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LIVE SOUND LIGHTING RECORDING INSTALLATION AV BROADCAST POSTPRODUCTION March–April 2022

RIPPING UP THE RULES UAE pulls out all the stops for its 50th anniversary

INSIDE IRIS DUBAI REMOTE CONTROLLING APEX

VISION BEYOND AUDIO AT SAE

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Contents Volume 19 Issue Two March–April 2022

Editor’s note

NEWS NEWS Technology meets science at UCL, VITEC acquires Audix

DISTRIBUTION QSC makes new ME partners, SAW launches AV Distribution

APPOINTMENTS Maffei’s the man for K-array in EMEA, Furman joins Noise Republic

SPECIAL REPORT Datapath’s Aetria takes full control

SPECIAL REPORT Pro AVL MEA and Electro-Voice webinar discusses MTS

Email: sluckhurst@proavl-mea.com

FEATURES GO BIG OR GO HOME Procom Middle East takes K-array inside at Iris Dubai

VISION BEYOND AUDIO Classrooms are evolving at UAE’s SAE Institute

AHEAD OF THE CROWD The Grey sets its sights on Yamaha column speakers

So, a February ISE 2022 in Barcelona was simply not meant to be. But with Omicron fading into the distance, events – industry tradeshows in particular – are going to start ramping up at breakneck pace. Some, such as PL+S Middle East, haven’t seen the light of day now for going on three years. There’s a lot of pent-up energy waiting to be released and, barring no further interruptions, the April–May period will see a handful of major AV shows taking place across all sides of the globe in quick succession. Despite the persistent obstacles, Omicron didn’t put a dampener on everything. The recent introduction of Electro-Voice’s new MTS series (p26) shows their expectation for fans to be back filling stadium seats in the very near future – hopefully just in time for the Qatar World Cup. And the spectacular show laid on in celebration of UAE’s 50th anniversary (p36) demonstrated that despite a host of challenges, virtually anything can be achieved with the right planning and determination. Also in this issue, we took a tour of Dubai’s SAE Institute (p32) to see the effect that technological progress has had on its audiovisual course offering, and simultaneously witnessed just how much technology has changed the classroom in recent years. We’re looking forward to travelling a lot more in the upcoming months and hope to see you all on the ground in the very near future.

COVER: RIPPING UP THE RULES UAE pulls out all the stops for its 50th anniversary 36 SUSTAINABLE LIVING An AV-laden journey at the Expo’s Morocco Pavilion

LOCAL HIT Neumann monitors open up new possibilities for Hit Studios

BUSINESS LETTER FROM AMERICA Day Daley ponders the value of immersive audio for music

LETTER FROM EUROPE Phil Ward looks at the reality of an Expanded Universe

COMPANY PROFILE Exterity celebrates 20 years on Scotland’s Firth of Forth

TECHNOLOGY Apex unveils its CloudPower remote controlled amps

NEW PRODUCTS The industry’s most comprehensive product news

ANALYSIS Neumann’s new clip microphones target the live market

inside 6

Contacts

GENERAL MANAGER Richard Lawn T: +44 1892 676280

ADVERTISING DIRECTOR Sue Gould T: +44 1892 676280

CONTRIBUTING EDITOR Caroline Moss T: +44 1892 676280

EDITORIAL COORDINATOR

cmoss@proavl-mea.com

kwallace@proavl-mea.com

PRODUCTION MANAGER Adrian Baker T: +44 1892 676280

DIGITAL MEDIA MANAGER Nick Smith T: +44 1892 676280

VIDEO EDITOR Chris Yardley T: +44 1892 676280

SALES ASSOCIATE Carolyn Valliere T: +1 562 746 1790

rlawn@proavl-mea.com

abaker@proavl-mea.com

sgould@proavl-mea.com

nsmith@proavl-mea.com

cyardley@proavl-mea.com

COVER: UAE’s 50th anniversary PRINTER: Times Printers Singapore LICENCES: Singapore: MCI (P) 010/05/2021 All rights reserved. No part of this magazine may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording or by any information storage and retrieval system, without prior permission in writing from the copyright owners.

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@ProAVLCentral

Karen Wallace T: +44 1892 676280

cvalliere@proavl-mea.com

DIGITAL CONTENT EDITOR

Libby Stonell T: +44 1892 676280 lstonell@proavl-mea.com

CIRCULATION Marne Mittelmann F: +65 6491 6588 circulation@proavl-mea.com

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

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NEWS

When entertainment technology meets science WORLD

University College London (UCL) has constructed its Person-Environment-Activity Research Laboratory (PEARL) – a 4,000m2, 10m-high laboratory and testing ground for simulating live events. The L-ISA Immersive Hyperreal Sound installation consists of over 150 L-Acoustics loudspeakers, creating a unique environment where entertainment technology meets scientific research. The UCL Department of Civil, Environmental and Geomatic Engineering’s vision is to use PEARL to help create a world where everyone can achieve a better quality of life. At 100m end-to-end and 40m across at its widest point, the space can be divided into four modules and is entirely carbonneutral thanks to a roof of PV panels. In it, researchers can create life-sized, controlled-condition environments like a railway station or town square, so that they can study the crowd’s interaction with the environment and each other. The floor’s profile, type and material can be changed, as well as its lighting, scent and, most importantly, sound. Global engineering consulting firm, Arup, worked with UCL to define the range of technology that would deliver PEARL’s goal, with team member Tom Brickhill working closely with L-Acoustics applications project manager and consultant liaison,

PEARL can create life-sized, controlled-condition environments Julien Laval, on the initial design concept. Responding to the design brief from Arup, event production and installation company, Adlib, was tasked with supplying the L-ISA technology. Using its experience in both the entertainment and installation markets, Adlib created a touring-grade audio system which can recreate everyday life in minute detail. Nick Tyler, Chadwick professor and

director of the UCL Centre for Transport Studies, led an audio team including technical services manager, Joe Boxshall, and specialist lead, sound, Steve Mayo. “The only way for us to accomplish what PEARL needed, was to design a precise and infinitely flexible, fully immersive sound system,” said Adlib project manager, Andrew Watts. “L-ISA technology is

tailor-made for this challenge because it provides the colossal dynamic range required, while also being easy to conceive, predict and iterate with L-Acoustics Soundvision 3D audio design software.” Adlib provided two spatial audio systems: a system for the main experiment space and a smaller system for the preparation studio. “A fundamental concept of both spaces is that L-ISA can be set up in any configuration to meet the specific needs of a given experiment,” Watts continued. “L-Acoustics training, which was delivered this autumn, enables UCL to create immersive audio experiences from the design stage with Soundvision through to completion with the well-defined L-ISA workflow.” “This is just the start of the relationship,” concluded Boxshall, who believes PEARL can count on L-Acoustics, Arup and Adlib to continue supporting the UCL team in its work. “PEARL isn’t just a space for university research, it’s a simulation environment, so it has great commercial potential, too. We’re all incredibly excited to be part of such a ground-breaking project.” www.adlib.co.uk www.arup.com www.l-acoustics.com

Connecting the ICC Men’s VITEC acquires Audix T20 Cricket World Cup WORLD

UAE

The ICC Men’s T20 Cricket World Cup has called on RTS Intercoms to help with the broadcast of the historic final which took place at the Dubai International Stadium. With the event usually hosted in India, Covid-19 saw it moved to Oman as well as the UAE and shown from a variety of stadia across the two countries. To make the production as consistent and smooth as possible, three crews and four fly-packs were deployed to deliver the same production values at each venue. “We have had to deploy 51 RTS keypanels with a mixture of legacy RTS equipment and KP-4016 panels,” explained comms engineer, Michael Southgate. The KP-Series keypanels have been used over various areas including the main broadcast control room and commentary production area, as well as the edit facilities and match officials’ areas. The RTS panels aim to ensure all communication is perfectly clear, which is ideal for a live sporting event. At the heart of the system is the ADAM matrix frame, with dual-purpose ports for both keypanel and four-wire audio. The modular matrix intercom utilises a patented time-division multiplexing (TDM) technique, meaning it grows linearly

as users are added. For the purposes of live broadcasting, the ADAM system supports redundant controllers, allowing for automatic changeover in the event of failure. The combined RTS system ensures a flawless production across the different venues. The OMNEO IP-based media networking architecture means the solution can be easily combined with other workflow elements, such as the audio console.

Vitec Imaging Solutions, a division of the VITEC Group, has announced its acquisition of Audix and its affiliates, continuing VITEC’s mission to marry audio with video for all types of creators. Portland-based Audix, a leading microphone brand for studio and live performance audio, focuses on studio commercial and live applications. The Audix team and facility will become Vitec Imaging Solutions Audio R&D Centre of Excellence, enabling the acceleration of in-house microphone product design, development and manufacturing across all VITEC audio brands. With the acquisition of Audix, VITEC’s audio capture strategy is now structured around three core brands that cover all growth segments of the US$1 billion microphone market. Under the umbrella of Vitec Imaging Solutions, VITEC will add sales, marketing and e-commerce capabilities to develop the US brand worldwide, with a primary focus on fast-growing wireless applications. Audix will open its US-based manufacturing facility to the rest of VITEC’s audio brands, ensuring its innovation is applied across VITEC’s whole audio portfolio.

“Audix is the perfect addition to our existing audio range, in a high-tech, growing category,” said Marco Pezzana, divisional CEO at Vitec Imaging Solutions. “The brand will significantly increase our total addressable

market, advance our audio technology capabilities and, most importantly, bring great people with intimate knowledge of the audio industry, who will be a real asset to the company and enable us to accelerate the delivery of VITEC’s audio strategy and delight the content creator community with easy-to-use, high-fidelity audio capture solutions.” www.vitecgroup.com

www.rtsintercoms.com

4 PRO AVL MEA March–April 2022

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GO BEYOND INSTALLED SOUND. CREATE TRUE ATMOSPHERE. DesignMax Loudspeakers 15 models to mix and match Rich lows and clear, intelligible highs Premium aesthetics Create tailored solutions for background and foreground audio applications in any commercial sound installation.

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NEWS

Radio Rosestad invests in the future with Calrec

SOUTH AFRICA

South African community radio station, Radio Rosestad 100.6 FM, has invested in Calrec’s Type R for radio console, assisted by pro audio systems integrator Creative Kilowat Productions and distributor Wild & Marr. Established in 1994 by the local community, Radio Rosestad is located in Bloemfontein and also serves surrounding areas, focusing on local charities as well

as encouraging its listeners to undergo broadcast training. The station now has a six-fader Type R console with one large soft panel (LSP), plus a small soft panel (SSP) for exclusive use by guests. Bernie Naude, general manager at Radio Rosestad, said: “South Africa is a very diverse country with 11 languages spoken and many communities in one area. The

community radio concept recognises that they all have specific needs to address. When we identified that we needed to switch to an IP infrastructure, our systems integrator introduced us to the Calrec Type R for Radio. We were impressed by the technology and the Type R is such an easyto-use system. “We were up and running with multiple operators quickly and easily due to the flexibility of the consoles – operators have their own settings and they have access to exactly what they need. It means that even though the technology is so advanced, it remains easy to use.” Naude also highlights Calrec’s free online training as a good grounding which meant “everyone started at the same level”. Within 10 minutes of the first show, the station was running smoothly. “We’ve also been able to give guests the opportunity to use the equipment. We use an SSP as a second screen so a guest can adjust his/her own headphone levels and use the cough button without interrupting the output; syncing the timer for them onscreen is great for guests too,” he added. “One of the best things about the process has been the way that Wild & Marr’s

support team has been able to log into the network remotely to make fine adjustments. Dwaine [at W&M] is able to log on and see where we have any issues with our network. It’s never taken any longer than a few minutes to fix anything,” Naude added. Stefan Van Biljon, owner at Creative Kilowat Productions, commented: “In the regions, budgets are often lower than they are in the large cities and radio stations don’t buy for what they need now, they buy for the future. Radio Rosestad was looking for scalability – the station has bold expansion plans and wanted the same operation and ease of use. Because the Type R core supports multiple mix environments, they don’t have to invest as much in hardware for future expansion.” Graham Murray, international sales manager, Calrec, added: “Working with community radio stations with limited budgets and minimal staff is rewarding because it shows the Type R’s versatility and range. Staff at Radio Rosestad can log in from home and monitor the system, which makes this setup hugely beneficial for a radio station that runs 24 hours a day.” www.calrec.com

xR drives MGX Studios’ commercial TURKEY

Istanbul-based film production company Autonomy recently partnered with Motorsport organisation Formula 1 to advertise the launch of the Istanbul Financial Center (IFC). The project saw the companies produce a dynamic commercial that was delivered using virtual production at MGX Studios. The virtual solution was

world of finance” created a high-energy scenario for the commercial, which features extreme close-ups of a Formula 1 race car cockpit as the vehicle speeds through Istanbul with glimpses of the IFC reflected on the driver’s helmet visor. Since the race car and driver are seen in extreme close-ups, Autonomy was eager

Images courtesy of MGX Film

powered by disguise’s Extended Reality (xR) workflow. Spanning 1,400,000m2 of office space in addition to housing a shopping mall, conference and exhibition centre and a five-star hotel, the IFC is a founding partner of the Formula 1 Rolex Turkish Grand Prix 2021. The idea of the IFC as a Formula 1 race car “driving forward the

to shoot the commercial using virtual production. The company approached Turkey’s first virtual production facility, MGX Studios, to simulate the Formula 1 vehicle and capture the beauty and modernity of the IFC site. “Together with the Autonomy team, we wanted to create a production that looked great quickly, using all the amazing

possibilities provided by virtual production technology and disguise,” explained MGX Studios virtual production operations coordinator, Mete Mümtaz. “The xR features provided by disguise and the innovation and creativity enabled by virtual production were key to delivering a great project. The whole LED setup, consisting of LED side panels, a back wall and ceiling, allowed us to capture immersive reflections with every single shot.” The commercial marked the studio’s first advertising project with hybrid technologies, including static images, video and Unreal Engine scenes. In order to achieve this, MGX reportedly did intensive experimentation during pre-production. The shoot was supported

by Unilumin Upad III LED walls, three Brompton Tessera SX40 LED processors, a Mo-Sys camera tracking system, Unreal Engine and three disguise vx 2s and one vx 1. “Since this was Autonomy’s first virtual production experience, we thoroughly informed them about the technology before,” added Mümtaz. “The xR capabilities provided by disguise and the extensive capabilities of our studio allowed us to simultaneously manipulate light, content, reflections and motion. It was a great experience for us and the client brands.” www.disguise.one www.mgxfilm.com

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NEWS

Subsonic brings Heritage D to the Middle East UAE

Family of creatives inspires next generation

Dubai-based Subsonic Event Services has purchased the first Midas Heritage D96-24 audio console in the Middle East, from local distributor Prolab. Subsonic took the plunge on the brand-new model without ever having seen or experienced it first-hand. Bruno Vitanza, owner of Subsonic, noted his existing experience with the brand: “I’ve always been a massive fan of Midas. Although my first digital console was a Behringer X32, I quickly moved onto the Midas M32 and absolutely loved it. When we needed something more capable for the bigger shows, I upgraded straight to the Pro X.”

many other desks – and the huge 21-inch touchscreen are huge benefits. The case is small enough that everything is within easy reach and you can work inside the box without needing additional equipment. AI is an interesting feature within the Heritage console – I don’t know what the future holds regarding this technology, but I know I want to be part of it. Patching is as quick and simple as I could possibly imagine and means you can go from nothing to having a full multitrack playing back in seconds.” While the Subsonic team is still getting to grips with the console, Vitanza has already been contacted regarding a concert at Expo 2020 Dubai. He added:

SOUTH AFRICA

AV and Beyond (AVB) and Tailormade Group (TMG) have collaborated on a project commissioned by Levergy to work on Nedbank’s YouthX, a platform enabling youth to realise their potential and learn from experts. The campaign launched in March 2021 on AVB’s virtual platform, followed by six online interactive masterclasses. Culminating last November with the YouthX Summit, the production was a 90-minute event held at Vodacom. AVB and TMG are led by husband and wife, Warren Freidin and Hayley Bennett-Freidin, who, before Covid-19, were working within the live events space. With Warren focusing on AVB and his wife a professional dancer behind TMG, they grew worried about the lasting effects the pandemic would have

three NovaStar MCTRL and two NovaStar R5 processors allowed the 1.2TB of content to be loaded in good time. The system comprised of a grandMA2 light, while 12 Robe BMFL Spots, eight Robe Pointes and 10 MegaPointes were able to punch through the LED. Twenty-four Robe LEDBeam 150s delivered wash and beam work, while six Philip SL Nitros created intense bursts of light. The show included 24 LED PAR cans, a variety of LED strips, two Le Maitre MVS Hazers, laser work and a pyro show creating special effects. For the audio, an L-Acoustics system was selected, comprising six Kara and four SB18 per side, with control on a DiGiCo S21 and inputs from Shure microphones.

Bruno Vitanza

on their industry. The pair took time to research the latest technology and trends, partnering with a virtual solutions provider throughout the process. Working from three in-house studios alongside their AVB content creation team, the pair wanted the campaign to show performers not only surviving, but shining, as well as striving for equality and fairness. The YouthX Summit set design featured a YouthX shape on an infinity 2.9 and 3.9 pixel pitch LED screen made up of 846 panels. AVB’s 4k Watchout servers with

“For all our crew, it was an emotional and happy time to be working on this large-scale live event after a very long time,” said Hayley. “We have fought together as a family of creative thinkers and highly skilled technicians – together we know we can do anything safely, and at a world-class standard for our clients.” www.avandbeyond.co.za www.dwrdistribution.co.za

He continued: “When they announced the Heritage D, I placed an order immediately without ever having seen or touched it. We now own two Pro Xs, an incredible amount of Midas I/O and stageboxes because I really love the mindset and methodology behind the brand. Why would I go to another and start from the beginning when I can build on our existing Midas stock?” While a major benefit, Vitanza’s allegiance with the brand wasn’t the Heritage D’s only selling point. Subsonic purchased the console in order to fill a gap between the M32 and Pro X, noting that the latter is too big for a lot of projects, while the M32 is often too small. He said: “The Heritage console has many of the same capabilities as the Pro X but I prefer the size and the additional features. The extensive audio networking capabilities – that don’t tie up the onboard resources like

“The Heritage console will definitely be used for the more fun projects, like music concerts and events.” Vitanza is eager for local distributors to visit Subsonic’s studio and try out the console for themselves, without the pressure of an audience. He noted the importance of bridging connections rather than being possessive of equipment. “If you ask someone what their favourite console is, they’ll probably name the one they’re most comfortable with, not necessarily because it’s the best. Now people get the opportunity to see and use the Heritage console for themselves. I’ve got the space and the tools to put on training, it’s not all about making money.” www.prolabllc.com www.subsonic.ae

www.tailormadegroup.co.za

8 PRO AVL MEA March–April 2022

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NEWS

DPA brings sound to Amazing Discoveries Ministries SOUTH AFRICA

Amazing Discoveries Ministries Africa has upgraded its equipment, investing in DPA’s 6060 CORE Subminiature Microphones with Prosound. With nearly 100,000 subscribers on YouTube alone, and a studio delivering content to six video and three podcast platforms, Amazing Discoveries Ministries Africa has a large audience to serve. Its studio setup has grown over the years from equipment used to service large-scale live events to dedicated recording gear. “The right equipment for recording is of utmost importance, as the better the initial recording, the less time we spend in postproduction editing,” explained Fanie Fourie from Amazing Discoveries Ministries Africa. “Time is a very precious commodity to us. We need it done right the first time.”

The company produces six video and three podcast platforms Prosound’s Keith Karimi said: “Speaking to the team at Amazing Discoveries Ministries

Africa, we understood that they wanted something discreet that would sound

amazing for their productions. For us, that means one thing – DPA’s 6060 and 6066. “The clarity, consistency and durability of the 3mm capsule really stand out for us. It really does squeeze everything into such a small package. I’m always happy to recommend these mics for applications where you need to deliver crystal-clear audio from an almost invisible source and the whole Prosound team are delighted that this solution has worked so well for Amazing Discoveries Ministries Africa.” Fourie has confirmed that the microphones were discreet as promised. “Changing to DPA was definitely a good choice. The sound quality is good, and the mic is small and not very visible in the recordings.”

S th

www.dpamicrophones.com www.prosound.co.za

LD Systems’ soft sounds at Vipingo Ridge KENYA

Not far from Mombasa, a restaurant within a gated community has deployed a new loudspeaker system that provides guests with relaxed background music during dinner. Vipingo Ridge is set on 2,500 hectares of land, and is also open to tourists and day-trippers. With facilities including a golf course, a beach club and various sports and wellness venues, the central meeting point in Vipingo Ridge is the clubhouse, where the restaurant is located. The Music Company – the Kenyan integrators working on the project – recommended the DQOR Series from LD Systems, claiming it combines all the characteristics of what a tropical outdoor system must have. “In addition to the

high humidity, the system had to enable high-quality sound even at low volume. Furthermore, the speakers had to be integrated unobtrusively into the overall venue aesthetic,” said Kevin Sugden, The Music Company. The integrator installed the passive DQOR 5T W loudspeakers at a height of about 3m. An LD Systems IMA 30 Class-D installation mixer amplifier serves as the driver. Using EASE Focus software, The Music Company was able to calculate the positioning and amount of DQOR loudspeakers needed in advance of the install and provide a precise quotation for the client. www.ld-systems.com

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Shur Patch in the Capp Patch of hig balloo while exper This such over a

The facilities are open to tourists and day-trippers

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ROE Visual presents Opal at the Prolight + Sound Hall 12.1, B81 and ISE Hall 3, B700 10 PRO AVL MEA March–April 2022

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at 66.

NEWS

Shure transmitter as clear as the sky is blue

chose to work with the microphone and wireless equipment manufacturer, Shure, for their industry standard rock-solid wireless equipment. The equipment worked flawlessly and, with in-depth logistics and planning, we were able to deliver a party in the sky over a 2km radius. We were very happy with the results which far surpassed our original expectations.”

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ones o ound d not

The balloons were pre-rigged with battery packs and speakers TURKEY

Shure has worked with London-based Patchwork Events to deliver a live party in the sky with 18 hot air balloons in Cappadocia, Turkey. The client approached Patchwork specifying the deliverance of high-quality live audio to the hot air balloons, with one acting as a stage while the other 17 provide a live event experience. This project brought several challenges, such as how to transmit high-quality audio over a large distance without latency. Hot

air balloons are almost entirely reliant on the wind to move across the landscape and, therefore, altitude was the only real control capable for the project. With this in mind, coverage – as well as audio – needed to be able to transmit over a very large area. Buildings or landscape limiting line-ofsight between transmitting antennae and receivers is a common occurrence during long-distance transmissions at ground level, but positioning the transmitter in a hot air balloon several hundred metres

above takes all of that out of the equation. Along with ensuring the receivers have enough power, another challenge was figuring out how to rig the equipment quickly, to not incur any delays from the audio team. The balloons were pre-rigged with battery packs and speakers, and all were in flight within 16 minutes. Steve White, sound engineer and audio production at Patchwork, commented: “Following our own research and communications with RF specialists, we

Following advisory sessions with Shure, Patchwork set up its UK ground test equipment, consisting of one Shure PSM1000 transmitter operating at 10mW power output in conjunction with a +18dBm booster. The decision was made to use a Shure UA860SWB omnidirectional dipole reception pattern antenna to cover the widest possible area from one transmitter. To coordinate take-off, the hot air balloons needed to be meticulously timed to set off one after the other. Stuart Stephens, product marketing manager, pro audio, Shure, said: “The team at Patchwork were fantastic to work with. Right from the initial conversation, they were open to ideas and testing the solution we proposed but I think there may still have been some doubts that we would be able to cover an operating area of up to 2km, but I knew that the PSM1000 would be up to the task.” www.patchworklondon.co.uk www.shure.com

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NEWS

AV fast track INTE brings professional lighting to the MEA to Amman Theatre and India UAE

Offering tailored business development services for international vendors and bespoke AV/ICT design and project management services to end users/developers, Catalyst Technobiz is a newly incepted, Dubai-based business consultancy. Having served as AV business unit manager and AV senior design and engineering manager at Omnix International since 2009, principal consultant Abdul Riyaz is the co-founder of the new setup and team in Business Bay. “Over the last decade, I have developed and integrated several AV/ICT solutions for customers with innovative workspace technology and collaborated with the advanced innovative vendors,” comments Riyaz. “This experience has given me the confidence to create Catalyst Technobiz. Our strong presence in the Middle Eastern, African and Indian markets will accelerate market penetration for global technology vendors.” Working together with Riyaz, co-founder and sales director N S Prasad – commonly called NSP – served as general manager at

JORDAN

A new theatre space at Amman Academy has recently opened in order to offer students at the prestigious private school improved performance, rehearsal and meeting facilities. The academy’s team approached local systems integrator and theatre specialist, International New Technical Est (INTE), which specified a Strand NEO console for lighting control to be paired with Vari-Lite VL2600

Spots and a range of other Strand lighting fixtures. In total, more than 92 fixtures from the Signify stable were specified, including the Strand variable beam PLPROFILE1 MKII, PLCYC1 MKII LED cyc luminaire and Vari-Lite Punchlite 220. “One of the most important requirements of this project was flexibility and effects options, and the VL2600 Spot offers this and so much more, including

fast and accurate movement and fast colour switching,” explained INTE’s project manager Hashem Nazzal, who also served as electrical engineer on the installation. “We demoed the VL2600 Spot and discussed the importance of professional lighting for theatre if they wanted to achieve the best, and the owners reacted positively.” The Neo console now in use at the theatre is matched with the eight-port DMX node. “We have been working with Strand consoles for a very long time and they have our full confidence,” Nazzal continued. “Neo is simple to use and offers many ways to achieve the same goal. The ability to expand it is also a great added value. Vari-Lite and Strand is the quality that people trust.” The Vari-Lite and Strand products join a host of professional AV equipment in the new 430-seat theatre, including a Leyard CV4 4mm pixel pitch LED screen, an Extron IPCP Pro 550-ICP control processor, BirdDog P100 PTZ video cameras, a Digital Projection M-Series 18,000-lumen projector and a DAS Audio Aero20 and Artec loudspeaker system. www.strandlighting.com www.vari-lite.com

Classrooms fit for the future SAUDI ARABIA

Abdul Riyaz specialist AV distributor Taxangulf for almost 10 years in Dubai and as technical head, India for Revolabs. “With our sustainable business model, technology providers can accelerate their market penetration with confidence within the MEA and Indian sub-continent,” commented NSP. “The combination of our business consultancy programme and innovative consultancy practices will allow these businesses to grow organically, while providing operational support for seamless business continuity.” As a certified industry specialist in AV/ ICT, Catalyst Technobiz is an AVIXA member with PMP certification. “With our lead in AV/ ICT/IOT technology, Catalyst Technobiz will play a significant role in the changing face of the modern workspace. Our commitment to bringing the latest in workspace and collaborative technology to our clients will provide innovative solutions within the education, government, hospitality, healthcare, entertainment, retail and corporate verticals.” www.catalyst-technobiz.com

Driven by the mainstay trend and need for adequate distance learning in higher education, Taif University in Saudi Arabia has completed a major audio upgrade in partnership with Smart Cities Technologies (SCT) and ClearOne. “When it comes to distance learning at Taif, instructors use videoconferencing in the lecture halls to collaborate with the undergraduate and graduate student population of Taif University’s women’s campus,” explained Moath Yousef, SCT. “And university staff members were facing many problems with the audio, mainly echo and disconnection issues.” Classes with several students found it very difficult to move the microphone between participants at the front to the far end of the room, and clearly hear questions and discussions. These video collaboration classes often required extra staff to move the microphones between students to ensure that classes would run smoothly. Yousef introduced ClearOne to Anas AlQudsi, head of the infrastructure department at the university, and together they built the full design for a complete solution featuring ClearOne Converge Pro 2 DSP mixers and Beamforming Mic Array 2 combinations across 27 classrooms on campus. With two Beamforming Mic Arrays attached to each Converge Pro 2 mixer and new audio-absorbing materials in the classrooms, AlQudsi said there wouldn’t be a need for staff passing around microphones.

Taif University The entire installation took less than a month to complete. “Taif University and SCT chose ClearOne solutions based on the company’s history in the audio industry and the quality and reliability of its solutions,” Yousef emphasised. “ClearOne’s market reputation and extended warranty further cemented our decision to partner with them.” “The final solution perfectly fits the needs of the university and allows instructors to easily connect with students,” explained AIQudsi. Instructors

are using the new ClearOne solution daily, with the solutions in use at least 10–12 hours per day. Taif University invites professionals from around the world to share knowledge with students and has found that the ClearOne solution made this quite easy to manage. AlQudsi said that the university is pleased and plans to expand the solutions across more classrooms in the future. www.clearone.com www.sctechn.com

12 PRO AVL MEA March–April 2022

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NEWS

Audinate acquires video arm of Silex Insight WORLD

Audinate has signed an agreement to acquire the video business of Belgium-based Silex Insight SA, which produces video networking products for AV equipment manufacturers. The acquisition includes a range of AVover-IP products, including IP Cores, the Viper Board, Video ASSP and Design Services, as well as three Silex implementations of video codecs: Colibri, JPEG 2000 and VC-2 HQ. The move will allow Audinate to accelerate its strategic vision for integrated audio and video-over-IP, as well as increase video FPGA expertise within the company. “Since the development of our first Dante AV product, we have been

committed to bringing the simplicity and interoperability of Dante to the

video-over-IP market,” stated Audinate co-founder and CEO, Aidan Williams.

“With this acquisition, we are doubling down on that strategy. The video codecs

and deep product expertise in the team, in combination with our Dante

networking technology, will enable us to go to market with a variety of full-service video offerings.” “Audinate is an excellent new home for our video team, customers and suppliers as there is a unique complement in know-how, competencies and expertise,” commented Michel Van Maercke, CEO of Silex Insight. “Moreover, we see a great cultural fit and a similar customeroriented mindset, which is critical for the success of an integration postacquisition. I am confident that the Silex video team will do very well as part of Audinate and will make a true difference in the exciting pro AV market.” www.audinate.com

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Vizrt powers Seb4vision’s virtual services SOUTH AFRICA

Seb4vision, a production company based in South Africa, provides broadcasting graphics services for cricket, rugby, football and more. Due to the success and growth of the sports market in Africa, Seb4vision was on a mission to expand its operations across the continent, and enlisted Vizrt to help. Seb4vision offers tailor-made graphics solutions to its African clients, including match graphics, augmented reality graphics, virtual advertising solutions, mobile virtual studios, a crowd-replacement solution, analysis tools, telestrator and touchscreen, powered by Vizrt. “We have so far achieved the first part of our dream, which was to provide quality

broadcast graphics solutions in Africa that can match up to world-class productions. And we have done so not only in South Africa but also across Africa. This was made possible by Vizrt. In our inventory, we have Viz Artist and Viz Engine, Viz Libero, Viz Trio and Viz Virtual Studio. Thanks to the range of Vizrt products and quality of sports graphics we offer, we were involved with last year’s British and Irish Lions tour in South Africa,” stated Lucky Sebola, founder and managing director at Seb4Vision. “For that project, we were able to offer a live multi-cam augmented reality opener alongside a second screen experience and

match analysis with illustration solutions too. We were also able to use all the solutions for the productions at one venue, adding additional value for the client. Our promise was to bring world-class products to Africa and empower others. And we have been able

to do this with the solutions from Vizrt. It really opened opportunities for our company beyond our expectations,” concluded Sebola. www.seb4vision.co.za www.vizrt.com

14 PRO AVL MEA March–April 2022

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NEWS

BeatX and Procom partner for AV and lighting overhaul UAE

BeatX has partnered with Procom for the design, fitout and commissioning of its new AV and lighting systems. The stateof-the-art fitness studio offers advanced workout sessions, including yoga and HIIT classes. Featuring yoga and CrossFit studios along with changing rooms and public areas, the venue-wide sound system consists of DAS Audio CL-8T ceiling speakers for BGM along with Q-43, Q-23-T and Q-10 systems for the main studios. All systems are powered with a selection of PA-500, PA-900 and PA-1500 amplifiers running on Dante.

