Pro AVL MEA March–April 2024

FAST AND FURIOUS IN THE UAE

UNITED IN FAITH AT AFH

SailGP arrives in Dubai for the first time TOA’S

NAMM AND ISE 2024 SHOW REPORTS

Editor’s Letter

I’m writing this introduction as I’m once again sat on the tarmac about to take off for Dubai. Between Christmas, NAMM and ISE, it’s hard to know where the last couple of months have gone; none of the team have been in one place for more than a few days it seems. I was also here in Dubai just before Christmas when the SailGP came to the city for the very first time. It promises pretty much all of the elements that spectators in Dubai would expect, and seems to have found an immediate home here. Technologically it’s also quite impressive. The whole production is handled remotely from the UK and practically everything onsite is

the race and there were problems with mobile connectivity that meant there were no working wireless links available for the crew, yet no one seemed overly concerned. In just three seasons everything has already become a finely oiled machine. You can find the full story on pp28–31. Thankfully, the incredibly busy tradeshow period at the start of the year featuring a back-to-back NAMM and ISE is now in the distance. Both shows were highly successful in their own right and, if you were unable to attend, you can get the low-down on p40 onwards.

d&b and L-Acoustics collaborate for Milan Manager

Audio technology companies d&b audiotechnik and L-Acoustics have joined forces in a new collaboration that aims to advance technologies and tools for the benefit of the industry.

The first stage of this alliance is a project that will see the two companies jointly develop a software platform, designed to “revolutionise” the configuration and management of Milan AVB networks.

Born from the companies’ shared commitment within the Avnu Alliance, the new software platform addresses some of the challenges that currently discourage widespread adoption of Milan AVB technology. The software will be a neutral and free-to-use solution that eliminates any branding affiliations to help further foster universal acceptance.

While d&b audiotechnik and L-Acoustics lead the initial development, the project actively encourages additional contributors,

PRG has introduced Aréel Groupe, a Côte d’Ivoire-based company incepted in 2008, as a PRG Alliance member. Catering for professional events including inaugurations, concerts, sports activities and corporate events, Aréel Groupe assesses technical requirements and provides sound, lighting, video and structural equipment for rental and sales.

issue of noise impact, working to define an exchange format between professional audio manufacturers’ software and environmental noise simulation software.

“Our two companies each have individual value propositions for our customers, and we will continue to enjoy healthy competition. However, we are also excited to be cooperating on technical standards that will provide value to our industry,” said Amnon Harman, CEO at d&b audiotechnik. “This new form of competing on one side and cooperating on the other side results in higher-quality products, faster development times and better functionality for all of our customers.”

“This ground-breaking collaboration underscores our shared commitment to advancing technology that improves workflow and delivers a memorable experience that connects artist and audience, and a safe and comfortable experience for crew and neighbours,” stated Hervé Guillaume, CEO at L-Acoustics Group. “Together, these projects will create benefit for the entire industry, reinforcing our collective

Ross Video partners with NDI Aréel Groupe joins the PRG Alliance

According to Aréel Groupe, the events market in Côte d’Ivoire is flourishing, and the trend extends to neighbouring nations, indicating potential growth for the sector in the future. The company has collaborated with PRG on significant events previously, such as the launch of the CAN 2023 draw and the FIFA draw. “We aim to pass on our values, knowledge and expertise to help companies that join the PRG Alliance and their founders to achieve lasting success,” said Thierry Kra, general manager, PRG France and Africa. He added: “Another crucial aspect of our initiative is the desire to reduce our carbon footprint as much as possible at the many events we take part in on the African continent. We strive to make maximum use of local equipment and resources, thereby making a significant contribution to environmental sustainability.”

www.areelgroupe.com

www.prg.com

Strengthening MENA motorsports

our carrier-agnostic approach with Riedel’s expertise, we have set the stage for continued excellence and groundbreaking advancements in the dynamic realm of global connectivity.”

