assist engineers mixing in a DAW. It has launched the Waves VU Meter to help set proper recording levels and to mix with adequate headroom and a wellbalanced gain structure.

The manufacturer states its plug-in offers ‘unparalleled smoothness and perfect ballistic response

that equals the best hardware VU meters’. The plug-in can be loaded on any or all tracks while recording in order to make sure recording levels are not too hot, or inserted on the master bus and pinned to the screen for a visual reference of overall levels.

According to mixing engineer, Fabian Marasciullo: ‘Waves’ VU meter plug-in will be extremely helpful for younger mixers as they

learn how to build proper gain stage in their sessions. It will help them see things, like why their tracks are distorting, in ways that

The ADI-2 DAC has a USB recording function for incoming SPDIF signals, meaning it can work as a 2-channel USB audio interface, capable of recording at sample rates up to 192kHz and playing backup to 768kHz, both PCM and DSD signals.

The unit features a high-resolution IPS display with AutoDark mode that automatically switches off the display and all the LEDs after 10s.

www.rme-audio.com

Martin Audio adds Focus

COMPATIBLE WITH EASE

are hard to understand with just a DAW meter.’

www.waves.com

Focus 3, Martin Audio has introduced GLL loudspeaker measurement data for many of its point source loudspeakers. EASE Focus 3 from AFMG Technologies is an acoustic simulation program for 3D modelling that enables users to views and receiver locations while calculating sound coverage and frequency response.

www.martin-audio.com

Next-generation control processors from Apex

DEVELOPED IN

system techs and

announced. The Intelli-X3 648 is a 1U system management processor with optional Dante capacity for full network redundancy.

circuitry and mastering-grade and WaveCapture LiveCapture.

as offering all of the audio tools

also provided. Wireless access to Intelli-X3 devices allowing direct control over a wireless network.

simultaneously.

into any network via internal IP configuration is provided as play connectivity and more rigid IP assignments for use in fixed installations. SNMP support is

Conference connections

SHURE’S INTELLIMIX P300 audio conferencing processor is now shipping. The P300 offers Shure IntelliMix DSP algorithms and connectivity with Shure

Wireless solutions. According to a small footprint and is simple conferencing technology that offers just the right set of features

small-to-medium-sized rooms’.

re-engineered front panel with from multiple PC devices simultaneously.

www.apex-audio.eu

Wenger Trancends real-life acoustics

the stage area storage space to

structure from their ceiling or lack the resources to set up and remove a shell onstage. Its focus is on improving the acoustics onstage for

Transcend system extends the

The processor connects up to eight Dante microphone channels in a

noise reduction and automatic while the 3.5mm connector means the conversation.

www.shureasia.com

Audio Precision supports A2B performance testing

AUDIO PRECISION has systems supplier Mentor to support multichannel audio performance

together with clock and power over a single wire.

APx500 audio analysers and

ACOUSTIC SPECIALIST Wenger

on the development of two new acoustic systems for performance

and singers can hear on stage as well as the acoustic options for facility managers seeking a more multi-purpose venue. In contrast to Wenger’s traditional passive Transcend Acoustical Shells pair a

Wenger processer with Lexicon’s active acoustic system technology

dead to accommodate modern musical performances or making a dry acoustic space more lively to facilitate natural spoken word reproduction.

designed for those venues that lack

encompassing the entire area. Wenger’s isn’t the only active acoustic system currently on the promises the need for fewer microphones and speakers to system.

www.wengercorp.com

TSL blends the best of both

TSL PRODUCTS’ Monitor Plus

Audio range (MPA) has gained a new addition in the form of the MPA1 Mix SDI. The new unit provides

of handling mixes comprised of

audio sources.

The manufacturer states the MPA1 Mix SDI is ideal for confined MPA1 Mix SDI allows users to simultaneously monitor up to 16

An A2B test case example

platform provides straightforward

The APx delivers multichannel audio measurement analysis and custom test solutions.

www.ap.com www.mentor.com

sources. The device displays audio level meters and mix configurations on its front panel display as well as

network connectivity for software

some new features via a software update. For the MPA1 Solo Dante

networks. The entire MPA1 range level meters that feature integral phase meters as standard.

www.tslproducts.com

Evolution Series Evolution Series

A series of high-intensity touring and installation loudspeakers, engineered for even coverage, outstanding control and unforgettable audience experiences. Now featuring the recently launched Evo 7T mid-high and Evo 7TL-215 mid-bass speakers

Studio Technologies increases Dante focus

STUDIO TECHNOLOGIES has put a further focus on Dante with a pair of releases.

Its new STcontroller software application offers a means of confirming and revising microphone input parameters associated with several of Studio Technologies’ Dante-compatible products. Upon executing, STcontroller automatically identifies compatible devices on the Dante network. The Dante device names will be displayed and then

the user can select and control the desired units.

The initial release of STcontroller supports the Model 214, 215 and 216 announcer’s consoles, the Model 5205 mic/line to Dante interface, and the Model 5414 mic/ line input and line output interface.

Using the application, microphone input parameters can be observed and adjusted, specifically the gain of the microphone preamplifier circuitry and the on/off status of the P48

phantom power source. In addition, STcontroller allows the on/off status of the Model 5414’s high-pass filter function to be selected.

The second release is an announcement that the manufacturer has updated all of its Dante-enabled products to be compliant with Audinate’s upcoming Dante Domain Manager network management software.

www.studio-tech.com

Delivering audio to multiple targets

DESIGNED TO integrate multiple IP audio codecs for program distribution for studio-to-studio links, studioto-transmitter links, DVB and web radio, the IQOYA *X/Link hardware audio over IP codec from Digigram allows connectivity to legacy audio infrastructures (analogue, AES/ EBU) and full IP audio infrastructures (AES67/Ravenna). The number of supported stereo I/Os ranges from one to eight.

IQOYA *X/Link allows multiformat encoding and multi-protocol streaming of each input program, as well as IP audio transcoding.

Using the manufacturer’s FluidIP technology, the hardware offers a set of features that reportedly provide reliable transport of

Symetrix releases Composer v5.6 update

SYMETRIX HAS released Composer v5.6, the latest version of its programming software for Windows. With Composer v5.6, the web interface diagnostic page now shows Dante-related diagnostics, and each DSP unit supports

connections with up to four Shure devices.

Additionally, there are now Juice Goose Super-modules to control its series power sequencing and control devices. These Super-modules, which feature a new graphic user

interface, provide simultaneous user control of each individual pod, enabling the user to individually or sequentially power the pods up and down. Composer v5.6 supports the Control Server and USB Audio Card

Audinate creates bridge for Brooklyn II Dante modules

WITH THE release of Dante

audio networking module, Audinate has provided critical support for Dante Domain Manager (DDM) together with performance release allows manufacturers to existing launched products making them DDM-ready. As a key component in the Dante 4.0 system update, Brooklyn II v4.0 will implement DDM support across the Dante ecosystem, allowing only those products to fully participate in Dante domains.

DDM brings new functionality to Dante networks including user authentication, role-based security and audit capabilities, while allowing almost unlimited expansion and organisation of

Dante Domain Manager

Dante systems over any network topology.

Meanwhile, Audinate has released a soft IP solution entitled Dante IP Core, said to allow OEMs working with FPGA-based designs to add Dante connectivity to A/V products at a ‘lower cost and with greater flexibility than ever before’. Dante IP Core runs alongside OEM product applications such as ASRC, audio

encryption and signal processing on a range of Xilinx FPGAs, reportedly providing channel counts up to 512x512 with low-latency and submicrosecond synchronisation. The solution also incorporates SiLabs clock synthesis, serial and parallel audio, DDR2, SRAM and a variety of standard control interfaces.

www.audinate.com

audio content over managed and unmanaged networks (FECs, redundant dual streaming with time diversity, VLANs, QoS, IGMPv2 and v3) and audio service continuity on transmitter sites (three backup levels, backup on SD card and switchable hardware bypass of the first audio input to output in case of power supply failure). It also offers four RJ-45 network ports and two internal redundant power supply units.

In other news, Digigram has also provided an MPX option for its IQOYA

*Link and IQOYA *Link/LE STL audio over IP hardware codecs. The audio codecs will now allow for the transport of the MPX signal directly from the studio to the transmitter sites via a software option. The input MPX signal can be analogue or digital (MPX over AES192), and the output MPX signal is delivered in both formats. This solution reportedly eliminates the need to deploy and maintain several pieces of equipment at each transmitter site.

www.digigram.com

and, in addition to programming Symetrix DSPs, it natively configures the set up and routing of Symetrix Dante I/O Expanders as well as select third-party Dante endpoints. Integrators can design a complete end-to-end DSP signal path with just one application.

www.symetrix.co

Jünger Audio adds Dante and MADI connectivity

BROADCASTERS OPERATING on the modular C8000 audio processing system have been handed a simple and convenient interconnection following the release of Jünger Audio’s two new interface cards.

The German manufacturer’s C8315 and C8316 dual interface cards provide 64 inputs and outputs for the Dante network and support operation in AES67 compatibility mode.

As an additional feature, both cards are also equipped with an independent MADI interface, while the C8316 version is equipped with a parallel MADI BNC output. Through a special 1:1 hardware mode, they can be used as a direct bridge between AoIP and MADI without occupying the C8000 system’s audio busses.

They differ in the assembly of the MADI interfaces with BNC sockets (C8315) or an SFP cage (C8316),

for the use of optical modules in multi- or single-mode optical fibre operation.

www.junger-audio.com

IQOYA *X/Link

STcontroller interfaces

The C8315 module

USB Audio Card

THEY HEARD, “BAD NEWS, THE BUSINESS IS IN TROUBLE.”

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

biamp.com/devio

Samson’s new options for micro-transmitter

SAMSON’S RECENTLY released ATX series micro-transmitter UHF wireless systems (see Pro AVL MEA January/ February 2018, page 50) has already undergone an expansion. The series the AWX Wind Instrument, but is now presenters.

around the system’s ATX Micro Transmitter. The AHX Headset

Flexibility and stability for DJs

THE GRAVITY LTS 01 B is a laptop DJs, music producers and other

slipping.

headset with a DE10 miniature condenser microphone.

The AHX Fitness Headset system includes a double ear headset with a water-resistant Qe condenser mic.

an LM8 omnidirectional lavalier microphone with a mic lapel clip.

www.samsontech.com

Adam Hall’s Gravity stands range, with diagonal screen lengths between 12 inches and 17 inches as well as music production controllers, including the Novation Launchpad, the Native Instruments Machine and the Ableton Push. The stand’s patented design is based on a lightweight aluminium construction and is made to

base, the LTS 01 B can also be

or attached to a table edge to save space via the clamp supplied.

saving storage.

www.adamhall.com

www.gravitystands.com

Klang adds EQ

Klang KOS 3

KLANG:TECHNOLOGIES HAS added parametric EQ to its 3D in-ear mixing system with the

input signal when no dedicated monitor console is available. The

root intensity reportedly allow users to gradually blend in the

characteristic can also be adjusted.

an output mix EQ with presets and output phase invert. In the Channels Setting View, a channel groups, shown with their respective colour and icon. Users can also assign a group colour to all group

This provides users with the placing sound sources more easily. The Compact Device List View means that when channels are soloed in the Fader View, the Stage

do not need to switch between snapshot.

www.klang.com

The AHX Headset system

Biamp and Attero Tech collaborate on wall plates

DEVELOPED IN collaboration with Attero Tech, Biamp Systems has released a new line of Dante wall plates speci cally a ailable for its protocol-agnostic Tesira DSP platform to enable audio connecti ity, control and indi idual de ice monitoring A ailable in three models to address a range of input needs, the wall plates operate by irtue of the latest Tesira software program Speci c wall plate elements include audio input signal types, mute state, olume le el, in ert state and source selection The platform also features a locate function, which enables IT personnel to identify the location of a speci c wall plate within the software

The software can also act as a single point of connection for third-party control systems using Biamp’s control API, Tesira Text Protocol TTP As a result, the control commands can be routed through the Tesira software and onto the indi idual plates, reportedly offering an impro ed scalable solution

urthermore, Tesira monitors connections to indi idual de ices and a fault is triggered if communication from a de ice

drops A fault message identifies the specific wall plate in the de ice logs, in the software’s fault reporting window and on the front panel of Tesira ser er-class de ices

A ailable in either blac or white, the Attero Tech wall plates are identified with a ‘-B’ at the end of each part number, for which the unD I includes four R inputs and two line outputs The unD 2IO model features two R inputs, two R outputs and two line inputs inally, the unD IO incorporates two R inputs, two RCA or mm inputs, two mm outputs and two line outputs ‘While Tesira has always been capable of connecting audio to and from Attero Tech’s Dante wall plates, it’s the newly added capability of controlling and monitoring the wall plates directly through the software that truly benefits our customers,’ said Zach Snoo , audio products manager for Biamp

www.biamp.com

Time-saving lighting control

EATON’S ZERO 88 brand has launched a pair of new additions to its range The S2 and S 8 lighting control consoles form the S series and are designed for ease of use, exibility and sa ing time when programming They are capable of controlling up to 8 and xtures, respecti ely Both consoles ma e use of the manufacturer’s RigSync technology, which eeps them in sync with a lighting rig, without the user re uiring any nowledge of DM or patching The uidance feature wal s users through the console’s ey features Colour, meanwhile, can be controlled ia four encoder wheels or the 7-inch, multi-touch display present on each console The display pro ides access to Zero 88’s colour and image pic ing

interfaces, as well as Mood Boards by ee ilters The multi-touch pan tilt grid, the encoder wheels or the application of automatic mo ement effects can be used to control mo ing lights

Common functions ha e dedicated buttons and a Master o button enables theatrical-style playbac iOS and Android apps also allow tablets to ser e as wireless touchscreen monitors and smartphones to act as remotes, pro iding wireless control of the rig and allowing the user to manipulate, control and playbac their shows

Additionally, Apple Watches can be used as a focus tool for the S consoles

www.zero88.com

Dante wall plates

Litepanels continues to look to the stars

LITEPANELS HAS built upon its Astra 1x1 panel format to offer a 50% increase in output with reduced power consumption and longer battery run times with the latest generation of Astra 3X

the flexibility to adjust the beam angle on the go. The manufacturer also states that the bi-focus panels provide ‘the punch of a spot when shooting on location and when working with natural sunlight’. Also new from the Vitec Group brand are the Sola 4+ and Sola 6+ daylight-balanced Fresnel LED lights. Compared with their nonplus counterparts, the Sola 4

LynTec offers Whole Venue Control

LYNTEC’S WHOLE Venue Control has been developed to allow lighting professionals to mix and match the manufacturer’s panels and control them as one across a venue. The same is true of the company’s electrical power control solutions. Users can set up, control and monitor all AVL sequences or DMX lighting zones across a facility by connecting to a single IP address.

the same network. This means that our customers can now put the right panel in the right place.

Meanwhile, the bi-focus editions allow the operator to switch from a 48° flood to a 15° concentrated light by turning a dial. They incorporate custom optics with two lens sets and are designed to offer

‘Previously, each LynTec controller interface could only display one panel type and customers could not have control zones that extended across multiple panel types,’ explained Mark Bishop, president of LynTec. ‘Now, with Whole Venue Control, we’ve made it possible to extend zones across motorised circuit breakers and relays within

‘The new NPAC solution gives customers a rack-mounted power control for lighting control,’ Mr Bishop added. NPAC is a ready-toinstall power and zoned lighting 2U management solution that is part of the Whole Venue Control line-up and can manage up to 80 amps. It is built to protect and control installed entertainment AVL systems across multiple zones via multiple control protocols (HTTP, Telnet, sACN and DMX) and simple contact closures. The NPAC series comprises 120V and 240V models that feature four 20A circuit inputs.

www.lyntec.com

Series and 6X Series LED lights. This equates to the new Astra 6X being six times brighter than the original 1x1 version, while the Astra 3X is three times brighter than its predecessor. There are two versions available for both the Astra 3X and 6X solutions: daylight and bi-colour models. The bi-colour models are equipped with high-CRI, surfacemount LEDs and a soft diffusion panel designed to induce a soft wrap-around quality and to remove ‘the edge’ from reflective surfaces.

Picasso turns to the stage

ANOTHER LIGHTING option has joined Elation Professional’s Artiste Artiste Picasso. Models in the Artiste series derive their names from famous artists in a nod to the promises to offer. With a stated output of 22,000 total lumens, the Artiste Picasso becomes the most powerful unit in the series and houses a new 600W, 8,000K Cool White LED engine with advanced optics. Elation boldly dubs the product ‘one of the brightest and on the market today’. Additionally, its standout features include an ultra wide 7° to 53° zoom, CMY colour mixing and linear CTO colour correction, seven dichroic colours, seven rotating glass and seven static-stamped metal interchangeable gobos. The Artiste Picasso also integrates a 4-blade rotating framing shutter system, full

360° bidirectional animation wheel, 8-facet and linear rotating prisms, and a high-speed electronic shutter and strobe.

Connectivity options include DMX, RDM (Remote Device Management), Art-Net and support for the sACN protocol.

and Sola 6, these new fixtures offer 120% and 50% increases in output, respectively. They are able to control both focus and intensity via standard DMX 512 protocol with single-shadow properties for cutting and shaping. Sola 4+ and Sola 6+ can be powered via DC and reportedly operate without the heat generation of a traditional Fresnel.

www.litepanels.com

Robe extends PATT family

THE LATEST member of Robe’s growing PATT family of ‘scenic’, retro-styled luminaires is a highpowered, multi-coloured RGBW

The virtual colour wheel provides 66 pre-set swatches, while the preprogrammed pixel effects include colour, dimming and strobe chases, waves and

In addition to the manufacturer’s E-Fly internal wireless DMX transceiver, physical connections include 5-pin XLR, RJ-45 etherCON and powerCON True1 in/out. Onboard Control is via a full colour 180° reversible menu display or 6-button touch control panel on the base of the unit.