The entrance structure is made up of six 1m Opaque 3D tubes from Cyclops Lighting. The CrossFit studio lighting design consists of XL54UV LED PARs, a matrix of Opaque 3D tubes along with MD1 moving heads. Control of the venue has been established with a Madrix Key and Luna 16 along with Symetrix Prism for audio control. www.procom-me.com

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SCAN FOR MORE

Iraq TV channel ahead of the curve IRAQ

Al Sharqiya, one of Iraq’s biggest privately owned TV channels, has chosen Wave Media Solutions to upgrade its studio located in Erbil, by integrating three curved INFiLED WP displays to meet the increasing visual expectations of its daily audience. The WP videowall installation with a pixel pitch of 1.5mm is set as a backdrop for the station’s news programmes. Wave Media Solutions, a systems integrator for broadcast and media systems, worked alongside INFiLED combining both companies’ expertise, creating a news studio setup that consists of three fine pixel pitch LED displays with a total size of 15m 2. The WP series met Al Sharqiya’s

requirements, offering a lightweight design and enhanced image quality. “Al Sharqiya TV in Iraq was looking for a media wall that would allow any type of content – videos as well as texts and images with an outstanding quality on and off camera,” said Samer Otaibi, sales manager of INFiLED Middle East. “With our lightweight and ultra-thin WP series, we were able to create the required degree of curvature resulting in a clean and elegant studio design as well as a state-of-the-art visual effect. At INFiLED, we are delighted to be part of the fastgrowing LED broadcast market in the Middle East.” Al Sharqiya’s studio in Erbil, Iraq

www.infiled.com

March–April 2022 PRO AVL MEA 15

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NEWS

Nairobi’s Radio Citizen furthers IP adoption KENYA

EFX Productions calls on dark horse, URSA

Following the successful installation of Lawo mixing consoles and IP infrastructure at other Royal Media Services (RMS) radio stations, a new 12-fader crystal console has now entered service at Nairobi-based Radio Citizen. Project management and installation were carried out by Lawo systems integrator, BYCE Broadcast.

“It is exciting to watch as Royal Media Services sets the pace for the adoption of broadcast IP technology in Kenya,” commented Cynthia Odari, head of business development for BYCE Broadcast. “RMS were our very first client in Kenya, and we thank them for their continuing trust in us, and in Lawo – a decision which keeps proving to be right.”

Radio Citizen serves a widespread audience in Kenya, with programming broadcast nationwide over the 14-station RMS network. The station is highly respected for its thoroughly researched news and education programmes provided in Sanifu, the standard Swahili dialect. RMS, Lawo and BYCE Broadcast began their relationship in 2017, with the installation of the first Lawo mixing console. The crystal consoles are now in service at Radio Citizen’s sister stations, Ramogi FM, Inooro FM and HOT96, also headquartered in Nairobi.

The crystal consoles have reportedly proven popular with the broadcaster thanks to their cost-effectiveness, intuitive design and standards-based Ravenna/AES67 networking, in addition to features such as AutoMix hands-free mixing and AutoGain one-touch mic gain controls. Lawo VisTool GUI building software comes standard with crystal, providing touchscreen graphical controls that can be customised to tailor workflows.

SOUTH AFRICA

A fleet of Blackmagic URSA broadcast cameras are being used to capture major horse racing meets at a variety of South African racing venues. Live production specialist, EFX Productions, has devised an IP-based 4K broadcast solution that includes a fixed gallery infrastructure at the Fairview racecourse in Nelson Mandela Bay, as well as an outside broadcasting truck that alternates between the Kenilworth and Durbanville racecourses in Cape Town. The system allows for an onsite production team to capture and produce live race feeds that are then taken out to international sports channels. “With the broadcast systems at the racing venues ageing, the brief was to establish a very modern OB workflow capable of delivering clear, precise pictures across big distances,” explained Brendan Marsay, executive head, technology, EFX Productions. “For acquisition, we opted to deploy 26 URSA Broadcast cameras across the two systems, as we were impressed by the units’ overall performance and versatility.” The URSA cameras at the Fairview racecourse are positioned in towers at regular

intervals around the racetrack and paired with URSA Studio Viewfinders. The cameras are fitted with various Canon lenses, depending on the shots required at each section and are complemented with a range of PTZ cameras. Linking the solution is a network of IT-grade fibre running around the venue perimeter. Multiple Blackmagic Design ATEM Talkback Converter 4Ks bridge each of the camera channels, which are fed back to the production desk, where the programme is mixed and then uploaded to a cloud-based platform for broadcast partners to access. “The low power requirements and large voltage input acceptance of the URSA Broadcast make it a great candidate for powering from small solar rigs,” added Marsay. “This allows us to run the cameras continuously, without having to worry about provisioning expensive power sources or hybrid fibre cabling. Although EFX Productions has many years’ experience of live broadcasting, this was our first horse racing project and we were able to use that to our advantage.” www.blackmagicdesign.com

www.bycebroadcast.com www.lawo.com

Chauvet lights up Jah Prayah’s new album launch ZIMBABWE

Award-winning African singer/ songwriter Jah Prayah has released his 11th album, Gwara, in a livestream event organised by Blessing Bero and Tatenta Gaylord Rushwaya, along with the Events Evolution team. Lighting the event were 12 Maverick MK2 Spots, four Rogue R2 Spots, four Rogue R2 Washes and six STRIKE 4 blinders from Chauvet Professional. Arranging the 440W Maverick units across the upstage deck of their studio stage, between and around mobile videowalls, the team used the high-output spots to direct bright shafts of light in the air, symbolising the soaring spirit of the music. The light from the spots moved from cool white to icy blue, which added to the ethereal mood of the performance. Balancing the Maverick’s output was the warm white glow of the STRIKE 4 panels which were positioned on the central section of the upstage deck. Angled upwards,

Jah Prayah these fixtures created an engaging level of backlight against the artists onstage. The videowalls themselves were arranged in a

rough U-shaped configuration to envelop the artists, with two units on the ground and three suspended at different heights in the

air. This not only focused the attention of viewers, it also lent an important sense of depth to the stage. Flanking the video panels on their tops and sides were the rig’s wash fixtures. Their colourful output matched the images displayed on the LED screens. Together, they moved from bright and bold palettes to more subtle and contemplative hues, conveying every nuanced emotion of Prayah’s music. An artist beloved for his ability to connect with fans, Prayah regretted that his album release event could not be performed before a live audience because of Covid safety concerns. “It hurts because much of my energy onstage feeds from fans, and viceversa is also true,” he said. Although nothing can match the experience of a live concert, fans who tuned into his livestream got to enjoy the next best thing. www.chauvetprofessional.com

16 PRO AVL MEA March–April 2022

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NEWS

AIMS embraces industry shift towards inclusive language

WORLD

The Alliance for IP Media Solutions (AIMS) has announced its support for the industry’s shift to more inclusive language in standards and engineering documents. The alliance welcomes efforts by standards bodies and other organisations to ensure that the language used to craft such documents is free from stereotypes, subtle discrimination, and demeaning or exclusionary expressions.

are built on inclusive language,” said AIMS chief financial officer, Andreas Hilmer. “Words have power, and it makes a difference when we employ more conscious, respectful use of language across not just standards documents, but communications of any kind. It’s a small but nevertheless significant step in the right direction.” “We stand behind the work that SMPTE, the IEEE and other leaders are

doing to ensure that the standards and recommendations guiding our industry

ode to the Afro-Portuguese heritage of the company. The goal of the installation was to deliver a high-quality, zoned audiovisual solution where the lighting and audio work in synergy. Nando’s required the solution to be automated to create the right ambience day-to-night. For the audio, SAW specified an Audac system to meet the restaurant’s needs, while the lighting solution runs on a Digital Addressable Lighting Interface (DALI)

network and is controlled via a Q-SYS Core which also provides flexible audio control across three zones. The system splits the day into four distinct periods of business, where audio and lighting are scheduled according to the time of day and correlating levels of activity. For instance, 6–9am, as the restaurant prepares for its opening, both audio and lighting levels are raised to invigorate staff for the day. During the day, these levels are muted slightly to accommodate for the natural buzz before the music is intensified and lighting dimmed for the evening. The Q-SYS Core also handles physical audio zoning and source selection, including Heatwave Radio. The Audac audio solution is based on a variety of ceiling loudspeakers spread across three distinct zones: the main restaurant seating area, the BOH areas including the kitchen and storeroom, and the PERi-PERi chicken grill. To cover the restaurant floor, SAW specified eight CELO2s, while low-end reinforcement is provided by a pair of CELO8 ceiling subwoofers. Both models were fitted with black grilles to match the restaurant’s interior. To ensure that audio playback was consistent throughout, multiple CIRA530D loudspeakers with Audac’s QuickFit mounting mechanism were installed in the BOH area. A pair of Audac AWP06 waterproof IP65compliant ceiling speakers were installed by

www.aimsalliance.org

SAW provides Nando’s an extra hot AV system

SOUTH AFRICA

Founded in South Africa and boasting 1,000 restaurants worldwide, Nando’s has called on Stage Audio Works (SAW) and retail solutions specialists, Lumalytic, to collaboratively handle the audiovisual design and integration for its new restaurant in the Mall of Africa, Johannesburg. The chain has commissioned local art from the outset to decorate its restaurants, having also created its own radio station – Heatwave Radio – dedicated to Afro-Luso music, in an

the grill, so that output would not be affected by steam. SAW’s Mike Summerfield said: “Nando’s is well known for taking good care of its employees. As such, it was imperative that the staff had their own BGM system for BOH. It’s a model that has served them well, as this

staff-centric approach translates to increased productivity and happy customers.”   Shawn Godfrey, executive director of Lumalytic, concluded: “We were honoured to play a part in the reimagining of Nando’s inrestaurant experience. With SAW’s assistance, we delivered a cutting-edge audiovisual system with sophisticated automation that manages every element to deliver appropriate levels and ambience throughout the day.” www.stageaudioworks.com

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L-Acoustics and Mixhalo enter strategic partnership WORLD

L-Acoustics has announced that it has become a major investor in Mixhalo, as well as the exclusive audio professional partner of the San Francisco-based company. Founded by Incubus guitarist and songwriter Mike Einziger and violinist Ann Marie Simpson, Mixhalo enables live event organisers to give audiences low-latency audio, delivered directly to their phones and headphones via the mobile app. Since 2019, the companies have collaborated on residencies by Aerosmith and Sting, as well as major sports venues, using L-ISA Technology as well as the Mixhalo app. The partnership will foster cooperation and co-development between L-Acoustics and Mixhalo to create hybrid solutions

that combine sound reinforcement from loudspeakers and wireless audio signals sent via Wi-Fi or 5G. L-Acoustics will provide guidance to support Mixhalo’s organic growth and participate in strategic discussions via the appointment of a board of directors. “I’m convinced that hybrid solutions for live events will bring unique immersive experiences to audiences everywhere,” explained Guillaume Le Nost, executive director of creative technologies at L-Acoustics. “Whether to improve coverage in hard-to-reach seating areas, offer additional content like sports commentary at a game or create a unique and personal experience onstage like Mixhalo did for Aerosmith fans,

18 PRO AVL MEA March–April 2022

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NEWS

SQ-5 is a game-changer for The Yes-Ja! Band NAMIBIA

Florian Hackenberg-Keßler, sound engineer for The Yes-Ja! Band, has selected a 48-channel SQ-5 console for their new tour, The Game Changer. The band’s frontman EES, also known as Eric Sell, is a Namibian artist with German roots. Having released nine studio albums, the band rose to fame after winning The X-Factor in 2018 with a blend of Kwaito, African House, Afro Pop and Reggae. When choosing equipment for the tour, Hackenberg-Keßler decided he needed something lightweight, portable and quick to set up and pack down. The SQ-5 is built on Allen & Heath’s XCVI 96kHz FPGA engine. Hackenberg-Keßler said: “I am super satisfied with everything the SQ-5 offers me. The compressors are great, and so are the reverbs. I use a lot of the ADT Doubler, it simply works well. Another plus is the low latency and 96kHz operation. I use the USB interface at every show for multitrack recording. You don’t get all of this anywhere else in this price range.” Hackenberg-Keßler noted that although the SQ-5 is a relatively compact mixer, the 30 channels of the band are handled by the 17 faders of the console. “It works great because of the DCA spills. I get everything I need on one layer. It’s so flexible, you can lay out the surface the way you want it, so you don’t need any more faders.” For onstage I/O, two DX168 expanders are deployed with cabling kept to a minimum. “I daisy-chain the DX168s,” he explained. “I always order Cat cables locally, but I carry one myself as a backup. But the SQ consoles are great, they’ve taken every cable I’ve tried without problems, it has always been plug-and-play. The two DX168s are permanently installed in a case

with cable harnesses to the respective musicians.” All six members of The Yes-Ja! Band rely on IEMs for monitoring, with the introduction of the SQ-5 allowing the musicians to control their monitor mixes via the SQ4You app. “We had two rehearsal days and everyone quickly got into the groove, the app is very easy to use. To be honest, I’m fascinated by this console – everything just works and sounds great. Allen & Heath has really made a mark,” Hackenberg-Keßler concluded. www.allen-heath.com

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the potential is bound only by the shared imagination of our development teams.” “L-Acoustics is widely known across the industry for driving innovation of premium audio products, and their extensive global relationships will open many doors for us,” said John Vars, CEO of Mixhalo. “We always look to work with innovators who share our vision for elevating the live entertainment experience, and L-Acoustics is the perfect fit.” www.l-acoustics.com www.mixhalo.com

March–April 2022 PRO AVL MEA 19

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NEWS: DISTRIBUTION

QSC heads into Jordan JORDAN

QSC has partnered with Girhoma for distribution of its full line of professional audio projects and Q-SYS portfolio throughout Jordan. Girhoma has extensive experience in AV and has been engaged on some of the country’s most high-profile projects, such as recently providing a new interpretation system for the Jordanian government. Other key brands in its portfolio include Televic, Vaddio, Datavideo, Crestron, Symetrix, Powersoft, TOA and Shure, among others. Based in Amman, Girhoma offers a variety of AV, lighting, stage technology, control and integrated solutions, as well as musical instruments. “With the addition of QSC to our extensive and innovative product portfolio, we are now able to supply our

customers,” commented Hanna Zananiri, Girhoma’s general manager. “We look forward to this new partnership as QSC makes a perfect addition to our existing distribution offering.” “As we continue to expand the QSC footprint in the Middle East and Africa, we are now able to provide customers in Jordan with a qualified partner to assist in selecting the ideal QSC solution for any installation – from a high-value space in corporate or higher education, to a large performance venue, or anything in between,” added Chant Utukian, MEA director, QSC. customers in Jordan best-in-class audio, video and control solutions to help them

design and deliver exceptional collaboration and entertainment experiences for their end

Netgear and MediaCast team up to serve the Middle East UAE

MediaCast has been appointed the new Middle East and Turkey distributor for Netgear’s pro AV line of equipment. The Dubai-based company already handles local distribution for NewTek, Focusrite Pro and BirdDog, among others, and has added Netgear to strengthen its workflow solutions based on IP. Following the announcement, MediaCast is planning to invest in training activities for regional partners and end users in upcoming days. “We have some of the most exciting brands operating in this sphere, where technology leadership is unparalleled in addressing different needs of the market,” explained Peyman Dadpanah, MediaCast business director. “The joining of Netgear, another technology

leader, makes for a powerful addition. A reliable, technologically sound switch is very important in bringing together the efficiency of IP-based media workflow solutions.”

MediaCast will offer three models under the pro AV line – M4250, M4300 and M4500 series switches. All three are stackable, modular managed

Stage Audio Works launches AV Distribution

AV Distribution’s website SOUTH AFRICA

South Africa-based Stage Audio Works (SAW) has launched AV Distribution, a new company dedicated to managing markets served through a reseller/integrator channel. Anything project-based will remain the remit of Stage Audio Works, with its executive and management teams remaining unchanged.

The company continues to invest in the market with the ongoing development and expansion of local manufacturing under its Stage Plus and Pixel Plus brands. SAW CEO Will Deysel noted that the decision to form AV Distribution was a “logical evolution of the process already

switches available in a range of sizes and capabilities, as well as the ability to simplify system architecture to lower price points. “We are excited to collaborate with MediaCast,” stated Richard Jonker, Netgear vice president of business development, AV-over-IP, EMEA. “We’ve found their expertise, focus and commitment to AV-over-IP and today’s broadcast technology to be outstanding. Since we integrate with multiple vendors of MediaCast already, this is a logical step. We look forward to a long and fruitful cooperation.” www.mediacastsys.com www.netgear.com

started in March 2021”, referring to when the company restructured its sales operations into two distinct verticals – projects and distribution. The creation of a separate company intends to see the process through to its conclusion. “We’d already concluded that having separate teams would allow us a better focus on the specific needs of each vertical, and our experience since March last year has borne that out,” explained Deysel. “The requirements for each vertical are really very different, so it made complete sense for us to give the distribution wing its own identity and a certain measure of independence by creating a new company. Whilst remaining part of the Stage Audio Works group with access to all the resources that we have to offer, AV Distribution has its own website, its own branding and of course its own team who will be focused specifically on the needs of the reseller/integrator channel.” Ashley Coleman will be taking on the role of general manager whilst Mike Summerfield heads up sales. The markets served by AV Distribution are principally those of corporate AV, education, retail and hospitality.

www.qsc.com

Televic partners with Audio Technology SAE EGYPT

Televic has announced a strategic partnership with Cairo-based systems integrator, Audio Technology SAE, that will see it becoming the manufacturer’s partner in Egypt. As the exclusive reseller, advisor, installation and implementation partner, Audio Technology will service the entire local market with a particular focus on major segments such as government, hospitality and education.

“Audio Technology is proud to be a part of the Televic family and to present Televic in the Egyptian market as part of our development plan to drive the digital transformation to the community,” commented Emad Adly, Audio Technology CEO. “With 30 years of experience and more than 400 dedicated employees, Audio Technology is one of the leading players in the Egyptian AV landscape,” added Soufiane Habri, sales manager for the MEA region at Televic Conference. “Their strong local presence, backed up by Televic Conference’s global team of ‘Experts in Conferencing’, will ensure a highly qualitative and personalised service level from concept to implementation.” www.corporate.audioteceg.com

www.avdistribution.co.za

www.televic-conference.com

www.stageaudioworks.com

20 PRO AVL MEA March–April 2022

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The XSL System.

Clean up your room. The newest addition to the SL family. All the unparalleled features only SL-Series provides: Full broadband directivity control, extended low frequency response, innovative rigging. More SL, nothing less. Let’s talk about X: sl-series.com

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NEWS: APPOINTMENTS

K-array’s Maffei is the man for EMEA

EMEA

K-array has announced the promotion of Francesco Maffei to area sales manager of EMEA. In his new role, Maffei will oversee the company’s sales and marketing activities and initiatives throughout Europe, the Middle East and Africa. Having been a member of K-array for the last 20 years, his industry knowledge has been an integral part of the company’s growth. As area sales manager of EMEA, Maffei will build on

K-array’s relationships with its partners and develop new business across the region. Commenting on the new appointment, president of K-array, Alessandro Tatini, said: “We’re delighted that Francesco is taking the reins on EMEA. His deep understanding of the brand which he has helped to build over the years, our products, business know-how and leadership skills, will further strengthen K-array in EMEA with our unique story of

Furman joins Noise Republic SOUTH AFRICA

Agera Group’s Noise Republic has announced that Gary Furman has joined the team as general manager. With 25 years of experience in the AV industry, he brings product, sales and management expertise to the company. “It is exciting to be involved in this start-up business and having almost a blank canvas, whereby David Myers and I can leverage our combined experience in building a distribution company suited to the context of the market environment we are competing in. Being a smaller business, we have the ability to be agile and to respond quickly to market conditions and customer requirements,” Furman said. Myers, founder and managing director at Noise Republic, added: “To say that I am excited to have Gary on board is an understatement. I have an immense amount of respect for Gary and what he has achieved over the years in the professional AV industry. I have no doubt

Gary Furman that, given his vast experience and unbelievable customer relationships, we will be able to take Noise Republic to the next level and far beyond that into the future.” www.ageragroup.co.za www.noiserepublic.co.za

Francesco Maffei

passion, innovation and performance, in the exciting era ahead.” Maffei commented: “I am really excited to take this important next step in my career, my priority will be to ensure that K-array continues to build on its position as an innovative pro audio manufacturer with unique audio and now lighting solutions. We have some incredible partners in the region, and I am looking forward to working with them.”

Ros Gar dire last EME an i as w regi Os glob

www.k-array.com

A to s D E

TIG expands Middle East sales team EMEA

Crestron EMEA sales agency, the Technological Innovations Group, has grown its sales team in the Middle East with the appointment of Alaa Kobeissi as business development manager. Kobeissi will support the wider regional sales team in Saudi Arabia and Kuwait in creating new business opportunities, as well as nurturing relationships with Crestron’s end users, consultants and other partners. “Following my long career in AV in Saudi Arabia, I’m now excited and privileged to be making the move to such a reputable manufacturer,” Kobeissi commented. “Together, I’m certain we can enhance projects and shine a spotlight on the region, and I’m excited to see what 2022 has in store for us all. I’m thrilled to be bringing my experience to the right place at the right time, and to contribute to Crestron’s success in the Middle East.” “TIG and Crestron are very pleased to welcome Alaa, who brings with him incredible experience and knowledge about the AV/UC market, the channel and Crestron’s solutions,” added Renaat De Wilde, TIG’s regional sales

Three makes great company for QSC

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Alaa Kobeissi director for the Middle East. “Based in Saudi Arabia, he will help us bring a dedicated focus to local customers here and in Kuwait, and we’re certain he will add value for Crestron’s business in the Middle East.” www.tig.eu

Ph ope the And pro we opt

WORLD

QSC has announced the promotion of Jatan Shah to president and chief operating officer. In addition, Joe Pham has been named chairman and CEO, with QSC also promoting Ron Marchant to vice president of sales and marketing, EMEA. “Jatan has made a tremendous impact on QSC and the AV industry, working smartly with leaders across QSC to build new capabilities, increase scale and guide many strategic initiatives to success across our growing multinational organisation,” commented Pham. “His persistence, patience and vision have not only guided our company but also our people to become stronger and more resilient. Jatan exemplifies the company’s core values, which guide our thinking and actions, and is the ideal person to help lead QSC into its next chapter of success.” Having joined QSC in 2010 as chief financial officer, Shah has since taken on additional responsibilities in various aspects of the business. He most recently served

B Joe Pham

Ron Marchant

Jatan Shah

as executive vice president, chief operating and technology officer, where he led product strategy and development, operations, finance and IT. He said: “As we enter a new year, I look forward to continuing work with Joe, our executive team and founders to deliver on the promise of QSC, to capture new

opportunities for our employees, partners and customers, and continue to help guide our company and business as we explore the many new opportunities ahead of us in the markets and applications we serve.” Marchant added: “QSC is a tremendous place to work. With our great team, partner

network and innovative technologies, we are very well positioned to grow significantly in the EMEA region over the next several years. I look forward to playing a role in that.” www.qsc.com

22 PRO AVL MEA March–April 2022

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Follo office initiat Blokz East a Blokz in the indus sales “We the C

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NEWS: APPOINTMENTS

Ross Video appoints Mark Gardner EMEA

Ross Video has announced that Mark Gardner has been appointed as the new director of sales for EMEA. Having joined last year as regional sales director for EMEA North, he is said to have overseen an impressive expansion of his team, as well as the company footprint in the region. Oscar Juste, senior vice president of global sales, said of the appointment:

Gardner added: “Prior to Covid, the EMEA team was on a growth streak and doubled our regional turnover in three years. Since joining Ross, I’ve been incredibly impressed with the team and our partners, and I see no reason why we cannot double the size of the business again once the world returns to a more typical style of doing business.” www.rossvideo.com

Andy Lee Martin Professional extends to manage design and sales teams sales for Datapath EMEA

Mark Gardner

MIDDLE EAST

EMEA

Datapath has announced that Andy Lee has been promoted to senior international sales manager, supporting the company’s management and development of OEM, distribution and developing customer relationships throughout the EMEA and APAC regions.

Martin Professional Middle East has appointed Dureid Yaghi and Omar Nemer to the design and sales teams respectively. With experience in lighting and set design, Yaghi is said to have settled in nicely as head of the design team. Having worked as an art director and set specialist on several TV sets, he brings a creative dynamic to the design team. Yaghi said of his appointment: “I am excited to work with the wonderful design team and get involved in the high-end technology and quality solutions that MPME provides.” Nemer has just under 10 years of experience in LED technologies in the Middle East, working with government clientele and local agencies. He joins MPME as an account

Dureid Yaghi manager and sales representative, targeting several verticals in AV. He has the expertise to

Omar Nemer support clients and tighten manufacturer and end user relationships. He concluded: “Joining the MPME team is a new and challenging experience, especially to grow my career in a place where I see myself fitting in, being surrounded by a very supportive group and ever-professional environment.” www.martinpro-me.com

CTME appoints two seasoned experts MEA

audi ocus nd n’s

“Mark is a highly accomplished sales professional and his calm professionalism, drive and pragmatic approach have been very valuable qualities during what has been another challenging year for the industry. This new, expanded role puts Mark in charge of our ambitious growth plan for the whole EMEA territory and I have every faith in his ability to deliver.”

Andy Lee

Creative Technology Middle East (CTME) has appointed Artur Kurowski as senior project manager for its live events division. With more than 18 years of experience throughout the Middle East and Europe, he comes from a technical design and production background with knowledge of audio, video,

Phillip Davenport, director of sales and operations (EMEA) Datapath, said of the appointment: “Working alongside Andy, we have a superb team of industry professionals in place and, together, we look forward to the future with great optimism.” www.datapath.co.uk

Artur Kurowski

lighting and rigging technologies. Alongside managing a team of engineers, Kurowski aims to build strong relationships with clients worldwide. “I am thrilled to have joined the CT family and look forward to working alongside some fantastic professionals who share the same love and passion towards live events. I am excited to bring my knowledge and experience into a growing team and be a part of many memorable productions.” Also joining CTME is Wissam Shaheen, acting as head of audio. With more than 22 years of experience, he has experience in musicology, acoustics and electroacoustics and is now responsible for the creative vision, strategy and delivery of all technical audio elements across the company. Shaheen said of his appointment: “CT is a company that I

Berend Blokzijl joins Cobalt EMEA

Following the addition of a representative office in Beijing as part of its global growth initiative, Cobalt Digital has appointed Berend Blokzijl as director of sales for Europe, Middle East and Africa. Based in the Netherlands, Blokzijl has over 25 years’ experience working in the broadcast, satellite IT and telecoms industries, winning large accounts and building sales channels across EMEA and APAC. “We’re delighted to welcome Berend to the Cobalt team as we grow the company

worldwide,” said Cobalt SVP of worldwide sales and marketing, Suzana Brady. “His vast experience and knowledge of the industry and our technology as it relates to the EMEA region is a huge asset to the company and a tremendous benefit to our customers. We look forward to Berend’s input and contributions as our platform evolves to accommodate technological advances in diverse geographical areas and market segments.”

Berend Blokzijl

have always admired and have worked side by side with on some of the region’s biggest shows. Being a part of such a dynamic and forward-thinking team is very exciting to say the least.” www.ct-group.com

Wissam Shaheen Prior to joining Cobalt, Blokzijl held the position of senior sales manager at BFE Studio und Medien Systeme, where he was responsible for building a global partner network. “I’m excited to join the Cobalt team and to accelerate growth across EMEA,” explained Blokzijl. “Cobalt is a well-respected organisation with highquality solutions. I look forward to working closely with the team to implement a sales strategy that will expand our customer base, increase market share and create strong relationships.” www.cobaltdigital.com

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NEWS: SPECIAL REPORT

SPONSORED BY

SPO

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Boxing clever Having blended new technologies with long-established designs, Electro-Voice has delivered a powerful yet versatile enclosure that refuses to be boxed into a familiar niche. Richard Lawn highlights the key points discussed during the recent webinar hosted by Pro AVL MEA FOR ALMOST 100 YEARS, ELECTRO-VOICE has garnered a deep respect and rich heritage for pioneering loudspeakers for sports stadiums. This incredible journey began when Radio Engineers’ co-founders Lou Burroughs and Al Kahn overheard a prominent football coach refer to their purpose-designed PA system as his “electric voice”. The year was 1930 and, in an attempt to save his voice from further damage, Notre Dame coach Knute Rockne had unwittingly created an international loudspeaker brand that would become synonymous with stadium sound. Having developed composite boxes for distributed systems to EVF front-loaded and EVH horn-loaded loudspeakers in arenas and X-Line Advance line arrays in soccer and NFL stadiums, Electro-Voice has applied itself to all sections and scales of stadia. Germany may have won the 2010 FIFA World Cup trophy in South Africa but, having installed nine PA systems into nine out of the 10 stadiums with ZX5, XLD and FRX models, Electro-Voice was confirmed as the undisputed audio champion. Rather than rest on their laurels, the R&D designers challenged themselves to stay ahead of the competition. “Market evaluation followed, together with widespread conversations with consultants, designers and integrators,” recalls Electro-Voice global product manager – Installed Audio, Bob Rieder. “By creating a focus group, we ensured that we were capturing the full-range of potential applications, from

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large stadiums down to venues that could be covered with a single loudspeaker. Ultimately, we identified a gap in the market for a higher output enclosure that would provide long-throw characteristics and offer precise coverage with an ability to cluster with other cabinets and seamlessly transition with them.”