L–R: Luthfur Khan, May Neama, a Riedel motorsports specialist, Veer Passi and Michael Martens

WORLD MENA

The project was completed within three months, with the first stage of Kalaam’s proposed plan having already reduced the round-trip delay from Riedel’s Milan point of presence (POP) to the Middle East POP from 120ms to 70ms – a 41% improvement. Moreover, a new POP in Manama, Bahrain,

Ross Video and NDI have announced a strategic partnership which enables Ross to broadly license and adopt NDI technology across its portfolio, extending and enhancing existing support for the NDI standard. This collaboration will allow Ross to incorporate the most up-to-date AV networking features of NDI across its portfolio through NDI Advanced.

“Ross Video has supported the NDI standard for many years and is excited to be

taking this next step in supporting enhanced versions of NDI, NDI Advanced and the evolution of NDI connectivity,” commented Jeff Moore, executive vice president and chief marketing officer at Ross Video. “We’ve found NDI incredibly useful and look forward to being on the forefront as things advance.”

“NDI is excited to have Ross Video on board as a flagship adopter of NDI Advanced,” said Nick Mariette, director of

product management at NDI. “A cornerstone company in the broadcasting industry adopting our most advanced technology and formats is the best demonstration of how NDI has grown to become a pervasive industry standard, capable of performing to the benchmark set by leaders in the segment.”

www.ndi.video

www.rossvideo.com

Amnon Harman Hervé Guillaume

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Riyadh Zoo breaks free with Martin Audio’s WPS

SAUDI ARABIA

AVL integration company Proline, based in Saudi Arabia as well as Lebanon, recently equipped a new outdoor zone at Riyadh Zoo –part of a new look for the visitor attraction, originally founded in 1987.

Proline chose Martin Audio’s Wavefront Precision WPS, with lead project coordinator, Elie AlKhoury, stating it would “elevate the zoo’s auditory experience”. The integrator was keen to also meet all industry standards.

Incorporated into the contract was the development of an outdoor stage, in which Proline’s approach was focused on creating a seamlessly synchronised environment where music, visuals and lighting would integrate and harmonise to deliver an immersive and captivating outdoor experience.

Before the installation, a demonstration of the sound system had been conducted for the client, enabling them to experience first-hand the capabilities and performance of the system. AlKhoury said: “Proline prioritises transparency and client satisfaction, and by facilitating such a demonstration we knew the clients would be both well-informed and confident in their choice.”

For the Riyadh Zoo project, the components selected were curated under the expertise of AVL engineer, Houssein Ramadan. WPS enclosures were ground stacked, left and right of the stage, each featuring two beams and four speakers. AlKhoury said: “This sophisticated configuration, with a total of four beams and

eight speakers, underscores the precision and versatility of the Martin Audio Wavefront Precision series, providing a balanced and immersive sound experience, which showcases the advanced capabilities of the audio system.”

The system’s task was to reproduce a diverse range of sources, including live entertainment onstage, background music and voice announcements. Its integration into the general safety and evacuation system aims to boost visitors’ immersive auditory experience but also contribute significantly to the venue’s overall safety and security.

The modelling and visualisation process was carried out by a sound engineer from PRO LAB, Martin Audio’s distributor, using Martin Audio’s 3D Display. “This was based on his deep understanding of sound dynamics and the unique requirements of the project,” continued AlKhoury. “We benefitted significantly from their technical support and their dedicated team of sound engineers played a crucial role throughout the implementation process, ensuring a seamless and optimised sound. This support underscores the strength of partnerships in achieving successful project outcomes.”

Summarising the success of the integration, AlKhoury said that Martin Audio’s Wavefront Precision has made “a transformative addition” to the site’s sound distribution. “This system excels in reproducing every nuance and detail with remarkable clarity and delivers a high-

fidelity auditory experience,” he said. “It not only rectifies any previous limitations but sets a new standard for excellence in sound reproduction.”

www.martin-audio.com

Genelec studio monitors head downtown

SOUTH AFRICA

Downtown Music Hub, located at the intersection of Fox and Nugget streets in central Johannesburg, has recently acquired a pair of Genelec 8350 Studio Monitors. This acquisition, facilitated by Prosound, marks a significant upgrade for the hub, which is said to have a deep-rooted history in South Africa’s music scene. The hub, previously known as Downtown Studios, was the cornerstone of Gallo Records, a major player in the music

industry before the advent of democracy in South Africa. Despite the challenging times of apartheid, it was a melting pot of cultural diversity, hosting artists from various backgrounds, many of whom achieved international fame.