The American manufacturer has also debuted a line of LED-based Fresnels named the KL Fresnel Series. With KL standing for Key Light, the series has been designed to produce ‘the warmer, natural key light that designers desire’. A 3,000K fixed colour temperature and high CRI of over 97 is said to ideally mimic the output of tungsten halogen lights. Available in 50W, 150W and 350W models, all KL Fresnel models house a motorised zoom and include barn doors and a filter frame.

www.elationlighting.com

housed in a slim, lightweight, brushed metal frame. onePATT can

used for matrix-style and other geometric as well as single source illuminations.

An integral intelligent electronic control system reportedly guarantees flicker-free operation and overtime protection. The LED also provides remote-addressing, calibration, status messaging, a dedicated power supply, easy remote maintenance and longterm reliability, according to the manufacturer.

With a minimum life expectancy of over 20,000 hours, the fixture offers individual control of each RGBW pixel and a variable CTO between 2,700K and 8,000K.

pulses at variable speeds and directions. The electronic shutter provides a variable speed strobe of up to 20 flashes per second. Control of the fixture is via USITT DMX-512, RDM, Art-Net, Kling-Net or sACN protocols. The fixture’s maximum operating ambient temperature is 45°C, the maximum surface temperature is 70°C and the minimum operating temperature is –5°C. onePATT measures 321mm (H), 309mm (W), 151mm (D) and weighs 2.1kg. Up to seven onePATTs can be connected to PATT Driver, the company’s power/databox specifically designed for pixelPATT, PATT 2017 and onePATT products. www.robe.cz

Astra 6X

Sola 6+

Astra 3X

Sola 4+

J8 EVOX J8

ACTIVE TWO-WAY PORTABLE ARRAY

BE AMAZED!

The RCF J8 features a line source satellite module with eight 2” full-range drivers paired with a high-powered 12” woofer in a bass reflex enclosure. All powered by on-board 1400W Class-D amplification. The EVOX J Series maintains a similar footprint to the original EVOX systems, now in a portable composite enclosure. The system offers stunning sound performance with crystal-clear vocal reproduction and unparalleled musical response. Also available in white.

• 128 dB Max SPL

• 1400 Watt 2-way peak power

• DSP Processing with FiRPHASE

• 12” woofer, high power 2.5” voice coil

• 8 x 2” ultra compact fullrange 1.0” voice coil

Projecting to the masses

WITH SIZES ranging from 200 to 265 inches, Elite ProAV has released Saker Plus, a large venue electric motorised projection screen. The screens are available in six sizes: 200, 235 and 265 inches in 4:3 format; and 200, 235 and 265 inches in 16:9 format.

The screens incorporate a MaxWhite 1.1 Gain front projection surface that offers a wide viewing angle and is said to uniformly diffuse light in all directions. They are active 3D, 4K ultra HD and HDR ready, and incorporate standard black masking borders and black screen backing. Ring bolts are included to allow for installation from a suspended ceiling. The RJ-45 port allows third-party

control system integration, while a wireless 5V to 12V trigger is included for synchronised operation with the projector’s power cycle. There is a detachable 3-way wall switch keypad for up/ stop/down manual operations and internal radio frequency/infrared receivers with IR and RF remotes are also included.

The screens are plug-andplay ready and do not require any hardwire installation.

www.eliteproav.com

Christie hits a purple patch

DESIGNED FOR rental, staging and xed installation applications, Christie Digital has added the Crimson series of 3DLP laser phosphor projectors to its product catalogue. Capable of delivering up to 25,000 ISO lumens for up to 20,000 hours of light with 60Hz processing, the Crimson Series incorporates BoldColor Technology, TruLife Electronics for ultra-fast processing and Christie Twist warp and blend capabilities. With the addition of Christie Mystique, multiple projector calibration

times can be reduced to save both time and set up costs. Housed in a compact form factor almost identical to the Christie Boxer chassis, the Crimson projectors come with an IP5X sealed, solid-state laser light source and provide quiet operation and 360° orientation. For 3D visualisation or simulation applications, the Crimson HD25 and Crimson WU25 projectors offer higher frame rates and up to 120Hz processing. Existing Christie M Series and Christie J Series customers can

BroaMan receives a signal

BROAMAN HAS expanded its Repeat48 range with the Repeat48-2Fiber module. It can be used to convert from multi-mode to single-mode fibre or to/from any CWDM or DWDM transceiver thanks to its two SFP cages.

Repeat48-2Fiber supports transceivers up to 12G and can reportedly be used for 12G video or 10G IP systems. ‘It is now possible to fully integrate 12G video with IP video workflows and run all on the same fibre infrastructure, even on single fibre’, stated BroaMan

Individual Repeat48 or Repeat48WDM devices can be equipped with up to 12 Repeat482Fiber modules, or up to six Repeat48-2Fiber modules can be mixed with up to six SDI-Fiber converter modules.

technical sales manager, Maciek Janiszewski.

Alternatively, SFPs can be used with direct SDI, HDMI or RJ-45 connectivity.

www.broaman.com

Crimson

upgrade to the Crimson WU25 and HD25 models without needing to purchase new lenses.

The manufacturer is expanding its D Series line-up with three new single-lamp models,

which are available with up to 8,100 ISO lumens and both WUXGA and HD resolutions. The projectors offer 65,000:1 contrast ratio, 3,000 hours of lamp life and simplified integration. Reportedly offering high brightness at roughly half the cost of competitive laser phosphor units, the LWU720i-D, LWU620i-D and LHD720i-D projectors have been designed as an alternative to laser phosphor projectors.

www.christiedigital.com

Saker Plus

DESIGNED TO enable faster set up time, lower maintenance requirements and a lower Total Cost of Ownership, AV Stump has created a protot pe pro ection accessor for its entire 2mm screen s stems

DESIGNED TO meet toda s demands for large-scale, multidispla , 1080p signal transmission,

Aten s V 8 00R ideo o er IP

recei er and V 8 00T ideo o er IP

transmitter deli er isuall lossless

Large-scale solutions from Aten Big changes in small packages for AV Stumpfl

1080p A V signals with low latenc over long distances via a standard igabit networ According to the manufacturer, the V 8 00R and V 8 00T are effective, eas -to-use and economical digital signage solutions for a wide range of environments, such as trade shows, airports, universit campuses,

Christened the T-32 Shift, the projection screen leg allows one person to easil adjust the mobile projection height without ha ing to disassemble it rst

The Austrian A V technolog manufacturer has also made the ings Vioso R 2 0 software a ailable for download A e feature of this release is a Hotac up option that allows users to specif hot bac up clients for multiple pla out clients acquiring all the information needed to replace the pla out client during pla bac , all necessar media files are also copied to the hot bac up client n the e ent that the pla out client fails, the hot bac up client replaces the pla out client without the need to edit IP addresses www.avstumpfl.com

conference rooms and shopping centres

The receiver and transmitter address the challenges that s stems integrators encounter when implementing A/V over IP s stems, and reportedl offer limitless scalabilit alongside what Aten describes as ‘no complicated IP setup According to the manufacturer, users do not require an additional server PCs or software www.aten.com

Video editing updates from Grass Valley

GRASS VALLEY has added a number of new features to its Edius Nonlinear Editing Software. Designed for creative and production professionals around the world, Edius 9 incorporates a ‘clouddesigned for large facilities. Edius 9 can be installed across multiple systems and run simultaneously at any given time, adding more licences if needed.

Some of the other enhancements available with Edius 9 include native editing of HDR material; export of HDR; the ability to mix

SDR and HDR material in the same project; native end-toend support for HDR content from professional camcorders; workflow updates; third-party hardware support updates; and third-party hardware 4K 50p/60p output support (only available in Edius Workgroup 9).

In other news, the Canadian manufacturer has developed the T2 Series 3 SD/HD audio/video playout centre that features a 7-inch touchscreen on its front panel in addition to 1-channel input and

2-channel output that can be used simultaneously for recording and playback.

Each T2 Series 3 model – T2 Express 3, T2 Pro 3 and T2 Elite 3

– features increased CPU and memory capacity said to improve stability and reliability. Depending on content format, T2 can accept files via one of its six USB 3.0

Ross introduces Software Defined Production

ROSS VIDEO hopes to provide broadcasters with a progressive growth path to IP focusing on transport-agnostic solutions with

Production (SDP) Ecosystem. The new family of products allows broadcasters to choose the method of transport that is most appropriate for their project and offers myriad adaptability and scalability options.

The SDP setup seeks to facilitate workflows with fewer pieces of equipment by offering multipurpose tools that can be used flexibly to meet particular needs on-demand, rather than a single function.

Software Defined Production

The family comprises the Newt point-of-use IP signal converters and the Raptor Edge openGear module, high-density IP gateway,

both of which are AIMS-compliant, as well as the Gator UHD-capable signal processing modules, the Ultrix processing platform, the

WyreStorm splits transmission

XPression family of real-time motion graphics systems and the DashBoard control and monitoring ecosystem. In addition, the Bach OEM module and Swift SMPTE ST 2110 system-on-chip from Coveloz are included in the SDP family, as are Ross’ new AcuityIP and CarboniteIP production switchers.

AcuityIP and CarboniteIP are native IP versions of the Acuity and mid-sized Carbonite Black production switchers. With the ability to interface with standardsbased SMPTE ST 2110 and ST 2022-6 infrastructures, they are able to connect to COTS IP solutions via standard 10GbE SFP+ interfaces with integrated discovery

ports (two at the front and four at the rear) or by data transfer over a standard Gigabit Ethernet network. ‘T2 Series 3 is flexible, providing one SD/ HD platform for ingest, replay, transmission, editing and content management, while also offering a user-friendly experience, combining VTR-like controls with touchscreen and workstation operation’, explained Pete Semerak, vice president, news, Grass Valley.

www.grassvalley.com

and registration of streams using open control protocols including NMOS, EmBER+ and DashBoard. An optional aggregation switch connects 40GbE or 100GbE interfaces to a core or spine switch. AcuityIP and CarboniteIP retain all the I/O processing features of their SDI family members,’ noted Nigel Spratling, director of production switchers and video servers at Ross Video. ‘Users are able to mix and match IP and SDI interfaces, so each switcher may be used to connect directly to legacy SDI equipment as required, making them ideal for hybrid installations.’ www.rossvideo.com

BOASTING THREE transmission technologies, the SP-0208-

UHD splitter featuring HDMI and both Class-A and Class-B HDBaseT. It has dual HDMI inputs that can be automatically or manually switched to any of its four HDBaseT Class-B, two HDBaseT Class-A and two HDMI outputs.

According to the manufacturer, the splitter enables the distribution of 4K to 35m or 1080p to 70m using Class-B HDBaseT, or, for longer distances, 4K to 70m and 1080p to 100m. The two HDMI outputs can either feed additional local displays or cascade transmissions to another splitter or matrix switcher.

The SP-0208 is compatible with HDCP 2.2 content, supports 4K 60Hz 4:2:0 and 4K 24Hz with 10-bit HDR and also includes EDID settings to manually adjust a system to the source, PoH to remotely power receivers and Active CEC control.

In related news, the manufacturer has also unveiled a pair of in-wall HDBaseT 5Play transmitter and standalone PoH receiver kits, the TX-IW-70-POH-KIT and TX-SW-IW0201-KIT. Aimed at meeting rooms and classrooms, the 2-Gang in-wall Class-A HDBaseT transmitter and standalone PoH receiver kits offer solutions for the delivery of HDMI and VGA with audio signals.

The wall plates themselves feature front-facing local source connection of either HDMI only (TX-IW-70POH-KIT) or auto-switching HDMI and VGA with audio input (TX-SWIW-0201-KIT). On the reverse of both models is Class-A HDBaseT 5Play supporting transmissions of 4K UHD with HDR and HDCP 2.2, multichannel audio, bidirectional control via IR and RS-232, PoH power and Ethernet pass-through over distances up to 70m or 1080p/60Hz/48bit up to 100m.

As for the RX-70-4K standalone PoH receiver included in each kit, this supports serial routing and CEC pass-through and features Class-A HDBaseT technology and 5Play support. The RX-70-4K can remotely power its in-wall transmitter when used as part of a point-topoint extender system. Signal and device activity is illustrated by panel LED indicators for power supply, signal status for established display connection, Link for confirmed HDBaseT connection between

matrix/receiver and HDCP presence in signal.

Connecting these solutions, the manufacturer has created a line of active optical HDMI cables for the delivery of uncompressed full bandwidth 4K UHD with HDR content. The CAB-HAOC-20 and

CAB-HAOC-30 active optical HDMI cables enable the uncompressed transmission of 18Gbps HDMI content up to 20m or 30m, respectively, supporting full bandwidth 4K/60Hz at 4:4:4 8-bit and HDR 12-bit at 4:2:2 with HDCP 2.2. Both cables have a 20mm cable head width, solid alloy head

T2 Series 3

SP-0208-HDBT-H2

TX-SW-IW-0201-KIT

The CAB-HAOC-30 cable

SHURE NETWORKED AUDIO PROCESSING

Intellimix P300

The IntelliMix P300 Audio Conferencing Processor offers DSP algorithms optimized for A/V conferencing applications with Microflex Advance and Microflex Wireless microphones, for a complete, high-quality audio experience from Shure.

BETTER TOGETHER. PERFECTLY PAIRED CONFERENCING AUDIO.

NMK Electronics Enterprises

T: +971 4 266 5244

F: +971 4 262 6682

E: info@electrionics.com

W: www.nmkelectronics.com

NMK Middle East FZCO

T: +971 4 266 5244

F: +971 4 262 6682

E: info@electrionics.com

W: www.nmkelectronics.com

AJA is Avid for Media Composer

HXC-FB80

Entry-level 4K and HDR

SONY’S LATEST entry-level full HD camera system supports 4K and HDR production. The system combines the HXC-FB80 portable camera with the HXCU-FB80 camera control unit and is designed for a wealth of applications.

The HXC-FB80 joins the manufacturer’s HXC product range, shares many of the features found in the HXC-FB75 and has the same configuration options as its predecessors, the HXC-FB80H, HXC-FB80K and HXC-FB80S. The new camera offers a signal-to-noise ratio of –60dB with high sensitivity of F12 at 59.94Hz or F13 at 50Hz, which facilitates low-light shooting as well as a raft of camera painting and processing functionality. It possesses three 169mm CMOS Exmor image sensors and runs at 59.94Hz/50Hz progressive

operation at 1080x1920 between the camera head and HXCU-FB80 camera control unit via 3G. Also supported are 23.98PsF, 25PsF and 29.97PsF shooting. The ND filter can be controlled remotely by an adopted filter servomotor in the camera head alongside the electrical CC filter. Control is available through the CCU front panel or RCP remote operation, including PC-RCP (HZC-RCP5) and the Master Setup Unit (MSU) system.

Meanwhile, the HXCU-FB80 camera control unit upscales HD content to 4K (3840x2160) and delivers a 12G-SDI output in addition to a quad-Link 3G-SDI. A planned firmware update will also add an HD HDR output to support Hybrid Log-Gamma.

pro.sony.com

WITH THE spreading popularity of 4K and the emergence of HDR, AJA has been quietly adding new functionality to some of its most

for the Ki Pro Ultra Plus multichannel recorder and player enables the latest HDR formats with HLG and HDR10 playback, and adds support for the recording and playback of ProRes 4444 XQ.

As well as adding the latest popular video formats to existing products, AJA has also recently partnered

with Avid on the production of the Avid Artist DNxIV, a new hardware interface option for Media Composer. The Thunderbolt 3 capture and output device is said to offer the latest 12G-SDI and HDMI 2.0 I/O connectivity, as well as advanced audio features and 4K/UltraHD support up to 50p/60p frame rates.

The DNxIV is essentially a variant of AJA’s Io 4K Plus but built to Avid’s specifications, adding a built-in audio input for an analogue

microphone on the front of the device and simplifying audio punchin. AJA’s conversion technology facilitates real-time scaling of 4K and UltraHD to HD for monitoring and output. The DNxIV also includes an additional Thunderbolt 3 port for daisy-chaining to other Thunderbolt devices.

Finally, new AJA FiDO converters with 12G-SDI capability have been launched to support the transport of 4K/UltraHD/2K/HD/SD video and audio over distances up to 10km over one optical cable. Models include the TR-12G transceiver, the T-12G single-channel transmitter, the R-12G single-channel receiver, the 2T-12G dual-channel transmitter and the 2R-12G dual-channel receiver. The new models reportedly meet relevant SMPTE specifications.

www.aja.com

www.avid.com

Ki Pro Ultra Plus v2.0

Avid Artist DNxIV

Axon identifies the missing link between IP and SDI

AXON DIGITAL Design has released an 8-channel, bidirectional Ethernet/ SDI bridge for broadcasters to negotiate the transition from SDI to IP. The Synapse NIO440 can handle AV /TSN, S2022 and S2110 TR03 standard, while also supporting S2059 PTP for synchronisaton and timing. ased on the Axon Neuron core, the Synapse NIO440 handles all conversions between Ethernet/ IP and SDI, while allowing the use of multiple video formats and Ethernet/IP standards at the same time in any combination.