Over time, the amassed information and analysis was channelled into an R&D project. “We launched a technical ‘pre-study’ in 2018 to see if it was possible to get the SPL levels requested by product management, over the full frequency range,” explains Electro-Voice engineering manager – Installed Audio, Andrew

U i i a e w l c a p

Pardoe. “Initial studies showed with the latest technology transducers and a big box, we could get the 150dB/1m and control the directivity throughout the frequency range.” MTS – or Manifold Technology System – was born. With a nod to the past, the design team opted to integrate electro-acoustical elements www.electrovoice.com

24/02/2022 16:29

event Repre to lou evolvi the co at the speak is red versio direct enhan sound intelli the H Techn Voice anoth “In M techn of the Pardo frequ

www.e

NEWS: SPECIAL REPORT

SPONSORED BY from the MH4020AC and MTL-4/MTH-4 enclosures. “These concert sound boxes are renowned for their directivity, long throw and very high output characteristics,” confirms Pardoe. “To achieve a very high low-frequency output, the MTL-4 incorporates quad 18-inch woofers and the MTH-4 features manifold compression drivers that output to single channel and a Hydra Waveform Converter. We wanted to bring some of the technologies that made these cabinets legacy products to the MTS.” The MTS engineers agreed on implementing four basic design goals into the cabinet design. “Firstly, the output level would need to exceed 150dB SPL @ 1m peak minimum threshold,” explains Pardoe. “Secondly, precise coverage across the entire pattern with minimal level and spectral variation was paramount, so we agreed on standard patterns to maximise its use in a wide range of applications. Over the last decade, we noticed that a trend had emerged whereby many large venues were no longer content with just speech intelligibility by demanding full-range music playback in addition to live concert reinforcement. Finally, we recognised that the cabinet would need to provide full-range audio reproduction with ample low-frequency extension without the need for subwoofers.” With the design criteria decided, the arrival of the pandemic effectively signalled an end to mass

Ultimately, we identified a gap in the market for a higher output enclosure that would provide long-throw characteristics and offer precise coverage

ox, he .” was eam ents

events being staged in stadiums. Representing a truly holistic approach to loudspeaker design, MTS was evolving significantly, however. With the controlled coverage positioned at the front, the output spill of the speaker outside these patterns is reduced. The resultant cardioid versions deliver full-bandwidth directivity control in addition to enhancing the dynamics, improving sound quality and clarifying speech intelligibility. The development of the Hydra Waveguide and Manifold Technology was to take ElectroVoice’s heritage stadia enclosures to another level. “In MTS, we use manifold technology at three distinct stages of the acoustical output path,” adds Pardoe. “Separate mid- and highfrequency diaphragms sum inside

e.com

www.electrovoice.com

PAME Pg4-29 News.indd 27

Andrew Pardoe

Bob Rieder

the coaxial compression drivers, which then channel their output into the newly developed, lossless Hydra. This lossless Hydra performs waveform shaping without fins, pins or any other obstructions along the wave path for an almost lossless solution that ensures maximum output at mid and high frequencies. The third stage of manifold happens in the large main wooden horn to combine the output from the four 15-inch woofers with the energy coming from the lossless Hydra.” The team discovered that the waveform converter could drive the main horn in such a manner that a square mouth horn creates different horizontal and vertical coverage without a traditional diffraction slot. “Fullrange response is achieved with a perimeter port providing ample low-frequency output and optimum directivity control even at low

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March–April 2022 PRO AVL MEA 27

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NEWS: SPECIAL REPORT frequencies,” furthers Pardoe. “Putting this all together meant we needed to combine proprietary in-house design software with Finite and Boundary Element Analysis. We ran the equivalent of one month’s worth of iterations on the Bosch high-performance computer cluster in a couple of days.” In addition to the 60°x40° and 40°x30° coverage patterns in standard three-way models (MTS-4153), further cardioid configurations (MTS-6154) provide the same coverage patterns with enhanced lowfrequency directional control. “For controlling the long-distance coverage and dispersion, the cabinet needs to be as large as possible with a single coherent wavefront and large format horn,” explains Pardoe. “However, if you make it too big, the enclosure becomes impractical to install, so we sought a compromise and eventually settled on a 43x43-inch design.” Accurate dispersion has been achieved by integrating constant directivity technology. The high output requirement was fulfilled using dual coaxial compression drivers mounted onto a manifold driving into the horn. The high-mid frequency section generates over 151dB peak SPL output with a crossover at 450Hz. Significantly, this low threshold allowed Pardoe and his team to further optimise the LF section and accrue favourable bass response. “The port is tuned at 55Hz providing a useful response down to 50Hz. However, for live concerts, a complementary subwoofer such as the EV X12-128 can be added to a configuration, which shares the same width enclosure.” Loudspeaker geometry, complementary amplifier matching and digital processing are computer-optimised to ensure precisely distributed SPL that remains balanced and controlled throughout the entire coverage area at full output. Designed to be energy efficient with unique performance optimisation and system protection features, MTS has been engineered for use with Dynacord amplification and processing. The recommended Dynacord IPX series four- and eight-channel powerhouses can be monitored and controlled

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SPONSORED BY field, time delays and subwoofer integration are provided for advanced acoustical and mechanical system simulation in venues utilising Electro-Voice Preview loudspeaker software. Mechanical modelling is also supported with 2D Autocad, 3D Autocad, 3D STEP files and BIM-compatible files in 3D.” Each version is available in a black or white finish. Designed for all environments, the MTS Series is available as a partially weatherised (PW) version for indoor or sheltered use or in a fully weatherised (FW) version for full exposure to the elements. Hydrophobic mesh backing lies behind the stainless steel grilles, making the cabinets highly impervious to dust and water ingress. The IP55-rated cabinets can be suspended via four simple M10 eyebolts. More complex arrays can be attached using the M10 points on the side plain by creating an exoskeletal structure to mount further speakers. Added flexibility and a reduced amount of hardware rigging are further provided by additional rear-equipped M10s. The square front profile allows MTS to be tight pack arrayed in any 60°x40°, 40°x60°, 40°x30° or 30°x40° combination, together with subwoofers above, below or by the side.

An MTS being demonstrated at Birdville School in Texas within the Sonicue-driven hardware and software ecosystem. A single MTS cabinet requires only two amplifier channels – one at 6Ω for the HF and the other at 4Ω for the LF; alternatively, the LF can be split into two 8Ω channels where long cable runs are necessitated. “From a speaker and system designer’s point of view, Dynacord amplifiers give me everything I need,” states Pardoe. “Good peak voltage output backed up by plenty of

current. High-performance DSP with the ability to mix and match FIR and IRR techniques combine with flexible limiters topologies. MTS was designed to work perfectly with the IPX range, and the amplifiers did not require us to make any compromises. The extensive DSP capabilities help us balance long-term reliability with maximum output. When you cluster two or more boxes, IPX provides the array processing. Should there be power loss in the stadium or area, the Ghost Power feature ensures that the DSP section remains live for instantaneous recovery. And finally, Dynacord’s Sonicue sound system software simplifies networked setup, monitoring and control. The combination of MTS high sensitivity and IPX Class-D and ecorail efficiently means we can deliver a solution with the smallest carbon footprint.” The point source advantage extends beyond price, performance and coverage pattern control, adds Pardoe. “Point sources have never been out of fashion as they are usually added as fills where line arrays cannot reach. Those stadiums furnished with long line arrays, each consisting of multiple elements, require more amplification channels. In addition, the 200kg-plus arrays are visually unattractive, add a lot of weight to the roof and can be very tricky to install at great heights. In essence, a single MTS cabinet equates to four or six dual 8-inch array modules. Saving the integrator further time and costs, the speakers can be daisychained without having to home run each cabinet back to the amplifier.” Furthermore, internal in-house-developed DSP tools are used for optimising coverage during the design phase. “Proprietary speaker settings and limiter functions ensure exceptional performance at extremely high output levels,” he continues. “A complete package of design files including acoustic

EV MTS 6154-64CW Cardioid “MTS was created for a wide range of venue applications, but it is particularly at home in big spaces where high output is required,” concludes Pardoe. “An integrator can scale to any size of installation, but I suspect many will specify up to four cabinets where an in-fire scoreboard system is in operation. On the one hand there are those installers who demand an easy suspension ‘hang, bang and hit the highway’ box, who are going to enjoy working with MTS. However, large systems designers will find that MTS easily integrates into stadium architecture with a much lower box count and with all the structural engineering tools available to them.” As an alternative to line array designs, MTS is currently being considered for and specified into projects beyond North America. “Designers have simply never had a tool like MTS before,” concludes Rieder. “Once they hear the speakers and model a few venues, MTS becomes an important speaker in a consultant’s toolbox.” www.dynacord.com www.electrovoice.com

Watch the webinar here: youtu.be/7ZkYaz3f4i0 www.electrovoice.com

24/02/2022 16:31

Evolution Wireless Digital

Evolving With You. Evolution Wireless Digital raises the bar by providing the highest dynamic range of any wireless system currently on the market, utilizing advanced features that simplify your setup and guarantee the most reliable connection. Maximize efficiency by taking full control with the Sennheiser Smart Assist app and automatically coordinate frequencies with ease. Increased bandwidth and the lowest latency make it the most powerful tool for those who put quality and performance above all else.

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FEATURES: HOSPITALITY

Go big or go home

has m of the audio Schro At th integ outdo saw t now a In ad new e also n day, a deal main and e This proud world Drago toget eight reinfo KA24 throu of KX “As initial more Mov a left KX12 at on along eight distrib a Sym

Distributed KX12s augment audio coverage from the main hangs

The main central bar area

The refreshed exterior

Iris Dubai claims the accolade for the world’s greatest number of K-array Dragons at a single venue “IN THIS REGION IN PARTICULAR, WE’VE BECOME very wary of specifying smaller audio systems,” cautions Procom Middle East technical sales manager, Anro Schroeder. “We’d much rather go for something higher spec, so when it comes to crunch-time, like busy nights or special events, the system has the capability to deliver what is expected. Concepts in Dubai change very quickly.” In the UAE, this mentality makes perfect sense. The ever-changing nature of Dubai’s nightlife scene, which faces a constant battle against fresh competition, leads restaurants and clubs to redefine their entertainment concepts at break-neck pace. Each strives to give their guests something new each and every time they visit, and a never-ending list of reasons to return. The traditional nightclub scene of people packed into dark rooms with ear-shattering music fired at them is slowly becoming a thing of the past. Patrons, it seems, are increasingly seeking out more nuanced forms of entertainment. Even before Covid entered the lexicon, Schroeder recalls the market heading in this direction. “If you look at the percentage of lounges, up-scale restaurants and combined dinner/theatre shows that are opening versus your traditional nightclub, it’s a very different landscape. This is the trend now, and most of the region’s traditionally popular establishments have augmented into more of this lounge-type concept.”

The first incarnation of Iris quickly gained popularity upon launching in Beirut back in 2010, with the concept becoming a franchise as subsequent outlets opened up in Doha, Abu Dhabi, Bahrain and Dubai. Iris Dubai migrated to a new site in Meydan in late 2019 which boasted an impressive open-air space with capacity for 2,000, for which Procom was tasked with designing and integrating all of the necessary audiovisual capabilities. The venue goes beyond the typical late-night DJ sets and offers both a Friday brunch service and live band music at various times, all of which provide a different set of requirements for the audio system. “We had to create an audio system that could cater to in excess of 1,000 customers and that offered enough power and punch for an outdoor venue,” notes Schroeder. The open-air space is an unusual shape and is divided into several sections with seating spread all around. There is a main dancefloor area, two areas reserved for VIPs and four bars – all centred around a centralised view of downtown Dubai and the Burj Khalifa. The latest addition, Iris Indoor, gives patrons a respite from the brutal climate in Dubai’s summer months, while also promoting an entertainment-heavy lounge concept. Procom has worked closely with the Iris management to equip both the indoor and outdoor areas over two phases first kicking off in mid-2020. Italian manufacturer K-array has been the solution of choice throughout and

K-array Dragon LX12s provide the main reinforcement

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FEATURES: HOSPITALITY has made its way into every nook and cranny. “It’s one of the few speakers capable of high-quality and powerful audio reinforcement in such a sleek aesthetic,” explains Schroeder. At the onset of the pandemic, Procom designed and integrated a distributed audio solution initially for the outdoor area. The launch of a custom-built indoor venue saw the team return to trial a new concept. “What Iris is now and what it was say three years ago, is quite different. In addition to the new indoor area, they have added many new elements and created a much fresher concept. There’s also now more variation in the overall concept from day to day, and the audio system needed to have the capacity to deal with this. Some of this new area has now become the main venue and so, along with this, we also reconfigured and expanded the outside area once again.” This latest reshuffle has resulted in Iris becoming the proud owner of the largest number of KX12 cabinets worldwide. The new outdoor setup now houses 34 K-array Dragon KX12 coaxial 12-inch point source speakers, together with eight KMT218P double 18-inch and eight KMT18P single 18-inch subwoofers for low-end reinforcement. These are all powered by six KA84 and six KA24 amplifiers, connected and controllable via Dante through a Symetrix Prism 8x8. DJ monitoring is from a pair of KX12 passive cabinets and a pair of KMT21 subs. “As the outside space has grown to be a lot bigger than initially designed for, we’ve increased the audio, adding 12 more KX12s situated around the venue.” Moving inside, the focus remains on the entertainment, with a left-right stage line array solution formed from six flown KX12s per side built around the DJ booth taking pride of place at one end of the room. A total of 24 KX12 passive speakers along with five KMT21 Thunder single 21-inch subwoofers and eight KMT218 Thunder double 18-inch active subs have been distributed around the room. Everything here is controlled via a Symetrix Prism 12x12 digital signal processor, a control

A staged line array setup of KX12s and KMT218 subs forms the DJ booth at one end of the lounge server and an xControl external control expander. The DJ monitoring system inside consists of a pair of KX12 passive cabinets and a pair of KMT21 subs.

“The indoor area was redesigned prior to opening,” recalls Schroeder. “Originally, it was only going to be a lounge, but with Iris’s new elevated focus on house music and DJs, we redesigned the system to account for this. Instead of a heavily distributed and decentralised system, we ended up building a main line array consisting of a left-right hang together with a main sub array at the front to form the stage area.” While the space typically hosts different types of music content, both parts of the venue are interlinked and signals from one can be fed into another. The indoor and outdoor Prisms are linked together over the internal network allowing the venue to stream all band and DJ inputs from indoors to outdoors and vice versa. “Everything is interlinked and sits on the network,” confirms Schroeder. “All of the boxes and all of the amps run on K-Dante and Dante in general, with multiple zones controllable by the management via iPads for source selection and volume control.” Blending with the FOH audio system, a projection mapping solution was created for the bar, comprising of a 15,000-lumen projector installed and linked to the control room using an HEX70SL-TX HDBaseT transmitter from Blustream. Assisted by the distributed loudspeaker setup, the ability for the venue to gradually morph and change over time will remain key to its future success. “But the main feature of K-array that resulted in it being selected here was simply the audio quality,” Schroeder confirms. “The Iris management wanted a system that offered high-end, clear, powerful audio and K-array delivered exactly this. They love how it performs and, as a result, we’ve enjoyed a very long and successful relationship with Iris dating back quite some time.” www.k-array.com www.procom-me.com

Audac has reached new heights on Burj Khalifa!

The Outdoor Universal Wall Speakers are now placed at 575 metres above ground! Installed on the 154th-floor lounge terrace, one of the highest dining spots in the world at Burj Khalifa.

WX502 The WX502/O is a powerful 2-way performance speaker which is specially designed for outdoor use, ensuring true-to-nature, high fidelity reproduction of music and speech. Special treatment with powder coating provides the necessary protection for all weather conditions.

March–April 2022 PRO AVL MEA 31

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FEATURES: EDUCATION

The SAE Campus in Dubai was founded in 2005

SAE Institute evolves – the gaming design studio

Vision beyond audio The classroom is evolving as Dubai’s SAE Institute keeps pace with an ever-changing industry STAYING AT THE FOREFRONT OF TECHNOLOGY remains a challenge for manufacturers and technical users alike. As hardware becomes obsolete and redundant, untrained personnel need to remain relevant in the employment market. With a finger on the pulse internationally, the SAE (School of Audio Engineering) Institute has maintained the rapid pace expected for businesses to survive and thrive in Dubai since setting down roots. As a result, the SAE Institute has grown hand-in-hand with the insatiable demand for skilled technical personnel. When Tom Misner founded the original SAE Institute in Sydney, his vision was to train future professionals for the technical media industries, in particular, his passion – audio engineering. It was this passion that led to the foundation of the world’s largest and most successful business in creative media education. Despite selling the business some 35 years after its inception in 2011, Misner’s legacy continues. Today, the SAE Institute has branches in 47 campuses spanning 23 countries, ensuring novices walk away as graduates in multimedia, filmmaking and 3D graphics. Having decided to expand operations into the Middle East region in 2005, SAE moved swiftly. Armed with nothing more than a mobile phone and some borrowed furniture, Marco Bettelli flew into the UAE from Australia as the initial managing director of the newly built Media City headquarters. Regarded today as the pulse of Dubai’s arts and cultural community, the landscape at the time was an open vista of wasteland and dust arising from the endless construction projects in progress around the Marina, Jumeirah Beach and Media City areas. As one of the first businesses to take root in this virgin plot of land, SAE Institute Dubai officially welcomed its first batch of 51 students in October 2005. Tasked with drafting in students, Bettelli and manager Jason de Wilde were also challenged to identify and enlist qualified and experienced lecturers to teach the students. Uprooting himself from London in 2006, Randula De Silva was one of the first lecturers to heed their call. Having quickly settled and committed himself to the SAE cause, De Silva has absorbed the comprehensive changes while running on an everquickening treadmill.

institute provides bachelor’s degree courses to more than 300 students in animation, audio, design, film and games, in addition to short course certificates. The institute is equipped with acoustically balanced recording studios complete with analogue and digital consoles offering multiple control rooms, as well as a large green screen and photography studio and a very large online edit suite. “Back in 2006, SAE was located where it is right now but occupying just half of the current floor, with just one Digidesign Icon control surface in our only studio,” reflects De Silva. “As our annual intake of students increased over the following years, we continued to reinvest in new equipment and more studios. Today, SAE offers degrees in other creative media disciplines including filmmaking, animation, games and design alongside audio.” No two students are the same, and De Silva is keen to highlight how SAE offers flexibility around their other needs. “Compared to other types of institutions and universities, where a standard bachelor’s degree would take a student roughly four years to complete, the same credentials can be attained at SAE on an accelerated programme within half that timespan. Students can opt to complete a bachelor’s degree within a two-year period, although we recommend the threeyear option because the workload within SAE is quite heavy. Original managing director, Marco Bettelli Focusing on Pro Tools and mastering, SAE’s latest outpost set out to improve postproduction standards in the UAE. Initially, the institute offered courses and modules in 3D animation, audio engineering and film. “With Studio City earmarked for development, we had to listen to local businesses in order to tailor programmes and training modules for their individual needs,” recalls De Silva. Their early consultations quickly led to customised programmes being created for broadcast technicians employed by Arabian Radio Network (ARN), Dubai TV and MBC. Bettelli and de Wilde may have left the Dubai setup many years ago, but De Silva has maintained a stable presence over the past 16 years as head of the audio department and, most recently, as director of operations. Today, the same

SAE Institute director of operations, Randula De Silva

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Genelec monitoring is used for 5.1 surround mixing

Given the nature of the media industry and the rapid pace of technology, it’s best for a student to complete as quickly as possible.” In the downtime during the pandemic, many senior engineers opted to learn new technologies and production methods, and, although SAE hosts short courses on request for creative media field engineers, it continues to focus its resources on the degree programmes.

all the units, they enter the ultimate phase of the final term of their bachelor’s programme, for which they must complete a minimum of 80 hours within the professional setting. It is an ideal bridge to the real world of full-time employment as some studios recruit these students upon graduation.” By listening to and better understanding the local market and trends, SAE continues to pioneer new courses that can either lead

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An Audient VSP 4816 console takes centre stage SAE has affiliations with several suppliers and companies within the UAE, working very closely with Mediacast, NMK and Sennheiser, for example. “Our partners host product launches and promotional information with our students, but we sometimes host these demonstrations of new products or technologies to our students on campus,” explains De Silva. “By donating spot prizes and offering products for free rental, we ask the students to review some of these products and offer feedback. This often starts a customer relationship.” Almost 50 years on since Misner boldly established SAE, audio production is just one of the bachelor’s degree courses. “Our degree programmes in film, design and games all offer units in internship and work placement,” he continues. “When our students complete

to short- or long-term programmes. “Some students have chartered into live production, with some recent graduates hired by PRG,” De Silva reveals. “Although SAE focuses on audio production in music, postproduction and film, we also promote an element for live sound reinforcement.” The strong ties established with leading audio, film, graphic design, web and animation development companies now include games, and SAE is planning to venture into offering courses on audio for the gaming market. The dust of Media City may have settled long ago, but SAE continues to cause a stir by remaining at the technological forefront – a bonus for its dedicated students and local businesses alike.

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Ahead of the crowd

The Grey has become the first venue in Dubai to specify Yamaha’s VXL16 column arrays

A VXL16 column and VSX10 stay out of sight in the corner of the room

Smaller Yamaha VXL8s ensure music keeps flowing to the outdoor areas IT’S RARE TO FIND A NEW EATERY WHERE THE management have already decided on the choice of loudspeaker well in advance of designing the menu. As the CFO of The Grey, MAD Investment’s Robert Laryea already knew the capabilities of Yamaha‘s audio solutions from their use in MAD’s previous establishments, such as Toplum (see Pro AVL MEA May–June 2020). But at the outset of the company’s latest business venture, there was a desire to raise the bar for music lovers one level higher, quickly leading him down an untravelled path. Music is the basis for everything at The Grey. To the point that Laryea is only interested in seeking out customers that share and appreciate his musical passion. “I’m big into music,” he says. “So, specifically when we started expanding here, there were three elements which were critical for what we do as a food business. One is the interior – there’s a very high emphasis on trying to make sure the experience is cosy enough for clients to really enjoy coming back. The second, which is the obvious one, is the food and the service. But I felt like the experience was missing something in order to make it what I’d call 3D. That third facet is the ambience and the setting, and is what The Grey prioritises over our other establishments. People come here to enjoy the experience.” The key to creating an experience that ticks off both the first and third requirements on Laryea’s list, came with the choice of loudspeaker. Having worked successfully with local Yamaha distributor Thomsun at several of MAD’s other outlets, Laryea returned once more looking for a new set of options to meet The Grey’s unique requirements. “The first stepping stone in that process was Toplum inside Mirdif City Centre Shopping Mall, which we also worked with Thomsun to create and that has been really well received,” the CFO recalls. “Toplum is more like an elevated restaurant experience in a mall setting, but with The Grey we wanted to take it one step further by trying something different and unique. There’s usually music at Toplum, but it’s not really an experience. We decided to elevate that for The Grey and that’s when I discovered the Yamaha column speaker. We went to demo them and I was simply blown away. The throw, in particular, was amazing.” Relatively compact in space, The Grey comprises an indoor café-style dining area, as well as an outdoor courtyard at the

While the sonic capabilities are of course MAD’s most important consideration, the installation of a minimal number of wall-mounted column speakers as opposed to a large collection of ceiling speakers spread throughout the venue had several benefits. “The thinking for most people is that it’ll be really loud if you’re sat right next to the speaker and you won’t hear anything in the middle of the room, so ceiling speakers would be a better choice. But that isn’t the way the technology works,” Laryea notes. “With these columns we get really uniform coverage through the whole space, and have also had the benefit of not having to wire and maintain upwards of 50 speakers across the ceiling.” Coverage extends to the bathroom via Yamaha VXC3F ceiling speakers rear and a small outside seating area by the entrance. The long throw of the Yamaha VXL16 column arrays means that matching them with a pair of VSX10 subwoofers, just four units, one mounted to the wall in each corner, is enough to provide both the coverage and power desired by Laryea. The front and rear seating areas extend the experience outside with additional Yamaha VXL8 columns, while the bathrooms have been integrated with Yamaha VXC3F ceiling speakers. “The initial plan was also to have a DJ booth at some point in time,” furthers the CFO. “We knew that in the future we’d be wanting to push the levels further and expands without pushing or breaking the limit of the speakers. That really inspired our decision.” “When we first came in, the whole space was still under construction and completely empty,” continues Thomsun busines development manager, Mikhail Sujan. “The aesthetic of the loudspeakers was very important and they were looking for something that would match their carbon grey theme and that would stand out when you looked at it but otherwise remains hidden and blends in with the décor. The VXL16s have been perfect for this. This is the first venue in the UAE to install VXL16s and they’re a perfect fit. We have even had people come to the showroom requesting to buy the same speaker just because they’ve seen and heard it at The Grey.”

The columns were chosen for their aesthetic and audio attributes The next phase of expansion for MAD Investments will not only see a further flurry of new outlets opening up in Dubai and Abu Dhabi, but plans are also in progress for two in Saudi Arabia in 2022. “The result at The Grey has been so good that we’ve since started to replicate something similar at Society, our newest outlet,” Laryea concludes. “We’ve been very happy so far with the whole process, and it’s also won us a lot of customers.” www.the-grey.co www.thomsunmusic.com

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Ripping up the rules

For the UAE’s 50th birthday, a familiar partnership of companies reunited to deliver a show well beyond expectations FOR A COUNTRY THAT CONTINUALLY STRIVES TO DO things bigger and better, a major celebration of its creation comes with a certain set of expectations. For example, for the UAE’s 49th birthday, the live concert broke out of its traditional home at Zayed Sports City and was instead centred around a unique floating structure constructed on Abu Dhabi’s Jubail Island. But a 50th anniversary is itself something quite special. Well aware of this, the creative team, once again led by artistic director and designer Es Devlin and LarMac PROJECTS executive creative producer Jo MacKay, knew that the boundaries of possibility would have to be pushed to their limits for the UAE’s 50th National Day. The core LarMac PROJECTS team was completed by executive producer Nick Levitt, technical director Simon L Lachance, creative producer Siobhan Shaw and assistants to the producers, Zoe Gillespie and Finlay Bowrey. The celebratory show was livestreamed on 2 December followed by 10 additional special performances running from 3–12 December, each featuring specially composed songs and poetry, drone-launched fireworks, a light show, water displays and spatial sound to convey the relationship between people and nature, and the ties between Emiratis, their homeland and the environment. Unparalleled in scale, this Golden Jubilee ceremony was successful in realising the seemingly impossible, with performers appearing to be walking on water. The location shifted once again for this year’s celebrations, creating a difficult logistical challenge for all involved. Centred around a 19m-high rotating disc-shaped stage set in the waters of Hatta Dam in the Al Hajar mountains – the highest mountain range in the eastern Arabian Peninsula – Devlin’s concept served as both a projection surface and performance area, framed by 228 water jets that in turn created another, wider, projection canvas for artistic storytelling. Audio for the dignitaries in attendance was similarly taken to a whole new level, with individual nearfield 5.1 audio booths

created for each guest that augmented the wider far-field spatial soundscape. These changes provided an entirely new set of challenges for all involved. “This year, Es’s creativity was the most technically audacious and emotionally ambitious in order to deliver a country’s attitude to its past and future,” explains MacKay, who is also LarMac PROJECTS co-founder. “LarMac enlisted a team of 650 creative, cast, technical and safety personnel from 100 countries to bring Es’s vivid designs to life, with 1.5 million man-hours of work necessary to build the floating stage alone.” Due to the continued success of the National Day celebrations, many of the same players are brought back onboard year after year. For 2020, Wonder Works oversaw the technical design and engineering aspects, controlling the tides by creating a bund around the performance area with Devlin’s artwork then installed on concrete foundations that rested on the seabed. With Hatta Dam reaching depths of up to 20m, a similar approach wasn’t an option this time around. Instead, the 200-tonne cast stage and 700-tonne grandstand were integrated onto giant floating pontoons and tethered to the bottom of the reservoir. Ensuring that these structures were stable while also allowing for water levels to rise in case of heavy rainfall was a major challenge that took the Wonder Works engineering team more than 18 weeks to perfect. Stage One was again responsible for delivering the stage engineering for the centrepiece, fabricating, installing and operating the rotating stage which hosted the cast. The key challenge here was engineering a heavy steel structure that would remain balanced in a cantilevered state on a floating pontoon. The sculpture was designed, built and transported to the remote mountain location in just three months. “It was an audacious concept from the get-go,” recalls Stage One managing director, Tim Leigh. “Engineering something like this is one thing, engineering under pressure to hit an immovable deadline is another. The location alone created particular challenges being in the mountains and in a remote setting. I’m a big believer that being among friends breeds

bravery, so working with the same team as last year meant that a seemingly impossible idea, while incredibly challenging, felt achievable.” Another familiar player came in the form of large-scale AV project consultancy Auditoria, which devised an ambitious audio design that tasked the 16-strong team at Agorà with supplying and integrating nearly 1,000 loudspeakers in total at the remote site. Auditoria devised an L-Acoustics L-ISA control environment receiving 96 inputs from a DiGiCo SD7Q console consisting of pre-mixed stems and mono objects fed from a Merging Technologies Ovation replay system. A mirrored pair of DiGiCo SD7Q consoles, together with a pair of L-ISA Processors (one per desk), were connected via MADI for redundancy. The loudspeaker arrangement consisted of 34 outputs and a sub-bass output, while the L-ISA Processor was controlled in

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FEATURES: LIVE several ways, including directly from the controller itself, via DeskLink from the SD7Q and from the Ovation system using the L-ISA plugin. These signals were then fed into an immersive loudspeaker system consisting of four elements: personal 5.1 systems in the grandstand, the panorama, the sides and the mountain system. The grandstand seating was arranged in couples for the majority of the audience, with each and every listener treated to a nearfield spatial listening experience. “Each couple sit down in their seats and are presented with individual left, centre and right speakers surrounding a little video display,” explains Scott Willsallen, Auditoria founder. “LCR feeds for the grandstand came from the DiGiCo LCR bus, while everything else was via L-ISA.” Each individual 5.1 audio “booth” comprised L-Acoustics 5XTs for the left, centre and right channels, with X4i loudspeakers used for rear left and rear right. A further 20 Syva Low dual 12-inch bass speakers were evenly distributed throughout the grandstand for low-end reinforcement. For the far-field audio design, a six-element panorama and LFE solution was created from six arrays of six L-Acoustics K2s distributed along the elliptical walkway and a 16 element KS28 sub-bass array at a distance approximately 110m from the grandstand. This system was used to add depth of field to the music and for sound effects relating to the projected content. “The content that was centred on the back of the disc spilled out over the water fountains, and we used the panorama system of K2s to

Staging the show at the remote Hatta Dam location required some impressive engineering from Stage One and Wonder Works

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enhance any of the sound design content and to help better tell the story on the projection screens,” Willsallen details. “We then used a combination of the nearfield 5.1 and the far-field panorama systems to give a sense of depth to the music. That worked really well.” An additional 15 5XT loudspeakers on each side of the grandstand fed from the L-ISA system worked in tandem with both the panorama and 5.1 setups to create additional width. A rather unique approach was then taken in order to extend the far-field audio environment out even further. Instead of relying on the typical postproduction tools, eight arrays of six Karas were distributed around the site to bounce sound off the mountains at specific moments in the show to exaggerate the sense of space and celebrate the mountainous environment. “For the very far-field audio, we had eight K2 arrays shooting up into the mountains, reflecting off them and then travelling across the lake to reach the audience,” notes the Auditoria founder. “This was a far more effective solution than trying to recreate it with reverbs.” By slightly delaying the signals fed into the rest of the audio system, the mountain-reflected acoustics could be blended with the nearfield audio elements. “On a show like this, we’ll generally run 2s of delay to allow the lighting and video machines to sync up,” Willsallen continues. “So, we moved the audio content into the ‘pre-roll’ so that the sound was travelling before the show started. By the time it arrived at the audience, everything matched with the content. “There was a little triangular rockface that was relatively flat and pretty close compared to the others. We pointed an array directly at that and, during the show, they placed rock climbers to simulate the mountain people. Little tricks like this pulled the audience’s localisation hearing to tell them that there were people at the top of the mountain, which worked really well. Rather than try to use effects to create something, we used geometry and played with how sound naturally attenuates and reacts with surfaces.” For show control, Auditoria designed a dual-redundant pair of Ovation systems from Merging Technologies, operated by Simon Sayer. This consisted of a purpose-built Windows 10 computer running Ovation, the Horus audio interface delivering 128 channels via MADI and the Ovation keyboard for each system. In addition to the monumental task of hand-carrying nearly 1,000 loudspeakers to their final resting positions, Agorà integrated an Optocore fibre loop running AVB over Luminex switches for the audio signal transport between the DiGiCo consoles and loudspeaker arrays. “This was the first time that we had been involved in the National Day celebrations but, thanks to the hard work and expertise of all involved, the process ran smoothly from beginning to end,” comments Agorà’s head of audio design, Edoardo Michelori. “The credit from our side goes to crew

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VIP dignitaries in the grandstand were each treated to their own surround sound pods chief Luca Nobilini and systems engineer Andrea Tesini, who brilliantly oversaw all operations.” In order to enhance the visual showcase, VYV UK was enlisted to solve the immense technical challenge of delivering large-scale projections from floating platforms. The team, led by Anthony “Bez” Bezencon, worked closely with Creative Technology Middle East, which took responsibility for the projector supply and installation. Luke Halls Studio created the detailed video content which was projected onto both the face of the central structure and the large water fountains on either side. The main disc projection was delivered from eight Panasonic PTRQ-50K projectors, while 16 PTRZ-31Ks were called on for projection onto the water fountains. Mountain projections were created using 64 PTRQ-50Ks and 64 PTRZ-31Ks. “The choice of projector was critical,” explains Bezencon. “We needed lots of brightness and ideally we wanted to keep the number of units to a minimum and occupy the smallest footprint possible. Because of this, there wasn’t a huge amount of choice in what we could use. We chose Panasonic’s 50,000-lumen laser projectors which are really nice and bright, and ticked off all of our requirements.” The biggest technical issue from the projection perspective lay in the fact that everything was floating on water. “It’s like projecting from one boat to another boat – incredibly difficult,” says Bezencon. “We had the main ‘hero’ projectors mounted in the floating grandstand and, to make things even more complicated, we had more projectors on dry land situated roughly 350m away to stage left and 250m away to stage right. Essentially, we were trying to create a 3D map for a moving object from projector positions where some moved and some didn’t.” This required a two-pronged approach, one technological and one far more practical. “As much movement needed to be removed from the floating positions as possible, and an absolutely colossal, very impressive amount of engineering works by Stage One and Wonder Works went into ensuring those structures stayed within strict tolerances,” Bezencon adds. That tolerance was brought down to less than 50cm which, while an impressive feat of engineering, is less than ideal for projection, and where the VYV Photon solution enters the picture – a camera-based, real-time tracking and calibration system. “It works using two approaches. Firstly, we need to know where the disc is at any given moment and that’s fairly easily achieved with our camera-based tracking system, which allows us to precisely pinpoint the location in real time as well as follow the movement of the cast disc,” explains Bezencon.