After the acquisition of Gallo Records by the Times Media group, Downtown Studios went through a phase of transformation. The National Arts Council acquired the property in 2009, opening a new chapter for the establishment.

Cadac to rebrand and divide

In a strategic move to redefine its presence in the pro audio industry, Cadac has announced that it is dividing into two distinct, independent business units, reflecting the current evolution of its product development activities –Cadac Consoles and Cadac Immersive.

Cadac Consoles’ product development and sales and brand management will remain UK-based. The business will rebrand under a new logo and corporate identity, with a renewed product

James Godbehear, director of marketing and business operations, Cadac Consoles, said: “While we have kept a very low profile throughout the tumult of recent years, behind the cloak of silence we have been solely focused on developing our next-generation mixing system – a development that

Today, Downtown Music Hub is viewed by many as a cultural beacon. It has undergone extensive renovations and technical upgrades, including the introduction of the Genelec 8350 monitors. Their integration with GLM software is said to allow for “precise calibration, ensuring an optimised monitoring solution in any acoustic space”.

www.genelec.com

stays true to our core values of a nocompromise audio first design, coupled with a powerful but highly intuitive and uncomplicated GUI for control of some very complex functionality.”

“With the creation of the Cadac Immersive division and the additional available R&D resources,” said Emily Watson, head of R&D, “we are actively exploring the possibilities of integrating immersive technology into the CM System and the exciting potential of object-based mixing. This would open up huge creative opportunities for the sound engineer with this fascinating approach to mixing.”

Cadac Immersive, headquartered at its Beijing R&D facility, will focus on marketing its range of proprietary standalone immersive audio products, aiming to cater to the growing demand for immersive and 3D audio experiences across theatre, fixed installation and cinema applications.

Godbehear added: “This strategic rebranding reflects Cadac’s commitment to staying at the forefront of audio innovation and responding to the evolving needs of the industry. It is testament to our dedication to pushing the boundaries of audio technology and delivering products that empower creativity. The Cadac Consoles and Cadac Immersive business units will collectively contribute to help shape the future of professional audio, providing unparalleled solutions for audio-driven applications worldwide.”

www.cadac-sound.com

Together, we look forward to delivering exceptional value to our customers

We are thrilled to announce our official partnership with REDMOUSE (www.red-mouse.com), who will be responsible for sales, marketing, and customer relations for TAIDEN products in Turkey.

IPC selects Bosch’s Dicentis system

A Dicentis conference system from Bosch was selected by the organisers of the recent International Paralympic Committee (IPC) General Assembly and Conference which took place in Manama, Bahrain. Five new nations were added to the IPC family, taking the membership to 208 countries, and a pair of international federations recognised as governing bodies for para-sports.

The event saw participation from more than 350 attendees from different national Paralympic committees, international federations, regional organisations and international organisations of sport for the disabled. Smooth communication was aimed for with an extensive Dicentis system, which comprised 201 delegate devices, including eight multimedia devices, seven discussion devices with voting and 186 discussion devices with touchscreens. The conferencing solution for the event was provided by local Bosch partner, Mohammed Fakhroo & Brothers. The Dicentis discussion device with voting was specifically chosen for the general meeting, thanks to its accessible options for visually impaired participants. The orientation sheet as an optional accessory added noticeable braille cells to help distinguish between the different voting buttons. Added to this, audible feedback from the device helped to facilitate voting –when a participant casts a vote, a beep sounds in their headphones to confirm the action.

it provides options for being inclusive to people with impairments,” observed Vipin Ravindran, the sales manager of Mohammed Fakhroo & Brothers. “It’s not just the delegates with hearing difficulties who benefit from using the Dicentis conference system, but also the visually impaired, and it has been well-received by the committee.”