The Synapse NIO440 provides a 4-in/4-out gateway into a distributed switching network, plus a 1GigE connection to a shared data network. Routing between inputs and outputs is achieved through a Layer-2/3 network based on a star topology. Individual switches can be linked by one or more 40Gb/s connections and all connections are made using fibre-optic cables. A connection between

Miniature expansion

NIO440 cards is established when information about the source is entered into the card where the signal is to be routed to, while the source can be routed to as many destinations as the network infrastructure allows. y using a control system such as Axon’s Cerebrum solution to detect, name and provide user-friendly interfaces, routing is simplified. In addition, the

AZilPix’ wide-angle and fisheye lenses

bridge can be used for point-topoint video/audio/data and point to multi-point routing and distribution connections using IT switches. The Dutch manufacturer is also shipping a 6K lens for its AZilPix Studio.One system that enables stitchless generation of 360° images in VR applications. y

employing ultra-high resolution cameras with wide-angle or fisheye lenses to capture a live event from multiple angles, Studio.One has been designed to integrate into both traditional and IP broadcast applications for blending seamlessly with VR video production. Studio.One consists

of a camera, capture server and processing software whereby the server ingests the raw, wide-angle video data from the cameras for recording and live processing into one or more rectilinear views and a view mosaic. Framing can also be carried out offline at the viewing or postproduction stage. y adding a camera with a zoom lens on a pantilt unit for close-up views, a single operator can capture perfect shots from multiple vantage points using the software-based ‘virtual camera’ cutouts.

www.axon.tv

DESIGNED TO provide connectivity, performance and reliability for huddle rooms and web-streaming applications, the CV502-U3 highde nition US POV camera from Marshall Electronics incorporates adjustment settings, interchangeable lenses and secure mounting options. It provides plug-and-play connectivity to any Mac, PC or inu system supporting US 3.0 input infrastructure and uses video capture drivers that include common computer software and soft codecs. The CV502-U3 delivers up to 1920x1080p resolution at 60/59.94/50 frame rates. It supports a low 0.2 lux rating, ships with an interchangeable 2.3mm, 126° angleof-view HD lens and is equipped with an adjustable, heavy-duty monitor/ desk mount that can be adapted to any installation using a ¼-inch-20 tripod interface. A 2m US 3.0 cable with thumb-screw locks reportedly allows users to operate the camera without having to repeatedly set it up. www.marshall-usa.com

A sporting shot in the dark

FOR-A’S FT-ONE-LS and FT-ONE-LS-12G cameras take the compact size and portability of the FT-ONE 4K

and provide additional mobility by allowing the camera head to be separated from the body. This, the manufacturer states, enables ‘unprecedented shooting positions or angles for live sports or

The new cameras possess a ²/³-inch lens and are also said to offer improved performance in low lighting conditions, such as at evening sporting events and indoor arenas, that typically prove troublesome for some high-frame-

rate cameras. This is because is available as an optional feature.

frames per second (fps) in 4K and LS supports two SSM lenses in 4K EVS XT-3. Meanwhile, the FT-ONE-

Small body, big brain

LS-12G supports eight SSM in 4K with a dedicated video server. Alternatively, it supports three SSM running with EVS XT-3. www.for-a.com

IP-based sports production from NewTek

DESIGNED TO automatically translate connected SDI sources to NDI, the 3Play 3P1 from NewTek offers both NDI and SDI input, cross conversion and output.

telestration reportedly allows users to start, stop and scrub video in

NewTek LivePanel, according to the manufacturer. Multichannel recording, internal transitions and social media publishing also feature. With Ethernet connectivity, 3Play 3P1 is described as ideal for contemporary sports networks, production companies, professional

COMBINING THE power of its XS AV Matrix Series with the size and features of the V-1 video is a small footprint, multi-format matrix switcher with multi-screen monitor, main and side screens, and picture-in-picture (PinP) inputs with scalers and scaled outputs. It accepts signals from a

variety of sources such as cameras and computers, making it ideal for corporate production, worship and rental applications.

Frame synchronisation and scaling are provided on all inputs.

The 4:4:4/10-bit processing accommodates resolutions up to WUXGA/1080p. In addition to matrix switching, a split mode allows up to three inset windows to be composited into a background video for PinP applications, while switcher mode provides seamless

transitions between videos, or PinP or key-compositing, with multi-view preview for real-time operation. Event setups can be recalled from scene memories, and the USB memory stores switcher settings as well as still images.

Two channels of line level audio I/Os are provided through RCA jacks. Audio can be mixed internally mixer, while audio embedding and de-embedding is also supported, with delay control for lip-sync adjustments.

For installed use, the device 232 for controls from PC or touch panels, and EDID to auto-configure output resolutions in smart displays.

proav.roland.com

Hippotizer comes prepared with updates

HIPPOTIZER PREP has been users to encode, pre-programme and visualise content from a PC or laptop. A pre-programming software tool, it offers unlimited watermarked outputs, allowing users to plug-and-play projects of

Unlimited mixes can be assigned to one or more outputs, while the Prep dongle provides 10 notch effects, which enables users system to create interactive and generative content, as well as live video effects in a single workflow.

hardware, it brings new features such as NDI (video over Ethernet) send and receive, a new tabbed selector, drag-and-drop pin board creation and editing functionality for ZooKeeper, and Notes and Tags functionality that allows users to tag media with key words and search them by those tags

under media select. There is also an enhanced UI for Shape, which groups options and is provided with nulls, parenting and bulkediting functionality. Controllers in Shape can now move objects in real-time and in 3D, while GPU selection enables ‘better Play and www.green-hippo.com

paradigms for sports production and replay from

3Play systems have also been incorporated.

3Play 3P1 can be integrated

TC1 and NVG1 Graphics Server production suite delivering a full IP workflow. The solution supports custom user interfaces that can be built from any browser on any networked device via

sports organisations, college athletic programmes, esports producers and venues limited by conventional replay systems that wish to use networking technology and interconnected production workflows.

www.newtek.com

Panasonic signs the way

PANASONIC HAS unveiled four

to offer high operability ideal for staging and digital signage. All four displays offer a brightness 2 for viewing in bright spaces and wide-view IPS/E-LED panel technology. The E-LED backlighting is said to be energy around the clock.

is said to reduce the installation time of multi-unit installations by allowing users to save the settings from one screen and transfer to another via USB. Users can connect displays using a LAN network to clone menu settings

and adjust values from one screen to another. Colour adjustment allows for brightness and colour matching across multiple screens, while image adjustment options allow users to change the settings to suit their chosen image. Failover and Failback functions keep images on display even if the signal fails. The display switches to a back-up signal and switches back to the main signal as soon as the signal is reconnected.

Early Warning Software is said to reduce downtime by allowing users to identify problems before they occur, while Multi Monitoring and Control Software allow users to control and monitor over 2,000 devices.

www.panasonic.com

TH-65SF2

FT-ONE-LS

Hello. We are the world’s most compact three-way studio monitors, and the

Digital Projection in resolution revolution bid

DIGITAL PROJECTION has introduced what it describes available 8K DLP Laser Projector along with a new 2D and 3D LED display solution. The Insight Dual Laser 8K projector promises to offer ‘the ultimate solution for the and immersive visualisation and large-venue applications’, while solutions displaying bright and vivid imagery ‘thanks to a broad dynamic range and high colour bit-depth’.

The new Dual Laser Projector 8K resolution (7680x4320) performance equates to 33 million pixels and 25,000 ANSI lumens of solid-state, laser phosphor illumination. In addition to the resolution and lumen performance, it uses proven DLP technology incorporating 3x1.38 DarkChip, DMD chips and Digital Projection’s ColorMax technology. These are reportedly vital imaging characteristics when matching

projectors in tiled or blended applications.

Lamp replacements are never required due to the solid-state laser illumination system. Other features include the simplification of blending multiple projectors, as laser projectors are closely matched ‘out of the box’ for colour and brightness. It also features MultiAxis orientation capability of portrait or landscape use and every angle in between, and there are optional high-performance lenses.

Eiki sees red

USING BOTH blue and red lasers that it claims result in ‘superior colour performance’, Eiki’s EK-820U (1920x1200) is a 10,000 lumens projector boasting a contrast ratio of 1,000,000:1.

Intended for use in large venues, the EK-820U features a sealed optical engine design (IPX6) that provides dust protection. Its laser

light source is rated for 20,000 hours.

Traditional laser projectors typically incorporate just a blue laser. The addition of a red laser reportedly results in greater brightness and a higher red colour ratio without diminishing the blue or green performance. The unit features USB Type A and B connectors, as well

Meanwhile, Digital Projection’s new 2D and 3D LED videowall offers a full HD 1080p imagery and ultra-HD 4K for various installations including retail, broadcast, command and control, visitor attraction, house of worship as well as rental entertainment applications.

It is built on a native 16:9 aspect ratio and there are four models to choose from (Radiance LED 1.2, 1.5, 1.9 and 2.5).

The new Black SMD LED range offers up to 1,000 nits of brightness,

a contrast ratio of 3,000:1 and a 120Hz refresh rate. The lifetime span is also to be rated at 50,000 hours.

The wall solutions also provide a 160° viewing angle and a fan-less panel design. Radiance LED walls are also rated for 24/7 operation and can be configured with power

and signal redundancy for mission critical applications. Each panel is front-service accessible. This makes it possible to service any panel within the display without disrupting the alignment of any other panel.

www.digitalprojection.com

as RJ-45 connectors for HDBaseT and Ethernet. The projector also provides support for RS-232 control

as well as an input for a dedicated wired infrared remote. Additional connectivity includes HDMI input

and output, HD-SDI, a DVI-D connector and VGA I/O. Key features include horizontal and vertical lens shift, h/v keystone correction, edge blending and a warping engine. There are eight optional lenses available, encompassing throw/ width ratios from 0.36 to 15.24.

www.eiki.com

The world’s first 3LCD laser ultra-short throw projectors

for use in classrooms and corporate meeting spaces. It purportedly works on ‘nearly any flat surface, turning it into an interactive, touch-enabled digital whiteboard’. Supporting screen sizes of up to 100 inches, it is capable of seamless interactivity across dual screens, as two EB1470Ui projectors can be paired side-by-side to create an ultra-wide, 177-inch interactive screen.

Desktop connectivity allows the projectors to access remote PCs in other locations.

EPSON HAS unveiled what it claims short throw projector, the EB-700U, alongside an interactive version, the EB-1470Ui. These projectors combine inorganic 3LCD panels with an inorganic phosphor wheel and are aimed at organisations seeking solutions with minimal

maintenance and low cost of operation. They each offer a laser light source, which provides up to 20,000 hours of operation and delivers 4,000 lumens of white and colour brightness, as well as a WUXGA beyond full HD resolution of 1920x1200 pixels. The interactivity of the EB-1470Ui makes it suited

The EB-1470Ui can also be used to create an interactive table-top with an optional table mount. This allows users to annotate Microsoft Office documents using the Microsoft Ink function. An interactive digital whiteboard is in-built, allowing content to be shared with up to 15 laptops and mobile devices on the same network. Users are able to write on the digital whiteboard or any image projected from a non-PC

source, including smart devices, document cameras or Blu-ray players. Alternatively, the Multi-PC Projection software enables up to 50 laptops and mobile devices to connect to a single projector for viewing, while Microsoft Remote

The EB-700U, meanwhile, can project images of up to 130 inches in portrait or landscape. With its ultra-short throw, multi-direction projection capability and ability to operate without a PC (content can be fed from a USB drive), the manufacturer is targeting digital signage applications for projection in confined retail settings and corporate or public spaces. It features 360° rotation and reportedly starts up within 5s. With a contrast ratio of 2,500,000:1, the EB-700U presents myriad connectivity options, as well as remote management and control tools.

www.epson.com

Insight Dual Laser 8K

Radiance LED videowall

EB-700U

EB-1470Ui

Another Sennheiser evolution

The U 67 returns

become iconic for the Neumann

The manufacturer states that the

evolution wireless

EVOLUTION WIRELESS G4 from Sennheiser comes with a new user

a multichannel functionality for the

The microphone has been base sets in the 300 series, plus

Any place, any time

SIMPLICITY IS

for a performance with an acoustic the microphone capsule has been setup consists of a microphone,

www.sennheiser.com

elastic suspension, a microphone

www.neumann.com

Antelope makes a match

the microphone to a table or control wireless systems with a also allows users to calculate multichannel setups prior to an www.beyerdynamic.com

transistor schematic that features in

NEUMANN’S ICONIC U 67 tube

ANTELOPE AUDIO

Fox is a USB microphone from beyerdynamic

The U 67 is back

G4

DF magnetic

LAVOCE ITALIANA’S new DF14.30T and DF20.30T are 1.4-inch and 2-inch exit ferrite magnet compression drivers designed for high-power, 2-way or 3-way applications.

Both units present 110W AES power handling and 107.5dB sensitivity and feature a patent-pending phase plug design that reportedly lowers the risk of unwanted distortions from the

Compact solutions from Celestion

UK MANUFACTURER Celestion

in its new AF range of ‘valuepriced, weather-resistant,

Designed for use in compact line arrays, column speakers and compact single-speaker applications, the 3-inch AF3010 and 4-inch AF4010 are said to complement the company’s existing AN series of line array drivers.

edgewound CCA voice coil on a reinforced polyimide former for highpower handling, reliability and the possibility of a low crossover point.

Also new from the Italian transducer manufacturer is the WAN103.01, a 10-inch ‘high-sensitivity (98dB) and high-power neodymium magnet’, which has been designed for line array and mid-bass applications. It has a 450W AES power rating and is built with a 3-inch copper clad aluminium voice coil, die-cast basket, FEM-optimised motor structure and suspensions.

www.lavocespeakers.com

A narrow and slanted Vue

coat of transparent, candy-apple red over a black base.

introduction of the h-8N, a narrow dispersion sibling to the h-8, and the hm-108A precision slant stage monitor.

Both new models feature the manufacturer’s VueDrive electronics with DSP programmed specifically for each transducer/cabinet pairing, and built-in, dual-channel, Class-D amplification. They are each designed to maintain the same aesthetic look as their h-Class brothers and sisters, including grill and handle surrounds finished with the manufacturer’s signature, 2-part

The h-8N offers 60° coverage. Its driver setup is identical to that of the h-8, with an 8-inch transducer and a neodymium compression driver that are complemented on the high frequencies with a response beyond 25kHz by a Truextent beryllium diaphragm at the system’s core.

DAS Audio adds power

DAS AUDIO has unveiled two powered models as part of its Event series: the Event-212A line array and the Event-121A subwoofer, aimed at providing Event series users with the possibility of handling an even wider range of applications.

The Event-212A is a powered, 3-way line array that employs two DAS 12-inch loudspeakers in a dual band configuration where each speaker operates in a specific frequency range. The DAS loudspeaker units have been combined with a single M-75 compression driver and an

The lightweight (around 600g) AF series, when combined with existing AN drivers, will provide users with a wider range of driver sizes and construction types ‘to suit all design budgets’. The AF3010 and AF4010 feature ferrite magnets and coated paper cones in a pressed-steel chassis.

The AF3010 is a 35W driver with a sensitivity of 87dB (at 1W/1m) and a frequency range of 120Hz to 19kHz. The larger AF4010 also delivers 35W, with a higher sensitivity of 88dB and a frequency range of 100Hz to 16kHz. The manufacturer developed the

range to optimise acoustic and electromagnetic performance and deliver wider dispersion to higher frequencies.

In other news, Celestion has also developed two small-format coaxial drivers, the TFX0512 and TFX0615. Designed to provide a cost-effective partner to the company’s FTX series of coaxial units, both drivers feature a ferrite motor driving the low-frequency element. For high-frequency

reproduction, the TFX0512 and TFX0615 include a ¾-inch and 1-inch neodymium magnet element and silk diaphragm, respectively.

The compact size of the HF unit means that it can be positioned inside the LF driver’s voice coil, reportedly providing wellmatched directivity and time alignment of the LF and HF signals.

www.celestion.com

injected aluminium high-frequency waveguide to provide ‘unmatched performance, sensitivity and coverage’ in both the 90° and 120° formats.

The line array incorporates the DAScontrol interface said to offer a hassle-free setup and easy alignment with the Event-218A and Event-121A subwoofer systems.

in the array, HF compensation for throw distances and correction for the splay angle can be selected via DAScontrol and the LCD screen on the back of the cabinet. The array includes FIR filters reportedly to provide a linear phase response and precise impulse response that add clarity and a more natural sound.

Meanwhile, the hm108A, which includes the same 8-inch transducer and beryllium-infused compression driver as the h-8 and h-8N, is designed for critical foldback applications such as in theatres and for reinforcing choirs.

The h-Class isn’t the only Vue family to welcome a new arrival, as the al-12 line array clan increases in size with the addition of the al-12SB flyable subwoofer. The al-12SB has been designed to deliver ‘well-defined, low-frequency

reproduction to below 35Hz’. Its rigging options include the ability to be suspended above or behind al-12 cabinets in an assortment of configurations, such as cardioid arrangements, and as the base of a ground-stacked al-12 array. al-12SBs can also be deployed as a standalone sub array in a variety of flown or ground-stacked configurations. Inside the al-12SB are a pair of specially designed 18-inch transducers and a large neodymium magnetic structure with 5-inch voice coils.

www.vueaudio.com

that incorporates a 4-inch sandwich split winding voice coil, an FEA-optimised neodymium magnet assembly and an FEA-optimised suspension system with double silicon spider.

The Event-121A is a directradiating, rear-loaded powered subwoofer that incorporates a single 21-inch neodymium loudspeaker to provide low-frequency reproduction for Event series line arrays. The sub uses the DAS 21LFN loudspeaker

The Event-121A electronics package includes a 3,200 Wpeak Class-D amplifier and a 24-bit DSP. On the rear panel are controls for gain, polarity and a variable lowpass filter that ranges from 63Hz to 100Hz, while a cardioid preset button is said to simplify the use of subs in cardioid configurations. The sub is phase response coherent with the Event-208A, Event-210A and Event-212A.

www.dasaudio.com

h-8N and hm-108A

Event-212A

Event-121A

AF3010

TFX0615

Lavoce’s DF20.30T

Lavoce’s WAN103.01

Compacting Vio

dBTECHNOLOGIES HAS introduced a pair of ‘compact’ cabinets to its standalone solution, or as part of a

transducers are located behind

T is for tighter budgets

to set a precise inclination of the that comes as standard,

www.dbtechnologies.com

Shrinking bass with Precision

distortion and precise dispersion

The series comprises a pair of consistent horizontal and vertical dispersion across frequencies, www.adam-audio.com

BUILDING ON the success of the

point

Bose goes all in

to produce a ‘transient response and means that its output is solid ‘At this sort of size, most other manufacturers use bass reflex www.funktion-one.com BOSE

pro.bose.com

ADAM AUDIO introduced its opposite end of the price

Vio

T7V and T5V nearfield monitors

AT moves to the next generation Dante options for Burl Motherships

AUDIO-TECHNICA HAS launched the third and fourth generations of its 5000 and 3000 Series, respectively.