The audio control room

The video control room

The view from FOH

The sculpture also served as a canvas for projection mapped content

Performers take their positions on the cast disc “We also had to understand how the projectors have moved and perform what we call ‘real-time calibration’. Basically, the whole process gets run back in reverse to allow the projectors to ‘see’ where they are now in comparison to where they were. It takes some incredible maths to accomplish.” Tying the whole experience together was a special effects, fireworks and lighting spectacular. Groupe F took charge of the pyrotechnic and drone displays, and, to augment the detailed show visuals, Matrix provided the smoke machines. PRG Middle East supplied the necessary lighting equipment to meet lighting designer Bruno Poet’s ambitious vision, comprising over 1,000 lighting fixtures primarily from Elation and SGM. The stage perimeter was surrounded by 100 Elation Proteus Maximus and 138 SGM Q7s on the cast ring, while a further 98 Proteus Maximus units, as well as 54 Proteus Hybrids and 256 SGM P6s were located on the horizon pontoon. Ayrton Huracan X and Perseo, Clay Paky

Mythos, Martin Aura, GLP X4 20 BAR, SGM P10 and PRG’s own Best Boy Ground Control Spot were also deployed within the design. Poet called on PRG which provided a team of 14 onsite in Hatta for an eight-week period to install the fixtures, the majority of which were IP65-rated due to the various conditions at the outdoor venue. “Understanding the venue and the environment was extremely important to us. Being surrounded by water, open to the elements and placed on a purpose-built floating pontoon in Hatta Dam were key drivers in ensuring the safety and weatherproofing requirements for the fixtures given the duration onsite,” comments Rich Gorrard, VP of event services at PRG. “The result was nothing short of outstanding. Having first played a role in UAE National Day almost three decades ago, PRG was proud to once again provide technical support for this truly mesmerising show,” added Bruce MacLean, PRG managing director. With so many logistical obstacles to tackle together, and with the variety of companies and creatives simultaneously navigating the remote site, the entire production required monumental teamwork, as LarMac PROJECTS director Ian Greenway explains: “Like all National Day projects, this one came with its challenges. We hadn’t built a lake on top of an existing lake before, never mind with automated stages or grandstands on top. We relocated hundreds upon hundreds of talented teammates to the Hajar Mountains and, at times, had to rip up the manual of how to stage events.” www.auditoria.systems www.ct-group.com www.larmaclive.com www.prg.com www.stageone.co.uk www.vyv.ca www.wonder.co.uk

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Sustainable living

The measured exterior of the Moroccan Pavilion at Dubai Expo 2020 hides an interesting cultural journey brought to life by innovative AV solutions, discovers Simon Luckhurst PAVILIONS AT DUBAI EXPO 2020 COME IN ALL shapes and sizes. Some are huge, cavernous spaces designed to induce a sense of scale and grandeur. Others are instead striving to make the most of every inch of floorspace available. The Moroccan pavilion sits somewhere in between. Built around the theme of sustainability, the Oualalou+Choidesigned structure, located close to the Al Wasl Plaza at the interchange between the opportunity district and the UAE Pavilion, is fairly unassuming from the outside. Traditionally, expo pavilions have been an architect’s playground, an opportunity to get aesthetically creative in all-new and bizarre ways. At the same time, it’s unlikely that many of those designs will ultimately make it out into the real world. The 4,000m2, 33m-high Moroccan pavilion bucks these traditions by presenting its vision for more sustainable housing. Constructed of rammed earth, an ancient technique used in Moroccan villages, the pavilion champions an alternative to carbon-intensive steel or concrete. The structure comprises 22 stacked rectangular volumes resembling a Moroccan village connected by a single winding street, and includes 14 exhibition spaces, a traditional Moroccan restaurant, tearoom, modern street food area, shop, event space, meeting rooms and a lounge. In the near future, when the Expo ends, the pavilion will be transformed into a block of apartments and function as real-life housing. If the exterior appears low-tech, the interior is anything but. With many of the exhibit spaces being compact and boxy rooms, the clever use of audiovisual technology has been key in bringing them to life. Due to previous experience of working with other involved parties, including the pavilion’s primary contractor Avant Scène, the Moroccan arm of systems integrator Dushow SAS was brought onboard to handle the entirety of the AV infrastructure integration. Dushow SAS worked together with Novelty Middle East to bring French AV designer Richard Cailleux’s vision to life. “Novelty Middle East served as our local base,” recalls Stéphane Paoli, director of development at Dushow SAS. “They received all the equipment, organised the delivery and aided us with crew and emergency equipment when required. We completely relied on them, and so the fact that we are both part of the same group overall – NoveltyMagnum – assisted greatly on this project.”

The tour kicks off in the lobby with a storyboard of Moroccan culture

Whole room projections surround visitors at Inspiration At seven storeys tall, the structure explores verticality in a way that few other pavilions at the expo do. Upon entering, guests gather in the lobby where they are immersed in a showcase of Moroccan culture and history via a storyboard-esque exhibit derived from pixel-mapped visuals displayed on cuboid-shaped walls that have been fashioned from a series of wooden boxes. The immersive experience features the screening of an inspirational film in 270°, in a room that is 7m high. To achieve this, Barco F80 projectors have been hung and aimed at each side wall, while a pair of brighter Barco G60 projectors deliver the central visuals. Video content has been warped to match the geometry of the walls using a Modulo Player media server boasting dual 4K outputs, while accompanying sound effects are piped in from six Ecler Arqis 106 cabinets and a pair of Arqis SB10 subwoofers powered by the Spanish audio manufacturer’s NXA 6-200 and NXA 4-200 amplifiers,

respectively. Visitors are then hoisted straight to the top of the pavilion by elevator before winding their way back down to ground level as they experience different regions and cultures, all the while taking in scenic views of the surrounding expo site. From an AV perspective, there are several highlights. One of the first that guests encounter is the Moroccan Explorers exhibit on the sixth floor. Here, various colours projected onto the walls by DMG Lumière SL1 MIX lighting fixtures embedded in the ceiling work to bring the story to life. The walls have been covered in a special material that reflects different imagery depending on the colour of light shone on it. As the colours fade from one to the next, the story progresses along in tandem. Six Beale Street Audio IC8 ceiling speakers provide the accompanying audio content. Moving downwards, Bubbles of Life shines a light on what will become an increasingly important future resource – water –

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FEATURES: EXPO and the methods used by Moroccans to aid its conservation. The interactive presentation is powered by ceiling-mounted Epson EB-L1075U projectors fitted with ultra-short-throw lenses and the content is delivered from a Modulo Player media server. As guests touch various parts of the wall, Kinect Azure motion capture systems track their positions and alter visuals to advance the narrative. The audio soundscape, like elsewhere,

An interactive presentation at Bubbles of Life highlights the importance of water sustainability

viewed from both above and below, is output onto painted white back and side walls and a sloping lower wall from four Barco F80-4K9 projectors embedded out of sight in the walls and ceiling, two of which are fitted with periscope lenses to create four individual but blended images. Four podiums on each level allow guests to alter the content. Approaching ground level once again, Inspiration takes the storytelling to the next level with a whole-room projection mapping showcase than fully envelops those inside. Its aim is to let guests discover Morocco through light, colours and textures. The all-around visuals are delivered this time from 12 Barco F80 12,000-lumen 4K projectors, with content fed from Modulo Kinetic servers, and companion audio effects delivered through a surround sound configuration of Cornered Audio loudspeakers. As if that wasn’t enough, a smorgasbord of additional audio and visual gear is distributed throughout various parts of the pavilion. As an example, the second-floor meeting room can host professional-quality conferences by utilising a dedicated LD Systems column loudspeaker array paired with retractable LED screens. Additional K-array Event-KREV102 column speaker systems can be wheeled out into the lobby to provide music reinforcement throughout the central space as required. Given the complex, box-like nature of the pavilion structure, the majority of the exhibits have individual equipment setups and are pre-programmed with a “set it and forget it” methodology. While the overall AV components aren’t networked throughout the site, Audinate’s Dante is used to streamline cabling between the media players and servers, projectors and loudspeakers. “If possible, I prefer to integrate every device near to the projector,” explains Cailleux. “With Dante, I can put a small amplifier locally and, if the signals need to go back to a control room, the cabling between the source and projector is kept to a minimum.”

While they differ greatly in the content on offer for guests, many of the exhibits are built around similar equipment setups to those which greets guests at that initial visual showcase in the lobby. The use of Ecler Arqis in-ceiling and in-wall loudspeakers for BGM and effects, Barco and Epson projectors, BrightSign HD224 media players to serve up audio content and Modulo Pi media servers handling the video content are common themes throughout. “I’m a big fan of the BrightSign players and have been using them for more than 15 years,” offers the designer. “In all that time, I’ve probably had just one or two units that have broken – they’re incredibly reliable. It’s a similar story for Ecler. I typically work on exhibitions rather than events and require small, low-to-medium-power speakers. Ecler is perfect for this. The brand is like a friend to me now; I’ve been using their products for many years and am very familiar with how they function and perform. They have amplifiers with DSP, audio matrixes, a Dante audio matrix and really everything that I need within the range.” Dushow’s technical director, Renault Russo, was particularly impressed with the performance of the Arqis cabinets and Modulo Pi media servers, despite being relatively unfamiliar with both solutions. “Being that we are predominantly a rental company, it’s rare that we find ourselves working with Ecler speakers. But we have been very impressed; they have done their job here admirably. We also faced a lot of technical challenges relating to the visuals, particularly with the projections in terms of soft-edge blending, double soft-edge and procedures such as this. With these compact types of rooms, it’s been challenging to pack so much projection into such a tight space. Working with the Modulo Pi media server has been a real highlight for us.”

Colour-changing light reveals the hidden story of the Moroccan Explorers

Connections was made possible through the use of ultra-compact short-throw projector lenses is delivered via BrightSign media players and a selection of Ecler Arqis cabinets. As guests head into Exhibit 5, Argan Stories, large whole-wall projections from four overhead Epson EB-L1050Us begin to work in tandem with 86-inch LED screen “pods”, constructed using Liyama LH8642UHS 4K LED panels. Guest interactions are picked up and tracked using RSF MicroRAD-2Ms that are triggered upon sensing warm, moving bodies. As visitors approach the screen, the content on the LEDs springs to life to describe various aspects of argan oil’s importance to the local economy. KEF Ci50R miniature 50mm speakers integrated into the booths also provide dedicated and localised sound effects for each pod, together with four Beale Street Audio ICA-6 BB in-ceiling speakers. Split over two levels, Connections showcases a 180° interactive map where visitors can discover Morocco’s infrastructure achievements essential to sustainable and inclusive development. The two-storey projection, which can be

Pop-up LED displays work in tandem with whole wall projections at Argan Stories “With everything said and done, I really like the result and I think it looks very nice,” adds the Dushow director of development. “The pavilion has been incredibly successful, but what matters the most is that our clients, Avant Scène and the Kingdom of Morocco, are fully satisfied. I was there at the opening, and both were impressed with what had been achieved.” The hard work clearly hasn’t gone unnoticed. The Moroccan pavilion is consistently singled out as one of the more interesting national showcases to visit at Expo 2020, and its reliance on audiovisual technology to bring a collection of mundane spaces to life is surely one of the main reasons why. www.brightsign.biz www.dushow.com www.ecler.com

Meeting and conference room

www.modulo-pi.com

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FEATURES: RECORDING

Hit Records owner Basil Al-Hashimi

A local hit

A new Neumann monitoring solution is allowing Hit Records to expand the type of recording sessions on offer WITH THE OBJECTIVE OF ESTABLISHING ITSELF AS a leading recording studio for both Arabic and Western artists in the UAE, Hit Records has recently undergone an expansion of its in-house equipment setup, making it one of the first studios in the region to implement Neumann loudspeakers as its primary monitoring solution. Established in 2016, Hit Records is owned and operated by Basil Al-Hashimi, an industry veteran of over 28 years, who is also an accomplished music arranger and pianist. Among artists who frequently record at the studio is superstar Arabic singer and composer, Majid al-Muhandis. In a constant bid to provide the best offering for clients at Hit Records, Al-Hashimi is on a neverending hunt for new technology and equipment that can help him raise the bar and outshine local competition. “Hit Records is an international studio in that we cater to both regional and Western artists,” he explains. “We provide all kinds of audio recording services, including mixing, mastering, and arranging and composing songs and music for advertisements, documentaries and films. To appeal to this broad demographic, we have strategically selected world-class equipment that can meet all the recording needs of artists – no matter their genre of music.” Equipped for working both in and out of the box, the main recording setup at Hit Records is based around an Avid Pro Tools HDX2 Core system and HD I/O 16x16A with Avid Sync HD master clock and a selection of outboard gear. Al-Hashimi continues: “We have two mono retro channel strip preamps – a vintage preamp with EQ and compressor, and a Dangerous Music SX Pro master compressor that we use together with a Dangerous Music 2-BUS+ 16-channel analogue summing mixer and Dangerous Music ST monitoring station. We also have a selection of Shure and Sennheiser microphones on-hand for artists to choose from.” Al-Hashimi’s latest purchase, led by specific requests from artists frequenting the studios, includes a set of Neumann’s KH420G, KH310A and KH80 DSP studio monitors, in addition to NDH20 studio headphones and U87 condenser and M149 tube microphones. According to Al-Hashimi, the new KH Series

monitors have allowed the studio to undertake more work with speech, vocals, guitars and other instruments that have a midrange emphasis and with much greater precision than before.

The U87 has become Hit Records’ preferred mic for vocal recording

The nearfield Neumann KH310 monitors “We are increasingly seeing artists becoming more particular about the equipment offered, and a number of our clients have specifically requested the Neumann U87,” furthers the owner. “With its legacy and continued market dominance, this microphone remains the gold standard for our industry.” In addition to the U87, which Al-Hashimi believes is a prerequisite for any serious studio, Hit Records has also implemented Neumann’s M149 tube microphone as he finds it offers higher sensitivity and lower noise than other vintage tube counterparts. The midfield KH420Gs and nearfield KH310A monitors – both tri-amped designs boasting 10-inch LF woofers, 3-inch midrange woofers and 1-inch soft-dome tweeters – are paired with a 10-inch KH810G analogue bass-managed subwoofer in a 7.1 configuration that extends the low-end audio monitoring capabilities down to 18Hz. “I particular like how well I can hear the very low frequencies and also the overall dimension of the sound itself,” he continues.

Al-Hashimi worked directly with Sennheiser Middle East throughout the product selection and studio design phases. Over an extended period, members of Sennheiser’s regional team, including technical sales manager Fadi Costantine, conducted in-depth demos in addition to helping with commissioning and fine-tuning of the monitoring setup. “Installing the KH420 monitors into the wall was the primary challenge, but we were able to do so by offering accessories that put the amplifier outside of the speakers,” Costantine explains. “As with all implementations in the region, our commitment is to complement the industryleading solutions we provide with a level of service that’s truly world-class.” The new monitors and the service provided by Sennheiser Middle East have clearly won over Al-Hashimi, and his thirst for new audio equipment has been satisfied, at least for the time being. “I’ve been able to use the new equipment on several different projects and I am so happy with the KH420 and KH310A monitors and the KH810G subwoofer,” he says. “I fully expect they will serve us well into the future.” en-ae.sennheiser.com www.facebook.com/hitrecordsmusic www.neumann.com

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BUSINESS: COMMENT

A letter from America Immersive audio: great for picture, not so much for music, as Dan Daley discovers MUCH HAS BEEN WRITTEN ABOUT APPLE’S implementation of spatial audio, the immersive audio format powered by Dolby Atmos. The announcement last summer immediately conjured up memories of surround music formats from years before, starting with quadraphonic right through to music DVDs. For three decades, multichannel music endeavours set sail for the lucrative shores of music consumers’ wallets. None have been heard from since. It would seem clear that most people listen to music differently than engineers, mixers and producers, who habitually seek the sweet-spot perspective while pushing audio’s technical envelope. Furthermore, Apple has a history of putting things into their ecosystem regardless of whether consumers want them or not – remember when it “gave away” a certain U2 album? Spatial audio is simply the latest in that trend. Given how music is consumed, formats that are location-dependant tend to not gain much traction. But broadcast, now that’s another story, and a rather ironic one at that. Stereo audio for television was approved by the Federal Communications Commission back in 1984 and was quickly integrated into broadcasting’s workflow. The next step, surround sound, came about with the inclusion of Dolby’s AC3 codec in the ATSC revision in the early aughts.

That brought the 5.1-channel configuration to the airwaves, and it sounds great – in fact, most broadcast television now originates as a discrete 5.1 mix. The aforementioned irony, though, is the fact that most people don’t have the hardware at home to hear it and, even if they did, it would more often than not be wired improperly and out of phase. More importantly, 5.1 surround is intended to support a picture, whether a movie or a match, and sync is more important than listener localisation. Who cares where you’re sitting when Liverpool or Las Vegas scores? But that never stopped broadcasters from pushing the sonic frontier forward, and the borderline is now at the rim of immersive audio. Under its technology bonnet, broadcast is relying on Dolby Digital Plus, a lossy, lower-bandwidth format that has been optimised for use with streaming services (the format is currently used by Netflix and Amazon) and is supported by a wide range of devices, including laptops, tablets, smartphones and streaming boxes like Apple TV and Roku. DD+ makes it easier to slide Atmos into the consumer television ecosystem, which will ultimately give immersive sound more traction. Also helping immersive’s cause is the fact that, unlike previous multichannel audio efforts, Atmos isn’t an audio signal per se, but rather metadata about those signals, its

processor directing sonic objects in a mix around a listener’s speaker map. The real beauty of Atmos, though, is that it will sense the number and location of a user’s speaker setup and automatically adjust to accommodate it, meaning consumers can use soundbars to experience an immersive effect, sidestepping the multi-speaker placement issue. Atmos is, in a very real sense, meeting consumers halfway on the road to immersive, rather than dictating a speakerchannel count, and that’s important, because without consumers there is no business. It’s going to make sports more engaging and other visual media content an even better experience. The same goes for live event applications – some museums and theatrical productions are already implementing immersive audio experiences. Music, though? Not so much. Despite the availability of products like Garageband on iPhones, most consumers aren’t really interested in how the sausage gets made; they simply want to eat it, and on their own terms. This dynamic underscores how it’s the professional side of music that pushes what it often thinks is the envelope of production when all it’s really doing is following its own sonic fantasies down a cool tech rabbit hole. Put a simple beat and great hook through even a barely there mono sound system and there will be dancing. Save the surround tricks for the picture.

A letter from Europe Phil Ward looks at the reality of an Expanded Universe YOU WILL NOTICE THAT THE TITLE’S INITIALS ARE EU. That’s right, these two inoffensive letters also stand for other things. It depends on where you work. An astrophysics laboratory, perhaps. But the universe is expanding, if Europe is the centre of your universe. And – providing final proof of the ancient theory about an ill wind not giving anybody a good blow, or something – the gale force behind this expansion is riddled with particles of Covid-19, believe it or not. Thanks to the pandemic, MI and home recording suppliers have been reporting record sales. This is understandable. When “working from home”, the sensible executive is mastering his arpeggios, or her latest album. Zoom is not Big Brother. This also explains the rise of entertainmentindustry-in-a-box systems like Roxi, offering “70 million” song streams and 90,000 karaoke songs, as well as games and themed radio channels. Although it really would be a shame if you could never again stand outside a genuine karaoke bar in Kyoto, trying to persuade innocent locals to join you for a spirited, and heavily jetlagged, rendition of Bohemian Rhapsody. I can’t imagine where this example comes from.

The pandemic’s first wave saw a 55% increase in Google search traffic for Apple’s Garageband and a surge of 13 million downloads of added software by home musicians who already used it. One UK music retail disrupter, Gear4Music, reported an 80% rise in sales to £16 million in the first three months of lockdown, adding that the big-hit products were acoustic and electric guitars, digital pianos, home recording kit and podcast microphones. The curve then continued despite vaccinations: year-end April 2021 concluded with some staggering figures for Gear4Music. Revenues went up 31% year-on-year to £157.5 million and profits 488% to £12.6 million. Nor is this a strictly amateur phenomenon. The website EDMSource claims that the bedroom studio used by Finneas O’Connell to produce hit records for his sister, Billie Eilish, could be “reproduced for less than $3,000”. Even the world shortage of microchips, while it might affect high-end pro audio technology, “hasn’t touched” the home recording portfolio, according to my source within Yamaha. Somehow, this deluge has made mincemeat out of whatever border controls are supposed to exist across the EU in order to promote competition if it’s national and suppress it if it’s international. Over 50% of Gear4Music’s revenues are

generated by its Swedish and German distribution centres, and the company has revealed plans to open two more in Ireland and Spain. Remember, this is an English company based in Liverpool. Digital Village, which used to have a local store near me, is now part of a web-based enterprise called DV247-Music Store. In one click, you can choose your region from an A–Z of European countries, complete with instant translation of the main product highlights into the dominant languages: French, German, Spanish, Dutch, Italian, Polish, Russian and Portuguese. This appears to have no bearing on membership of the EU, former membership of the EU, pending membership of the EU or whether you think EU stands for Endotoxin Unit. The internet has won. One reason may be a breakthrough in customs agreements between the EU and the UK. Thomann, the original German scourge of high street retailers, is triumphant that it can now offer goods as priced on its website with no hidden VAT or courier charges – “final pricing” as they call it – making Europe a much more level playing field. It even extends to the company’s 30-day money back guarantee and three-year warranty. Honestly, it’s as if Brexit never happened.

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BUSINESS: COMPANY PROFILE

Exte

Go forth and heed L–R: Exterity’s Colin Farquhar, Carolyn Baillie and Mike Allan

The 2

Richard Lawn visits Exterity on Scotland’s Firth of Forth to find out about the company’s development and expansion over its 20-year history

A NUMBER OF TODAY’S ESTABLISHED AV BRANDS emerged after the dotcom bubble had burst, rising like a phoenix from the flames at the dawn of the new millennium. Out of that disruption, one of these fledglings, Exterity, has become a recognised leader in enterprise IPTV (Internet Protocol television) and digital signage solutions over the two decades that followed. But unlike the IP-addressable video systems Exterity is renowned for today, the company’s inception was far from lucid at the outset. Having worked for technology-based Shiva Communications in the late 1990s, product and marketing manager Colin Farquhar found himself between jobs with few prospects in Edinburgh. “With all the uncertainty going on in the world, I felt the time had arrived to set up my own business,” recalls Farquhar from his current Dalgety Bay headquarters on the north shore of Scotland’s Firth of Forth. His rounded experience to date covered general business sales, product marketing and technology from software engineering, but Farquhar lacked engineering expertise and practicalities. With a vision to combine networking with tech streams, Farquhar contacted his ex-Shiva colleague and engineering manager, Mike Allan. “When Colin called me up in 2001 to say he was thinking about starting up a company, he caught my interest,” confirms Allan. “Colin’s ideas to develop networking solutions as opposed to AV products resonated. We had already been made aware of the huge potential that AV distribution over networks could deliver having already conducted data and voice networking at Shiva.” After more discussion, the duo agreed to establish the business. Fortune favours the brave perhaps, as an opportunity through a friend provided them with free office space for the first six months. From this humble location, they steadily fleshed out their proof-of-concept ideas and recruited new personnel to share ideas and develop technology. “We originally perceived the

AvediaPlayer market to be in the B2C domain, but it didn’t take long before we recognised our future existed in the B2B marketplace,” continues Allan. “Fundamentally, it would require a lot of software and hardware development and a large sum of capital to set us off.” The technology to support the concept of multicasting highquality audio and video over a large bandwidth did not exist in the early 2000s. “Although low-quality video was available over the internet, the notion of transmitting hundreds of megabytes of video traffic through an organisation was an alien concept at the time,” recalls Allan. “Initially, our task was to educate the market and sell the concept rather than persuade IT departments that this was the future. It was an uphill push for several years convincing those operating in traditional coaxial distribution backgrounds.” Rising to the theme, Farquhar echoes the self-belief Exterity exuded at that time. “Timing is everything, as you can either be

a year too early or a year too late to market. Fortunately for us, we entered when the market was questioning the use of coaxial for video distribution by advocating the virtues of networks at a transitional point in time, so we were fitting into that space. It wasn’t luck on our part, but it wasn’t pure market analysis either. We were simply listening to the customer to better understand what pains they were facing, and addressing those developments.” Having given the project an initial six months timeline, Allan and Farquhar were pleasantly surprised that they were still in business 18 months later with some funding to take Exterity forward. The search for capital investment led Farquhar back to Shiva, together with some other angel investors. “At the outset we aspired to be like a US company that takes its ideas to a venture capitalist which provides you with US$10 million to go and own the marketplace,” says Farquhar with a smile. “However, we did it in a more Scottish way, over a two-year period with much smaller amounts of money. That got us to a point where we have been self-sustaining and profitable ever since.” Having committed Exterity’s product development to be networkcompatible and established a financial footing, albeit with limited funds, Exterity required a driven team of engineers to propel its fortunes. The company discovered a community of familiar technical individuals, including several ex-Shiva colleagues who were keen to join the reformed band such as software engineer, David P. “David had been forced to return to Glasgow from Boston following a company acquisition,” recalls Farquhar. “He offered to work for travel expenses as he knew we didn’t have the money to pay him. After six months, we could bring him on full time and he has been with us ever since. Following a relocation to Rosyth, we made some key hires, some of whom – like David – are still with us some 20 years later.”

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BUSINESS: COMPANY PROFILE

Exterity’s former premises at Dalgety Bay

decisions: namely, to develop our first-generation middleware layer that led to the ArtioGuest [now ArtioView] interactive IPTV platform. ArtioGuest’s fourth-generation drag-and-drop portal has put Exterity onto a different plane because of its range of facilities, ease of configuration and enhanced infotainment experience.” Having resisted the need to become just another digital signage producer, Exterity ultimately became a late entrant. “In our opinion, the market had been oversaturated for many years, and we opted instead to work with the manufacturers and provide the AV distribution for their platforms,” says Farquhar. “Our customers, however, created a demand for us to develop a signage product. With the launch of ArtioSign in 2016, we inadvertently upgraded signage at the time with an easy-to-use backend. It is now a pivotal part of our portfolio with many of our

with their large IT, marketing and business teams – all with unique sets of requirements – will severely test you. They want to bring in content and use it differently, with varying levels of authority on materials, and they want to track it tightly to make sure it is not exposed to anyone who should not see it. Each one of those requests requires a very bespoke solution configuration.” Just as Exterity’s business has been shaped by technological innovations based on customer feedback, the company has built its business across the globe. The export business has been vital to the Scottish innovator’s fortunes, accounting for 87.5% of Exterity’s sales today. Today, its global reach has been extended with offices in London, New York, Paris, Johannesburg, Dubai, Riyadh, Singapore and Sydney. While some of these successes were calculated and measured, others have been more random in nature. “When you display your wares globally with a website, you don’t know who is going to check you out,” explains Farquhar, referencing the extraordinary success enjoyed in the Middle East region. “This wasn’t a market we intentionally highlighted, but a number of SIs and distributors there identified our solutions on the internet and made enquiries to see if we could implement our products in their projects. We quickly understood the unique demands and opportunities in addition to identifying some key people, including a very good man, Asad Haque. Asad went on to become our agent and our first Middle East employee, setting up the Dubai office for us in 2008.”