To further aid communication at the event, interpreter booths ensured that delegates could select between six languages to hear proceedings clearly. Ahead of the general

These meetings relied on a CCS 1000 D digital discussion system with digital audio processing and microphone and loudspeaker performance.

Varun Raj Khanna, technical manager at Mohammed Fakhroo & Brothers, said: “Thanks to the advanced features of the Dicentis system and its API customisation using MVI AudioVisual’s Easy Conf software, we were able to provide a state-of-the-art conference experience for this year’s general assembly.” www.bosch.com

Sennheiser takes training to Dubai

of workshops across South Africa and Namibia, as part of the Meet the TeamConnect Family Roadshow.

Having taken place in Johannesburg, Cape Town and Windhoek, the workshops were aimed at showcasing Sennheiser’s latest solutions for higher education, corporate meeting spaces and auditoriums, including TeamConnect for conferencing.

Aimed towards integrators and business owners, products highlighted include the TeamConnect Bar S, TeamConnect Bar M video bars, TeamConnect Ceiling 2 (TCC 2) and TeamConnect Ceiling Medium (TCC M) ceiling microphones.

Ashley Coleman, general manager at Sennheiser SA, said: “Our TeamConnect video bars can be integrated with our existing products, as well as other leading meeting room technology. These products greatly

Custom Consoles desks go live

Custom Consoles has announced the completion and installation of control room desks for Radio Botswana at the network’s studios in the national capital. Totalling 20 desks and auxiliary technical furniture, the project formed part of a large-scale system upgrade by Dega Broadcast Systems. Radio Botswana was established in 1965 in preparation for the new Republic of Botswana.

Broadcasting in the Setswana language, its programme line-up includes news, parliament debates, education, culture and general entertainment.

alongside demonstrations of both new and established Sennheiser products. Furthermore, these sessions, led by Sennheiser technical application engineer, Christian Almer, introduced users to the wider Sennheiser ecosystem and offered insights on product configuration, connection and the integration of Sennheiser devices using the brand’s Control Cockpit Software.

The workshops were attended by a diverse audience, including dealers, systems integrators and representatives from the education and business sectors, including those from leading universities in both South Africa and Namibia.

“After recently attending the Sennheiser roadshow, it was good to see the continuation

The workshops included hands-on technical training sessions and real-life usage examples,

www.sennheiser.com

“The assignment included radio presentation control desks plus associated facilities designed to provide the combination of dimensions and radio-specific features required for additional programme participants or studio guests,” said John Cleaver, Dega Broadcast Systems director. “Many of the desks incorporate noise-reducing worktop surfaces and concealed ducts for audio, mains and related control cables. Electrically powered height adjustability was specified in several instances, giving presenters the option of working seated or standing.”

“Among the desks provided for this project are a central control and production studio control room workstations, a hub desk, news studio control desk, an assignable control suite and a listening room console,” added Gary Fuller, Custom Consoles sales manager.

The listening room control console has a worktop with curved corners. Equipped for use by a single operator, it accommodates desktop loudspeakers, a communications panel and computer monitor. The studio guest table is a unit accommodating up to six guests, each with an adjustable boom-mounted microphone and acoustically treated surface to minimise script-handling noise.

A desk from Custom Consoles’ M-Desk Technical series was chosen for the news studio, plus another for an assignable control suite, along with desks from the long-established Modular-R series. The news studio control desk is a rectangular structure spanning four bays plus an integral 13U equipment pod. Configured for use by a presenter and production assistant, or self-op, it includes desk-mounted computer monitors and microphones plus an acoustically treated presenter desk surface.