The 5000 Series dual receiver has been updated with a tuning bandwidth from 470MHz to 700MHz and users now have the option of selecting a standard receiver with two balanced XLR outputs or a receiver that also includes a Dante output. The full-rack receiver chassis holds two independent receivers and offers antenna power, frequency scan, IR sync functionality, a ground-lift switch and a front panel headphone jack.

Two transmitters are available for use with the 5000 Series: the ATW-T5201 bodypack transmitter and the ATW-T5202 handheld transmitter. They are available in two frequency

ranges: DE1 (470MHz to 590MHz) and EG1 (580MHz to 700MHz). The compact ATW-T5201 is equipped with the manufacturer’s new cH-style, screw-down, 4-pin connector, while the ATW-T5202 includes a high-pass filter.

The new 3000 Series systems are available in four frequency bands: DE2 (470MHz to 530MHz), EE1 (530MHz to 590MHz), EF1 (590MHz to 650MHz) and FG1 (650MHz to 700MHz). Frequencies can be scanned and selected on the receiver

and synced with the transmitter via IR sync functionality. System configurations feature an ATW-R3210 receiver along with an ATW-T3201 bodypack or ATW-T3202 handheld transmitter. The ATW-T3201 is also equipped with the cH-style, screw-down, 4-pin connector, while the ATW-T3202 comes with either an ATW-C510 dynamic or ATW-C710 condenser interchangeable cardioid capsule.

www.audio-technica.com

myMix adds Dante compatibility

myMIX II is a v2 update of the myMix personal monitor mixing and recording system that includes Dante compatibility, making it suitable for studio as well as live

use. The new system features modi cations to reportedly ensure an ‘ultra-quiet performance’ and two network inputs, which can be mic, line or instrument level. It can

be operated as a self-contained unit or integrated with any analogue or digital mixing console.

BURL AUDIO has released two motherboards, the BMB3 and the BMB4. The BMB3 is a Dante option for the B80 and B16 Motherships and features two Ethernet ports for use with Dante-enabled DAWs and any Dante-enabled device. With two Dante ports, 64-in/64-out (at 44.1k, 48k, 88.2k and 96k) and 32-in/32-out (at 176.4k and 192k) are supported. The BMB4 features an Ethernet port for 64 I/O channels of Waves SoundGrid connectivity. With six BAD8s and four BDA8s, a 48x32 I/O can be achieved. When con gured with the B80 and B16 Motherships, the I/O possibilities are described as limitless.

www.burlaudio.com

The Dante connectivity is available via any format –Dante, MADI, ADAT

or analogue – and will reportedly operate with any digital console on the market.

www.mymixaudio.com

BMB3

CM1008D

ROCK20

System tech

THE ROLE OF THE RENTAL HOUSE GOES FAR BEYOND meeting a technical rider. While it may have all the gear in stock are only limited by the style and preference of the visiting engineer. It is being able to effectively meet this element that can be the difference between winning repeat business and losing out to your competitors.

‘We are here as a service provider, so we’re here to make sure that the people who come in are happy,’ reasons Al Woods, technical director at Dubai-based rental company, Delta Sound.

festivals that recently took place at the Autism Rocks Arena. While Delta supplied a very similar L-Acoustics K1-based main PA for each performance, there were distinct nuances about the way the system was deployed that made each iteration unique. While the different gigs each had their own requirements, the starting point for Mr Woods is the same. ‘I time everything to it so it’s all tidy and then I’ll walk around and have a listen,’ he explains. ‘It’s imperative that a system starts with everything in phase and timed back to the main source. I’ll then EQ everything, take a basic look and remove anything that jumps out. Next I’ll move on

arrays, stick a mic up and have a look at the relationship between the down-fills, the lower four boxes, the middle four boxes and the upper four. I will then look and see what the high end is doing, possibly add atmospheric correction or some FIR filters within LA Network Manager to keep the whole thing pretty even.’

With the system flattened and EQ’d the engineer’s requests are then accommodated. ‘Some engineers want “meat and two veg”, an old school PA in the air that goes down to 60, 70 or 80Hz and then the sub on the floor,’ says Mr Woods. ‘The Ks run right down to 30Hz and the subs also run down to 20Hz under them. When

While Delta Sound generally uses the same equipment for all of its gigs at Dubai’s Autism Rocks Arena, meeting the needs of visiting engineers has resulted in subtle differences. James Ling reports

some engineers will want to have a system in the air that crosses over with the ground rather than it all being full range.

‘J-Lo’s engineer was really good but wanted old school meat and two veg so we used array compensation and also zoom factor to reduce the amount of low end build up within the array in LA Network Manager,’ he continues. ‘We worked on the zoom and the array compensation to get the array just nice enough that we had some weight upstairs for his kick drum and then we used the floor subs as a kind of sub aux to supplement the low end of the keys and the electric kick. That worked quite nicely.’

Following the Jennifer Lopez concert, the Delta team was called back to site for the Dubai leg of Ed Sheeran’s world tour. ‘When I came back in with Ed, I turned the system back on with the same settings as J-Lo and decided that I actually wanted to do it again,’ says Mr Woods. ‘I had time and you never know if you’ve messed up. I always revisit all my measurements again to make sure that you’re fine, even though the system is in exactly the same place.

‘On J-Lo I had issues with reflections off the spot towers but the people weren’t as far back so I turned the horns and the mids and highs off on the top six boxes of the out-fill array because it didn’t need it, and that completely eradicated the reflections,’ he recalls. ‘Whereas Ed Sheeran was 28,000 so I didn’t have the

luxury of being able to do that. We had a few issues combatting the reflections.’

The smaller tweaks were also in evidence for the Fiesta de las Muertas festival which attracted a smaller crowd and hence required less from the PA. Equally, the Elton John performance had a specific request for stereo sub and front-fill arrays. While each of the concerts required slightly different setups, there were some elements that Delta maintained across all of them. Perhaps one of the most notable of these is the use of Meyer Sound’s Galileo in conjunction with L-Acoustics’ LA Network Manager.

‘While LA Network Manager is a tool for corrections within individual arrays, when you’ve got multiple consoles going into a system, it’s nice to have an element of the system control you can share with the visiting engineers,’ furthers Mr Woods. ‘Old school Meyer gave the Galileo input stage to the FOH engineer to play with and the outputs were always for the system tech. What I do is exactly this, so whatever we do within LA Network Manager, is kept as a system thing. They shouldn’t need to worry about that because not every engineer that comes in is au fait with LA Network Manager. It is easier to keep a well-known device on the front end and the Galileo is perfect.’

A further point of similarity comes with Delta’s standard FOH rack. ‘It has a PC, UPS, two Blu-160s, a sound card for Smaart, a Lectrosonics radio analyser microphone system and then a tablet linked to the system so you can walk around,’ explains Mr Woods. ‘We’ve spent quite a bit of time, effort and money getting our control systems to look and be a lot more user-friendly. What we’ve tried to do is get a little bit more in line with the way it

should look, there’s some shoddy presentation of kit in the region and we don’t do that at Delta. It’s the first impression. When people come in here and see the way that we are presenting stuff, it makes them feel a lot more comfortable.

‘We use remote desktop to access whatever is on the main PC – Smaart, Compass, (the proprietary software that runs the Galileos) and LA Network Manager,’ he continues. ‘The process of EQ and timing, the finesse bit, not to mention the shading, adding in air comp, FIR filters and that kind of thing can be done with the tablet out in the audience area.’

While the ability to match a technical rider may be enough to win business, it is the knowledge and skill of the engineering team to keep visiting engineers happy that will secure long-term repeat customers. It’s obviously something the crew at Delta Sound are proud of.

www.deltasound.ae

Delta’s standard FOH rack

A DiGiCo SD12 at front of house

The L-Acoustics amps and Meyer Sound processor

Delta used K1 cabinets for all of the gigs

Front-fills for Elton John

Testing the systems prior to the Elton John performance

Set for change

CAN

TECHNOLOGY BE USED AS A REPLACEMENT FOR

physical stage elements? South African rental company, MultiMedia, believes it can and has set on a concerted effort to prove it heading into 2018 and beyond.

Multi-Media has been partnered with Unique Speaker Bureau (USB) on its corporate events since 2016. USB is one of the largest speaker bureaus in the world, so its events need to look professional and run flawlessly. It was therefore a logical choice to partner with Multi-Media as it has a uniquely corporate focus. The bonus for suppliers such as Multi-Media is that this type of setting also provides the company with the opportunity to show its clients exactly what it can do with the technology it has at its disposal.

‘As technology evolves, people are expecting more from their technical partner,’ states Angelique Shekleton, marketing and communications manager at Multi-Media. ‘Through our research and the regular surveys we conduct with our clients, we know that customers place emphasis on creativity and innovation. With all clients, being able to continually exceed their expectations and present an idea or concept completely left of field that aligns with their budget and requirements is crucial.

‘Corporate events can present a challenge,’ she continues. ‘When dealing with corporate clients, there tends to be a standard framework in terms of look and feel that you need to work within to account for their CI and other factors. A large segment of Multi-Media’s clients are corporate and we try and align their requirements and expectations with the creativity we know we can offer. These events are a fantastic platform as it encourages corporates to think more broadly in terms of what they can do to enhance the technical experience at their events.’

The rental house decided to use USB’s 2018 Annual Showcase in exactly this way, making it a test case to prove that LED screens could form an alternative to traditional carpentry for stage sets.

Multi-Media wanted to use the gathering as a way to highlight the potential that LED screens could offer the corporate events market in South Africa.

‘LED is fairly new in South Africa; it has only been utilised in the past few years so many event professionals have not seen what it can do,’ explains Ms Shekleton. ‘By utilising a combination of 3.6mm and 5.9mm LED and removing all traditional set elements apart from the stage, this year’s event was the biggest we’ve ever done for USB in terms of scale.’

While it was important for the rental house to highlight what the technology could do for its clients, there was also a solid financial reason behind the decision. ‘The cost of producing a set is relatively high, especially for an event that is usually one or two days,’ explains Ms Shekleton. ‘We decided to highlight the versatility of LEDs in reducing these costs while providing “bang

for your buck”.’ To do this, the company created a main central screen from 70 Vuepix S3.6 tiles with a further five smaller ‘fingers’ each side built from 124 DigiLED 5.9mm panels to form the decorative component. ‘The Vuepix 3.6mm LED was utilised as a central screen – this high resolution was perfect for the detail contained within presentations,’ furthers Ms Shekleton. ‘The 5.9mm LED was utilised as a set element and for decorative purposes.’

While the LEDs provided the output, the Multi-Media team also called on a raft of equipment in the signal chain to ensure the content looked its best. Processing for the LEDs themselves was handled by a Novastar Pro HD LED controller with Vuepix Controller Q7. In addition to this, a Christie Vista Spyder X20-1608 system combined with a Dataton Watchout system provided the A/V processing. The A/V setup was completed with a number of extra screens in a variety of sizes from the likes of Samsung, Sharp and Hisense.

While the LEDs formed the decorative element of the set design, there were also some physical components. The main stage was built from Prolyte Stagedex with the manufacturer’s X30D and H40V trussing also called into action. A Prolyft 0.5 ton motor hoist alongside a Prolyft 6-way motor controller completed the staging solution.

The audio side of the event saw Multi-Media deploy a d&b audiotechnik Q Series solution as the main PA. Three Q1 cabinets per side covered the room with a further pair of E12 speakers used as front-fills. Four Q Subs provided low end reinforcement. The solution was powered by the German manufacturer’s D80 amplifiers and mixed from a DiGiCo S21 at FOH with a D-Rack 32/16 stage box and Radial DI boxes. The rental house deployed a Shure ULXD wireless system with SM58 handheld transmitters, as well as MX-153 headworn mics and MX-184 lavaliers to capture the raft of speakers on stage.

A second solution in the lobby saw the rental house use a pair of JBL Eon 610 powered speakers to cover this space.

The lighting element of the event came largely from the Robe catalogue. Six Robin DLS profiles were joined by 12 Robin 1000

Physical stage elements can be a substantial one-off cost for companies supplying corporate events. James Ling explores the solution Multi-Media is using to combat this

The LED panels were used as decorative elements

The lobby was covered by JBL Eon 610s

LED Beams, the same number of Robin Mini Pointes as well as a dozen Robin 100 LED Beams. The solution was completed with 24 LED PAR cans with added effects from an MDG Haze machine, all controlled from an MA Lighting Dot2 desk with fader wing.

‘The design for the event took two weeks to finalise,’ recalls Ms Shekleton. ‘The client trusts our creative process and asked us to create something unique. A/V technology plays a crucial role in making an event look unique, how the gear is utilised and paired up with the content created makes all the difference. We decided to create the content to highlight the design, showcasing a variety of colours as well as deploying the screens in a more traditional “PiP” format.’

Reflecting on the event itself, Ms Shekleton is clearly very happy with the company’s work. ‘The event was fantastic, a resounding success. The

New VHD2.18J

Subwoofer

Housing two 18” high performance transducers the VHD2.18J is a direct radiating bass-reflex subwoofer. The VHD2.18J’s optimised, high efficiency, bass-reflex design produces considerably more output than other similar double 18” enclosures and features intuitive integrated flyware that allows for fast rigging of multiple cabinets.

Johannes Krämer works with many of the worlds leading artists, promoters and events. When he visited KV2 Audio he was looking for something special in a sub. After discussions with Chief Engineer, George Krampera the VHD2.18J was born.

best feedback was from attendees who had never seen LED panels utilised in that manner,’ she notes. ‘The client was ecstatic we produced next-level innovation not commonly seen in the South African A/V space. For one of the largest speaker bureaus in the world, having a technical partner they can rely on to surpass expectations and deliver the goods on the day is invaluable.’

While impressing numerous potential major clients has to be the main success of this project for the rental company, Ms Shekleton also believes there have been other advantages. ‘This event showcased the Multi-Media experience to people who may not have been exposed to it before. We think the differences between us and any other player in the arena in South Africa are clear. We expect to win more business as a result of it.’

www.multi-media.co.za

Shure MX-153 headworn mics were used at the event

George Krampera Chief Engineer, KV2 Audio

Johannes Krämer Sound Engineer, Richie Hawtin

Staying with Electro-Voice

THE BUILDING WORK THAT HAS GONE ON AROUND DUBAI’S Business Bay in recent times has transformed this part of the city. There are new towers springing up all the time in this area, creating an ever-changing skyline. Its position in the heart of new Dubai makes Business Bay a prime location for tourists, so unsurprisingly a large number of these new towers are hotels of every brand you can think of.

The idea behind all of these hotels, as with any modern hospitality site in the Emirate, is to equip them to a very high standard with the latest equipment powering a variety of F&B concepts. Often this will require products from a variety of manufacturers, but sometimes a product catalogue is large enough to meet the multiple needs of a hotel.

This was the situation that Dubai-based systems integrator, Phoenix LAS, found itself in when one of its regular customers approached it to equip one such venue. ‘We have worked together on a number of projects, and on the audio side they have always been impressed with Electro-Voice,’ begins Phoenix LAS managing director, Mark Legaspi. ‘When we looked at the designs for each space in the hotel, we saw that we could use different EV systems to cover the whole project.’

The work that the SI has done at the property is certainly on the grandest scale. A variety of F&B outlets as well as a club, gym and pool area have all been equipped by Phoenix. While the EV equipment forms the main package, the work for Phoenix covered more than just the audio. ‘The building’s up lights for the façade lighting are our own Phoenix lighting brand,’ says Mr Legaspi. ‘The entire tower lights up and then we can program it to do different colour schemes, such as the UAE flag for National Day.’

While the outside of the building is an eye-catching element of the project, perhaps the biggest challenge came from the hotel’s club. The large space has been designed to offer a premium feel that will help to pull in the crowds.

Walking through the doors, the first thing to catch the attention is the large videowall above the LED dancefloor with its suspended DJ booth. ‘In the club there is 45m2 of LED videowall which is our

own brand and the DJ booth protrudes out from it,’ explains Mr Legaspi. ‘We’ve got 45 moving heads all around the club as well as two lasers and smoke machines.’

The eye-catching lighting continues around the rest of the club with an intelligent system of chandeliers and fibre-optic strands. These different elements can each be controlled and programmed to become part of the overall lighting system.

While the visuals are the most striking element for guests walking in, it was the sound system that proved to be more important for the client. The request was to create a premium sounding space and, to do this, Phoenix opted for an Electro-Voice solution. ‘There are two hangs of five Electro-Voice X1 cabinets and side-fills of X1s as well as around 11 EVUs all across the club,’ explains Mr Legaspi. ‘Then there are six X12-128s under the stage to give it a powerful bass. The idea is that when this club is jampacked they’ll still be able to feel the bass. We have done some precise side-fill as well so we can cover every area. Every area in

The full range of Electro-Voice’s catalogue has been used to cater to a variety of different areas at a new hotel in Dubai’s Business Bay. James Ling finds out more

The 45m2 LED videowall is the dominant feature in the club

EVU cabinets have been distributed around the club

While the club has been the largest portion of the project for Phoenix, there have been plenty of other aspects that the integrator has also been involved with, such as the Karaoke rooms around the corner from the club.

spaces it has equipped. But for Mr Legaspi there is a larger reason to install these products. ‘We’ve been using EV for a long time and they never fail us. The customer support and the durability of the product are the things that we look at. Equally, we love their processors.’

Having spent around a year designing and installing the hotel in different stages, the Phoenix team is happy to have made it to the end of a very large project. ‘We have around six or seven different outlets here and then the façade lighting so it has been a very good project for us,’ reflects Mr Legaspi. ‘It has been a case of working on the different elements as the permits came through so it has been like working on several smaller projects. The end result is one we are really proud of though, it is a great reference for what we can do.’

With the amount of Electro-Voice equipment gracing the hotel, the manufacturer will surely feel the same way.

www.phoenixlas.com

the club has a dedicated speaker. In addition to this main system, every VIP area has its own dedicated speaker and sub. The idea is that whatever experience you get on the dancefloor, you can have in your VIP area as well.’