The 2015 move to new Dalgety Bay premises provided the company with a spacious HQ As Allan moulded a compact and steadily growing team of technicians, Farquhar was tasked with forging the company ahead commercially. Generating sufficient revenue to sustain the team became an overriding objective for Farquhar. “You take in investment during several rounds of financial support to help navigate the business through the early stages such as proof-ofconcept, development, go-to-market and international expansion. At one point we were expecting to close a funding round in several weeks’ time, but the bank balance revealed there was only enough to pay one month’s wages. As a legal obligation, I drafted letters of redundancy to those staff that may be affected but, at the same time, communicated that we expected business as usual in six weeks’ time. The investment came through and everything was good, but it was a tough time.” Starting with little funding, every sale and customer became paramount. “We had to deliver added value to these customers and take less risks as we had to be more fiscally prudent,” states Farquhar. “In doing so, we built a sustainable business by funding ourselves and driving growth on the back of successful product sales.” The first two products were essentially an IP set-top box and an IP encoder that sold and worked well before Exterity made a pivotal change with the introduction of a gateway product that delivered a cost-per-channel advantage to the market. “Rather than fill up your rack space with 20 conventional set-top boxes that fed into encoders and out to the IP network, we had effectively scaled it down to one box measuring 1U in height,” explains Allan. “Having opened a new Canary Wharf facility in London, Reuters immediately understood its potential and enjoyed significant cost savings as a result. In addition to reducing the amount of space from numerous racks containing coaxial equipment to less than half a rack, the operational cost savings were significant.” At that point of the sale, the client relationship has clearly just begun. “Rather than just sell a product that works, we have always supported our clients through the product’s evolution by providing new features and capabilities as they become available,” continues Farquhar. “Our support programmes are designed to deliver value over the product’s life cycle to maintain an ROI.” The foresight to take content off RF and stream directly over IP turned out to be a masterstroke. “Colin and I always foresaw applications becoming increasingly pivotal in the design of our solutions,” explains Allan. “We took a couple of key engineering

customers demanding interactivity for personal content choice, messages to customers and staff.” The accommodation sector forms a significant and growing part of the Exterity business model. “Hotels require integration with POS systems and other services in the hotel, so we pour a lot of attention into developing solutions specifically for the hotel sector,” comments Allan. “ArtioGuest was developed with this sector firmly in mind. I take enormous satisfaction from the fact that all guests switch on their room displays at some point to gain access to video content, information and other services. The product we provide forms a central part of their operations which they depend upon without fail, 365 days per year.” Farquhar admits to enjoying interfacing with the hospitality sector. “Hotels are common applications and well-understood as every hotel has a guest room with a display system and a remote control. More challenging, perhaps, but corporate organisations

Hong Kong’s Alva Hotel with in-room Exterity iPad TV control

The 2018 Open Championship at Carnoustie Golf Links in Angus, Scotland

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BUSINESS: COMPANY PROFILE Exterity’s growth in the Middle East is reflective of the evolution of the regional market, where new developments across corporate and finance, education, healthcare, hospitality, transport hubs and venues have called for high-quality IP video systems. Having initially been geared towards the oil and gas sector, the manufacturer’s enterprise IP video and digital signage solutions have matured rapidly to support a wide range of airlines, airports, hoteliers, corporations and universities. “Demonstrating our commitment to the local market as a supplier, we now employ over 10 people in Dubai together with two in Saudi Arabia. Our local office demonstrates a full commitment on our part to our diverse mix of customers, from consultants to walk-ins.” While Farquhar pursued growth and development in the Middle East, Allan was drawn somewhat accidentally towards Australia: a country he freely admits he had no desire to visit but was forced to when a sales director was unable to travel. “From a business perspective, I found Australia a highly innovative country,” recalls Allan of that first 11,000-mile journey from Scotland. “The integrators and users were taking the latest technology and applying it in innovative and advanced ways not evident in the UK or Europe. In doing so, they were creating new demands that were not available on the market, so I found Australia a very dynamic and technology-driven marketplace, making it exciting to work there. Culturally similar to the West, Australia comes with the bonus of being highly capable and motivated to deliver successful solutions to customers.” Exterity’s foot in the Australian export door was initiated by a UK-based healthcare supplier which had provided a large solution for a healthcare project in New South Wales. “Exterity’s IPTV technology was included as part of the solution that was handled by Hills, which went on to become our distributor shortly afterwards,” continues Allan. “This gave us a strong foothold in the Australian market. However, we soon realised that we needed to directly employ dedicated personnel to further build the Exterity brand. The team of seven that joined us has been pivotal to our success down under and they regularly provide crucial feedback from their customers that our R&D can tap into.” Farquhar warms to the theme having listened closely to customers for two decades, maintaining that R&D continues to develop technologies several years into the future: “As we talk to customers, we detect very common needs and quite

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unique ones that require a bespoke solution. It’s a delicate balancing act for companies such as ourselves to negotiate but, ultimately, it’s our task to build a product that the customer needs. Not only is it vital to satisfy these requirements with the current technology in our possession, we must also extend our capabilities by adopting third-party interfacing to Building and Property Management Systems. There’s a balancing of trying to understand how technology is evolving over the long term with changing day-to-day customer requirements.” Despite only ever employing one dedicated hardware engineer, Exterity is often perceived as a hardware manufacturer. “Our software engineers were initially embedded hardware engineers writing the software to go on the hardware that we design in-house, such as media players and encoders,” explains Allan. “Most of the teamwork is on the applications including management tools such as smart control, site manager, videoon-demand streaming and recording capabilities, together with middleware such as ArtioView and ArtioSign digital signage. Over the years we have built a team with diverse engineering skills working in C, Embedded Linux and modern languages such as Java Script, Node, Angular and PHP to deliver varied customer solutions across the verticals.” Being based in Scotland holds many advantages, but hiring skilled technical engineers remains difficult in such a remote part of the UK. Six Porto-based technicians were recruited in 2018, bringing in fresh ideas and impetus to Exterity. Engineering director Richard Neville ensures that communications between the Portuguese and Scottish teams are not impeded by a language barrier or the 1,500-mile distance that separates them. After 20 years of pioneering growth, Exterity was strategically acquired in March 2021 by VITEC. The intention of the French developer to accelerate growth and strengthen its Colin Farquhar, Exterity CEO

Exte in th

Exterity integrated IPTV and digital signage around the New England Institute of Technology campus

Aidanova cruise ship cabin with ArtioView portal

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BUSINESS: COMPANY PROFILE leadership position will be conducted through natural technology and customer synergies between the two companies. Exterity’s respected engineering excellence, global geographic distribution and complementary business focus were cited as prime factors in the sale. The vision is for the combined entity to become the leading IPTV and digital signage provider for corporate, government, military, venues, hospitality and broadcast sectors. While Farquhar remains a central part of the leadership team of the combined company, Allan opted to call time on his distinguished career in late September 2021. “I met VITEC in Paris following ISE 2020 prior to the first lockdown, so we have gone through the whole acquisition during the pandemic,” explains Farquhar. “VITEC’s product portfolio, market strength and company culture are the perfect fit for this next chapter in our IPTV growth, and I have complete confidence that we will be able to grow stronger together as more and more businesses deploy IP video streaming solutions across their enterprises. Bringing together VITEC and Exterity enables us to take advantage of our combined technologies so that our customers will have a broader choice of market-leading IP video solutions to suit their needs.” The combined engineering teams are currently migrating the existing IPTV and digital signage portfolio onto a converged platform. “Now we have a better understanding of the technology sets both companies possess, we can better support our customers and take advantage of enlarged engineering teams working across the organisation,” he continues. “This significantly increases the resources we have available to develop and innovate technologies for our customers in the future. For

example, VITEC possesses key technologies in codecs and around low latency, encoding and distribution.” According to Allan, latency continues to be a challenge for the AV industry. “With our envelopment into VITEC, this has been a massive gain for Exterity as VITEC is a core codec IP development company among other things. Being allowed to access that sub60ms encoding capability significantly strengthens our position. Depending on the nature of the content, it is an unnecessary constraint to place upon yourself and there are customers that absolutely need that end-to-end lower latency networking, including corporate clients and sports stadia. By taking 100ms off what we could previously deliver, the video stream is closer to real time than ever before. Working within VITEC opens interesting areas of opportunity. For example, we can now add value for our customers operating in large enterprises with the provision of the VITEC Media Asset platform.”

Philippe Wetzel, founder and CEO of VITEC, which acquired Exterity in March 2021

Colin Farquhar receiving the Queen’s Award for Enterprise in 2020 from the Lord Lieutenant of Fife As Allan commences his retirement, a new chapter unfolds for Farquhar. “When Mike and I established the company 20 years ago, there was a vague notion of building up a business quickly to sell on for a massive profit and repeat,” he reflects. “That was the norm in the dotcom world of affiliated technology. Following the first two years of hardship however, we realised it would not be a big flip. Fortunately, it has provided us with much greater satisfaction by building a self-sustaining business that provides our loyal customers with long-term value. Providing solutions for corporations such as Reuters is wonderful, but enriching individuals’ lives on cruise ships, in hotels and in hospitals means the most to me.” The Exterity brand may now be shrouded behind the VITEC cloak, but the identity remains unchanged. Never ones to display extrovert or extravagant characteristics, founders Allan and Farquhar have now come full circle since furthering their interest in speculative technologies. Exterity’s IPTV system streams live TV and LFC TV to 600 screens around the Liverpool FC stadium, including in the bar

www.vitec.com

March–April 2022 PRO AVL MEA 51

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BUSINESS: TECHNOLOGY

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The remotest idea Caroline Moss talks to Paul Van Hees, managing director of Belgian manufacturer Apex, about the company’s new Class-D CloudPower amplifiers which can be controlled remotely So Paul, what’s so unique about the technology behind Apex’s new CloudPower amplifiers? When we first sat down with a blank sheet of paper to brainstorm a new installation amplifier, we knew we needed to offer real, tangible benefits and innovations. Integrators don’t just switch from their tried-and-true solutions on a whim; you need to give them compelling reasons to check out something new. The most obvious difference with CloudPower is the ability to monitor and control the amplifiers remotely from a web browser. This means that you can keep an eye on your clients’ systems remotely, and when those clients need common changes like tweaking channel assignments, these can be done really easily without the integrator needing to set foot onsite. The

The Apex SMA-2 OEM amp module

team did an amazing job with the IntelliCloud WebUI used to control CloudPower remotely. Maybe I’m an impatient person, but I hate over-elaborate user interfaces, so it’s important to me that IntelliCloud is super simple to navigate and use. Another feature that hasn’t been seen before on a product of this kind is the ability to stream audio direct to the amplifier from a device running Spotify or iTunes. As well as cutting out one more piece of hardware, this facility opens up some interesting bring-your-own-device applications. A less visible difference with CloudPower is the way that the R&D team integrated the DSP and amplifier circuits to achieve incredible audio performance and higher perceived volume. From the first listening tests we knew we had achieved something special with the audio quality, and that was confirmed when we invited our “golden-eared” audio engineer friends to try the amplifiers. It’s very hard to meaningfully describe audio quality in words, but hopefully many more people will get the chance to hear and experience CloudPower for themselves in 2022. I won’t get deep into cone excursion and AC coupling here, but if anyone wants to know all the secrets, there’s a great white paper on our website that tells the full story.

I understand that most of the project development happened during the pandemic, right after an early prototype was shown at ISE 2020 before everything shut down. Can you talk us through that experience, such as how the team

Apex managing director, Paul Van Hees

collaborated and how the product was developed and tested? We came back from the ISE show in Amsterdam two years ago full of excitement and enthusiasm. We had just shown an early CloudPower prototype to some integrators and distributors at the show and we were blown away by their feedback. Almost everyone we spoke to said: “this is exactly what we need, when can we order it?” Of course, this was February 2020 and there was already a lot of concern about coronavirus, but I don’t think anybody was ready for the impact it would have on the world. In a way we’re fortunate that Apex is still a relatively small, tight-knit team, so even at those points where we were not able to all be in the office together, we were still able to keep the development process rolling. Probably the biggest challenge was needing to change microchips quite late in the development process. It’s a problem that most AV manufacturers have run into during the pandemic – it has been much harder to get the chips

52 PRO AVL MEA March–April 2022

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BUSINESS: TECHNOLOGY you need, when you need them, especially when you’re competing for the same chips as massive consumer product brands. It was a very tough decision to rework months of R&D development to integrate a new chipset that we can reliably get hold of, but it was the price we had to pay to create a robust supply chain. From April, all four CloudPower models – the CP354 and CP704 installation amps and CP1504 and CP3004 installation/touring amps – will be in stock and available to order. We’re very proud of CloudPower and we are naturally keen to get out there and demonstrate it to distributors and integrators. We have an amplifier that sounds amazing, so we want people to hear it! With the restrictions on travel and the choppy fortunes of the major tradeshows, it has been challenging to get in a room with clients and show them what the product can do. We are lucky that CloudPower can be controlled remotely, so we can allow a potential partner in, say, Indonesia to control an amplifier that is sat in a rack in Belgium. I cannot wait to get back out to visit territories where I know we’ll have a great opportunity with CloudPower.

With the excitement around CloudPower and the gradual relaxation of travel restrictions, we see growing our distribution in APAC as a big opportunity for Apex in 2022. We recently appointed Orpheus Acoustics in Taiwan and we’re confident that this will be the first of many new relationships in Asia Pacific. In MEA, we are now working with Alain Boone from Audires to help us develop our distribution partnerships. Alain is incredibly well-known and respected in audio circles across MEA, so we hope to announce further distribution partnerships in the near future. We are not in a rush; as we have done in Europe, we want to find partners with the expertise and contacts to switch integrators onto CloudPower, and with support capacity to take care of our customers in the long run.

Why is this such a significant step for Apex, and can you explain the importance of manufacturing in-house? CloudPower is a breakthrough product for us, particularly in the installed AV market. Apex has always been a wellrespected brand with a reputation for high-quality products, but we now have the investment and the product roadmap to take the company to the next level. We’ve shown that we have the R&D expertise, creativity and agility to deliver genuinely new and exciting products. For me, manufacturing is an integral part of who we are at Apex. Maybe it’s control freakery, but I want to know that every Apex product has been assembled, tested and shipped by someone who takes pride in the quality of what we do. The interplay between R&D and manufacturing also brings

Apex is also known for its OEM work with third-party manufacturers; can you tell us more about this? L–R: Apex MD, Paul Van Hees and technical director, Hendrik-Jan Gielis benefits in terms of the quick turnaround of prototypes and the ability to identify and correct issues before they become a problem. From a broader perspective, I see Apex as part of a vibrant community of Belgian professional audio and AV brands. There is such an amazing pool of talented people in this country, whether that’s manufacturers, integrators or sound engineers, and I want Apex to play its part in supporting and growing that talent.

I won’t name names, but yes, we do supply amplifier modules to loudspeaker brands. We give manufacturers a way of bringing new products to market quickly and without all the risks of embarking on their own R&D from scratch. It’s an area where we’ve seen a lot of interest in recent months. I think that’s partly because there are remarkably few companies offering highquality amp modules, and it’s hard for loudspeaker companies to achieve the competitive edge they’re looking for if they are using the same components as everyone else. www.apex-audio.be

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Are you planning any changes to your distribution network and partnerships in APAC and MEA to handle the new products in those regions?

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PTC-300 features a 20x optical zoom lens, an UltraHD sensor with great image quality and is introduced as a regular baseband model featuring HDMI, 3G-SDI and dual streaming output. Control real-time pan, tilt, and zoom camera movements with the network controller RMC-300A and serial controller RMC-180. With configurable preset positions supported. The large 1/1.8” sensor captures images in resolutions up the 2160p50/60 and ensures good performance in lower light situations such as theatres. More information on www.datavideo.com

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March–April 2022 PRO AVL MEA 53

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NEWPRODUCTS

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

Allen & Heath expands AHM The AHM-16 and AHM-32 provide simplicity of programming and control, plus expandable audio networking and I/O capabilities HARNESSING THE same technology as the AHM-64, Allen & Heath has released two new audio matrix processors that allow the company to cater to the full spectrum of installed audio environments. Placing an emphasis on simplistic programming and control, the AHM-16 and AHM-32 offer 16x16 and 32x32 matrix processing capabilities respectively, with 8x8 local analogue I/O on the AHM-16 and 12x12 local I/O on the AHM-32. Both units feature an I/O port for up to 128x128 audio networking, as well as the option to integrate a 96kHz Dante option card. In addition to remote controllers, GPIO

and third-party integration, the AHM-16 has a front panel screen with programmable SoftKeys for volume control, source select and preset recall, while the AHM-32 adds an additional four Softkeys. All three AHM series processors deploy next-generation FPGA technology and 96kHz sample rate with sub-millisecond latency to installations. The audio engines’ processing capabilities include an eight-band PEQ, gate, compressor and delay on all input channels, and eight-band PEQ, 30-band GEQ, compressor, active noise cancellation, source selector, limiter and delay on all zone outputs.

SLink, which is natively built into the AHM-64 but appears as an additional option card for the AHM-16 and AHM-32, allows plug-and-play connection to up to eight remote expanders from the manufacturer’s Everything I/O range, which includes wallmount, rack and portable options. www.allen-heath.com

Kling & Freitag shines with a brighter beam for VIDA KLING & FREITAG has updated its VIDA beam-steering technology with a J-Beam update. In addition to the selection of the opening angle and the inclination of the beam, VIDA supplements J-Beam technology with an additional controller for setting the energy distribution within the beam itself. As a result, the level curve can

be continuously adjusted from front to back to achieve speech intelligibility and evenly dispersed audio with virtually the same level. The new technology is available for download for all existing VIDA L systems from firmware 1.5. www.kling-freitag.com

Absen Clear Cobalt ADJ Mirage Q6 PAK Allen & Heath AHM-16/AHM-32 Analog Way LivePremier update APG iS Series/UC118i Atlona AT-OCS-900N Audio Precision APx500 version 7.0 Audix A231 Austrian Audio Hi-X60 Ayrton Huracán LT Barco F400-HR Blackmagic Design URSA Broadcast 2 Blaze Audio PowerZone Broadcast Pix MX Hybrid Chauvet Professional onAir IP series Cloud Electronics DLM-1 CODA Audio LINUS12C Contacta Systems STS K009-IP Crest Audio Tactus.Control update Crestron DM-NVX-E10/DM-NVX-D10 d&b audiotechnik Soundscape Simulation update Datapath Aetria update Dejero EnGo 265 DirectOut EXBOX.SG/SG.IO Elation Proteus Rayzor Edge ETC F-Drive B-Box Extron SF 8CT SUB/ISS 612 Focusrite/SSL System T control of RedNet MP8R Fulcrum Acoustic DF4 GLP impression X5 IP Bar Hall Technologies HSM-44-UHD HK Audio Linear 9 Hollyland Technology Solidcom M1 Imagine Communications Selenio update JBL EON700 Key Digital Conference Room in a Box Kling & Freitag VIDA J-Beam update Klotz AIS M4 StarQuad/DMX looms Lawo diamond Lectrosonics Wireless Designer update LG UltraFine OLED Pro LynTec LCP Series Meyer Sound Spacemap Go update Milab Microphones VIP-60 Modulo Pi Modulo Kinetic update Neumann.Berlin Miniature Clip Mic System Neutrik Fiberfox NewTek TriCaster 1 Pro NEXT Audiocom Maverick MV6 Outline GSR Pan Acoustics P 04-AMT Presicion Devices PD.1845-1N QSC NC Series/TSC Series RCF CMR 50T/CMR 60T/WMR 50T/WMR 60T RF Venue Performance Calculator Robe T11 Røde Lavalier II/VideoMic GO II Ross Video X-Series Sennheiser Camera tracking solution Shure MXCW update Solid State Logic BiG SiX Sommer Cable SC-Elephant Robust DMX Sony Venice 2 Sound Devices +4 Plugin for 833 Tascam Portacapture X8/DA-6400 version 3.0 TSL Products TSL Control update Voice-Acoustic Venia-6/Venia-8 Waves SSL EV2 Channel plugin Wohler iAM-AUDIO-1 PLUS/iAM-AUDIO-2 PLUS WyreStorm NHD-600-TRX/8K HDMI cables

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opticalCON DUO & QUAD Cables Ruggedized fiber optic solution from the market leading brand . Preassemble connectors makes installation easy with IP65 rating at mated conditions. Variable Length customization with variety of packaging options. Excellent cable retention with PUR Jacket . Available in singlemode and multimode options (PC & APC)

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PRODUCTS

HK Audio JBL shines a advances with light on EON700 Linear 9 THE EVOLUTION in the Linear loudspeaker series has been revealed by HK Audio. Comprising three point source speakers and two high-profile subwoofers, the Linear 9 birch multiplex enclosures integrate customised acoustic transformers and horns, Class-D power amplifiers, digital controllers, powerCON adaptors and advanced networking capabilities.

ORIGINALLY LAUNCHED in 1995, JBL Professional’s EON family of powered, portable loudspeakers continues to evolve. Consisting of four models, the EON700 Series has been designed for musicians, venues and event organisers as mains or stage monitors in portable systems or permanent installations. Comprising the 10-inch EON710, 12-inch EON712 and 15-inch EON715 powered PA speakers together with an 18-inch EON718S subwoofer, the latest additions are powered by internal Class-D amplification. The DSP package provides comprehensive control over EQ, limiters, delay, a three-channel mixer featuring dbx Automatic Feedback Suppression (AFS), eight-band output EQ and optimised use-case presets. Speaker management parameters can be configured

F a configurations and rear suspension points serve as connections for fixed installations. Indexed feet moulded into the enclosures enable a range of acoustic configurations and secure stacking. The EON718S subwoofers incorporate a threaded pole mount for adding full-range speakers, but can also be stacked for cardioid configurations. Integrating ergonomic handles, the full-range speakers are housed in FEA composite enclosures, while the subwoofers are manufactured in 15-ply birch cabinets.

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www.jblpro.com

The EON700 family from the rear backlit colour LCD screen or via the JBL Pro Connect app. Built-in Bluetooth 5.0 audio streaming and control extend the latest protocol’s security features, low-latency, broad range and audio fidelity characteristics. The latest generation waveguide and transducer technologies are included with the redesigned woofers together with a horn-coupled 2414H compression driver that delivers a smooth offaxis beamwidth and balanced response. Like their predecessors, the EON700 models are designed to be employed as main speakers or floor monitors. Full-range models feature top and rear suspension points for flown

Maverick stands out from the pack

Linear 9 210 LTA The flagship 210 LTA model is a fully integrated and scalable constant curvature point source speaker with long-throw abilities. Based on HK Audio’s transformer design, the Multicell Transformer provides a rotatable 60° x 25° dispersion above 1,350Hz. Designed for long-throw applications or as a horizontal cluster in large venues, the dual 10-inch 210 LTA operates within a frequency spectrum of 88Hz–19kHz (±3dB). The 110 XA 10-inch and 112 XA 12-inch models are equipped with a Multicell Transformer that provides rotatable 80° x 60° and 70° x 50° dispersions respectively. The compact, multifunctional cabinets can be applied as low-profile stage monitors, as a small FOH solution on a tripod, as front fills, flown in a rig or as mid/high units in combination with subwoofers. A catalogue of remote-control functions including grouping, volume control, 10-band EQ, limiter, delay and full networkability (controller software available for macOS and Windows) are included in the DSP controller. The DSPOUT is an exclusive feature enabling loudspeakers without built-in controllers to be fully integrated into a Linear 9 network. Low-frequency extension is provided by the direct radiating 118 Sub A and 118 Sub BA, which features a band-pass design for an extended bass range and a higher SPL. Capable of extending the LF response to 42Hz and 38Hz respectively, the 18-inch subwoofers are tuned to be used together and can operate in cardioid mode. www.hkaudio.com

NEXT AUDIOCOM has developed the Maverick MV6 loudspeaker. Suited for a wide variety of indoor and outdoor applications with recorded or live music, the MV6 is a compact, coaxial, 6.5-inch, battery-powered loudspeaker. Housed in an ABS enclosure, the model weighs 7.2kg and measures 258mm x 342mm x 283mm. Incorporating FIR filters, the MV6 has an optimised sound response with linearised phase response. The extensive rear control panel includes a three-channel mixer providing Bluetooth 5.0 connectivity, microphone, instrument, USB and aux

audio signal inputs. A tone optimiser is also included for automatically EQ’ing a microphone/guitar. With the True Wireless Stereo (TWS) function, a wireless stereo system is created by simultaneously pairing two MV6 speakers via Bluetooth up to 10m in distance. The battery can be fully recharged within five hours and provides up to 11 hours of music playback, although the MV6 can also be used as a power bank if needed. www.nextaudiocom.com

Pan Acoustics hosts meetings CODA Audio extends LINUS and conferences WITH THE adoption of Pan Speaker and Pan AMT series loudspeakers, Pan Acoustics has created a conferencing and meeting space solution. Selected

models from these series can be customised to match the size of the room display. Incorporating an Air Motion Transformer (AMT), the P 04-AMT models combine minimal audio distortion with desired high-frequency

reproduction. Created for low-frequency extension down to 30Hz, the Design P SW-108 RJ is a passive, directradiating 8-inch subwoofer for 2.1 sound systems. Capable of producing a maximum SPL of 109dB and offering an impedance of 4Ω, the subwoofer can be powered by small PoE conferencing amplifiers. With the development of the RJ speaker input option, the German manufacturer has designed a tool-less cabling connection by making standard Cat formats into speaker cables. Loudspeaker models incorporating the RJ option can be directly connected via RJ45 to compatible PoE amplifiers or the available adapters of standard amplifiers. Promoting a structured IT cable infrastructure, the RJ feature is available for the P 02-Pi (RJ) and P 04-AMT (RJ) two-way models in addition to the P 04-Pi (RJ) line source enclosure within conference spaces and other installations. The P-SW 108 subwoofer comes equipped with the RJ option as standard.

DESIGNED TO control and maximise the performance of all CODA Audio loudspeakers, the LINUS platform of network amplifiers provides intelligent processing and monitoring. With the availability of the LINUS12C, CODA Audio has added a four-channel model capable of delivering four channels of 3,000W power at 4Ω. Based on Class-D-IC output stage topology, the LINUS Core SHARC floating point 96kHz DSP includes factory presets that utilise advanced proprietary DS-FIR and IIR filtering techniques in addition to frequency-dependant limiters. Selectable from analogue or LiNET digital audio, the four inputs can be routed and distributed to any of the four outputs via the input matrix over a shielded Cat-5e cable before being buffered and transmitted to the next unit via the LiNET link output for daisy chaining. The signal routing inside the LINUS12C can be tuned and configured manually from the front panel push buttons. Alternatively, macOS and Windows-based tablets and interfaces can adopt the LINUS Control GUI for remote management over Ethernet. Housed in a 2U chassis and weighing 14.7kg, the LINUS12C is the fifth model in the series to date.

www.pan-acoustics.de www.codaaudio.com

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Fulcrum Acoustic sounds another horn DESIGNED TO supplement highfrequency coverage in areas shaded by obstructions, Fulcrum Acoustic has created a spot fill loudspeaker. The DF4 dual high-frequency horn comprises twin 4-inch diaphragm HF compression drivers that can deliver up to 140dB (continuous) maximum SPL output for long-throw applications. Providing clarity and precise transient response at high SPLs, the US manufacturer’s proprietary TQ processing has been added. Operating within a 320Hz–20kHz frequency range, the DF4 is available in DF443 (45° x 30°) and DF463 (60° x 30°) variations. www.fulcrum-acoustic.com

Extron adds another option for in-ceiling subs EXTRON HAS released a new in-ceiling subwoofer designed to blend in with other ceiling speakers in the system. The plenumrated SoundField SF 8CT SUB comprises an 8-inch low-frequency driver, while low- and high-impedance taps and an integrated lowpass filter provide flexibility to meet a wide variety of system requirements. With a frequency range of 45–300Hz, the subwoofer is capable of 100W continuous pink noise output. For distributed systems, the SF 8CT SUB has an integrated 70V/100V transformer, allowing placement of multiple subwoofers within a space to provide even coverage from a single amplifier. Power taps at 64W, 32W, 16W and 8W enable the

at resolutions up to 4K/60. It supports a maximum data rate of 18Gbps and features advanced Extron Vector 4K scaling technology. Separate Preview and Program outputs enable the operator to review sources before switching them to the viewing audience. For streamlined integration, the switcher provides audio de-embedding and multiple control options, including an intuitive front panel, RS-232 and Ethernet. This switcher has everything included with the ISS 608 plus four 12G-SDI inputs, mirrored 12G-SDI outputs and a buffered 12G-SDI genlock input with loop-through, making it suitable for live event and small broadcast installations.