Power for the solution is via a combination of Electro-Voice CPS 8.5, CPS4.10 and TG-7 amplifiers with control from the manufacturer’s Netmax N8000 processor. ‘Each and every speaker, and every sub, has its own output,’ notes Mr Legaspi. ‘So when you walk around the club, everything is time aligned perfectly. It took us a week to actually tune it. We did it this way because we promised the client that each and every space will be a premium space. That is why we have a lot of speakers time aligned so when you walk around you don’t feel the changeover.’

‘The Karaoke rooms have a big screen and a TJ Karaoke system from Korea,’ notes Mr Legaspi. ‘Nobody supplies them here so we had to import them from Korea. We are using Electro-Voice ZX1A cabinets in each room; they are really good for spaces like this. We are going to have Shure BLX handheld microphones. The idea here was that the client wanted their clientele to experience proper pro audio unlike other Karaoke bars. So we have put in the best Karaoke system and the best sound system.’

Moving upstairs, the Electro-Voice theme continues with Phoenix opting to use the manufacturer’s Evid cabinets to provide the reinforcement in a variety of spaces. ‘We have a sports bar where we have Evid speakers and Tour X TX118 subs. The sky lounge on the other side is all Evids as well,’ explains Mr Legaspi. ‘We have done the gym with Evids too. We are everywhere, even the pool has Evids. We have 25 to 30 Evids in this hotel, the Electro-Voice guys love us!’

The breadth of the Electro-Voice catalogue has made it possible for Phoenix to use the manufacturer’s products for each of the

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The current software release for AURUS platinum and AURUS, for exaple: Featuring an improved workflow with level corrected, ITU-R-compliant automated stereo downmix of 5.1 sources. Then there’s the new internal tone generator. True peak metering and the true peak limiter bring greater control and better quality.

These and all the other functions packed into this new software release ensure that AURUS platinum and AURUS remain at the cutting edge.

A TJ Karaoke system has been combined with ZX1A speakers in the Karaoke rooms

The gym is one of seven areas covered by the systems integrator

Evid speakers cover the sky lounge

Three venues, one solution

Zio Technologies has been working on a rolling project at Dubai’s Park Hyatt to refit the audio solutions at its updated F&B outlets. James Ling takes a tour

SITUATED ON THE BANKS OF THE DUBAI CREEK, WITH THE golf and yacht clubs for its neighbours, the Park Hyatt hotel has a stunning setting that helps to enhance its relaxed atmosphere. The hotel complex takes advantage of its shoreline location by housing a number of F&B outlets in a concentrated area. While these venues have proved to be popular over the years, the hotel decided that it was time to look again at what it offered and update the concepts. As such, it has been systematically moving through each outlet and completely renovating the space to launch a range of new bars and restaurants.

It has not only been the concepts that have undergone a refresh. With many of the venues completely gutted, the hotel also took the opportunity to look at an audio system upgrade in each site. To support it with this transformation, the hotel turned to local systems integrator, Zio Technologies, which in turn enlisted the support of Bose Professional.

The first venue to be revamped is an indoor cocktail bar with its outdoor terrace offering views out over the creek. Now called SeventySeventy, the bar has a retro design inside with 1970s-inspired bold patterns bedecking the furniture and vintage vinyl framed on the wall.

The result has seen five Bose RMU105 cabinets installed around the outer wall of the bar alongside a line of the manufacturer’s FreeSpace DS 100F ceiling speakers running from the entrance to the bar.

Low end support is via hidden Panaray MB4 subs. On the outside terrace, which also features the DJ position, seven Panaray 402 loudspeakers combined with three of the manufacturer’s MB12 subs provide the reinforcement. Power for the system is via Bose PowerMatch PM8500 amplifiers while control comes from a ControlSpace ESP-1240 processor.

‘The venue spaces weren’t too challenging, they were great areas to work in,’ smiles Mr Salim. ‘It was a straightforward design. They wanted more of a foreground and less of a background solution.

RMU is one of our best sellers for foreground so we used those and the MB4s.’

The installation process was equally simple. ‘It is a fast-track project so the installation only took two days,’ states Mr Philip.

Heading down the staircase and across the open courtyard from SeventySeventy, the second venue to be upgraded was Noépe.

The importance of Friday brunch led to an aspect of the original system to be revisited and updated. ‘All of the restaurants in the complex are linked via a MediaMatrix network, so we can send the same signal to them all for a Friday brunch,’ explains Mr Philip. ‘The original project ran on MediaMatrix and we have updated that to the new Nion N3 units with this project. It is still using CobraNet because that is what the whole complex runs on.’

A third restaurant next door to Noépe has also received a very similar Bose solution, once again calling on the same collection of speakers. While it has used the same components, this restaurant provided more of a design challenge due to its ceiling height and circular shape.

From the manufacturer’s point of view, the importance of these projects comes from them being existing users. ‘This space was originally covered by a Bose system,’ states Mr Salim. ‘The fact that this customer has wanted to stay with us and change out the other brand to make it an entirely Bose solution shows the longterm quality of our products.’

While it would be easy for the integrator to look at this as three separate projects, that is not the way that Mr Philip sees it. ‘It is great for us to have three projects inside the same complex. We treat it as just one project though,’ he reasons. ‘We are doing it in different phases as they demolish the old venues and build the new spaces.’

Having been successful with its delivery of the spaces so far, Mr Philip is confident about the company’s prospects for completing more venues at the Park Hyatt complex. ‘We have already changed three of the venues and there are two more to do, so there is the prospect of future work here too.’

Individually, these venues may only be a small addition to the portfolios of either the manufacturer or the integrator. But when looked at collectively, they become much more powerful. Having multiple outlets within the same complex opt to move to a single manufacturer solution and call in the services of the same integrator highlights the faith and trust placed in both companies.

pro.bose.com

www.ziogulf.com

‘The previous system had Bose and another brand and we are replacing it with an all Bose solution,’ explains Zio head of A/V projects, Bijo Philip. ‘They wanted a system that would work for background music but would also be able to deliver when a DJ performs using the Audio-Technica decks.’

The design itself was handled by the Dubai office of Bose Professional. ‘It was a design and build from Bose,’ confirms Bose Professional Middle East’s Kassim Salim. ‘We got the design drawings and did the calculations.’

‘The client’s request for this restaurant was all white speakers and it was a typical design,’ says Mr Philip. ‘Again we used the 402s outside and inside it was the 105s. They demolished the previous outdoor restaurant before creating this one. Again the client decided they would prefer to have an all Bose solution. They are very similar solutions for similar spaces.

‘Noépe attracts a big crowd for Friday brunch so the 402s help to build that atmosphere with a very nice sound,’ continues Mr Philip. ‘It did mean we had to put a lot of speakers outside to cover the space. We needed higher SPLs and more speakers out there to deliver the sound we wanted.’

A large number of 402 cabinets cover the outdoor area at Noépe

Panaray 402 loudspeakers combined with MB12 subs cover the terrace at SeventySeventy

RMU105 cabinets installed around the bar alongside the manufacturer’s FreeSpace DS 100F ceiling speakers

SeventySeventy has an all Bose solution

The outdoor space at the Park Hyatt makes it a popular spot for Friday brunch

There was a specific request for white speakers inside Noépe

Not accepting ‘good enough’

TUCKED AWAY BEHIND A DOUBLE SET OF GATES IN THE Bryanston residential area of Johannesburg is an unassuming three-storey building that looks like any other on the quiet street. Appearances can often be deceiving. Unbeknownst to the South African industry, this building is home to Africa’s most advanced postproduction facility, BeyondSound.

The story of how BeyondSound came into being is a very personal one, best told by its co-owner, Barry Neethling. As he sits back on the top floor of the facility recounting to Pro AVL MEA the tale of how it all began, two very different points stand out. First, he is quick to talk of the demanding standards set from the very outset, and, second, he is keen to recognise all of the people who have helped him along the way.

‘The entire journey has been around not being able to accept good enough,’ states Mr Neethling. ‘As I observe the industry, it is very much stuck in good enough. With proper certification, you cannot accept good enough. It can’t be good enough cement, it has to be the right cement, you have to have the right bricks, the right acoustic treatment, the correct design, you have to have the doors correctly made so that the attenuation is very high. You cannot accept good enough – if you do that, you’re dead.’

This attitude is clearly evident throughout the purpose-built facility. At the time of our conversation, BeyondSound had just become one of the few studios worldwide to be pre-qualified for Auro-3D’s AuroMax immersive audio standard. While this is an impressive achievement for the facility (it was already the first certified Auro-3D facility on the continent of Africa), Mr Neethling is quick to point out that the idea behind this move was simply to be able to provide producers with a higher quality of movie sound for the new immersive sound formats (such as AuroMax and Dolby Atmos) as well for the lower channel-count, surround sound formats (5.1 and 7.1) that films will be shown in.

‘The important part is that this all renders down into a higherquality 5.1,’ explains Mr Neethling. ‘So when we are doing a movie in the top-level standard, we are not doing it to necessarily be played like that. As a matter of fact, the first movie we ever made using this standard will probably never be heard in immersive sound. Especially when starting from an Auro-3D format, the quality when you render it down to 5.1 or 7.1 is considerably improved over a mix that has been done just in 5.1 surround.

‘Our route is really not to say we’re going to work in Auro-3D and expect you to only play it in a theatre that complies with that standard – we do not have that expectation,’ he continues. ‘All we’ve done is said we are going for the top-level standard, and are capable of everything down from that point. We believe this opens up opportunities for producers in South Africa to make movies of stunning audio quality, proud to be able to be played in the best venues in the world (and sound stunning) and not have to be charged much more than the standard rate that gives you a mere 5.1 without any reference and technical audit over the final product. ‘Auro-3D is the only sound format on the market that also has a vertical coherent stereo field on screen that is achieved by using six screen channels in total spread over two vertical layers,’ explains Mr Neethling. ‘The benefits are direct – not only more depth and much more natural sound from the screen channels but also a better coherence of the objects on screen and even improved intelligibility in the speech. Working in a reference facility also enables the producers to work with the movement of sound around the theatre far more accurately. Those unique advantages are largely preserved when you render it down. So your downrendered 5.1 mix sounds much improved over that of an ordinary

5.1 mix. With the Auro environment, you are working with a bed of 14 channels (Auro 13.1) spread over three vertical layers of sound all around the audience. That is creating a much more natural spread of sound in the vertical axis that is key for a natural immersive sound experience. So with AuroMax, we start from the highest possible resolution that we can render to all formats with fewer layers and channels up to 5.1 surround sound, which is worldwide still the main standard for cinema releases.’

The heart of the complex is the theatre itself, the site where all the theory is turned into reality. Every element has been considered from the foundations going down to the bedrock to avoid vibrations and outside sounds leaching in, to the unique variable pressure acoustic treatment designed by Ivan Lin. ‘I truly believe that a good studio starts with good cement – if you don’t build it right, you’re never going to get it right,’ says Mr Neethling.

‘A lot of studios are operating in converted offices so the structure is wrong from the beginning. You’re never going to isolate the sound properly, you’re never going to stop all the vibration so you are never going to get to that ideal level of quality. This structure was purpose-designed and purpose-built and there are not many people who have done that.’

Here again, when it comes to the technology employed, the attitude of not being able to accept good enough is on show wherever you look. The theatre features 46 Martin Audio CDD15 speakers for the surround and height channels, while behind the screen sit six of the manufacturer’s THX-certified Screen 6 cinema speakers. The lows, meanwhile, are delivered by four Martin Audio ASX subs.

With this number of loudspeakers in use, you would expect a large amount of power driving the system. However, here again Mr Neethling has shown his own desire for the highest standards by

Creating Africa’s most advanced postproduction facility has been a job filled with challenges, hard work and a fair amount of good fortune. James Ling finds out more

The post facility's roof is also a solar farm MC2 E100 amps in the rack

installing a staggering number of Powersoft and MC2 amplifiers. ‘The claim to fame is that the wattage of the studios is sitting at 330,000W RMS, and that is because of the nature of the design,’ explains Mr Neethling. ‘To be AuroMax and Auro-3D compliant, every single speaker has to be time aligned and EQ’d separately, so everything is aligned in accordance with mix position.

‘When we were building this place, I had a very simple approach to how you would spec an amplifier for speakers,’ he continues. ‘What you do is look at the speaker’s peak power capability (1,600W) and select an amplifier with an RMS rating roughly equivalent to that. It’s simple; the amplifier must be at least three times more powerful than what the speaker is rated for continuous usage. That gives you exceptionally high quality because the amplifier is running optimally at even what appears to be high output levels. The challenge is that you have to be very careful with your power and with your earthing – if power supply is poor quality, you will get hiss and hum being introduced. A huge

amount of effort went into making sure the power is clean and properly earthed. We have our own earth and neutral and that is critical to getting good sound quality. When you switch the system on, you can barely hear the hiss from so many speakers.’

The figures may be astonishing, but Mr Neethling firmly believes it is part of what makes the studio special. ‘The speakers are completely over spec’d – who’d be crazy enough to put Martin CDD15s in a studio?’ he questions. ‘And who is going to buy Powersoft K20s and MC2 amplifiers and use them on a single surround speaker? It’s those kind of nutty things that I did in the early days that has now got it to this point.’

Indeed, it was the good fortune during the early days of the facility that Mr Neethling is most thankful for. ‘It was the happy coincidence of meeting people from different parts of the world in this studio, all at the right time,’ he offers. ‘All of them saw something in this space that got them excited and got them to go the extra mile. I haven’t asked people to do so many of the things that have been done in here, it’s just been done. It tells me that this space has energised people to the point where they are prepared to make an emotional and physical investment and I think that is what has been so good about it.

The certification programme is ‘very important to ensure that the studio is perfectly aligned with the original concept of the immersive sound formats so that the artistic intent (the way the movie was mixed by the content creators) will translate perfectly to all cinemas, even if they are able to only play back 5.1 surround,’ notes Mr Neethling. The relationship built during the Auro-3D certification process has brought further benefits to the studio, as it has seen BeyondSound partner with Galaxy Studios in Belgium. ‘We collaborate with them when we’re making a movie,’ explains Mr Neethling. ‘It’s not just us who is making the movie, we also have it creatively and technically audited by Galaxy Studios, home of the Auro-3D format. When you get your movie back, it hasn’t just been done in BeyondSound, it has also been listened to and worked on by Galaxy Studios as well. The relationship helps with the engineers here getting up to speed with immersive sound formats really fast. Working with a guy who has done Pirates of the Caribbean and Warcraft and others in Auro immersive sound, you get up to speed pretty quickly.’

Looking to the future, it is the new international standards that Mr Neethling feels will have a significant impact on the industry as a whole. ‘We are expecting the final SMPTE standard of the interoperable bitstream used for immersive sound formats soon, which means that all immersive sound formats (such as Dolby Atmos and AuroMax) will use the same carrier format for theatrical distribution,’ he says. ‘This allows the playback of each movie mixed in immersive sound over all those systems. In that case, AuroMax has many advantages since it is based on the existing 5.1 install standard (not the case with Dolby Atmos) – it is easier to install while delivering not only the most natural sound from the screen but also around the audience. Different renderers will come to the market that can playback each system. Auro’s partner Barco, which installed more than 600 theatres with the Auro 11.1 system, already showed conventions its APX Renderer.’

Looking around the facility, it is hard to fathom that while it is a purpose-built and purpose-designed space, it was not originally intended to be a postproduction studio. ‘This place was built originally to be just a theatre, not a studio,’ smiles Mr Neethling. ‘And then as people joined me on the journey, they all turned around to me and told me I was wasting the space and it should be a postproduction studio.’

This decision was spurred by BeyondSound’s CEO coming on board following a long and distinguished career in South Africa’s cinema market. ‘We are honoured to have Fiaz Mahomed as the CEO and co-owner,’ furthers Mr Neethling. ‘He is the ex-CEO of Ster Kinekor, the whole industry knows him and he’s got tremendous respect.’

Reflecting on the process of creating the most advanced post facility on the continent, it is clear that Mr Neethling puts this down to the team he has assembled around him and the way the space has inspired others. ‘We have found a good formula in that we work with a couple of crews in terms of mix and edit,’ he concludes. ‘I’m lucky that a lot of people have got involved, a lot of people have worked on the theatre, a lot of companies have been involved – there is a huge list of people that have been involved.’ With an end result like BeyondSound, every one of these people can be rightly proud of their contribution.

www.beyondsound.co.za

Video editing takes place on the second floor of the facility

Studio 1 features ADAM A7 monitors

Six Martin Audio Screen 6 cinema speakers sit behind the screen

The theatre is pre-qualified for Auro-3D’s AuroMax immersive audio standard

Rising up the ranks

ALTHOUGH DUTCH MANUFACTURER ALCONS AUDIO

celebrated 15 years in business last year, the trio leading the company – managing director, Tom Back, head of R&D, Philip ‘Dr Phil’ de Haan and CFO, Maurice Laarhoven – all have more than 25 years’ history in audio apiece. Their paths converged at Stage Accompany and, since starting their own company in 2002, they have gone on to pool skills acquired from differing backgrounds to drive separate aspects of the business.

‘Between us we had some great but different development ideas – we ended up deciding Philip would make the product and I would sell it,’ recalls Mr Back. ‘Later, Maurice contacted me and I was able to convince him to come aboard with my new idea, and that is when we decided to form the trio. Those three elements –the overall management of the company led by me, with Maurice handling finance and Philip R&D – have been central to the way Alcons has been run.’

It didn’t take long for Mr Back to develop grand ambitions for Alcons. ‘I wanted to be in the d&b, Meyer, L-Acoustics range, at the top of the market,’ he confides. ‘I knew that we could do that because of the specific R&D knowhow we have about DSP, amplifier electronics, transducers and acoustics.’

Alcons has also been shrewd enough to offer the market a clear differentiator among other loudspeaker systems, although Mr Back admits this can sometimes be a hindrance as much as a virtue. One of the elements that has defined Alcons has been its use of pro-ribbon transducer technology.

‘Like a lot of developments in the Netherlands in the 80s, the original ribbon technology we use now came from Philips Electronics,’ explains Mr Back. ‘It’s not a ribbon in the conventional sense; they still suffer many hurdles such as fragility, poor power handling and efficiency. But this was a kind of hybrid that was developed by Philips for its consumer electronics loudspeakers, called “isophase”. Those original drivers are now more than 30 years old and are highly sought after if you can find them.’

Mr de Haan has been working on this technology for more than 30 years, bringing it to where it is today: a technology with numerous patents and patent-applications and over 32 different varieties in dispersion patterns, power handling and efficiency.

‘Alcons purpose-develops pro-ribbon drivers for its point source, point source array, line source and line array systems,’ continues Mr Back. ‘It’s a real-world alternative to any mid-high frequency transducer, bringing Hi-Fi sound quality to concert-level SPLs. Although we deliberately named our technology “pro-ribbon”, we still have to overcome the popular belief about ribbons – fragile, poor power handling, poor efficiency, low impedance. With thousands of drivers in daily use, the actual failure rate is close

to zero, and most of these are the result of curious engineers incorrectly opening the drivers.’

The first pro-ribbon product in 2003 was the VR12 compact versatile monitor, featuring the RBN601 6-inch pro-ribbon driver – a first – and a 12-inch driver in a multi-angle enclosure. Well received by the market and still in the Alcons portfolio, it was designed for use as a full-range monitor on a stand, a top cabinet in top/sub combo or a floor monitor. This was followed a year later by the first Alcons line array, the LR16, which debuted at the Museumsinsel festival in Berlin. This also used the RBN601 pro-ribbon driver coupled with double 8-inch mid-bass transducers and was the first time Alcons could demonstrate the suitability of pro-ribbon in line array applications. Later that year it found favour with Toto’s engineer, Colin Norfield, who used it for the band’s performance at the Tall Ships festival in Larvik, Norway. Subsequent line array systems include the LR14 ultra-compact line array launched in 2007, the LR7 micro line array in 2008 and the LR18 in 2016. Other significant product releases have included the QR24 column line source in 2012 and the RR12 point source array in 2013.

The pro-ribbon technology has evolved to the point where it can now be used in large-format systems, the most recent of which is the LR28 line array introduced in 2016. This features the RBN1402rs 14-inch pro-ribbon transducer for mid and high frequencies, which Mr Back describes as the company’s best proof of robustness. It is also the first time that the same transducer technology can be used in applications from studio monitoring, up to a 50,000-seat stadium concert tour.

‘The system’s output is on a par with the largest touring systems that are using 100-year-old compression driver technology,’ he claims. ‘The first LR28 clients have had these systems in use for two years, without any failures.’ The first of these clients was Trondheim Lyd, a sound and light provider from Norway, which has been using it for artists including Tom Jones, Roxette, DJ Tiesto,

Alcons Audio has been steadily establishing itself and its technologies for 15 years, carving out a niche in the world of sound system manufacture. Caroline Moss reflects on the company’s trajectory

Alcons LR28 at main stage of Dance Valley EDM festival

Tom Back and ‘Dr Phil’ de Haan with LR28 systems

Status Quo, Suzanne Vega and The Waterboys without having to replace a single component. Meanwhile, Dutch rental company Jurlights has been using the system on large-scale EDM festivals.

From day one, Alcons has strived to achieve a fine balance between offering something new and revolutionary and sticking with tried-and-trusted concepts. ‘Our growth is partly down to the range of our product portfolio. When we thought about starting the company we asked ourselves: “There are so many manufacturers of black boxes, what are we going to do differently from them?” That’s something we had to consider, but when you’re competing with 35- to 50-year-old companies, you also need to refer to concepts that customers have been used to for all those years. In this industry we’ve seen so many examples of excellent engineering and great sound, but it’s too revolutionary and the market doesn’t accept it. We focus on bringing new technology in market-proven concepts.

‘If we didn’t have the belief we could offer something that would raise the bar significantly when it came to potential sound quality, we wouldn’t have started the company. It’s been great justification when we hear from our clients that they believe Alcons goes much further in achieving the best sound quality

possible than any other manufacturer. A large part of that is, of course, from the pro-ribbon technology, which offers up to 90% less distortion than traditional compression driver-based systems, and it’s very audible.’

This focus on absolute sound quality is also the reason why Alcons systems defy classification, something that is borne out by a wide user base. Clients range from Lucasfilm and Walt Disney screening rooms and VUE cinemas through to Levels Audio postproduction studios in Hollywood, the Elbphilharmonie concert hall in Hamburg, Hamilton: an American Musical on Broadway and the Netherlands’ largest EDM festival, Dance Valley.

From the original trio and a handful of loyal friends, Alcons has grown to employ almost 30 full-time staff split across three separate buildings. ‘We are very rapidly expanding,’ stresses Mr Back. ‘On the woodworking side we’ve just moved in to new premises because we were in urgent need of more space. Our former office is about 1,200m2 and that’s now been completely converted into the woodworking department with brand new CNC machines. Now we are looking for much larger premises to move to before the end of the year, bringing everything – woodwork, electronics, transducers and assembly – together under one roof.’

While much of this growth has come from new territories, largely driven by its regional offices in Germany and USA and representation in around 30 countries, the markets the company serves have also expanded. ‘Our technology and R&D expertise lends itself to a wide range of applications and solutions,’ asserts

Mr Back. ‘Besides the typical installation and small-to-medium rental markets, we’ve been focusing on cinema from day one, getting our products established in screening rooms, and that’s had a knock-on effect for residential. At the other end of the spectrum, we’ve entered the touring market.’

And with Hamilton – currently one of the most successful musical productions in the world – transferring to the West End and taking the sound design from Broadway with it, it seems Mr Back’s ambitions of joining the big league have been realised.

www.alconsaudio.com

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Vue Kerkrade, Holland, one of the world’s first Dolby Atmos cinemas, installed with Alcons C-series pro-ribbon cinema systems

Alcons RR12 in Elbphilharmonie Hamburg

A letter from America

Dan Daley considers how a new breed of smartspeakers is propelling the industry back to the olden days of mono devices

HERE’S SOMETHING TO THINK ABOUT: audio is being propelled at this moment into the immersive era, led by cinema and broadcast sports, in which 10 speakers will be considered a ‘normal’ array – the classic 5.1 plus four channels of overhead. That’s seemingly underscored by the dramatic increase in consumer loudspeaker sales in the last couple of years. However, consumers are not buying Dolby Atmos speaker arrays in large numbers, and for that matter proper (discrete) 5.1 surround systems are also still only a small fraction of the market. What they are buying, and doing so by the hundreds of millions, are so-called smartspeakers. Amazon, the market leader with its Alexa-powered Echo devices that respond to spoken commands, will hit sales of 244 million units in 2022, up from 24 million in 2016, according to a Forrester Research forecast, making Amazon the world’s biggest speaker brand, having sold 75% of all smartspeakers. In other words, we’ve gone back to mono, without realising it.

Amazon’s Echo is joined by Google Home and likely soon by Apple’s HomePod, which is following a market trajectory more like that of Apple TV than the iPhone or iPad, but, given Apple’s market power, will soon add even more heft to this growing category. But the vast majority of smartspeakers are mono devices; a few are designed as stereo units, but the spacing between their adjacent transducers simply cannot produce useful stereo images. And while smartspeakers are sometimes pitched in pairs, they’d still be just two independent speakers, not halves of a

Changing up the mix

Aside from the irony of selling more speakers than ever in the process of bringing audio back to a state like it was when Meet the Beatles an entirely new way of mixing music, in order to keep pace with what consumers want. If the

A letter from Europe

evolution from the CD, to downloads, and now to streaming has taught us anything, it’s that consumers will choose convenience over sonic quality every time. All the passionate advocacy for ‘quality sound’ from the pro audio and compelling, but largely for naught. Consumers want their music when they want it and where they want it. If that happens to be out of a $29 talking can, then so be it, and all the wailing and gnashing of teeth isn’t going to change that. You can educate consumers or you can cater to them – but only one route is going to pay the mortgage.

So, what does music made for smartspeakers comprise? Apple provided a good roadmap a few years ago when it introduced the Mastered For iTunes fact that it is meant to be both a mastering process and a distribution format – that is, it acknowledges that the audio it’s processing is intended for non-physical formats, in this

Music, the company’s online subscription portal. In this case, the medium is indeed the message. Spotify, Soundcloud and other streaming portals have been around long enough for a substantial body of mastering protocols to have been built up and become available online. (Masteringthemix.com is one of the better ones.) Mix and mastering engineers are well advised to start applying these techniques.

Mixing for the broadest medium isn’t tantamount to accommodating the lowest common denominator. Rather, it’s an acknowledgement that the landscape for music production has changed once again. There’s more to it than turning the L-R panners to the centre and cutting 3dB, and, while it’ll never have the presence that a great stereo mix through very good speakers will, it’ll help recordings better navigate the technical and economic exigencies of music’s new world.

Phil Ward considers whether concert venues should be tightening their security in the aftermath of the Bataclan and Manchester Arena attacks

FRENCH STATE TELEVISION HAS BEEN

obliged to put back the airing of a tender drama that sets a Parisian love affair at the time of the attack on the Bataclan, the small club venue where Eagles of Death Metal were

the stage, the audience and the foyer. Ninety lives were lost, including Nick Alexander, the band’s merchandise seller who was packing up near the entrance, and many injured in the 2-hour onslaught.

The delay is public channel France 2’s response to a petition of over 38,000 signatories who have objected to what they see as the exploitation of the event for

This is in the face of the all-too-real tragedy that struck the community with such force that a brace of coordinated survivors’ groups still offers support and counselling more than two years later.

It was these lobbies that got behind the petition, started by one victim’s widow, resulting in the postponement of the scheduled broadcast of Ce Soir-Là (That Night) until the show’s production team has had time to meet with them and arrive at a mutually agreeable way forward. No doubt they will emphasise the sensitive aspects of the narrative that portrays the couple at the centre of a love story that sees them meet at survivors’ group sessions – because although they weren’t at the concert, they both stepped in to help people escape.

I was in two minds about this, but I have spoken to a survivor: Steev A Toth, the Eagles of Death Metal production manager who was trapped inside the building for the full duration of the attack, hiding in an equipment room. His view emphasises the need to keep the stories alive, whether as imagined myths or simple pragmatism. ‘We had years of trying

to improve crowd control after those deaths at Roskilde in Denmark – I was there with The Cure – because it made it a high priority. Unfortunately, Bataclan will now go down as a similar watershed. No one’s ever been in that situation at a gig – 90 people killed at one show, out of 1,500 – so it has to rise to the top of the agenda.’ Mr Toth also had the gruesome task of incinerating the mics, pedals and backline that were beyond salvaging, once they’d been released by French police and returned to the UK.

He’s right. Apart from the ethical matters pertaining to the dramatisation of brutal news, there are more practical questions that the industry should be asking about the vulnerability of tightly packed concerts

airport-style security checks on all crew and gear before load-in, an expensive move with limited potential. I saw sniffer dogs backstage

at Justin Bieber’s only UK gig in Cardiff last June, but one lone nutter was intercepted just outside wielding a machete. Principality Stadium authorities had already closed the roof, for fear of drone attacks.

With all things considered, most industry professionals believe passionately that we should not be bowed. Joel Perry, who works as concert touring account manager at renowned North of England rental company Wigwam Acoustics, part of the SSE Audio Group, last summer for the survivors and victims’ families of the bomb attack at Ariana Grande’s appearance at the Manchester Arena. Never one to mince words, Mr Perry told me in no uncertain terms why business should continue as usual despite the risks. ‘We’ve all got a massive responsibility to be very positive,’ he said. ‘The concert industry may be “recession proof”, but if fear wins we’re all …’

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Seeking a realistic audio education

of the higher-education

audio

CONVENTIONAL

AUDIO EDUCATION PROGRAMMES

ARE simply not adequate for a wide variety of the audio industry’s jobs and needs. And yes, there are jobs. So what do I know that makes for a different perspective? It all comes down to the fact that I am a professional audio engineer who teaches rather than a professional teacher who knows something about audio. I currently teach an introduction to broadcast audio and advanced broadcast audio at a 4-year arts college. Additionally, I have been exposed to university programmes in nine different countries while conducting professional- and university-level broadcast audio training over the past 25 years.

What I’ve seen among the institutions of higher learning is the lack of a clear path towards achieving a relevant audio education and degree. In fact, for many students, an audio education at university level can be daunting to achieve. The most important courses are often embedded within different fields of study, forcing the aspiring audio student to embark on a sort of scavenger hunt to find courses to fulfil the audio degree programme, much less the needs of the workplace.

So here’s a realistic approach if you’re seeking an audio education.

Consider your options. The quest for an audio education should begin with some serious soul-searching as to what the desired outcome of your financial investment should be. And it is an investment, because the cost of education is at an all time high –right along with the number of unemployed college graduates.

In the audio disciplines, there is a wide spectrum of educational options to choose from. The availability of audio instruction ranges from speciality media arts schools to mass communication programmes at many major universities. In addition, online learning is changing the patterns of education in all fields. Media Arts and Sciences are taught at various levels of theoretical depth and operational specialisation. From a general, 4-year media degree to a 3-month equipment certification, audio education and training is readily available. The challenge

for the aspiring student is selecting a programme of study while understanding the training outcomes of that course of study.

At a 4-year college or university, a media degree might include courses in media technology, the science of picture and sound, broadcast systems and media production. (These course descriptions were pulled from actual school catalogues.) At the end of the day, a film, video and television degree will give students an overview of media theory and production. Add a good internship and you just might get a job.

Even though many programmes have an actual radio or television studio, more often than not there is a gap in the type and age of the equipment a student is trained on and the current professional technology actually used in the field. Many motivated students gravitate to an area of interest – audio, camera, capture or graphics – but generally are not given the more focused learning opportunity to become proficient.

One requirement for success in many audio occupations revolves around the quick and creative execution of audio directions. This

is evident in all aspects of the industry and makes hands-on training critical. Be sure to find out if hands-on training is available as part of the audio programme and what types of equipment are used in that training before you enrol.

While digital film topics are typically well covered in most educational programmes, audio courses revolve around the visual studies. For example, audio for film would cover location sound capture and recording, plus postproduction and the principles of sound design for film, but not live broadcast applications.

Where there is an abundance of audio-specific studies is in recording technology. This programme of study can be tied to a music programme at a university or found at a profusion of private schools offering 4-year arts degrees as well as shorter certificate programmes.

Music programmes can be difficult for untrained musicians, so much so that many schools have softened their entrants’ music requirements to fill the need to educate aspiring recording technicians. For several decades, courses in recording technology have been one of the largest areas of audio instruction and jobspecific audio training.

The recording technology degree programme should teach a wide range of recording and mastering principles across a variety of media platforms, including creating audio for music, film, television and the gaming industries. These studies will be based on hard disk recording technology and usually taught in a studio setting. Most programmes are project-based and guide the student to having a portfolio upon graduation. Acquiring a recording technology degree will train you in the audio aspects for video, including recording narration, building audio tracks for commercials, cartoons and documentaries, postproduction and mixing, radio and even commercial music production. But be aware that these programmes are often limited in scope to just the recording aspects of audio.

Know the job market. For the audio graduate, often it is not until you are looking for a job that you realise the vast number of

Dennis Baxter offers his experience and exposure to the reality

system and a course of action for those who aspire to an education in

Dennis Baxter with his students

audio-related jobs that are out there. Jobs in the audio field span all aspects of the entertainment industry, but there is a lack of exposure to many of the live areas of audio-related occupations. Furthermore, new graduates may find themselves under-educated with a significant lack of training in outside broadcast, live music as well as theatre sound production.

To me, most audio education degree programmes seem to be too limited in scope. Touring technology requires a far different set of skills than recording and there are very few opportunities to get those skills. Sometimes the employer has had to fill the gap in audio training – for example, Britannia Row, a UK-based PA and lighting company, implemented its own programme where applicants were instructed in the skills the company needs. Applicants who achieved top of the class standing received a paid apprenticeship. But this approach is rare. Even the most basic apprenticeship programme requires some textbook learning and many operations and businesses want an entry-level person to be useful from day one.

The reality is that while an audio education might get you an interview, many audio jobs require skills that are not developed or even taught in a large number of audio education and training programmes.

So, what do you need to do to get the very best return on your investment and equip yourself for an audio career? One of the most important things you can do is to develop a realistic course of action for achieving a relevant audio education. It can be as simple as a checklist … but the thinking and research that you put into it are well worth it.

1. Define what you are looking for

Are you training for an entry-level position or are you trying to advance in a specific field or cross-train in a different area of audio? Unfortunately, this step is not adequately explored or really fully understood by the parent or student. Many students are

attracted to a general, university-level media education and, in being so, marginalise their chances of a job. They will receive instruction that is more theory than practice and sometimes simply not relevant in today’s industries. I am continually surprised at the lack of relevant curricula in many educational organisations. A close examination of a school’s curriculum can indicate the depth and expertise of the audio programme’s core content.

is to get as much hands-on training as possible while you’re still in school. Experience everything you can. Potential employers are increasingly expecting the audio graduate to be immediately useful and not require babysitting or re-training. Hands-on exposure to specific operations of digital equipment such as mixing consoles, communication systems, recording and playback devices and routing is mandatory for the student. Be sure to find out availability of studio training and the types of current equipment used.

The professional audio industry has recognised some of the deficiencies in audio education and provides opportunities to augment degree programmes with applied learning outside of the university structure. Specific manufacturers offer online tutorials about the use and application of their professional audio equipment. Tutorials such as Genelec’s speaker system set up and alignment, DiGiCo’s videos and offline mixing console tutorials, and Audio-Technica’s microphone use and applications should be a viable component of the education process. Additionally, manufacturers including DiGiCo, Genelec, RTS and Audio-Technica have supported realistic audio education goals by loaning equipment for hands on training to hundreds of students.

The abundance of institutions offering music and recording studio technology programmes has led some to poorly adapted live audio classes to round out their curricula. There may be similar equipment in the student studios, but the emphasis, training and hands-on learning is completely different. The result is a short-changed education.