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SF 8CT SUB speaker to be placed in low-ceiling rooms without being overpowering, or in low SPL applications where low frequencies require additional reinforcement to achieve equal loudness across the spectrum. For installations where more power is required, the SF 8CT SUB can be connected in 8Ω direct mode for up to 200W continuous programme power handling capability. A selectable 120Hz, 6dB peroctave low-pass filter is included to simplify setup without the need for additional crossovers. The US manufacturer has also released the ISS 612, a 12-input seamless switcher for the dynamic presentation and scaling of HDMI, DisplayPort and 12G-SDI content

To enhance the delivery of any presentation, multiple switching and transition effects are available with the ISS 612, such as wipes with selectable direction and duration and a seamless cut that eliminates distracting jumps, glitches and delays for true seamless source switching. Picture-in-picture mode facilitates insertion of a secondary source window that can be dynamically sized and positioned anywhere within the output. A company logo or other custom graphic can be stored and instantly recalled. Also, a wide variety of keying options enable the operator to overlay live content, such as video or scrolling text. www.extron.com

Venia set to grace venues CONSISTING OF two full-range models, Voice-Acoustic has created a compact column loudspeaker series called Venia. Comprising four 6.5-inch woofers and three 1-inch HF drivers, the passive Venia-6 distinguishes itself from the biamped, highperformance Venia-8 which integrates four 8-inch LF and four 1-inch HF drivers. The HF drivers are married to a vertical waveguide and large-format horn to create a 100° x 0°/–20° (HxV) dispersion output and vertically asymmetrical SPL coverage with a plane wavefront. The German producer insists that the HF energy is bundled to cover longer distances, while the near fill is covered by curving with lower-energy content distributed to a larger area, resulting in balanced distribution levels across the entire listening area. Capable of producing a maximum SPL output of 140dB and weighing 35kg, both models are available as self-powered versions named Venia-6DDA and Venia-8DDA. The rear panel includes signal analogue inputs and outputs, Dante, AES/EBU, AES67 and a network switch for integration with the Voice-Acoustic remote-control software. With the X-Tension design stand, Venia

can also be applied in portable and mobile applications. www.voice-acoustic.de

Venia-6

RCF fixes its sights on walls and ceilings COMBINING AESTHETIC discretion and audio accuracy, RCF has extended the CMR series with the 50T and 60T two-way, in-ceiling speakers. Loaded with 5- and 6.5-inch transducers in a coaxial configuration, both speakers operate within a 70/80Hz–20kHz frequency range to output a maximum SPL of 110dB and 114dB respectively. Both multipurpose models exhibit a constant directivity conical coverage of 130°. Three long travel clamps and a dedicated connection board inside the wall mount allow the installer to set the desired tilt first, then fix the speaker and finally quickly connect it without the need for any tooling. In addition, a magnetic grille can be easily removed to provide access to the power selector on the front shell, with the line transformer providing 40W and 80W full power on a 70V and 100V constant voltage line, in addition to five different power levels. Enclosed within a self-extinguishing plastic body and metal back can, a pole Euroblock connector receives audio inputs and a parallel link output. Similarly, two wall-mounted speakers have been added to the WMR catalogue. Incorporating a 5-inch woofer and 1-inch neodymium tweeter, the WMR 50T provides consistent music reproduction across the 80Hz–20kHz frequency

CMR 60T band. Rated at 40W RMS power handling, the compact enclosure provides a consistent dispersion of 140° x 100° directivity. A dedicated connection board is included inside the wall mount support, which allows the installer to set the desired tilt before fixing the speaker and connecting it without any tooling. Integrating a 6.5-inch woofer, the 80W-rated WMR 60T model operates within a 70Hz–20kHz frequency range and can produce a maximum SPL of 114dB. Like the ceiling speakers, both wall-mounted speakers are housed in a self-extinguishing plastic body and metal back can and are equipped with a pole Euroblock connector. www.rcf.it

WMR 50T

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PRODUCTS

APG debuts iS Series subwoofers UNVEILED IN UNISON WITH A REFRESHED brand identity, APG has unveiled a series of three subwoofers to replace the existing SB series. Designed to provide a wider bandwidth in modern music, the compact iS series is being targeted at the rental and fixed-installation markets. The series comprises a trio of bass-reflex models with either a 10-inch ferrite (iS110), 12-inch ferrite (iS115) or 15-inch neodymium (iS115) driver. The smallest model, the 10-inch iS110, is capable of low-frequency extension down to 45Hz and a 135dB SPL, while the largest 15-inch iS115 boosts these to 42Hz and

138dB. From smallest to largest, continuous power ratings for the models are AES 500W, AES 800W and AES 900W respectively. Connections includes a pair of speakON NL4MPs. The range also features a number of functional insert points and accessories for wall mounting (iS110), overhead mounting (iS112 and iS115) and coupling, with the iX range of loudspeakers using crossbars to create modular and easily movable sound systems. Thanks to its optional mounting system, the iS115 subwoofer can be coupled with the iX12 loudspeaker, allowing the creation of compact clusters ideal for nightclubs and small-to-medium concert venues.

Precision Devices reveals next-gen Bass DESIGNED PRIMARILY for compact reflex and horn-loaded enclosure designs, Precision Devices has unveiled the PD.1845-1N low-frequency subwoofer. The vented cast-aluminium chassis and forcedair cooled, long-throw motor system houses a neodymium magnet and a 37mm-long, 4.5-inch-diameter, four-layer, copper-clad aluminium voice coil. Effective thermal management in the motor system and voice coil gap is said to decrease lost heat energy. Weighing 10.9kg, the 18-inch subwoofer exhibits 98.8dB sensitivity (1W/1m) across a 30Hz–1kHz frequency spectrum with a rated power handling of 1,500W (AES). An optimised double silicone suspension system and triple-roll surround combine to provide 16mm Xmax and cone control at high excursion,

along with an aluminium demodulation ring to reduce inductance and provide low distortion. www.precision-devices.com

Blaze of digitally powered glory FOUNDED AS a separate brand within Pascal A/S, Blaze Audio specialises in producing digital amplification solutions for the commercial audio market. With the creation of the first generation of PowerZone amplifiers, the Danish company has created a series of compact, configurable amplifiers for the fixed installation market. Any output channel of the three multichannel amplifiers can be independently configured to drive both conventional low-impedance (4–16Ω) and constant-voltage (70V/100V) loudspeaker loads. With automatic power sharing, the PowerZone models can also share the total available power across all the channels. Measuring half a rack in width, 1U in height

and weighing 1.9kg, the PowerZone 252 amplifier outputs 2x 125W. Housed in the same chassis, the PowerZone 504 and 1004 amplifiers are 4x 125W and 4x 500W amplifiers respectively. Simplified front control includes power and channel LEDs and channel gain adjustment knobs, whereas the rear panel interfaces mains power and GPIO connections, DIP switches and channel I/Os. PowerZone Connect provides amplifier setup and configuration from a phone, tablet or laptop. By accessing the full matrix DSP suite embedded within the amplifier, the PowerZone Control software allows all input, output and multizone management to be configured from the smart web app. www.blaze-audio.com

iS Series To complement the iS range, the French manufacturer has also launched the UC118i, a new high-powered subwoofer addition to the Uniline series. Equipped with an 18-inch bandpass-loaded loudspeaker, this subwoofer complements the Uniline Compact range as well as the iX12 and iX15 models to provide

a physiological bass effect. The UC118i also features a new APG EasyLink docking system that allows for easy clustering of up to three loudspeakers in either omnidirectional or cardioid configurations. www.apg.audio

Tascam excites portable recordists with X8 DESIGNED FOR numerous applications including podcasts, music capture, voice capture for interviews and vlogs together with field recording, Tascam is shipping its latest portable multitrack recorder. The Portacapture X8 features 192kHz/32-bit float point recording technology, a 3.5-inch colour touchscreen display, large-format internal detachable mics, six setup modes each with instant optimised settings and an internal eight-track recording facility. The high-resolution adaptive multirecorder uses an app-like set of configurations that optimise the

line-level, multi-function aux-in, line out and camera in/out terminals. A 3.5mm camera ext/in connector also supports wireless audio input and the camera/line output includes an attenuation function for sending audio to external devices. Together with its multitrack record capability of six tracks plus two mix and its eight-in/two-out USB Type C audio interface with support for USB bus power, the Portacapture X8 can operate as a handheld recorder both on its own or with a computer. Audio monitoring can Portacapture X8

DA-6400dp unit for various recording tasks. The Portacapture X8 includes two 14.6mmdiameter built-in condenser microphones with HDDA mic preamps. For setting the available AB and XY microphone patterns, the Portacapture X8 offers a detachable mechanism for configuration. Flexibility is enhanced with optional accessories from the AK-DR series, including an adapter for DSLR camera attachment, audio routing cables and a power supply. In-built DSP functionality includes a compressor, limiter, low-cut filter, noise gate, reverb and auto gain control. The Tascam Portacapture Control app also extends wireless remote control via mobile devices, such as smartphones and tablets, in addition to using the optional AK-BT1 Bluetooth dongle. In/out choices for multiple recording scenarios come in the form of four XLR and ¼-inch inputs with support for both mic and

be conducted from the unit’s headphone output or built-in speaker and supported recording media includes micro-SD, micro SDHC and micro SDXC cards up to 512GB capacity. The feature set of the DA-6400 digital multitrack recorder and player has been enhanced with a version 3.0 software update. Improvements include a more intuitive interface, an ABS Time Mode display and smooth switching to the playlist entry edit screen via an external keyboard. Nine new functions extend the multi-playback audio features, including shorter production time of content production. Providing a quick view, the addition of contrast support for the display time counter improves visibility of take names in the home screen. www.tascam.com

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PRODUCTS

Milab extends VIP credentials FEATURING A rectangular capsule and optimised circuitry, Milab has introduced the VIP-60 to bring the sound of the classic 1980’s VIP-50 up to date. The VIP-60 multipattern condenser microphone resulted from an extensive R&D programme which included an 18-month testing period and collaboration with many respected European and US engineers. Technically superior to its predecessor, the VIP-60 exhibits a significant reduction in self noise without compromising the characteristic Milab sound that made the VIP-50 a commercial success. The VIP-60 offers five different polar patterns and a selection of roll-off filters and pads. Shipped from Milab’s plant in southern Sweden, the hand-built VIP-60 comes with a waterproof SKB 3i case together with a Rycote USM shockmount and an individual frequency chart. www.milabmic.com

RØDE fashions compact wearable mic RØDE HAS added to its range of wearable microphones. The Lavalier II is described as a compact premium lavalier mic that boasts a low-profile design, professional sound quality and several other professional features. It’s intended for use on everything from broadcast applications and filmmaking to all kinds of content creation. The Australian manufacturer has been able to create a new low-profile design thanks to the microphone’s capsule technology, making it discreet and easier to hide on talent. It also features an ultracompact mounting clip and a flat cable that is unobtrusive, aiding with threading through clothing. It can be paired with a wide variety of audio devices, including the manufacturer’s Wireless GO II and newly released AI-Micro, and features a 3.5mm locking connector for use with professional wireless microphone systems.

Lavalier II

Audix adds character for vocalists HOSTING THE same goldplated brass band as the SCX25A instrument mic, Audix has added a large diaphragm microphone to its selection of vocal condensers. The A231 features a precisiontensioned diaphragm with gold deposition all the way to its far edges to significantly enhance the audio quality. An active-driven shield protects the signal path from interference or capacitive coupling and an internal shockmount virtually eliminates touch noise, promoting the A231 to be used across a wide variety of applications without the need for an external shockmount. The A231 capsule is suspended by the bespoke internal shockmount behind a double-woven steel alloy mesh grille and seated in a precision-machined aluminium body. The compact mechanical form factor allows the A231 to be positioned in tight spaces where larger microphones may be considered too obtrusive. When used on

vocals, for voiceovers or spoken word, the US-based manufacturer claims that the A231 offers a rich tone that blends “low-end power and high-end detail with a warm but controllable proximity effect and a high end that is crystal-clear, yet free of artefacts”. The cardioid polar pattern provides smooth off-axis response over a 128dB dynamic range, making the A231 a suitable model for capturing acoustic instruments. With a 140dB maximum SPL, the condenser can handle a kick drum, while the low 12dBA equivalent noise level permits its use on delicate sources including upright bass and strings. With no high-end harshness to mar the sound of cymbals, the A231 can be positioned on drum overheads and used for spot miking. www.audixusa.com

Neumann.Berlin enters close miking market VideoMic GO II The Lavalier II also comes with a premium accessory kit that includes a high-quality pop filter and mini furry windshield for recording outdoors, a compact mounting clip (which includes cable management slots), a set of coloured identification rings for keeping track of microphones in multimic setups and a zip case for keeping the Lavalier II and accessories organised. First introduced with the VideoMic NTG and NTG5 shotgun microphones, the VideoMic GO II from RØDE is a compact on-camera microphone. Designed to provide a fullbodied sound, the portable, 89g all-metal casing incorporates a 3.5mm TRS output for use with cameras and USB-C output for use with smartphones, tablets and computers. Compatible with RØDE apps – RØDE Connect, RØDE Central and RØDE Reporter – for accessing features, audio processing and for recording on any device, the VideoMic GO II has been designed to simplify the capture of professional-quality audio. Running on AC or USB power, the batteryless shotgun features the same acoustic design as the NTG and NTG5 models, including annular line tube technology. When used in USB mode, the 3.5mm port functions as a headphone output for zerolatency audio monitoring and playback, transforming the VideoMic GO II into a fully featured USB mic. A shockmount and windshield is included with the package.

NEUMANN.BERLIN HAS unveiled its first product range especially for close miking instruments. The modular and rugged construction provides stability for live performances including nine mounting solutions to find the optimum positioning for acoustics. To create the Miniature Clip Mic System, the German microphone engineers upgraded the KK 14 capsule by removing production tolerances previously associated with electret solutions to date. Neumann’s developers spent six years researching the capsules and the production processes that would be necessary to make this a reality. By removing previous production tolerances that impacted sound level and frequency response, the resultant electret microphone offers constant performance. With minimised self-noise and a maximum sound level of 152dB, the KK 14 can be used for both very quiet and loud instruments. The nine options provide a secure attachment to brass, string and stringed instruments,

pianos, drums and percussion. A self-adjusting, spring-loaded system together with the latest mounting concepts for specific applications minimise the damage of sensitive surfaces. Thanks to connection cables with either a 3.5mm jack, Lemo, MicroDot or four-pin mini XLR connectors, the system is compatible with all standard bodypacks for wireless setups. www.neumann.com

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PRODUCTS

Focusrite collaborates with SSL Austrian Audio extends Hi-Xcursion technology

FOCUSRITE HAS joined forces with Solid State Logic (SSL) to offer SSL System T console users the ability to directly control the Focusrite RedNet MP8R remote-controlled mic preamp from the desk. When working with a console, a lot of engineers prefer working from a single platform as opposed to having studio control room or FOH control of the preamp parameters by way of RedNet control on a computer. The partnership will reportedly result in a simplified workflow, allowing engineers to focus on their mix instead of worrying about the technology behind it. Along with direct console control, a paired SSL System T console can store and recall MP8R parameters with console scenes and showfiles. MP8R devices show up on the network in the same way as any Dante-enabled device.

System T software can route individual mics immediately but also can configure these as logical instances for managed and secure access. When routed to a console channel path mic gain, pad and phantom power are immediately mapped to the channel strip for hardware and software control. Gains and controls are stored and recalled with the console’s showfiles and scenes for precise operation in fast-paced productions. With the control interface between the RedNet MP8R preamp and the SSL System T console, console users who want everything to be done from the desk are now said to have an additional option. www.focusrite.com www.solidstatelogic.com

Networked steel DESIGNED ON the same principals as the LM-2 Link for busy hospitality venues, Cloud Electronics has created the DLM-1 Dante line and mic active input plate. Like the LM-2 Link, microphone and line level music sources can be connected locally to the face plate via the XLR and RCA inputs from within the same zone. The DLM-1 module, however, allows a microphone and stereo music source to be connected at a remote location. The music input is mixed with the mic signal and the resulting output appears

FEATURING THE sonic signature of the Hi-X6 series, the Hi-X60 over-ear, closedback headphones have been designed for recording, front of house, mixing and mastering. The headphones are suitable for loud environments like FOH where the high passive-noise suppression reportedly ensures an optimum signal-tonoise ratio and creates an accurate and hearing-friendly sonic environment. In the studio, the Hi-X60’s closed-back isolation prevents sound from escaping out into the recording environment and interfering with the microphone capture. For instrument or vocal tracking, both features work together and are said to provide the artist with a coherent, healthy signal without leakage. All Hi-X headphones feature a 44mm driver and a ring magnet system. According to the manufacturer, the design allows for improved airflow and includes the strongest magnetic field in its class. The ring magnet, combined with a copper-clad aluminium voice coil, reduces the weight of the membrane and the voice coil connected to it, allowing the membrane to move or change direction faster, providing a more responsive impulse reaction. With comfort in mind, all touch points are made from soft, durable memory foam. In addition, all load-bearing and

www.austrian.audio

Dante-equipped amplifier or mixer, and the speaker outputs where the module is located. Selectable mic-over-music priority is provided. Further distinguished with a steel face plate in a black or white finish, the DLM-1 features input gain controls and a selectable high-pass filter on the mic input to reduce handling noise. Gating, mixing and audio management features are included for remote access to audio input solutions.

Front panel controls on the DLM-1 as a mono Dante channel at a standard RJ45 Ethernet port. Typically, the Dante

moving parts are made from metal to promote stability, reliability and robustness. The rugged design reportedly ensures that the fold mechanism is good for years of everyday use and that the Hi-X60 holds up even under the roughest recording conditions.

channel will then be routed via the Dante network to the audio system, such as a

www.cloud.co.uk

Outline puts acoustics to the test DESIGNED IN collaboration with the Department of Mechanical and Industrial Engineering at Brescia University, Outline has unveiled the GSR (Globe Source Radiator) to assist in the testing of acoustic insulation of internal walls, floor slabs and insulation from the external environment, plus the acoustic properties of any internal space where sonic performance is important. The GSR is also applicable in automotive, industrial, scientific and commercial settings, since numerous essential acoustic parameters may be derived from measurements made using it as a sound source. The GSR can determine Clarity Indices (C50, C80), Intelligibility Indices (AlCons, STI, RASTI), Reverberation Time (RT60), Early Decay Time (EDT), Soundproofing Power, Impulse Response and Intensity (G). It is also fully ISO10140, ISO354, ISO3382 and DIN 52210 compliant.

The design combines a spherical enclosure with an Ergal aluminium inner structure that houses 12 5-inch neodymium-magnet transducers and is reportedly the first such device to include a bass-reflex design to extend its frequency response. The Italian manufacturer states that the GSR is also the only truly spherical device of its type available today, with its globe design reportedly eliminating diffractions, reflections and other anomalies caused by non-spherical radiators, which can compromise the accuracy of data measurement. The GSR is capable of producing a maximum SPL of over 130.3dB. The device is available as part of a complete user-ready kit, comprising a GSR, an NG01 Noise Generator, a compact amplifier (Outline’s L3000) plus the

necessary cables, a transportation bag and a set of mounting accessories, providing a portable setup ready for immediate deployment. A dedicated self-powered subwoofer kit is also available and is

suitable for applications where measurements of low-frequency data are required. www.outline.it

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Contacta develops IP-rated window intercom ASSISTIVE LISTENING specialist, Contacta Systems, has introduced the STS K009-IP as the company’s first IPrated speech transfer system. Developed in response to demand created by the pandemic with the installation of safety screens across most business sectors, the K009-IP staff and customer units are IP55-rated against water, dust and dirt. In addition to providing an open, hands-

free communication channel independent of a telephone line, the K0009-IP is equipped with an LED light and a call facility should staff need to be alerted to a customer’s presence. A range of extension leads ensures that the call unit and the staff can be located up to a distance of 20m and a hearing loop can also be added to the system. www.contacta.co.uk

Hollyland makes solid commitment with M1 DESIGNED PRIMARILY for event organisers and media producers, Hollyland has launched the Solidcom M1 wireless intercom system. Operating within the 1.9GHz band, the full-duplex intercom features noise cancellation and can support up to eight beltpacks. Integrating a panel antenna within the base station, the Solidcom M1 can cover a range of up to 400m in front of the base station. By attaching two included external FRP antennas, 360° transmission within a radius of 300m makes the Solidcom M1 ideal for large-scale spaces and obstructed venues. Individual numbering of the beltpacks within a group facilitates plug-and-play setup. A maximum of three groups can be created

EnGo 265 takes mobile broadcast to new levels IMPROVING THE ability for news crews and live broadcasters to quickly go live from any location, Dejero has launched the new EnGo 265 mobile transmitter. The device replaces its predecessor, the EnGo 260, and offers greater levels of security in addition to lower latency, at 0.5s over bonded cellular connections. EnGo 265 makes use of Smart Blending Technology to combine multiple network connections to transmit broadcast-quality live video while intelligently managing the fluctuating bandwidth, packet loss and latency differences of the individual connections in real time. To meet the increased market demand for security, Dejero has taken steps to further

protect video streams. In addition to AES256 encryption, the EnGo 265 includes a securityhardened Linux OS and a cryptoprocessor to authenticate the hardware. A new GateWay mode provides wireless broadband internet connectivity in the field to enable mobile teams to reliably, securely and quickly transfer large files, access MAM and newsroom systems and publish content to social media. The GateWay mode also provides general internet access to resources for field research, access to cloud-based services and serves as a high-bandwidth access point for devices. Providing the reliability and throughput of a fixed line connection while operating in a

Fiberfox extends fibre-optic connectivity NEUTRIK HAS added the Fiberfox range of expanded beam technology connectivity systems to its portfolio of fibre-optic solutions. Designed to meet the requirements of MIL-DTL-83526 military specifications by enabling multiple interconnections with other expanded beam solutions, the fibre-optic connection system has been designed for use in high and low temperatures, in addition to wet or dusty conditions. Relevant applications include AV networking, lighting, touring sound and event production, video and broadcast in addition to wider industrial and strategic sectors, including defence, security, transportation and petrochemicals. Fiberfox can withstand in excess of 10,000 mating cycles without maintenance or insertion loss and can be cleaned using water and a

lint-free cloth. IP68 compliant and certified waterproof up to a depth of 6m, the connectors feature a screwed locking mechanism. Capable of both front and rear mounting, the connector eliminates the need for adaptors and female and male mating halves. www.neutrik.com

and managed from the base station control interface, the Hollyland App or a web address. The base station can be cascaded to multiple sets of audio equipment, including legacy intercom systems via Cat6 or XLR connection. The lightweight beltpacks are equipped with a detachable antenna and an HD LCD screen. Three individually shaped function buttons on the front of the beltpack prevent mis-clicking in dark BOH environments. Each Solidcom M1 set includes Lemo headsets featuring mic on/off control by raising or lowering the boom and a 3.5mm connection for third-party headsets. www.hollyland-tech.com

scenario demanding wireless connectivity, GateWay mode combines live transmission and internet gateway capabilities into a single device. It aggregates available networks to maximise reliability and increase bandwidth. In most newsgathering and remote production scenarios, this involves bonding cellular connections from multiple carriers, with the option to also tap into satellite connectivity when needed. When used with Dejero’s Vehicle Antenna Dock, the EnGo 265 can be securely mounted into vehicles and attached to external antennas to boost reception. www.dejero.com

Wohler meets depth requirements THE iAM-AUDIO-1 PLUS and iAM-AUDIO-2 PLUS units have been reduced in size by 2 inches to 5.5 inches to meet all shallow-depth requirements. In addition, two 3G-SDI inputs on BNC and a looped output of the selected SDI input have been added, while the monitors retain an SFP slot for additional SDI, 2110 or

Dolby processing, the audio-over-IP option card offers monitoring of either Dante or Ravenna and includes monitoring of 2110-30. Primary and secondary RJ45 Ethernet ports on the card enable hitless (redundant) 2022-7 monitoring. Also available is an analogue option card, offering a further eight balanced inputs and

iAM-AUDIO PLUS 2022. A fourth rotary encoder has been added to the front panel to further allow a mix of touch controls and mechanical controls. While other functional aspects remain the same, including the ability to license AES, MADI, additional custom mix output routing and

outputs on DB-25 connectors, as well as a TOSLINK (SPDIF) connector. APIs, remote GUIs and network ports remain standard on both units. www.wohler.com

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PRODUCTS

SSL enters the BiG SiX for hybrid productions FEATURING COMPREHENSIVE AD/DA conversion, advanced monitoring and routing together with enhanced SSL EQ, the BiG SiX mixer expands recording and production capabilities for artists, producers and engineers. With the launch of the BiG SiX, Solid State Logic (SSL) has created a desktop mixing console for hybrid recording and mixing productions. The 16-channel model combines technologies derived from large-format SSL consoles with AD/DA USB integration, additional processing and advanced routing capabilities. Also included is an Essential Version of the SSL G-Comp Bus Compressor including an Auto release feature, channel dynamics processing and a three-band EQ based on the SSL 4000E console. The monitoring section features a full source matrix feeding two independent headphone outputs, together with an 18-channel analogue summing at mixdown capability. In addition to 16 channels of 96kHz/24-bit USB conversion for rerouting to external inputs, stereo cues and pre/post-fader options, BiG SiX also features fully balanced insert points on all SuperAnalogue inputs, 100mm SSL console grade faders, Mix Bus Inject for cascading additional SiX and BiG SiX mixers and dual independent headphone outputs. The four SuperAnalogue mic/line/ Hi-Z inputs with polarity switch can be

attack and release controls are all optimised for maximum transparency. In addition, the SSL Fusion HF Compressor plugin also introduces new Mix and Auto Gain controls, which respectively allow users to nondestructively dial in the perfect amount of HF smoothing, and smooth out high frequencies while maintaining their level. Along with Eco mode for tracking and recording, which reduces latency and CPU load for tracking and recording, the SSL Fusion HF Compressor also introduces built-in help. Users can click the question mark symbol in the bottom right-hand corner and mouseover the GUI for context-aware guidance and information about the plugin and its controls. The Gain Reduction History graph also provides users with a detailed visualisation on the effect of the circuit. BiG SiX www.solidstatelogic.com

individually switched to dual mono for added recording flexibility. The latest Fusion-based plugin has also been released by SSL. The Fusion HF Compressor is available in multiple formats, including VST2, VST3, AAX and AU. As on the original Fusion hardware processor, the plugin affects only the frequencies above the X-OVER, and is designed to deliver smooth compression and a tapelike, high-frequency rolloff to tame unwanted harshness that can build up in a mix, or within individual stems. The HF Compressor’s ratio,

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Next-gen diamond shines for Lawo DEVELOPED AS a broadcast console for radio and TV applications, Lawo has unveiled diamond. Based on the open AES67/Ravenna audio-over-IP networking standards, the IP-native mixing system also complies with the ST2110-30/-31 and ST2022-7 protocols. Powered by the Lawo Power Core Engine, diamond provides expandable I/O, accommodating AES67, MADI, analogue, AES3 and Dante audio sources and destinations. Modular by design, diamond is available in configurations ranging from 2–30 physical faders, either as desktop or flushmounted build. Two 30-fader frames can be physically paired to create a 60-fader version.

for 16 I/Os to interface 12G single-link SDI signals and destinations on 11 inputs and 11 outputs. The five remaining I/Os remain available for 3G-SDI signals. The io_bnc_ 11+11 is Lawo’s first rear plate whose 11 inputs and 11 outputs are all 12G single-link capable. Providing 16 microBNC connectors that can be individually configured as baseband SDI inputs or outputs via software configuration, the io_bnc_16_BiDi comes with bidirectional baseband I/Os that are now available with 12G single-link SDI connectivity. Like existing io_bnc rear plates, the micro-

The 28-fader diamond console Fader-adjacent colour displays provide extended source information and two fader layers allow operators to instantly switch between multiple tasks. Motorised faders and encoders inherited from Lawo’s mc² audio production consoles extend integration with program automation and playout systems when used in multiplelayer operations involving voice tracking, remote production or DAW control. Programmable, colour-coded LED button and encoder lighting highlights common control functions. Since its launch in 2016, Lawo’s V__ matrix IP-broadcast core infrastructure

BNC connectors are primarily intended to receive and transmit SDI signals, although they can be software-configured for MADI data transfer. Replacing the vm_streaming App, Lawo has also developed the vm_avp App for the software-defined V__matrix C100 ecosystem for gateway services and IPbased AV processing. Enhanced with major features, the +ab_ dsk licence option adds video mixing and keying to the V__matrix offering. It unlocks eight video mixing/keying instances @3G

io_bnc_16+16 ecosystem has transformed installations into flexible, futureproof production and delivery facilities. Designed for tech rooms, private-cloud hubs and OB trucks, the C100 processing blades include a variety of software-defined video and audio workflows that assist in the transition to a fully IP-based environment with gateway functionality. To further exploit the processing capacity of the V__matrix C100 blades in a smaller footprint, the German brand has released three rear plates for the connection of SDI baseband equipment to an open-standards-based IP network. The io_bnc_16+16 fixed-format rear plate incorporates 32 micro-BNC connectors

per vm_avp instance. Each instance can work in one of four modes and can be cascaded: AB Mix (blends between two sources), AB Mix Independent (source blending over colour matte), LUMA Keyer (linear keying) or LUMA Keyer Advanced (linear keying supporting shaped keying). The +tc_gen licence generates timecodes from PTP or other time sources and provides up to three independent generators. Generated ancillary timecode (ATC) formats, which can be embedded into TX and SDI outputs, include VITC1, VITC2 and LTC. A linear timecode (LTC) can be generated as a digital audio signal.

SENN devel relea offers room

TSL Control offers ultimate in flexibility WITH THE integration of the TSL and DNF product lines, TSL Control now encompasses all the company’s control solutions, including TallyMan and Flex Network under one umbrella. Having taken an R&D approach to create broadcast control solutions based on specific applications, the initiative creates a combined system across product lines that specifically addresses unique workflow requirements. TSL Control includes the GTP-42 Flex network controller, solutions in cost-effective IP routing and multi-network control, playout control and automation including SCTE and DTMF monitoring, as well as the TallyMan Redundancy Package. As part of the Flex Control network, the GTP-42 system controller provides decreased power consumption, a clear front panel display and dual-redundant power supplies. The GTP-42’s upgraded Linux core enables TSL to deploy an entirely virtualised GTP in any environment, whether in a facility, on COTS hardware or in the cloud.

TSL has also developed a cost-effective solution for IP routing, easing the transition from traditional workflows to IP and hybrid systems. With capabilities including the grouping of audio, video and metadata flows for synchronised routing familiar to SDI operators, transitions from IP and SDIdominant areas of a facility, across buildings or between OB trucks can be made with no changes in workflow. Offering an ability to replicate between two system controllers with automated failover, TallyMan control system features full, dual redundancy. With the inclusion of all protocols, features and functionality, TallyMan can be added to a pre-existing infrastructure, reportedly making the deployment of dual redundancy simple. The TallyMan Redundancy kit includes dual redundant system controllers and the TallyMan redundancy panel. www.tslproducts.com

Controlling eMotion CREST AUDIO’S Tactus.Control platform has gained support for V12 of the Waves eMotion LV1 mixer with embedded MIDI control. Tactus.Control offers motorised physical fader control for the eMotion LV1. The device can be used to supplement the eMotion LV1 touchscreen by providing moving faders, illuminated buttons and knobs for the most used functions. It offers 16 motorised channel faders, with mute cue and select buttons along with a multi-line scribble strip display. These can follow screen layer selections or be locked on a layer for expanded control. There are two master faders that can be mapped to any input or master fader in the console, while a single control knob follows

onscreen parameter selection for quick adjustment. It also has eight mute group buttons, eight user buttons with label screens, four plugin control knobs, scene and layer control buttons, cue level and clear. It connects to the host PC running eMotion LV1 via USB. The latest update offers resizable plugins, retina-ready graphics, a preset browser and the ability to quickly find and add presets. The combined system gives operators a flexible audio mixing solution and the ability to expand up to 256 channels to meet fixed install and touring system requirements. www.peaveycommercialaudio.com

www.lawo.com

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Sennheiser and 1 Beyond collaborate to take the room SENNHEISER AND camera tracking developer 1 Beyond have collaborated to release a new camera tracking solution that offers voice-activated camera tracking for rooms of any size.