You will quickly discover when audio study is an add-on because of the lack of proper audio equipment to train on. For example, audio for film and audio for television should not be taught together because the disciplines, applications and equipment are completely different. This is probably why there are very few schools that teach outside broadcast because only a handful of schools have an OB van. There is definitely a void in outside broadcast education and training.

2. Avoid predatory marketing

Unfortunately, a small number of educational institutions are marketing ‘glamour’ to attract young students with stars in their eyes. By portraying graduates with high-paying jobs in fancy recording studios or metamorphosising into a recording star, these institutions are implying that bountiful jobs do exist and that their degree programmes will ensure a glamorous career in the future. But predatory marketing is a sure sign of a school to avoid. High tuition fees and the low realistic value of the education itself can leave students – and parents –disillusioned and owing thousands on student loans.

3. Invest in the building blocks

Selecting an audio programme can be difficult if you don’t know what the building blocks are. From my vantage point, there are fundamentals for any audio student in disciplines such as acoustics, basic electronics, microphones and monitoring. Having a working understanding of the maths and physics behind sound is absolutely necessary. And after learning the theory, the applied aspects of audio are a critical part of the learning formula. You will need instruction in sciences such as digital technology and its application across all platforms –audio, video and communications. The equipment is computerbased and gaining a working knowledge of audio software plus computer troubleshooting and testing skills is essential. One of the biggest problems for new graduates is a lack of operational know-how with professional equipment. The key

Another important thing you can do is to work while you go to school. Find a job in the industry – outside of the school. This will give you the chance to learn on different equipment with working professionals. The most proficient students I have taught are those who have augmented their coursework with real work experience. Apply for a job in an equipment rental company, PA company or sports facility. Get your foot in the door, make yourself useful and you will progress rapidly. Even if all you can do at first is coil cables, you may just get the job because your employer knows the value of orderly and proper equipment maintenance.

4. Join industry associations

The Audio Engineering Society (AES) is an international organisation and is just one opportunity for an audio student to rub shoulders with professionals and be exposed to the latest thinking and innovations in the industry.

Plan to focus your studies on something you’re interested in. As you progress through your degree, you’ll find areas in audio that are compelling. Spend time on these gems, learn all you can about them from books, the internet and industry publications.

Moreover, look for a school that stresses the integrity of an audio degree, pushes on the science and maths, offers hands-on environments and teaches a well-rounded curriculum for a wide variety of audio disciplines.

At the end of the day, job placement is the final objective of your education. It is a fair question to inquire about the educational institution’s successful placement rate and companies which have hired their graduates.

For those of you who are students, those of you who know people who want to have a career in sound and those of you who, like me, just want to mentor the next generation of audio professionals, think about what you’ll say when someone asks you, ‘I want to be a sound engineer. How do I get started?’ You can answer by telling them that they need a course of action that will net them a realistic audio education and a lifetime career of creative, challenging and exciting work in sound.

Basic set up theory

Cabsat 2018

Was shifting away from its traditional March timing to January dates a successful move for Cabsat?

FOR THOSE BROADCASTERS WHO ARE UNABLE TO TAKE

Avid Calrec Lawo Solid State Logic

Studer Yamaha

Audio over IP Riedel

Neumann Sennheiser

Shure Røde Genelec

Ross Video

Communications

Thomsun Trading’s Alok Ghurde with Digigram’s Marc Wilson

Sonifex’ MD, Marcus Brooke, promoting the latest multichannel audio interfaces utilising AES67 AoIP

Yamaha Gulf’s Jan Crutelle

Samer Mouwanes of Clear-Com promoting the LV Core range

Avid highlighted VR mixing

Todd Riggs and Stuart Russell present Ross Video’s Ultrix FR-5

TSL Products’ Swarup Mukherjee, Chris Exelby and Tom Pollard debuted a number of new audio monitors that support both SDI and IP infrastructures

Bosch Communications’ Sanjay Kumar presenting the latest RTS Roameo communication system

allows us to showcase solutions that will allow broadcasters to take this journey over a period of time on budget.’ Those solutions included the cloud-based xG planning and scheduling solution, Versio integrated playout, Selenio Network Processor and Hybrid SDI-IP Platinum IP3 router.

In addition to Riedel’s IP-based Bolero, ASL (Flexus and Enchorus), ClearCom (FreeSpeak and Trilogy), LaON Technologies (5GHz) and RTS (Roameo) were all present and correct to promote their latest communication systems.

Heralding from the UK, both Sonifex and TSL Products highlighted their networkable audio monitors, for whom Sonifex placed its multichannel audio interfaces using AES67 AoIP in the main shop window, while TSL shone a spotlight on the MPA1 Mix Dante model. Designed for smaller sports events, AEQ Kroma unveiled its new Olympia 3 commentary unit.

Qataris from broadcasters such as Al Jazeera were a no show this year owing to political events beyond their control, but

this region has endured worse obstacles in the past. The booth sizes of exhibiting systems integrators and distributors have visibly shrunk, while some key international manufacturers such as Sony remain absent. Oasis Enterprises highlighted a number of lighting and video brands such as Ayrton, Desisti, DMG Lumière, ETC, Hitachi, JVC and Rosco

‘There’s been no Indians, Africans or Iranians visiting the show as in previous years and we have not met as many visitors from the educational sector,’ analysed sales engineer, P Janardhan. ‘The latest Datavideo solutions such as the new portable HS-1200, -2200 and -2850 switchers have caught the eye, as have the HDR-1 recorder and PTZ cameras.’

Perhaps the perceived lowered footfall on the show floor could be attributed to the powerful conference programme that was staged on all three days. The content congress drew attention to navigating the broadcasting revolution such as disruptive technologies, shifting consumer trends

and new revenue opportunities. Other panel discussions highlighted topics such as cyber security of IP in the digital age together with 4K and HDR imaging. Possibly more critical than declining budgets, the sharing of knowledge seems to be the cornerstone of broadcasting survival during these turbulent times. The announcement that Cabsat will once again be staged in mid-March next year was welcomed by most exhibitors, but it will be interesting to see if this year’s migration will further affect the 2019 edition’s footprint and traffic.

2018 Dates: 14 – 16 January

2019 Dates: 12 – 14 March

Venue: Dubai World Trade Centre

Total exhibitors: 367

Attendance: TBC

Contact: www.cabsat.com

Anthony Harrison of Calrec with the new Brio.12 console

GSL Professional’s Adrian Curtis, Fouad Fowzi and Faegh Fowzi welcomed Chris Wright and Takashi Tsunoyama from TASCAM

AEQ’s Gustavo Robles highlighting the new Olympia 3 commentary unit

P. Janardhan and Lakshmeesha presenting Datavideo’s latest HD switchers on the Oasis Enterprises booth

NAMM 2018

What effect did the newly expanded Anaheim Convention Center – which now features new halls dedicated to pro audio and event technology – have on this year’s show?

WHILE WALKING THROUGH A CORNFIELD IN THE 1989 Field of Dreams Adamson Systems Engineering

K-array KV2 Audio Powersoft

RME’s Christian Latzelberger and Eric Chiu on the Synthax booth

NST Audio, Full Fat Audio and Funktion-One – Dan Cartman, Daniel Agnes, Ann and Tony Andrews, Dave Millard and David Bruml

Lectrosonics’ Peter More and Karl Winkler hosted an Entertainment Wireless Technical Academy in the adjacent Hilton Hotel

Ultimate Ears Pro general manager Philippe Depallens

beyerdynamic unified communication and collaboration product manager, Philipp Schwenker showcases his latest creation, the Fox USB studio mic

Bose Professional’s Kyle Sullivan with the new S1 Pro multi-position portable speaker Stefano Bini, Ilaria Fioravanti and Marco Cantalu from dBTechnologies with the Vio line array system

Dowson Yu from JTS Professional with the new CS-120 digital conference system

Burl Audio’s Trevor Reid and Bristin Millard

DPA Microphones’ vice president of marketing Anne Berggrein with CEO Kalle Nielsen

credibility of NAMM’s extension to a more professional audience beyond MI. DPA meanwhile promoted its latest Core models alongside d:facto and d:vote on the same level with a live band. Located some distance from the main halls, the NAMM organisers could be forgiven for feeling apprehensive on the eve of the show. The Arena had always felt somewhat remote and detached from the other exhibits in the old format, so the extra distance to ACC North would serve as a greater test for NAMM visitors wishing to drag themselves away from the melee of the MI halls. They need not have worried. From the outset, the bridge between the halls experienced heavy traffic, perhaps drawn to the heavily subscribed live demonstrations on the Avid, Roland and Waves booths.

Finally removed from the confines of room 7800, Harman was actually out on the show floor to promote an immersive setup consisting of the new JBL 3 series MkII monitors amongst AKG, Soundcraft and other JBL products together with Martin Professional lighting solutions. ‘For Harman in the past, we were in a smaller room and we didn’t have the visibility with the crowds,’ shared Lea Bush, marketing strategist at Harman. ‘Now

is really a first for Mipro, so we wanted to receive direct feedback from musicians. But it was a dilemma whether to exhibit here or with the other microphone producers in ACC North.’

Both Allen & Heath and dBTechnologies, exhibiting the dLive consoles and Vio line array, respectively, on the booth of their distributor, were kept busy from the outset. Likewise P Audio, promoting its Vita line array system alongside transducers and woofers, also welcomed a steady flow of distributors and dealers. If Adam Hall had been torn between ACC North and the main convention centre, its decision to remain seemed to have paid dividends. The Porsche parked outside the Arena signposting visitors to its stand to view the Maui P900 flagship speaker system clearly helped, as the Cameo lighting, Gravity stands, LD Systems portable speakers and Palmer MI accessories were clearly aimed at the end user.

In a similar vein to the A-T and Sennheiser wireless microphone system launches, new products unveiled at NAMM are primarily focused on enhanced price performance features. In contrast, while TASCAM drew lengthy lines of Bootsy Collins admirers to its booth for an hour, the latest Dante-enabled ML-16D and ML-32D analogue Dante converters attracted a more refined audience of studio engineers and recordists. However, elsewhere, new launches such as the Focusrite Clarett USB interfaces, Presonus Earmix 16M personal monitor and RCF ART 7 series typified NAMM shows of old.

The inaugural AES@NAMM programme included four training academies, a variety of tutorials and sessions in addition to whitepapers being hosted in the adjacent Hilton Hotel. ‘With the professional audio industry growing and changing rapidly, we believe it makes sense for our society’s in-person gatherings to evolve as well,’ explained AES president, David Scheirman.

‘Considering the rapid advances that are taking place in the technologies and tools we use, there is nothing like direct exposure to the latest advances in audio equipment and workflow processes. This event was designed to provide a sampler of knowledge and hands-on training across the entire signal path, from microphone to speaker.’

With more than 300 sessions taking place off the show floor, there was a degree of angst amongst exhibitors that such distractions might limit show floor traffic. Their fears turned out to be unfounded as workshop registrations were somewhat lower than anticipated. However, the additional element to the NAMM show and the collaboration with AES bodes well for the years ahead as an educational format enriches the offerings of an already packed programme.

For the 2018 show, the NAMM organisers succeeded in drawing a significant number of new exhibitors to ACC North in addition to plugging the gaps in the main convention centre. Other event organisers would doubtless have been satisfied to attain such a lofty goal, but NAMM went further. The organisation ensured that huge expanses of show floor were not diluted in visitor numbers – a fact noted repeatedly by exhibitors in all the halls. Nor was the increased attendance figure exclusively North American as international registrations outgrew domestic. At the close of NAMM 2018, some noted professional loudspeaker developers were already drawing up new, increased stand spaces for 2019, possibly to coincide with planned product launches. The NAMM organisers may have been subjected to excessive SPLs over the years but they understand the art of listening when interacting with their customers, providing them with a befitting platform worthy of their participation.

we are in this new open space where we can showcase our studio technologies in an area that allows us to provide a demo, showing attendees that Harman has solutions they probably didn’t know about before.’

In close attendance, QSC preferred to celebrate its 50th anniversary with the original founders cutting a birthday cake on its booth. Having decided not to exhibit its Systems technologies, QSC focused on the extensive range of K series speakers including the new KS112 subwoofer, TouchMix-30 mixers and E series amplifiers from the Professional series. Synthax hosted Alva, Ferrofish, RME and myMix products, but in keeping with the lower level vibe, guests were entertained with live music, giveaways, coffees and demonstrations in order to keep them there. ‘I cannot believe how busy we have been this year – this is the best NAMM I have ever attended,’ enthused MD Mathias von Heydekampf. ‘RME is showing the ADI-2 DAC Interface, and TotalMix Remote Software for the first time at NAMM 2018. During the four days, we have interfaced with so many existing and hopefully new customers including many from Asia and Latin America.’

Back in the main halls and despite the relocation of many professional audio brands, NAMM was hardly scaled back, with vacated spaces now occupied by MI manufacturers and suppliers. Perhaps resistant to change, a number of familiar pro-companies opted to stay put, including Mipro. ‘We’ve been exhibiting at NAMM for over 20 years and, as a wireless microphone and speaker manufacturer, we decided we need to interface with musicians,’ explained marketing director, Eugene Chen. ‘The MR-24 digital wireless pedal receiver is making its debut, which

2018 Dates: 25 – 28 January

2019 Dates: 24 – 27 January

Venue: Anaheim Convention Center

Total exhibitors: 2,000

Attendance: 115,085

Contact: www.namm.org

www.nammshow.org

P Audio’s Howard Chen and Simon Rains present the new Vita system

Traffic on the bridge between the main convention centre and the new ACC North resembled the 405 at rush hour

Current VP of QSC Gene Joly and CEO Joe Pham with founders Pat Quilter and John Andrews

Another successful NAMM for the Audix team

Mipro’s Eugene Chen unveiled the new MR-24 digital wireless pedal receiver

ADAM Audio chairman David Angress unveils the company’s new T Series studio monitors

Wolfgang Freixenet introduces Sennheiser’s ew100 G4 wireless platform

TASCAM’s Yosuke Matsuno and Takashi Tsunoyama promoted the new ML-16D and ML-32D analogue Dante converters

Always Listening – Audio Technica SEA’s S K Teng welcomes his Thai distributor from Vichai Trading Thitikorn Sopchokchai

Focusrite’s marketing director Giles Orford showcases the Clarett USB interface

NAMM

‘As an importing manufacturer from overseas, Adam Hall feels at home at NAMM sharing our technologies amongst passionate people. To enable creativity, Adam Hall always shares its extensive knowledge – but I feel it this year like no other trade show. There’s a spirit here that you don’t experience anywhere else.’

Adam Hall marketing manager, Nikke Blout

‘This level of ambient noise is manageable but navigating around queues getting through security nightmare. They seem to have programme, we’ve had three studios presenting throughout the day with DiGiGrid and Waves. They were much less successful marketed or thought through. They’re going to have to drastically revamp things if they’re going to do it again next year.’

Genelec marketing director, Howard Jones

‘With the opening of the new ACC North, we were unsure where to exhibit initially. As we are also promoting electronic drum kits and other MI products, this position was best in terms of interfacing with musicians while attracting visitors moving between the halls. It hasn’t disappointed as it has been very busy this year.’

Studiomaster general manager, Patrick Almond

‘We haven’t been here since 2015 when we were in the Arena, but felt encouraged enough to return this year given the opening of the has been steady as we have invited the majority of theatre technicians, consultants and production companies here to the show.’

KV2 Audio international sales director, Dave Croxton

‘NAMM is a great friend and as a good friend of the organisation I have been get together and I’m excited that we’ve found a way to do it. We’ve had a good turnout. It’s kind of a new concept. People might still be expecting the big toy store and not much else, yet there is all this rich content now.’

AES executive director, Bob Moses

‘We were in the Arena for the last two years because we were new to NAMM, and now we’ve moved over to Hall A which is far better for us.

because they are so spread out, but booth. However, I am still up in the air as to whether this is a good location for us.’

Switchcraft’s Wendy Charak

‘This has been a very successful show for us. We feel that the NAMM show is getting more popular and there are more and more visitors from different countries all over the our new active speaker, and it was a great success.’

Audiocenter sales and marketing director, Dena Tsui

‘This new hall is a much better place to be. It’s brought all of the pro manufacturers in one place together and it’s really worked. And those that stayed in the old location, I think they’ve felt a little bit isolated. Next year all the pro manufacturers will be in one building, and that’s really positive.’

DiGiGrid brand manager, Dan Page

‘Hall A has been a great location for the last two or three years, but whether it will be as good next year will be interesting to see. It may no longer be the best place to be.’

JoeCo founder, Joe Bull

NAMM, and we are receiving an award recognising our 50-year achievement. Happily it’s been a very successful show from the standpoint of seeing customers who we might not have seen at the AES show otherwise. I’ve been coming here for many years and the mixing of pro audio into NAMM has made it weirder, but that’s actually a good thing. There is more of a reason for somebody to come here not knowing exactly what they’re going to see.’

Clear-Com president, Bob Boster

‘Bittree is celebrating its 40th anniversary this year and this

response has been great and a little overwhelming. I was a little nervous when we came here knowing there is a pro audio section but being in Hall A has been really good for us.’

Bittree general manager, Ari Baron

‘We deliberately located ourselves between the musical guys and the pro audio guys because that’s where we are in terms of our product range. I can’t complain about the location. The general we are very positive about the changes.’

Celestion marketing/artist relations manager, John Paice

‘The new halls and new focus have been an excellent change. We are very happy with the positioning and the hall is quieter, meaning we can have high-quality chats with our engineers without being interrupted by musicians. I think the AES section at NAMM is really interesting but I don’t think it has been announced correctly. It would be cool next year to have signage directing people to the right places.’

Klang:Technologies co-founder, Pascal Dietrich

‘We had originally planned a location in Hall A so we were late in switching over to these new good but not great compared to what we were used to in the other section.’

Auralex marketing director, Robb Wenner

audiotechnik has participated at the NAMM show. Unlike other trade shows, the appeal of having a demo room directly associated with your booth was a big plus for us in terms of manpower and setup. It’s been a complete success as the demos have been packed with two days followed by a large contingent of good musicians on the third day. Unlike other trade show associations, NAMM actually listened to us and delivered on their promises.’

d&b audiotechnik Latin America sales manager, Christian Stumpp

‘This year’s NAMM has been particularly good for us. We’re in a decent position amongst peer groups in the new hall, so we’ve had that appropriate footfall and customers come through that really want to see the new result6. There are always going to be concerns or changes raising questions but I feel that NAMM’s really executed this group quite well. Most guys from pro audio have their own little corner at NAMM now.’

PMC export sales manager, Chris Allen

ISE 2018

What makes

calendar?

IT HAS TAKEN 15 YEARS TO GET TO THIS POINT, BUT ISE is now clearly the most important tradeshow in the industry. Some composition of the audience or from the raft of new technology every category.

One of the elements that highlighted the increased importance of the event is the way that R&D cycles have shifted to accommodate was a phrase that came up time and time again. Whether it was Crestron

Audio-Technica

Sony Audinate Kramer

the majority of major launches appeared to centre on the software rather than the hardware.

Shure

Newtek

d&b audiotechnik was showing the concept in action with regular demonstrations of its Soundscape

others on show. New control technology was on show from DiGiCo Yamaha with the Rivage sister company Nexo Dynacord EAW and Powersoft beyerdynamic Biamp ClearOne K-array Nureva Revolabs and Sennheiser ASL amongst others.

from LDA audiotech

Adam

Hall Axiom Community EM Acoustics JBL and Martin Audio

Pan Acoustics of Analog Way BenQ Calibre Christie LG and Panasonic Maverick

Argosy Lawo and Stage Tec

Datavideo

ISE the most important event on the global tradeshow

Pro AVL MEA walked the aisles of an expanded RAI to find out

Thomas Riedel with a larger than life Bolero intercom transmitter

Vincent the Frog outshines the eMotus 50D speaker, Luis Hinojar and Daniel Gonzalez on the Ecler booth

Williams Sound’s Pat Brey and Diane Thomas demonstrate the virtues of the new IR T1 infrared technology

Roberto Mataloni with FBT’s selection of Mitus, Muse, Ventis and Vertus speaker series

Bruce and Christine Howze celebrate 50 years of Community Professional

Amate Audio’s Jordi Amate was busy at ISE 2018 introducing the new Nítid speaker series

Adamson Systems, Jochen Frohn unveiled the latest IS7 addition to the IS series

Work Pro’s Juan Jose Vila promoting the Lightshark digital lighting controller

Franziska Koch and Daisuke Imagawa from TOA Electronics Europe presented the new AM-CF1 audio collaboration system

CIE’s Chris Edwards and Inter M’s Fred Yoon displaying the Evamatrix 20x8 Bus Matrix Controller

L-Acoustics invited attendees onto its luxury Island in addition to L-ISA demos using Syva speaker systems

something with video” and that is where we connect.’

‘IP is starting to become standard but broadcasters are much slower taking to it than people in the A/V market who just need to get something working immediately and may already have network technology on the premises,’ said Eric Norrell from AJA ‘That is a reason for us being here with our new technologies.’

If the theme of broadcast manufacturers exhibiting was a continuation, one genuinely new trend was the significant amount of lighting vendors taking space. The likes of Avolites, Claypaky, Elation, GLP, MA Lighting and Robe all had a notable presence at the show.

With so much to see, it is unsurprising that ISE once again attracted a record crowd, with over 80,000 visitors coming through the doors. ‘It’s grown and grown over the years,’ noted

Coda Audio’s David Webster. ‘I don’t mean just in terms of the size of the show but in terms of the people coming that make a difference. It is exceptionally busy compared to the past.’

‘We do commercial A/V, residential A/V and digital signage and so to see 70,000 to 80,000 people of that discipline all in one show is fantastic,’ said Rick Komendera from SurgeX. ‘This is certainly the biggest show we have worked with.’

While ISE was originally conceived as a European event, the attendance is very much global. ‘That is the beauty of ISE, you can gather people from all over the world,’ said Eleuterio Fernades from Exterity. ‘The only place we don’t get a great footfall from is the US, but they have InfoComm and Cedia. For everyone else, the show is proving to be really popular.’

Sovico Pro’s Jay Han and Daniel Kwon with the audio mix and distribution Matrix

CEO Rashid Skaf on the Biamp booth

Bodo Falkenried with LD Systems’ newly developed Curv 500 duplex satellite models

Antonio, Andre and Tiego Correia from Next-proaudio present the Matrix series of column speakers

An Astro Spatial Audio demonstration on the Alcons Audio booth

BXB moved to join the video crowd in Hall 8

The Christie stand gathered a lot of interest

It was a busy ISE 2018 for DiGiCo’s Roger Wood with the debut of the 4REA4 platform

‘We’ve been introducing a couple of new ranges of products and we’re getting more and more traction here,’ said Active Audio’s Eric Dubouays. ‘What’s really quite amazing is the fact that we get people from all over the world – Australia, Turkey, Middle East, Asia, US – so it’s really the place to be.’

‘I think people are recognising the advantage of going to one big show rather than the smaller regional shows,’ observed Meyer Sound’s Chris Mead. ‘People are seeing it as worthwhile because you can go to one place once a year and you can see everything in the same place.’

‘We’ve been meeting with quite a lot of potential customers and distributors,’ noted James Godbehear from first-time exhibitor, Cadac. ‘It’s one of those shows that seems to attract everybody of every description.’

‘We can see people from so many different countries in one spot,’ reflected BXB’s Zolzaya Erdenechimeg. ‘There have been people from Europe, the Middle East, Africa and Asia. The Asian attendance has increased this year, which surprised us.’ ‘This has become the global market show, people from all over the world come to ISE,’ stated Apart Audio’s Kris Vermuyten. ‘People from Brazil, Chile, Mexico, Peru, up to Australians, Chinese, Koreans and everything else in between, so that is definitely worth it for us.’

It was not only the quantity of visitors that impressed the show’s exhibitors. ‘It’s the only show that you don’t get time wasters at, everyone that comes here is qualified and you get good-quality conversations,’ said Stuart Down from Quested Monitoring Systems. ‘There’s not one person that’s spent time with us that I’ve thought “that’s a waste of time” and this is the only show that you get that.’

‘For us, it’s a very important show and critical part of our approach to this region from a business standpoint,’ explained Clear-Com’s Bob Boster. ‘Many of our partners are here and it is an opportunity to see people early in the year while they are working on their projects.’

‘There’s been a steady stream of people but we’ve never been swamped,’ offered Tempest’s Tim Burnham. ‘Most have been good people talking about real jobs.’

‘Probably this is the best show we’ve done in terms of people, the clientele and the vibe,’ said first-time exhibitor, Frank Andrewartha, from Quest Engineering. ‘We’ve been able to meet all our new distributors here and we’re definitely going to be back.’

‘There are zero tyre kickers, every conversation you have is a meaningful one which is refreshing,’ agreed Peavey’s James Kennedy. ‘We are getting virtual orders on the show floor, which is really rare.’

While there were many positive points about the show, ISE 2018 was not perfect. The addition of Hall 15 as a temporary structure to the front of the RAI may have been able to provide an extra

4,000m2 of space, but it ran the risk of feeling like a corridor that people used to enter and leave the show.

Indeed, the scale of the show has actually started to become a negative for some people. ‘My impression from the first two or three days was that it is getting too big because the infrastructure is not keeping up with it,’ stated Klaus Seitz from Bosch Communications. ‘In my opinion, it has reached a level where it cannot become bigger if it is done in Amsterdam.’

‘There are some logistical problems here,’ agreed Televic’s Herman Geerinck. ‘The RAI is getting too small for the show.’

This observation lead to further conversations about where the show could move to and subsequent rumours of new venues sweeping the aisles. For all this talk, there were also some stark warnings about taking this approach. ‘A change of location would kill ISE,’ stated XTA’s Waring Hayes. ‘Maybe changing the time of the year could help, although it probably wouldn’t in terms of helping the capacity.’

‘There are lot of rumours going around, people are pointing to Frankfurt while others are pointing to Milan or Berlin,’ said Audac’s Tom Van De Sande. ‘It is dangerous for the organisation to undertake such a drastic change. Look at Prolight + Sound –they tried to save the show by separating Musikmesse and it took it down quite strongly.’

While the event is certainly experiencing growing pains, these are a result of all the positives it brings. It must also be noted that the popularity of tradeshows is cyclical; ISE is currently number one but others lie in wait. The challenge for the organiser will be how to continue growing the event within the confines of the RAI with its global audience.

ISE

2018 Dates: 6 – 9 February

2019 Dates: 5 – 8 February

Venue: RAI, Amsterdam

Total exhibitors: 1,296

Attendance: 80,923

Contact: www.iseurope.org

Outline’s Leonardo Dani promoting the new Arena cabinets alongside the established Stadia series

Motome Tanake and Andy Cooper with Yamaha’s newly launched Rivage PM7 console

Klaus Seitz on the Electro-Voice booth with the EVC series

K-array took a rare time out between promoting the elegant Capture line array mic and an almost invisible Azimut speaker system

Martin Barbour explaining the Q-Sys Reflect concept

I believe that ISE is still one of the most important exhibitions for highquality exhibitors in the trade market. It is also equally important for the customer that walks around the exhibition – Fabrizio Milan, Tasker

There is such a cross-section of dealers; this show in particular has a broad spectrum of people coming to it. We’re really reaching so many different audiences that don’t necessarily make it to Cedia or InfoComm in the US – Brett Stokke, RTI

Being under the Yamaha branding has helped us in terms of recognition. We have had some

really

good traffic –

Meghan

Kennelly, Revolabs

It has been very good. The visitor quality is quite good. End users come to the show to find new technology and they are excited when they see the new things from us – Christy Fang, Taiden

Televic launched six new products at ISE 2018

We have come across a lot of known faces out of the Middle East, there are many people from the GCC around here. We have seen a mix of everyone, but mainly the systems integrators – Nittin Dargan, Bose Professional

Broadcast is very niche and a much smaller market, so we’re hoping to get some extra sales on this side. It’s really hard to get noticed at a big show like this, but it’s been positive – Marcus Brooke, Sonifex

We have seen little to no tyre kickers which I think is a reflection of the size, scale and number of exhibitors. I exhibit here because it is a meeting place for my distributors and I have seen every one of them –Simon Curtis, Cloud Electronics

There has been huge growth in the quantity and quality of the visitors. We are seeing more systems integrators and more distributors who are just interested in selling to systems integrators. The technical knowledge is higher than in previous years – Florian Kunz, HK Audio

We have been surprised to see a broad range of different customers with a deep knowledge in technology. It has been better than expected –Jan Ehrlich, DirectOut

I think there are a number of reasons as to why ISE is able to pull large numbers. People are saying that if they go to Amsterdam and spend four very efficient days there, then they can see everything they need to see – Tom Back,

Alcons Audio

The launch of Genelec AV has been received very well. The interest towards us is growing and now we can say to people we are taking this seriously – Sami Mäkinen, Genelec

We play in a lot of different markets and we see people from each vertical here – Jeff Terzo, Just Add Power

User-driven design

Christie has attempted to put the end user at the heart of the design process as it takes its Velvet Apex series of LED panels to a pixel pitch of less than 1mm

WHERE SHOULD THE PRODUCT DESIGN PROCESS START?

Is it a case of engineering teams pushing technology to its

Christie senior product manager, Ted Romanowitz The Apex 0.9 has a 0.96mm pixel pitch

We take those and we remote them up to 100m away. What that does is take the heat, noise and complexity from that cabinet and moves it 100m away into a service closet.’

The senior product manager describes these remote power units as being rack-mounted, telecom grade and hot-swappable, featuring n+1 redundancy and automatic failover. ‘In the unlikely event that something should fail, then you can just go to the service closet,’ he explains. ‘All of our products are SNMP so you can monitor them. You’ll get an alert if there is a failure with our power supplies so you’ll know you have to hot swap, but it will hot failover so it will keep the wall running. With an internal power supply, a whole section of the wall would go down and then you’ll have to tear the wall apart to get to the power supply. This way there is no disruption at the wall as everything is taken care of remotely.’

Remote power supplies are not the only consideration Christie has given to its users in the design process. Like all members of the Velvet Apex series, Apex 0.9 is also front serviceable. ‘We have really gone the extra mile to think about how we develop our products for serviceability with the integrator in mind,’ says Mr Romanowitz. ‘Most walls that need rear access require a thirdparty mount with scissors. A 0.9mm panel is so delicate, if you have a mount structure to get rear access or if you’re scissoring it out and scissoring it back and you rub them, there is pixel dust everywhere. That is why we like the front serviceability. With our Apex line, you just remove a module board – and there are 12 module boards per tile. With the competition, you have to remove the whole tile which is either 27 inches diagonal or 54 inches.’

It is this area that the senior product manager also believes provides another advantage to the design if the worst should happen. ‘We do include 5% spares with all of our walls,’ he continues. ‘In the unlikely event that something goes wrong, then you don’t have to wait. We have a service location in the UK, one in India and a location in China so we have covered our service requirements geographically. We have a full-on repair station, so if someone is cleaning and they knock a ladder into the wall and kill a module, they can just grab one of their spares and replace it within minutes, all from the front, very easily and quickly. They can take that damaged module, ship it to the repair station that is nearest to them, then we can repair it and send it back to them very quickly.’

While the serviceability of the 0.96mm pixel pitch, 16:9 aspect ratio full HD LED panel was an important factor, providing the right control and monitoring capabilities was also vital. ‘It is manageable remotely, there are automatic alerts that will tell you if something is up with the wall,’ says Mr Romanowitz. ‘It’s also got interfaces including RS-232 and IP for popular control systems like Crestron or AMX.’

Of course, it is not only the end user who needs to be thought about during the design process. ‘You can give the end user enough capability to do the majority of things that they are going to do, without going crazy,’ offers Mr Romanowitz. ‘That actually

makes the integrator valued because they can come in and adjust or maintain the wall, but it allows the end user just enough. We have a focus not only on the end user, but also our integrator partners, because they are a key part of the Christie story. We want to team with them, shoulder-to-shoulder, and provide the best experience we can to the end user.’

By taking this approach, Christie believes it has created a product that fits in both camps of design – an engineering-led design created with the user in mind.

www.christiedigital.com

Apex 0.9 in action at ISE

It is time to change social media strategies

THE NEWS THAT FACEBOOK FOUNDER

Mark Zuckerberg was planning to overhaul the popular social media platform’s newsfeed to focus on friends and family has sent a shudder down many corporate spines across the globe, and A/V companies will also be in

This audacious step will result in two billion users seeing fewer news articles, viral videos more cute pictures of cats, babies and sunsets as well as status updates from relatives or the social network has made to the newsfeed –

‘Businesses, brands and media’ look set to be brushed aside to pave the way for more content

Zuckerberg said he wanted Facebook to bring people ‘closer together with the people that matter’ and to take definitive action following mounting criticism for its role in serious social and political problems such as cyber-bullying and

But what does this mean for your business’ Facebook page, particularly ones that may depend on using their pages to reach and constrain active and engaging businesses from trying to reach the people who liked their will result in people ‘spending less time’ on Facebook but he is willing and very determined

‘We feel a responsibility to make sure our services aren’t just fun to use, but also good for people’s well-being,’ Mr Zuckerberg wrote on

our product teams from focusing on helping you find relevant content to helping you have more

gauntlet, and businesses on Facebook have only a few months at best to find a way to come up

So what’s next for A/V companies on social media?

touched upon how valuable social media is for direct communication and, indeed, if it is the right tool for reaching target audiences within

customers, we have different ways we can do so that are arguably more personal than social quickly or generate interest in a product or activity, then social media is a great recourse, now that we have sizeable communities with strong reach potential and high engagement

For others like Christina Balanon from Bosch Communication Systems, Facebook is an essential tool and helps to strategically target certain products to specific regions and groups

‘Through customer feedback, we can develop products, communications and support aligned Facebook provides tools to create dedicated product promotions targeted at specific regions,

Needless to say, those social media strategies

As things stand now, with for example 100,000 likes, a Facebook page can have a reach of 1,500 to 3,000 (something like 3%) depending months, that organic reach (the total number of unique people who were shown a post through unpaid distribution on Facebook) will be further

Organic reaching is now more crucial than ever but it is vital to know the tricks of the trade to Businesses will need to work even harder than

B2B marketing may be forced to take a social media backseat in place of more ‘compelling’ stories that essentially sell themselves and have to resort to being accompanied by ‘sweeteners’ (additional incentives to click on a link) to send them on their way across Facebook?

The truth is, we won’t fully know until the Facebook sweep actually takes place, but there

(instantly streaming live to followers and interacting with viewers in real-time) in his announcement, which is something all social media pundits say is very beneficial if used more people, reach a target audience and

that Facebook has been favouring videos and

Other social media gurus say images also have a tendency to travel better provided they are not

A real Zucker-punch

Some argue that there is an ulterior motive to us up for his new vision of Facebook business pages?

To say Facebook is not about the money and only about the people would be about as naïve as believing all the news on the internet is one day moved into a ‘nouveau plateau’ or a concurrent newsfeed on Facebook that users could switch on and off? And if so, at what price?

But contemptuous theories aside, Facebook has come under intense scrutiny in the last few years, which is hardly surprising given the influence it can have over what millions of people see online Google, it holds the power to alter the way people

The big three had been in hot water over their alleged roles in the 2016 US elections – particularly after accusations that Russian intelligence allegedly abused social media platforms in an attempt to sway the result and

to see that this touched a raw nerve with Mr Zuckerberg; hence his pledge last year to ‘fix’ some of the problems on Facebook – which also

As ever in this day and age, businesses will be forced to reluctantly adapt to this move by willing to completely sever the hand that has

But there is an east wind coming, and companies will need to either sail along or risk

John Leonidou explores exactly what Mark Zuckerberg’s New Year’s resolution means for audio, video and lighting businesses

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