With multiple cameras, the intelligent switching algorithm creates broadcast-style cuts with no camera movement for remote participants. With auto-configuration based on a room design, camera presets do not

1 Beyond’s Automate VX The integration of Sennheiser’s TeamConnect Ceiling 2 (TCC2) microphone array and 1 Beyond’s Automate VX combine to produce close-up shots of standing and seated speakers in a room. Multiple ceiling microphones can be combined to cover larger spaces and up to 12 cameras can be placed anywhere to get the best camera angles, regardless of where the speaker is located.

and QSC have strengthened ties for modern meeting spaces. Enhancing the audio quality for hybrid meetings, the Zoom-certified Sennheiser and QSC bundle is promoting the upgrade of conferencing spaces for global institutions. The solution combines the Q-SYS Core 8 Flex processor, SPA Series amplifiers and AcousticDesign Series AD-C4T ceiling loudspeaker from QSC with the TCC2 microphone array from Sennheiser. Sennheiser has also launched a pair of professional headphones for mixing, editing and mastering. The HD 400 PRO studio

need to be set manually. The installer can select how tight or broad the camera angles should be with customised shot widths. Providing more precise audio location information, the beam can point to up to 700 unique positions and the setup can also distinguish between seated and standing participants. In other news, Sennheiser

www.1beyond.com

HD 400 PRO

A touch too much for MXCW

DESIGNED FOR less-formal environments during free-flowing conversation, Shure has added a Handsfree Mode to the Microflex Complete Wireless conference system (MXCW). With Handsfree Mode, participants’ microphones are automatically voice-activated without the need to press a physical button. To accommodate various styles and dynamics of meetings, MXCW users can toggle between handsfree, manual or remote microphone activation to best suit the style of conversation. In Handsfree Mode, each conference unit evaluates the level, spectral content and signal-to-noise ratio of the audio at its microphone to determine when speech is present. The conference unit sends a “Request to Speak” signal to the MXCW’s Access Point Transceiver (MXCWAPT), which then assigns a transmission channel to it before adding its audio to the floor mix. The entire microphone activation process takes 20ms. Handsfree Mode for

MXCW’s Handsfree Mode the MXCW Wireless Conference System is available with firmware version 7.0 or later. Designed for today’s content creators, musicians and recording artists, Shure has also unveiled new enhancements to its portfolio of SRH headphones.

reference headphones have been designed as a companion for creators seeking natural and precise sound reproduction to accurately assess their audio mixes. To ease long sessions, the HD 400 PRO features a comfortable and lightweight open-back design fitted with soft velour ear pads. The unit includes both coiled and straight detachable cables, allowing the headphones to adapt to different use preferences. The HD 400 PRO features a wide frequency response of 6Hz–38kHz to give music producers the full account of their mix. The Sennheiser-developed 120Ω transducers include a diaphragm made from a special polymer blend which, together with the driver magnets, is said to produce deeper, yet totally clear and well-defined bass. Distortion is below 0.05% (measured at 1kHz, 90dB SPL).

The second-generation SRH440A and SRH840A headphones incorporate a series of design upgrades, including a lightweight headband to reportedly provide superior audio, long-wearing comfort and durability.

www.qsc.com www.sennheiser.com

Featuring nuanced improvements including lower harmonic distortion and more precise left-right driver matching, both headphones are optimised for critical listening and studio monitoring. The SRH840A offers a precisely tailored frequency response powered by 40mm neodymium dynamic drivers to deliver “a rich bass, clear midrange and extended highs”, while the wide, padded headband and collapsible design are said to combine to create “an enhanced listening experience”. The SRH440A reportedly delivers detailed frequency response with “accurate audio” designed for podcasting, home recording and critical editing and mixing. Finished in matt, the closed-back, circumaural design rests comfortably over the ears and reduces background noise. Both models include a carrying bag, detachable 3m locking bayonet cable and a threaded gold stereo 1⁄8 - to ¼-inch adapter. www.shure.com

Atlona detects the right mood in the room

WITH THE development of the AT-OCS-900N, Atlona has created a network-enabled occupancy sensor as part of its portfolio of touch-free AV control components. In addition to detecting occupancy, the AT-OCS-900N also detects the temperature and ambient light to trigger Atlona AV solutions or third-party devices over an IP network. Incorporating passive infrared (PIR) technology, two ceiling-mounted AT-OCS-900N models detect occupancy within a coverage area up to 85m2 or 188m2, depending on ceiling height. A blinder insert is included to limit the sensor’s field of view and prevent detection in unwanted areas, such as doorways.

The sensor communicates directly over the network to select Atlona switchers and the AT-WAVE-101 wireless presentation platform. In turn, this triggers automatic display control and relays for motorised projection screens and window shades based on whether people are detected in the space. For more complex applications, the sensor works with the Velocity AV control system for automating functions ranging from display on/off and switcher input selection to camera presets and audio levels based on room occupancy. In addition to enabling fully automated AV system operation in conference rooms,

huddle spaces, classrooms and lecture halls, the AT-OCS-900N can also be used in hospitality and retail environments to create interactivity with digital signage and videowalls based on motion near the displays. The PoE device captures temperature and ambient high-level information, by communicating data to ventilation, lighting and other systems over the TCP/ IP network using open standards such as MQTT and REST. Spring-loaded clamps

secure the sensor to a ceiling tile, and the device’s configurable LED indicator can be customised for both colour and activity. www.atlona.com

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Tasker extends M4 StarQuad cable drum looms for Klotz AIS C128 range THE ORIGINAL C128 cable, available in seven colours, has a nominal section of 2x0.35mm2 with a red and tinned OFC copper formation, cotton filler to avoid distortion, an OFC tinned copper braid shielding covering 90% and an outer diameter of 6.3mm. The C128 LSZH is available with or without homologation and is classified as CPR EU305/2011 for low and medium fire resistance, while the C128 PE with a polyethylene outer sheath is water resistant

and suitable for outdoor and underground use. The C128 PUR also has a polyethylene outer sheath, is flame retardant, halogen free and resistant to friction, UV rays and heat/cold. With a temperature range of –40°C to +80°C, it’s suitable for outdoor use or under water to a depth of 50m. The C128 AR has a steel armour sheath and has been designed for underground installation.

DESIGNED FOR events and sound recordings, the M4 StarQuad microphone cable drum from Klotz AIS integrates a four-core StarQuad SQ422Y cable with a conductor cross-section of 4x0.22mm² (AWG 24). To avoid hum and noise caused by inductive magnetic fields, the two opposite wires are connected to create a quad connection of the microphone cable with a solid conductor cross-section of 2x0.44mm² (AWG 21). The four wires are twisted symmetrically and in combination with the dense braided shield, providing shielding coverage of over 90%. Available in lengths of 50m, 75m and 100m, the cable drum is equipped with a parking brake and is terminated with black chromed XLR 3p Neutrik connectors and protective caps. In its quest to ensure a stable signal transmission and a perfect overview, the German manufacturer has also developed four-channel and eight-channel DMX looms. The DMX looms of the SCD series utilise its flexible OmniWIRE multicore with spiral shield and PVC jacket. The individual cables at the splice are surrounded by braided sleeves with self-extinguishing properties that can operate across a –70°C to +150°C temperature range. For a perfect overview, the individual channel lines are marked with printed shrink tubing and the DMX looms are equipped with

M4X1-50 transparent heat-shrink tubing on both sides for individual labelling. Available in 3m, 6m and 9m lengths and equipped with XLR 5p plugs, the DMX looms comply with the digital AES/EBU standard (110Ω) for DMX control signals. The PowerLink Truss & Stagebox is described by the cable manufacturer as a robust, ergonomic and easy-to-use power distribution system. Designed for live events, theatres and TV studios, the PowerLink Truss & Stagebox is equipped with one-in/four-out Neutrik powerCON

True1 plugs and offers a power carrying capacity of up to 16A/250V. The plastic housing is designed with rounded absorber edges and a robust surface to absorb shocks. Inside the box, stiffening cross ribs, in conjunction with six housing screws, are said to give the PowerLink Truss & Stagebox a very high level of resistance and provide compliance with current safety standards. It can be attached to a truss via two PowerLink Clamps or with two O-rings. Alternatively, the box can be equipped with an optional metal bracket underneath. This has two predrilled holes as well as an M10 screw connection for secure fastening. The cable manufacturer has also released two DMX cable drums with fully wired XLR 5p plugs. Due to the five-pin assignment of the XLR connectors, the cable drums are 100% compatible with the DMX-512 standard. Klotz has used the triedand-tested DC422CY data cable with a conductor cross-section of 4x0.22mm2 (AWG 24) and tightly stranded wire pairs as the DMX cable. The solid construction with a jacket made of resilient special PVC and a double shielding made of tinned copper braiding and additional AL/PET foil reportedly ensures smooth performance and perfect EMC values. Low capacitance and the defined characteristic impedance of 110Ω are said to enable the transmission of DMX signals even over very long distances. www.klotz-ais.com

www.tasker.it

Low end of the Sommer DEVISED SPECIFICALLY to operate with loudspeaker systems adopting Sensor Control Subwoofer technology, Sommer Cable has produced a customised cable for the rental and live events sector. Measuring 19.5mm in diameter, the SC-Elephant Robust is a DMX power and DMX combination cable. Embedded in the stranding compound of the 4x4mm² speaker cable is an insulated and shielded DMX cable, with a wire cross-section measuring 2x2x0.22mm². The integrated 110Ω control line provides sensor-control of subwoofer systems without the requirement to connect extra cables. In

SC-Elephant Robust

addition, the control line can also be used as an ordinary microphone cable and for tie lines. Created to mitigate caustic bird droppings and to deter rodent damage to outdoor satellite cables, Sommer Cable has released the SC-Aqua Marinex Astral LLX 1.13/5.0. Reportedly offering lifelong UV resistance, the smooth surface outer jacket does not include a plasticiser, making it difficult for the animals to gnaw. Furthermore, the weather-resistant Aqua Marinex is reinforced by an “almost impenetrable” aramid braid which can be used as an additional strain relief. Extra shielding promotes high damping values and an optimum HDTV transmission quality. The additionally integrated protective banding extends its application in permanent underwater installations. Equally suited to tunnel or surveillance engineering, Sommer Cable recommends the HICON HIFM08 F-antenna connector, the FM-5.8 or BNC connectors for connected assembly. www.sommercable.com

NHD-600-TRX

WyreStorm advances NetworkHD series THE NETWORKHD series has an updated 4K60 4:4:4 10GbE SDVoE transceiver, designed to suit modern AV requirements. The NHD-600TRX is described as smaller, lighter, faster and more power efficient than its predecessors and supports content up to 4K60 Dolby Vision. With advanced multiview processing, the device supports up to 16 different windows with full control of sizing and layering. Other features include uncompressed 4K video support, zero latency and flexible processing modes for instantaneous AV switching. The manufacturer has also released its ultrahigh-speed HDMI cables for video streaming, gaming and videoconferencing. The 8K HDMI cables offer uncompressed transmission of

HDMI content up to 48Gbps and a resolution up to 10K 30Hz, suitable for extracting the maximum performance from 8K displays, gaming consoles and pro AV matrix switchers. Certified for HDMI 2.1 connectivity, the cables can support resolutions and refresh rates of 8K@60 and 4K@120 and even up to 10K. Dynamic HDR formats are also supported, and bandwidth capability is increased up to 48Gbps. The cables are also compatible with High-Fidelity eARC technology, while the Variable Refresh Rate is said to provide smooth performance and virtually eliminate image lag, stutter and frame tearing. www.wyrestorm.com

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PRODUCTS

Crestron broadens DM NVX series COMPLETING ITS 4K 4:4:4, 4K 4:2:0 and 1080p lineup, Crestron has added five interoperable encoders and decoders to the DM NVX AV-over-IP range of network video solutions. Hosting the same streamlined integration process with familiar web and programming signals, the DM network video solutions are suited for higher education applications, in addition to smaller meeting spaces and collaboration rooms. One pair of NVX encoders and decoders serves 1080p applications, while another pair have been designed for 4K60 4:2:0 and 4K30 4:4:4

requirements. The fifth PoE model features 4K60 4:2:0 compatibility and integrates a builtin scaler with videowall processing. Addressing lower resolutions without sacrificing security, the five additions support Enterprise-Grade Security standards from encryption to device and user access. All encoders and decoders reside on the same Crestron DM content distribution platform and are supported by the Crestron XiO Cloud technology operations management platform. www.crestron.com

Avid welcomes Meyer Sound’s Latest Channel plugin Spacemap Go makes Waves

MEYER SOUND has introduced the Spacemap Go plugin for Avid’s Venue 7 software platform and the Pro Tools digital audio workstation (DAW). The AAX plugin enables Avid Venue | S6L users to directly access functions of the Spacemap Go spatial sound design and live mixing tool from the console’s built-in touchscreen and control surface. In addition, the plugin allows integration of Spacemap Go snapshots within the Venue master show file for creating virtual loudspeaker layouts and automating dynamic panning within the immersive sound field. When installed in Venue, the Spacemap Go plugin functions as a client of the Spacemap server. When the console and the server in the Galaxy Network Platform are connected on the same network, setup is automatic and bypasses any IP addressing or port management requirements. Functions accessible on the S6L touchscreen and CKM module knobs include X/Y position, crossfade, spread, trajectory status (play/pause/stop) and trajectory rate for each channel. The spatial sound design and live mixing tool utilises the processing power of the Galaxy Network Platform within an iPad app. Snapshots can be created in most DAWs and integrated into the S6L master show file for static placement or dynamic movement of sound. The snapshots can be fully automated or synchronised using the console

control surface, one or more iPads or both simultaneously. Both the Venue | S6L (with the optional Avid 192 card) and the Galaxy Network Platform are certified by the Avnu Alliance as compliant with the AVB-based Milan network protocol. Compatible with Venue 7 and later software and version 1.2.0 of the Spacemap Go app for iPad, the free Spacemap Go plugin can be downloaded from the Meyer Sound website and is also is available in AU and VST formats. Key control functions for Spacemap Go have also been integrated by default into the latest V5.0 Live software from Solid State Logic. www.avid.com www.meyersound.com

DirectOut shows two faces for SoundGrid

DIRECTOUT HAS added Waves’ SoundGrid audio networking technology to the existing Dante and Ravenna protocols supported by the EXBOX and PRODIGY Series. Housed within a third-rack width frame, the MADI and SoundGrid interface is the latest addition to DirectOut’s EXBOX Series. Capable of routing 128 SoundGrid channels in blocks of 64 to any of the three MADI ports (coaxial BNC, optical SC and SFP), EXBOX.SG bilaterally connects with two MADI ports being routed towards SoundGrid for converting a further 128 channels. EXBOX.SG can be powered by up to two external power supplies in addition to PoE. Four

network ports are linked to an internal switch that can be directly connected to redundant recording systems and plugin servers. Promising extremely low latency, SG.IO is a new PRODIGY module with optional HD SRC technology, promoting asynchronous operation between the module and the mainframe.

AUTHORISED BY SSL, the Waves SSL EV2 Channel plugin is a recreation of the SSL 4000E console channel strip. With added features including the original SSL “O2” Brown EQ and the console’s saturated mic pre and line inputs, SSL EV2 Channel delivers analogue depth and detail. In addition to dynamics and EQ controls, the SSL EV2 Channel plugin can be switched between the Black Knob (242) and the original Brown Knob (O2), which was the first EQ developed for SSL E-Series consoles. The newly modelled line and mic preamp input section provides rich harmonic distortion options including THD (Total Harmonic Distortion), which comes with the analogue switch for recreating the saturated analogue console sound. The Dynamics section includes a soft-knee compressor/ limiter and a gate/expander. The Waves SSL EV2 Channel comes with over 600 presets and is available separately or as part of the Waves SSL 4000 Collection and Waves Studio Classics Collection. The manufacturer has also released Retro Fi, a selection of lofi noises, spaces, devices and textures for synth lines, vocal adlibs or instrumental tracks. Four modules/

SSL EV2 Channel plugin sections are available: Device, an analogue colouring and tonal shaping engine; Space, which adds saturated echo and analogue reverb; Noise, which is a library of over 60 textures; and Mechanics, which delivers the imperfections and mechanical wear and tear of old cassette tapes and vinyl records. www.waves.com

Sound Devices announces +4 Plugin for 833 WITH THE release of the +4 Plugin, Sound Devices has added four ISO channels/record tracks to the 833. With

including Automix, NoiseAssist, CEDAR sdnx, EQ and compression. The +4 Plugin requires 8-Series and SD-Remote v8.80 or

the plugin installed, the 833 becomes a 12-channel, 16-track mixer/recorder. The additional channels provided by the +4 Plugin can accept any input source and be routed to the main mix bus, additional busses and any output. Like the original eight channels, any effect can be applied,

higher to run. Firmware v8.80 introduces features such as CL-16 support for the 833, channel copy for Scorpio channels 17–32 and a Power Source icon for SD-Remote. www.sounddevices.com

www.directout.eu

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Audio Precision updates its APx500 AUDIO PRECISION has released the latest update to its APx500 audio measurement software, version 7.0, adding new enhancements suited to a wide range of audio test applications, whether analogue, digital or acoustic. In parallel with the release, the manufacturer is also introducing APx500 software subscriptions, offering APx users an alternative in how they license APx software, and access nearly any software version and option. The subscriptions will be an alternative to perpetual software licences. While a perpetual software licence – which grants a permanent, non-exclusive and non-expiring right to use the software – will still ship with each new analyser, software subscriptions provide another path for existing APx users to access the latest software release and associated enhancements. Such subscriptions grant a time-limited (one-, threeor five-year periods) licence to use the software and provide access to all versions and all options (excluding PESQ and POLQA). When the subscription expires, the analyser reverts to the software version and options for which it was previously licensed. APx500 version 7.0 enables an APx user, in conjunction with an APx517B, APx1701 or

GRAS 12Bx power module, to run SysCheck2 and receive a pass/fail indication for each connected SysCheck2-capable microphone, without the need for a calibrator or physical access to the microphone. SysCheck2 is a system designed to actively verify whether the sensitivity of a microphone has drifted since its last calibration. With SysCheck2, APx users can verify the accuracy of the entire signal chain without physical access or potential disruption of the test setup. Other version 7.0 features include Fast Sweep, a fast-stepped frequency sweep that provides several advantages in comparison to a logarithmically swept sine (chirp) signal. Improvements have been made to the Fast Fourier Transform (FFT) analysis capabilities of APx software, such as arbitrary lengths, windowless analysis and level triggering. Bench Mode-oriented customers will also have access to the Transfer Function measurement and the complex frequency response function for a device, including the magnitude and phase (or real and imaginary components), using any broadband signal (such as speech, music or noise). www.ap.com

RF Venue takes the strain out of wireless management LAUDED BY early adopters of the product, RF Venue has debuted the RF Venue Performance Calculator, a free online tool designed to reduce the complexity of wireless system performance prediction. With the time-consuming steps of system performance calculation already performed in advance by the developer and incorporated into the software, users of the calculator need only select system components via a handful of drop-down menus – microphone make and series, distance from mic to

antenna, cabling type and length, RF Venue antenna/DISTRO distribution system models and, if known, the RF noise floor of the performance space. With a tap of a Calculate button, the results are indicated by a simple traffic light indication of go (green), caution (yellow) or no-go (red). The RF Venue Performance Calculator is available for use at www.rfvenue.com/ rfvenue-calculator.

A SIGNIFICANT update to the Soundscape Simulation software toolkit has been made available by d&b audiotechnik by adding SPL and localisation mapping within an objectbased workflow. Forming part of the ArrayCalc simulation software, the visualisation tool accurately models a Soundscape system’s real and perceived acoustical performance within a space.

The En-Scene simulation tool provides an evaluation of how the spatialisation created with a Soundscape system will be experienced by the audience early in the production planning phase. The simulator also demonstrates Soundscape’s ability to improve the overall production and listening experience through object-based processing. En-Scene simulation models SPL distribution and perceived object localisation for object positions. A simulation of the entire system

configuration is created by combining the acoustic performance of the loudspeaker system with the En-Scene processing of the DS100 system processor. In addition, Object Localisation predicts how effective the perceived localisation of the sound object is for each listener in the audience area. This psychoacoustic calculation is performed by two different models in parallel. Precedence is an empiric model based on precedence effect and “law of the first wavefront”, whilst Binaural analyses the interaural transfer functions and resulting binaural cues using the impulse responses of all sources and a generic set of binaural HRTFs. Since localisation is a parameter of the listening process and human perception, switches can be made between the visualisation of the two models. For objectively verifying the signal distribution over listening areas for different sound object positions, direct sound SPL mapping of an En-Scene simulation depicts maximum level and level distribution over listening areas. The efficiency of the system design including number, type and positioning of loudspeaker cabinets can be optimised, so that a Soundscape system can be planned and evaluated as accurately as a conventional d&b system design within the same d&b workflow. www.dbaudio.com

Lectrosonics digital receiver operates with Wireless Designer LECTROSONICS HAS announced that the DCR822 dual-channel portable digital receiver can now be used with the Wireless Designer frequency coordination and RF system management software. DCR822 users can now monitor all channels in operation, change settings, initiate infrared

backwards compatible with Digital Hybrid Wireless transmitters. Designed to enhance the setup and operation of Lectrosonics’ wireless microphone receiver and transmitter systems, the Wireless Designer software provides an overall view of the connected systems with a summary of each

data transfers, manage frequency groups, scan the local RF spectrum and calculate system operating frequencies using the Frequency Coordination Engine. Wireless Designer Versions 2.0.30 for macOS and 2.0.34 for Windows are now available with these features for the 822. The compact receiver is compatible with Lectrosonics’ mono and stereo digital transmitters and is

channel displayed in real time. The software includes a spectrum scanner and coordination package for fast setup. The data from the scan along with any custom frequency data including imported lists can then be incorporated into the frequency calculations for an accurate channel coordination.

www.rfvenue.com

www.lectrosonics.com

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Selenio takes on a new personality

IN AN effort to drive further efficiencies in production, playout and distribution architectures, Imagine Communications has developed an array of software features for the Selenio Network Processor (SNP). The latest major software release adds several important capabilities, including JPEG XS encoding and decoding, an automated changeover switch (ACO), an advanced keyer (DSK) and additional audio management capabilities. These new “personalities” can be enabled on any SNP in the field, and all reportedly take advantage of the core processing of the SNP, including the ability to easily combine HD and UHD, SDR and HDR, and SDI and IP connectivity.

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caption presence and audio presence, audio levels and more. The ACO function switches seamlessly between A and B feeds to maintain a consistent on-air output. In addition to automated operation, users can take manual control of changeovers. A downstream keyer (DSK) is also being added to the SNP’s capabilities. This offers four layers of keying and supports UHD/4K and HDR, using external and internal keys. The feature supports graphics sequencing and animations, and it uses SNP core functionality to allow mixed IP and SDI inputs and outputs. Coupled with the ability to make A/B transitions, and leveraging SNP’s existing dual-UHD conversion personality, the result is a master control switcher with the

ability to up- and down-convert mixed-format content into a consistent UHD presentation with UHD graphics. As demand for remote operations continues to increase across the industry, Imagine Communications has also enhanced its ADC playout automation with the launch

ADC Flex compression ratios between 5:1 and 20:1. The result is said to be an ideal means of communicating between facilities or between remote production sites and a broadcast centre. The JPEG XS codec will be available as an SNP software personality at resolutions up to UHD/4K (and HDR). The user can tailor the bits-per-pixel (coding rate) for the specifics of the application. The ACO uses content-aware metrics to determine the health of each feed, in terms of video presence and quality,

WITH THE availability of the 2022 LG UltraFine OLED Pro monitors (models 32BP95E, 27BP95E), LG Electronics (LG) has developed 4K professional-grade display solutions that provide accurate colour reproduction. Incorporating OLED’s self-lit pixels to the desktop, the monitors are ideally suited to editing high-resolution images and videos. Designed for detailed digital projects, the 32- and 27-inch OLED Pro models include 4K UHD resolution (3840x2160) screens with a 1,000,000:1 contrast ratio and 99% coverage of the DCI-P3 colour space. Both displays offer HDR and SDR performance together with independent pixel control for enhanced colour fidelity and contrast. The portable, lightweight OLED displays do not require

backlighting and are free of the distracting halo effect common on many LCD displays. Designed to produce vibrant colours as intended under optimal productivity conditions, both OLED Pro monitors come with detachable self-calibration sensors and monitor hoods. When used with the LG Calibration Studio software, the calibration sensor measures the light emitted from the display at times predetermined by the user and automatically adjusts to maintain consistent colour accuracy. The included stand attaches securely to the rear of the display with a simple one-click mechanism that can be adjusted for height, pivot and tilt. www.lg.com

MicroLED pixels help Absen see the bigger picture

Selenio Network Processor The SNP’s software-based architecture allows it to deliver all the functionality of a traditional modular processor chassis but in a flexible and reconfigurable form. The JPEG XS codec offers visually lossless production and contribution quality at low latency (less than a frame), and typical

LG sets new standard in picture quality for creatives

of ADC Flex. Running natively in a web browser, ADC Flex is said to provide a powerful, easy-to-use, remote-ready control solution, enabling media companies to leverage existing infrastructure and minimise operational training to reduce their total cost of ownership. ADC Flex can be added to existing ADC deployments or can be used as the basis for new facilities and new channel launches. www.imaginecommunications.com

ABSEN HAS unveiled a series of products as part of an online product launch. Leading the charge is the manufacturer’s eagerly awaited first MicroLED product, Clear Cobalt, which was showcased alongside a new generation HC series of professional smallpitch LED products, the AX Pro MiniLED series and the MR series of professional floor tile screens. The Clear Cobalt MicroLED series boasts 1,200 nits of brightness and a contrast ratio of 20,000:1. The pixel pitch ranges from 0.7–1.2mm and the product uses flip chip technology to improve electrical performance and increase overall reliability. Compared to an SDR (standard dynamic range) display, HDR10 capability allows for an image that is over twice as bright with a corresponding increase in contrast. The Chinese manufacturer has been developing and perfecting MicroLED technology for the last five years. The COB (chip-onboard) technology it utilises has a deep black, nonreflective surface which is reportedly able to produce life-like image quality without over saturation. The Clear Cobalt product boasts a wide colour gamut of 90% BT2020, reduced moiré effect and black uniformity. Also released alongside the MicroLED products is the HC series of professional small-pitch products, the HC II and the HC II Pro. Weighing 5.2kg,

the 27-inch diagonal HD display panels are light and thin, with native resolutions of 4K, 8K or above. The series has a dual receiving card option and a 16:9 standard display ratio. Lastly, the latest series of the AX Pro MiniLED has been introduced as part of the manufacturer’s growing virtual production range, serving as a backdrop screen with 1,000 nit brightness and a high refresh rate of 7,680Hz. Meanwhile, the MR series of professional floor tile screens offers a new virtual LED solution capable of creating immersive LED walls and floors. This enables actors, presenters and creators to interact in real time with their surrounding environment, without being limited to the confines of a green screen. www.absen.com

The MicroLED Crystal Clear series

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The key to the conference room lies in the box OFFERING PROGRAMMING-FREE installation for ease of operation, Key Digital has developed a tailored conferencing solution aptly named Conference Room in a Box. As a developer of digital video processing, signal distribution and AV-over-IP solutions, the latest system aims to accommodate meetings of any size from huddle room to board room, larger conference spaces and classrooms. With a wide variety of interface options, including remote participation via all videoconferencing software platforms, meeting participants can connect laptop AV and USB for local or global participation. Supported by PoE, HDBaseT (PoH) and USB single AC connections, racked AV sources can be controlled by an iOS KD App and an integral CEC display control. Conference Room in a Box systems offer expansive I/O, amplified audio with mic mixing, 1080p PTZ camera control with presets, local and remote video source switching and up to 4K video at 18Gbps. Incorporating five inputs (HDBaseT, 2x HDMI, DP, USB-C), two mirrored outputs (HDBaseT, HDMI), LAN connectivity, audio de-embedding and ARC/eARC support, a KD-UPS52U Universal Presentation switcher is central to the system.

The Ultra HD/4K KD-UPS52U supports up to 4096x2160 or 3840x2160 24/25/30/60Hz at 4:4:4 (up to 18Gbps bandwidth), through a wide range of luminance levels with HDR10 compatibility and deep colour support

hosts audio I/O, an HDMI output, USB and a LAN interface. The central unit integrates natively with the KD-CAMUSB for full PTZ control via the KD-App and a host of other supported control protocols, including the free KDCam PC app.

with mixing, noise gate, volume and remote control via IR and RS-232. The manufacturer has also added source control to its free iOS KD App. Not only does the KD App control Key Digital’s range of AV-over-IP encoder/

up to UHD/4K 30Hz 4:4:4/12-bit or 60Hz 4:4:4/8-bit. A full buffer system that manages TMDS re-clocking/signal regeneration is compatible with HDCP 2.2 and offers signal extension up to 100m at 4K/UHD. The KD-UPS52U is packaged with the KD-X100MRx HDBaseT receiver, which

Tabletop or wall plate interfacing is accommodated by the wall plate switcher with 2x HDMI, DisplayPort, USB-B host and USB-C device connectivity together with IR, RS-232, IP and CEC Manager (Tx) control. Audio support is provided by a dual 20W KD-AMP220 amplifier, phantompowered mic and two-channel line inputs

decoder, switcher, matrix, multi-view and videowall devices but, with the IR and IP PJLink control capabilities of connected system devices, control can also be extended to many display brands and source devices. www.keydigital.com

NATURAL AUDIO

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RELIABLE SOLUTIONS FOR NATUR AL AUDIO

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3D show simulation previews enhanced by Modulo Pi MODULO PI’S advanced tools are now embedded in the Modulo Kinetic media server platform or available as a dongle-based licence. Designers, producers and technicians have increasingly adopted the Parisian innovator’s next-generation media servers in the creation of 3D visual experiences. With the development of its solutions for 3D projection study and show simulation, Modulo Pi is ensuring that creatives can shape their projects and share their vision with both their team and clients. The tools are available using the Modulo Kinetic media server solution. The hardware and software platform provides a logical and fully integrated workflow from project study and simulation to media playback and show control. Modulo Pi’s 3D projection study and show simulation features can be loaded from a Modulo Pi dongle equipped with the Modulo

Kinetic Designer 2D+3D licence. As a result, projects can be shared and simulated offline directly from a laptop.

By adopting the Modulo Kinetic platform or the dongle-based licence, a real-time 3D scene visualiser can create or import

unlimited scenes and objects. With an extensive internal library of +680 video projectors, the cloner modifier, symmetry tool and lux views available, the project projectors together with their positions and lenses can be determined in advance. Measures and annotations can be added to 3D scenes and any view or other information can be exported to create a study documentation. Once the project is set in Modulo Kinetic or Modulo Kinetic Designer 2D+3D, the show can be previsualised in real time. Media can be dragged and dropped in timelines allowing a preview of the projectors, LED walls or LCD screens positioned in the 3D scenes from any perspective. To push the simulation even further, the project can be visualised using a Virtual Reality headset, whereby show scenes can be previsualised in VR from any angle. www.modulo-pi.com

Ross turns heads with X-Series and XPression 10.5 WITH THE launch of the X-Series of pan/tilt heads, Ross has developed two PTZ cameras as part of the Ross Live series. Developed for remote camera applications, the X350 and X300 are compact heads which come with a 6.8kg payload capacity. The X350 head includes a 5-inch full colour touchscreen for setup, local control and integrated tally. For virtual sets and augmented/extended reality applications, an integrated VS/AR tracking is included. Other features include anti-backlash gearing, cascaded camera connections and Motion Director for synchronised movement and keyframed moves. Developed for more price conscious applications, the X300 includes fewer advanced features. The PTZ-12G and PTZ-NDI cameras have been added to the 4K UHD PTZ series. Designed for a wide range of production

requirements, the PTZ models incorporate a 9.17megapixel and 1/1.8-inch CMOS sensor for capturing 4K UHD 60fps and progressive HD video content. The Ethernet interface enables single Cat5E connectivity, providing remote control via IP VISCA protocol, video output using 4K UHD IP streaming and PoE with the option of routing to an NDI workflow. The lens features an extended zoom range of 30x optical and 12x digital and an upgraded mechanical design providing faster movement. With the availability of v10.5, the XPression real-time graphics platform includes feature updates designed to enhance the collaborative workflow between two or more users working on the same program. A single scene can be shared on another XPression

XPression v10.5 system using the Single Scene import and export function. V10.5 also comes with additional font management tools, including the ability to lock fonts from changes or

deletion, enabling fonts to be cloned. Template data fields can be colour-coded for specific situations, plus the upgrade comes

X-Series

with several new Visual Logic Blocks. With Status Client, the status of all the XPression systems on a network can be visualised from one machine. Compatible with legacy content, the XPression Video Codec 2 is a backwards-compatible codec for working with HDR content and in Wide Colour Gamut. Version 17.0 of Piero, the manufacturer’s sports graphics analysis solution, has been released. The latest version sees an update to the Virtual Presenter chromakeyer, which offers the same keying quality viewers would expect from a news studio and is said to provide much sharper and cleaner edges when the presenter is closer to the camera. Also, camera tracking has been improved and reportedly enables Piero to better manage zoomed in shots where pitch or field lines may be much less visible. In brief, Ross has announced a refresh of its Mira, Tria and Kiva products. The flagship Mira+ replay server now supports 24fps and true 60p frame rates, while Mira Express gets a storage upgrade to 76 hours. The Tria+ multichannel production server has been updated to support a variety of additional frame rates, and the compact Tria Express Duet production server also benefits from the new clip networking feature. The Kiva+ presentation server gets a new sibling, with the new model supporting three PGM/PVW playout channel pairs. www.rossvideo.com

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Failsafe developments for Aetria REINFORCING SYSTEM resiliency, broadening scope for KVM control in addition to offering secure mobile device control, Datapath has added several major developments to its Aetria solution. Engineered specifically for critical 24/7 applications, the Aetria solution draws design, control and management of control room video within a single interface. To provide complete system resiliency, Aetria now supports automatic

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failover for the central network manager appliance. A secondary network manager is configured as a hot-standby, which is automatically invoked if the primary appliance fails. Configuration, management and monitoring of both network manager appliances are performed in the centralised Aetria Command Center interface, where manual switchovers can also be invoked if required. Furthermore, operations of the

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Blackmagic perfects three-in-one camera trick DESIGNED AS a 4K production, 4K studio and 6K digital film camera, Blackmagic is shipping the URSA Broadcast G2 three-in-one camera for both traditional and online broadcasters. Using existing lenses and batteries, the three-in-one design can record to external USB disks and SD, UHS-II and CFast 2.0 cards, in addition to file formats such as H.265, Apple ProRes and Blackmagic RAW. A USB-C expansion port on the rear is included for external disk recording or connecting to a range of accessories. The G2 model integrates a 6144x3456 resolution digital film sensor for low light performance, together with dual gain ISO from –12dB (100 ISO) up to +36dB (25,600 ISO). The gain can be set via a camera switch, the LCD menu or remotely using the SDI remote camera control protocol. When adopting the B4 broadcast lens mount, a 4K window of the sensor can be utilised

science create images with high dynamic range and wide colour fidelity, but the scale of the image sensor can be lowered to the 1080HD standard. The optional zoom and focus demands allow customers to use photography lenses for live production. The focus and zoom demands have USB-C connections so they control the lens via the camera’s electronic lens control. Each zoom and focus demand has two USB-C ports, so customers can daisy-chain them, then connect to the camera with a single USB connection. This reportedly provides customers with very fine lens control so they can frame

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AS THE new flagship model in Sony’s digital cinema camera series, Venice 2 can adopt either the newly developed full-frame 8.6K or the original 6K sensor within its compact design. In addition to internal recording, Venice 2 also inherits colour science, Dual Base ISO and eight stops of built-in ND filters. Paired with the 8.6K (8640x5760) full-frame CMOS image sensor, the camera comes with 16 stops of total latitude. The 8K CineAlta camera has a unique dual base ISO of

Further upgrades including compatibility with a wide range of lenses, including all PL mount and Sony’s native E-mount that enable adapters for a multitude of lenses. Despite being 44mm smaller and approximately 10% lighter, the chassis of Venice 2 allows X-OCN and Apple 4K ProRes 4444 and 422 HQ internal recording without the AXS-R7 recorder. The camera can be used with the 8.6K sensor as well as the original 6K sensor block as the camera body automatically recognises the change and will start up without

800/3200 and supports everything from full-frame, full-frame anamorphici to Super35 at a minimum of 4K resolution. With the 8.6K sensor providing sufficient oversampling, images shot on Venice 2 benefit from less noise and enriched information in a 2K or 4K production. Suited for VR, in-camera VFX and Virtual Production setups, the camera delivers an immersive experience in combination with Sony’s high-contrast and large-scale Crystal LED displays.

Venice 2 with 8.6K sensor

www.pro.sony

INCORPORATING A built-in, web-browserbased interface, mobile control app, astronomical timer and contact closure inputs for sensor control, LynTec has devised the

applications. Adding several key innovations to LynTec’s innovative panel options, the controller electronics have been removed from the panel and mounted in a separate enclosure.

any firmware exchanges or re-installs. In addition, the original 6K sensor will allow higher frame rates. Outfitted with an internal microphone, Venice 2 accepts the highspeed AXS-A1TS66 6.6Gbps card for 8K60p recording, although existing AXS memory card readers are compatible.

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for Ultra HD broadcast use, which can be switched to full 6K resolution when the PL or EF lens mount is preferred. The par focal B4 lenses ensure that the image remains in focus during zoom operation. With 13 stops of dynamic range, colour correction is enhanced with darker blacks and brighter whites. Neutral density (ND) filters have been included to reduce the amount of light entering the camera, while IR filters evenly filter both optical and IR wavelengths to eliminate IR contamination. The high-resolution sensor and generation five colour

platform can be conducted from a phone, tablet or mobile device touchscreen. With Datapath’s secure user rights management applied, any pre-saved layout can be remotely loaded onto any connected videowall. Aetria Workstation now supports direct monitoring and control of Arqa sources. Integration with Datapath’s Arqa AVoIP solution enables hardware-based access to multiple

and adjust the lens without taking their hands off the tripod handles. Accessories include a shoulder mount kit, V-Lock battery plate and top handle together with full DaVinci Resolve Studio for postproduction. Amongst the notable optional additions, a Blackmagic URSA Viewfinder can be purchased separately for live productions or a fibre converter can be ordered for powering the camera from 2km distance via the single SMPTE fibre. www.blackmagicdesign.com

remote sources in Aetria. To enable this, an Arqa receiver is connected to a capture card in the workstation PC, after which Arqa sources are made available for viewing and KVM control from within the Aetria Workstation interface. KVM switching is performed automatically as the operator requests a specific source. www.datapath.co.uk

LCP 378 with LCP control module controlling two LCS 343 secondary panels LCP Series to intelligently support lighting and video power demands. Designed to interface with any third-party control system that uses DMX, sACN, HTTP or Telnet protocols, the LCP Series consists of the same feature set as the RPC power control solution for integrated AVL

Eliminating the need for sidecars, the power supply has been moved into the primary panel enclosure, limiting the maximum width to a standard NEMA 1 enclosure of 500mm. www.lyntec.com

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LivePremier now supported by SDVoE FOLLOWING THE ISE 2020 launch of the LivePremier scalable 4K/8K multiscreen presentation systems and videowall processors, Analog Way has enhanced presentation experiences for high-end staging and premium system integration. The current range includes five highperformance, pre-configured products (Aquilon RS alpha, RS1, RS2, RS3 and RS4) and two fully customisable models (Aquilon C and C+).

With the introduction of field-swappable input and output boards, the French manufacturer has expanded the LivePremier ecosystem with SDVoE technology. Equipped with four 10GbE RJ45 copper connectors, each card can transmit or receive four independent video streams over IP with formats up to 4K60. The cards support up to eight embedded audio channels per input and output and feature an advanced HDCP 1.4 and 2.2 handshake. Interoperable with any SDVoE extender and control system, LivePremier video processors can integrate into an SDVoE environment and workflow. The v2.3 software release supports high frame rates (HFR), allowing full video processing workflows up to 144fps. In addition, the HTTPS protocol in the Web RCS user interface provides secured connections to the LivePremier systems allowing SSL/TLS certificates and keys to be uploaded and applied to the system. Lastly, the LivePremier systems can now be operated by the RC400T three-axis joystick for layer positioning, sizing and cropping. www.analogway.com

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NewTek updates TriCaster platform NEWTEK HAS added the TriCaster 1 Pro to its portfolio of live video production solutions. The TriCaster 1 Pro is a streamlined TriCaster model with support for 4K UHD video switching, livestreaming, recording, data-driven graphics, virtual sets and media publishing. Alongside its release, NewTek’s TriCaster 2 Elite, the company’s flagship model, has been bolstered with additional features, including selectable audio and video returns and NDI Genlock. Both TriCaster models now offer the latest version of Live Call Connect, enabling the integration of popular video communication

applications as video inputs. In addition, producers can turn any mobile device into a live production camera by using the NDI TriCaster Camera App, which is freely available for Android and iOS devices. Using AI, TriCaster 1 Pro and TriCaster 2 Elite seek to maintain production quality by cancelling or reducing background noise from any source. The tool automatically detects voices and cleans up the audio using the Neural Voice Isolation tool, meaning remote callers in loud environments can be more clearly heard. www.newtek.com

Q-SYS reveals Next-Gen video and control models THE Q-SYS platform has been extended by QSC with the availability of the NC Series of network conference cameras and TSC Series Gen 3 network touchscreen controllers. Primarily designed for collaboration spaces, the scalable products are native to the Q-SYS OS for seamlessly integrating with any Q-SYS system. The Q-SYS NC Series includes three sizes of camera models. The NC-110 is the first fixed-lens, ePTZ camera available for the range, for smaller, wider rooms. Featuring a 110° horizontal field-of-view (hFOV) with digital zoom capabilities, the NC-12x80 (12x optical zoom, 80° hFOV) and NC-20x60 (20x optical zoom, 60° hFOV) models both offer motorised PTZ functionality. All three cameras include hardware for mounting above or below displays.

NC and TSC Series Any number of Q-SYS IP camera streams are allowed on the network, while decoding, scaling and bridging to the host PC with a Q-SYS USB-enabled edge device bypasses the need for programming or video matrix hardware. A consolidated AV stream

is delivered to any videoconferencing application, including MS Teams Rooms, Zoom Rooms or Google Meet via USB connection. A sleek redesign to the Q-SYS TSC Series Gen 3 touchscreens now provides

AV&C controls for any space. Available in three sizes, the TSC-50-G3 (5-inch), TSC-70-G3 (7-inch) and TSC-101-G3 (10.1-inch) feature increased resolution with improved screen transitions and integrated ambient light sensors for brightness. In addition, the 7- and 10-inch models offer customisable RGB LED status to indicate call or mute status and roomin-use, in addition to proximity sensors that waken the screens on approach. The user control interfaces (UCIs) can be customised with a unique drag-and-drop UCI Editor within the Q-SYS Designer software for building UCIs, DSP and control programming. www.qsc.com

Hall adds to Genesis Digital Matrix line THE LATEST product offering from Hall Technologies is a 4x4 matrix switcher in a compact 1U enclosure that is being billed as a simple and affordable option for multimedia presentations and digital signage in houses of worship. Becoming the latest member of the Genesis Digital Matrix series, the HSM-44-UHD supports HDMI resolutions up to 4K@60Hz (4:4:4). It also supports HDCP 2.2 and 1.4, 3D, deep-colour and PCM, Dolby, DTS and

HD audio standards. Users can save and recall multiple matrix routing configuration presets from the front LCD panel display, while the matrix also intelligently calculates EDID for each input based on the EDID of the connected sinks. The matrix includes a twoline character LCD on its front panel to display the current video routing and to facilitate creating or recalling presets. www.halltechav.com

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PRODUCTS

MX evolves for the hybrid world WITH THE infrastructure supporting live events gradually shifting from SDI video to IP networks, Broadcast Pix’s MX Hybrid production solution allows users to integrate a blend of SDI, HDMI and IP video sources to serve an increasingly hybrid world. The MX Hybrid provides eight network/ IP inputs alongside three SDI (HD and 4K) and one HDMI/SDI/analogue input. Four

programme (two SDI and two NDI) and aux assignable outputs are also onboard, while six keyers are available for DVEs and chromakey. The device is capable of built-in streaming, recording and audio mixing with hardware that fully supports 1080p/60 and 4K video resolution. The device also supports remote “browser-based” operation with GuestPix

remote guest integration as well as chat and intercom functionality, and provides what is described as an easy-to-use interface. Enhanced macros automate

repetitive tasks to ensure consistency of production.

DESCRIBING IT as the world’s first single-chip native 4K simulation projector, Barco has unveiled the F400-HR. A native 4096x2176 resolution projector, it promises pixel-shift and dynamic resolution capabilities that reportedly allow content to be lifted beyond 4K, to 6K resolutions or higher. In order to create a fully immersive

training environment, the visual aspect must not only be operating in real time but also occupy as much visual space as possible. The F400-HR’s attributes mean that the projector can scale images further without losing detail, aiding in the construction of larger and more immersive simulation suite setups. Designed specifically for NVG simulation applications, the purpose-built FS400-HR adds a dedicated IR light source that allows for individual control of visible light and IR intensity, with continuous dimming for training scenarios at any time of day. Satisfying the need for speed, the F400-HR is capable of processing at up to 240Hz at native 4K. The Belgian manufacturer promised that this doesn’t negatively affect

the visual quality, which follows high-speed action at “minimal” latency. This makes the projector suitable for demanding applications, including fast jet or motorsport simulators. The unit’s laser light source creates speckle-free images with a focus on colour, high brightness and a long life span. Barco’s proprietary Constant Light Output (CLO) process guarantees linear brightness performance over a set time for predictability. With limited energy consumption and a lifetime of up to 50,000 hours without the need for maintenance, the projector also ensures a minimal total cost of ownership (TCO). The F400-HR is also compatible with all current Barco FLD-type lenses, preserving past investments when updating. The F400-HR benefits from the nextgeneration proprietary Pulse platform, which possesses a high bandwidth software

architecture that enables multiple advanced processing operations, such as geometry correction, warping and blending and pixelshifting – in a single step. This ensures the lowest latency, a major advantage in the simulator domain. Barco Pulse also features an expansion port for optional modules to increase the range of standard inputs, and an API that allows partners to integrate custom management tools and value-added features to complement the software. Lastly, and because of the unique nature of simulation environments that often feature complex motion platforms and rapid sudden movement, the F400-HR is fully rated for shock and vibration, as the electronics, hardware and software are built around a unique H-beam-shaped aluminium core.

Barco’s F400-HR brings speed and clarity to training simulations

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Interfacio sources and places qualified AV professionals into sales, account management, engineering, project and delivery roles. Interfacio. Connecting you with the people who make your technology connect. www.interfacio.com Int: +44 208 986 5002 USA: 1-800 578 0144

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ETC focuses on accessories and updates

Wireless uplighting is no optical illusion

WITH THE availability of the F-Drive accessory, ETC is aiming to ease installation and increase compatibility with third-party LED fixtures. Designed as a centralised solution for controlling LED luminaires, the B-Box4 uses the RJ45 output of an F-Drive card to position up to four channels of Molex, terminal or RJ45 connections at any location. With the addition of B-Box, the F-Drive LED power system enhances flexibility by using third-party or ETC-manufactured fixtures and simplifies the wiring connection to the F-Drive unit. Available as an R12 rack-mounted or a W1 wall-mounted solution, F-Drive provides access to swappable driver cards and power supplies with critical components made accessible for maintenance and updates. ETC has also made two software updates available. With the release of Eos v3.1, customisation of the Eos lighting controllers is enhanced to suit any programming style or show. A new icon library adds images to both Direct Selects and Magic Sheets for immediately identifying targets. Custom encoder layouts can be created with the addition of Encoder Maps for all fixture types using a dedicated editor. Show control triggers are now monitored with a new

FEATURING SIX IP65-rated, batterypowered and wirelessly controllable LED PAR fixtures, ADJ has launched the Mirage Q6 PAK wireless uplighting system. The package includes a purpose-built charging road case, long-life batteries, long-range wireless receivers and an anti-theft alarm. Each individual Mirage Q IP fixture incorporates four 10W four-in-one RGBA colour-mixing LEDs, which combine to create a wash of coloured light with an 11° beam angle. By varying the intensity of the independent red, green, blue and amber elements within each LED, the fixture generates a wide variety of saturated colours. In addition to full colour-mixing control, the unit also features 64 built-in colour macros to aid with quick programming, in addition to 13 pre-programmed chase patterns to allow for easy setup when required. An 11,000mAh capacity internal lithium-ion battery provides up to 40 hours of operation from a single charge (20 hours with changing colours) and takes seven hours to recharge to full capacity. The fixture is further equipped with a built-in ADJ WiFLY EXR wireless DMX transceiver with a range of up to 760m. Requiring no cabled connections for power or control, the device is also equipped with an infrared sensor which can be used with either ADJ’s UC-IR remote control or the Airstream IR to quickly select colour macros and pre-programmed chase patterns. The base contains a large backlit control panel with four corresponding selection buttons, providing access to a menu system that can be used for DMX addressing, setting up standalone operation and for other operational options. Finished in reflective chrome, the waterproof IP65-rated fixture

F-Drive B-Box Timecode dropdown in the top bar of each display to depict the console’s interactions with other devices. A Hog 4OS v3.17 release focuses on improving cue lists and scenes, plots, playback and programming. Four user fields can be added to a master window for lists/ scenes. The options window for a list or scene can be opened from the list and scene directories by holding the pig and open keys when selecting a directory cell. www.etcconnect.com

Hog 4OS v3.17

has been designed to blend into any venue or stage set regardless of décor. A retractable handle folds out from the top of the unit for carrying and integral feet allow it to sit directly on the ground for setup, creating effective uplighting of walls and backdrops. A built-in kickstand can be used to angle the fixture in towards a wall for a tighter beam. Furthermore, a mounting point on the rear of the fixture can be used as a hanging bracket for suspension from a truss for downlighting. Measuring 143mm x 143mm x 211mm (LxWxH) and weighing 2.8kg, the Mirage Q IP has been designed for portability. The fixtures are supplied in sets of six with a custom-designed, heavy-duty road case featuring separate padded compartments for each of the six units, additional space for cables and accessories. www.adj.com

www.elationlighting.com

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strobe LED dots. Flanking the Rayzor lenses across the entire length of the fixture, these dual strobe arrays offer a large number of integrated FX and precise pixel control from the lighting console. With a wide zoom range from 5–45°, the Proteus Rayzor Edge and Proteus Rayzor Blade are said to provide well-defined mid-air beams and light curtains up to 12,500 lumens, as well as a wide and even wash coverage, making them suitable for stage washes, mid-air effects or audience blinders, even in adverse outdoor conditions. Proteus Rayzor Edge

Elation gets creative PART OF the manufacturer’s Proteus range of outdoor luminaires, the Proteus Rayzor Edge and Proteus Rayzor Blade from Elation are driven by six or 12 independently controlled 60W RGBW LEDs. The oversized front lenses create a large visual surface on the fixture that is enhanced by the manufacturer’s patent-pending SparkLED technology. SparkLED consists of individual white LEDs strategically placed inside the lens itself to create an additional layer, allowing designers access to new ways of creating interest onstage. In addition, the fixtures emphasise the RGBW lenses with two high-intensity strobe lines with a total of up to 256 cool white

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Chauvet sparkles in the rain DESIGNED FOR outdoor lighting setups, Chauvet Professional has released the onAir IP65 all-weather fixtures. Incorporating ±green adjustment and emulated red-shift control via CRMX wireless control and DMX, all three soft light LED panels have a 90+ CRI and TM-30 score. The largest of the three, the onAir IP Panel 2, is a 2x1 format, 372W panel that delivers 23,000 peak lumens. The 200W onAir IP Panel 1 is a 1x1 format panel providing 12,000 peak lumens and the 49W onAir IP Panel Min with a removable PSU produces over 2,500 peak lumens. Drop-in access speeds up the swapping of diffusion and intensifier filters without

tools, saving time when changing beam shapers. The panels use either a pin mount or truss clamp during setup and offer a direct 28V connection. Remote Device Management (RDM) and CRMX Wireless Control provide added flexibility. Designed to be easily dismantled, the onAir IP Panel 2 and IP Panel 1 fixtures come with integrated handles. The onAir IP series can output nearly any colour in the visible colour space, while delivering a bright output and precise colour temperature replication. Presets are available for colour adjustments with physical preset buttons included on the onAir IP Panel 2 and IP Panel 1 for

setting specific colour temperatures and storing and recalling custom colour temperatures and effects. A USB port has been integrated for software updates and onboard control. The panels can also be controlled via integrated CRMX wireless, Art-Net and sACN networking, in addition to a fivepin DMX. www.chauvetprofessional.com

Huracán season continues for Ayrton DESIGNED SPECIFICALLY for large venues, Ayrton has developed its latest range of long-throw fixtures. A 225mm front lens forms part of the optical system of 13 lenses delivering a 15:1 zoom ratio and a zoom range of 3.5–53°. The 1,000W LED Huracán LT delivers a light output of 51,000 lumens at a colour temperature of 6,700K, with a CRI greater than 70. Generating an ultra-intense beam, a removable diffusion filter erases the edge of the beam without changing its angle over the longest throw distances.

Adopting the same colour-mixing system as the Huracán Profile, the Huracán LT integrates a triple variable colour temperature corrector (CTB, CTO and CTP) that allows adjustment from 2,700–15,000K. There is also a fixed colour wheel with six complementary colours. For precise framing of any object regardless of the luminaire’s position, a framing section promotes the positioning of four shutter blades on a 100% surface area in all positions. The effects section includes two superimposed rotating gobo wheels,

each with seven HD glass gobos, a monochromatic multi-position effects wheel and a multi-layer CMY RGB wheel for unique multi-colour effects. Optical tools designed for beam shaping include two combinable image-multiplying rotating prisms, a 15-blade iris diaphragm and two frosts. An electronic dimmer provides flicker-free light adjustment from 0–100% without colour variation. www.ayrton.eu

All wash, no water with GLP WITH THE launch of the impression X5 IP Bar, GLP has developed an IP65-rated batten fixture featuring 18 40W RGBL LEDs and a 12:1 zoom range from 5–60°. The squared lens design creates a curtain of light at its narrowest angle and delivers homogenous washes to its widest beam. Features include selectable calibrated white points, a tungsten simulation channel, magenta/green correction, virtual colour wheel and variable CTC, together with twin layer effects including dynamic pattern macros. Both wired and wireless control are included as standard. The impression X5 washlight represents a new generation of LED automated washlights. Incorporating 19 40W RGBL LEDs, GLP’s new iQ.Gamut calibration

algorithm creates clean white points with CRI 90 at 6,500K. Calibrated exactly to the black body line, the impression X5 washlight can instantly switch to other fixed colour temperatures. Offering a 17:1 range from 3.5–60°, the washlight is distinctive by its circular front face design offering full pixel mapping with geometric patterns. Features include a virtual colour wheel with referenced LEE Filters, a colour quality control, magenta/green correction, a tungsten emulation channel with multiple simulations and a double layer effect option. Designed during the pandemic lockdown, the JDC Line 500 and JDC Line 1000 strobes offer a bright RGB pixel-mapping effect mixed by a special lens tube.

Sustainable lighting THE T11 luminaire is a static fixture from Robe, available in Profile, Fresnel and PC versions, and designed as a three-in-one solution in a single fixture for a more sustainable future. The MSL-TE 350W LED engine generates 16,760 lumens, giving 9,500 lumens from the T11 Profile, 9,600 lumens out of the T11 Fresnel and 9,400 lumens for the T11 PC. The T11 builds on the manufacturer’s MSL (Multi-Spectral Light) colour ideas and TE (Transferable Engine) technology, first developed to enable different and interchangeable LED engines in the same fixture hardware.

T11 PC

Featuring a 25mm pixel pitch, each pixel segment can be split into upper and lower parts. The second section of the fixture is a white light strobe, whose LEDs emit through the same lens tube as the RGB sources with the same level of pixel control.

impression X5 IP Bar

www.glp.de

A rapid-change front lens system transforms the T11 into the Profile, Fresnel or PC variants. High-definition optics are said to deliver accurate projection and beam control, with a 10:1 ratio and 5–50° zoom from the T11 Profile unit’s single, integral lens tube. The T11 Fresnel offers a Fresnel-style beam, while the PC version has a soft-edged PC beam, both with a 5–60° zoom. Other features include a virtually controlled CCT range of

2,700–8,000K, high TLCI and TM30-18 ratings and a CRI of 95+. The T11 Profile’s manual shuttering system is described as accurate and easy to use and, in the Fresnel version, it functions as an internal barn door. Integral to the T11 Profile is a manual 1° MagFrost (Magnetic Paddle System) for softening, an optional 5° and other frosts available. The T11 PC and T11 Fresnel fixtures have a 5° MagFrost as standard, plus a range of optional frosts. www.robe.cz

March–April 2022 PRO AVL MEA 77

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BUSINESS: ANALYSIS

Going live Neumann CEO Ralf Oehl explains how the company’s new Miniature Clip Microphone (MCM) system is set to conquer new markets for the German manufacturer by a mic clip. The Neumann solution is respectful of the instrument and sits perfectly without moving. The Neumann development team really started from scratch. The current electret solutions were lacking a natural sound signature and consistency. Without going into too much technical detail, we tried to transfer everything we had learnt in true condenser microphone technology – and in particular from our small-diaphragm KM series – to the electret field. You could say that the MCM combines the electret principle with 90 years of experience in

Neumann CEO Ralf Oehl FOR MORE THAN 90 YEARS, NEUMANN’S reputation has been based on reference microphones for recording, particularly in the studio environment. During that time, we have found true condenser microphones to be the superior solution for the exacting demands of our professional customers. Over the past few years, however, more and more customers – producers, audio engineers and artists – have been requesting a more compact solution from Neumann: microphones that work in the live environment. Microphones that are smaller and can be positioned closer to an instrument. What they wanted was the Neumann sound they knew from the studio but in a compact clip mic system for the live stage. So, about six or seven years ago, Neumann engineers started exploring whether it would be possible to further reduce the size of our true condenser technology to suit this application. But it quickly became obvious that the need for phantom powering would not allow such a small, lightweight capsule solution to work with wireless transmitters and that, on the other hand, a lower supply voltage would result in a considerable decrease in signal quality. We therefore turned to electret technology. We had never been particular fans of this technology, as it has a few downsides. But we decided to reinvent electret technology, giving it consistency and the typical Neumann sound. This is when the whole journey started. It was not so much a deliberate venture into new territory than an answer to many customer requests. We certainly had a lot of respect for the live market: it meant that besides providing superior sound, we had to tick a few more boxes. Products for this market need to be rugged, and ideally should support all existing wireless solutions. It’s also a matter of providing the right clamps and fixtures for expensive instruments, as well as modularity and ease of use. We had to master many new topics, and are fortunate to have close ties to our mother company Sennheiser, whose engineers have a lot of expertise in demanding live environments and shared it with us as a basis for our new development.

The MCM mic clips are respectful of the instrument The resulting clip microphone is a big step for Neumann. It features an entirely new capsule technology and has a solid focus on mechanics and accessories. In the design process, we took the time it needed to create a solution for the live sector. We took new paths and have learnt a lot in the process. Rental and event companies will be among our customers, as will theatres, concert venues and music production companies, and also sound engineers and instrumentalists, orchestras – especially the brass and strings sections – and big bands. For rental and production companies, return on investment also plays an important role, and the Neumann MCM delivers on that, too. In the design of the Neumann MCM, our development engineers paid special attention to sound consistency. The feedback we got from field tests has been overwhelming – not only did the mic sound fantastic, everybody was amazed that they needed very little, if any, EQ. The mic picked up the instrument and the sound could be used 1:1 without requiring adjustment. Another gap that we saw and closed was modularity. When something breaks on other models, you need to throw away the entire microphone. Therefore, the MCM and all its accessories are modular. If something should break, you just need to replace the cable or the clip. So even if the Neumann solution is a bit more expensive, this investment will quickly pay off. To round things off, we put a lot of effort into the mic clips. Instruments are valuable, and the last thing an artist wants is to get the instrument body scratched

manufacturing world-class true condenser mics. The capsule does not look like a typical electret capsule but rather has the aesthetics of a miniature KM capsule. The MCM has a typical Neumann layered design with many individual components. This ensured that we could optimise these components individually and independent of each other. Manufacturing and assembling these components is very demanding, but our production team have excellent mastery of the required techniques, and is supported by an exacting quality control. The MCM will be available globally through the Sennheiser sales network from the end of April, but it has already created a lot of buzz in the industry, with customers testing the microphone intensively over the past months. Their feedback has been overwhelmingly positive. In December, we outfitted some orchestras with prototypes, and the mics were also used on The Voice USA and the Harry Potter Ciné-concert tour in France, with FOH engineer Sylvain Denis commenting: “I enjoyed the smoothness of the sound, having hardly any EQing to do and no feeling of proximity.” We started the pre-order phase for the MCM in mid-January and, by the beginning of February, the expected launch quantities had already doubled. On availability, the mic system can also be rented out from leading rental companies who are excited to offer electret instrument mics with Neumann sound that will work with any wireless solution. The clips and clamps are superior, and the mic itself has a titanium housing, is superrugged and can be used in tropical regions. What they are also thrilled about is the modular design of the Neumann solution which will help them increase their ROI. Everybody is really excited about this first Neumann electret microphone solution – and we are, too. www.neumann.com

78 PRO AVL MEA March–April 2022

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U N LO C K T H E A R T I N A U D I O W I T H L- I S A S T U D I O Put the power of mixing and creating immersive sound anywhere - at your fingertips - with L-ISA Studio software suite. Made for speakers or headphones with binaural monitoring, L-ISA Studio can process 96 inputs and 12 outputs. Developed to improve the workflow and unleash the creative potential of concert-proven L-ISA technology, it seamlessly interfaces with leading digital audio workstations and show control software. Download and start creating. More information on www.l-isa-immersive.com

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