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Community performing arts hub saves power

Jabulani’s Soweto Theatre, designed by Afritects, has acted as a community hub for performing arts and creative expression over the last 10 years. 2023 marked a technical upgrade to the venue coordinated by technical manager Lebugang Andrew Mnisi, with Nkululeko Mazibuko responsible for the lighting department’s new fixtures.

Twelve Robe ESPRITE moving lights were delivered by DWR Distribution, joining the venue’s existing Robe LEDWash 300 and 600E Spot moving lights installed in 2012, alongside the LEDBeam 150s purchased in 2019. The ESPRITES, which will be deployed in the Soweto Theatre’s largest closed performance space, the Gibson Kente Theatre, are “a big leap forward,” said Mazibuko.

The theatre is host to a diverse range of theatrical and drama performances, also regularly used for concerts, music-based TV programmes, gospel shows, musicals, DVD

part of the theatre, this was Soweto’s original performance space and can accommodate up to 10,000 people in its current format. The LED light source was also important to save power – which is a constant challenge in South Africa with daily load shedding. Mazibuko said that the ESPRITES will “allow us to broaden our imaginations with all their features so we can really push the boundaries of what is possible to evoke with lights and lighting. These new fixtures will help us make people’s work look great, and that’s what we enjoy making happen.”

Soweto Theatre’s general manager, Vincent Motau, commented: “Soweto Theatre is constantly improving its technology to broaden the horizons of an artist’s creativity while also limiting the problems that they might encounter. As a result, our theatre practitioners now have more time to contemplate and expand their creativity.”

Oasis Enterprises equips Al Hadath

SAUDI ARABIA

ETC dealer, Oasis Enterprises, has supplied ETC control, networking and fixtures for Al Hadath’s new broadcast studios in Riyadh, Saudi Arabia. The Al Hadath news channel – which specialises in both regional and global current affairs – has launched its new studio as part of an ongoing expansion of the channel’s operations in the region.

of ETC’s products. Using the Eos Apex console – the latest in the field – brought great value for the project and fulfilled the operator’s requirements,” commented Oasis lighting system manager, Karim Abdel Massih.

“The Al Hadath studio project reflects our commitment to pushing the boundaries

modern, dynamic space. Oasis Enterprises’ fixtures of choice were ETC’s ColorSource Spot jrs – these were controlled by Eos Apex, said to be selected for its powerful colour tools. Also chosen were Response Mk2 DMX Gateways for networking and data distribution in the studios.

“Our goal was to enhance the visual experience and flexibility of the studio and we did this using the superior capabilities

experiences,” added Massih. ETC regional sales manager for the Middle East, Mark Larcombe, commented: “The impressive newsroom is sure to be a leading studio in the region and we are happy to be a part of their latest expansion plans using advanced technology.”

www.etcconnect.com

SOUTH AFRICA

An OB princess is crowned

SOUTH AFRICA

Broadcast Solutions has built a second all-IP outside broadcast truck for South African broadcaster SuperSport. The new unit, IP2, is a slightly smaller sister unit for the giant IP1. The new truck is largely identical in specification to the first, including comprehensive production facilities such as a Sony XVS 9000 4 M/E switcher, a 64-fader Calrec Artemis audio mixer and onboard EVS replay servers. Sony cameras include the 3500 Ultra HD, 5500 super-motion and 4800 ultra-motion cameras. The SMPTE ST 2110 family of standards provides connectivity, with Imagine Communications SNPs for SDI/IP conversion as well as video processing and multiviewing.

“IP1 – we call it ‘The Queen’ –is designed for the blue ribbon events on our sports calendar,” said Prishen Govender, senior manager, technical broadcasting, outside broadcast services at SuperSport. “We quickly realised we needed a slightly downscaled version. IP2 – ‘The Princess’ –works the same way but is just slightly smaller.”

IP1, also built by Broadcast Solutions, was at the absolute size limit for South African roads, with a trailer 16m x 4.3m x 2.6m (LxHxW) when travelling. IP2 is 4.5m shorter, so it can be used at venues where IP1 would not physically fit. The Sunshine Golf Tour is said to be an ideal application, where the larger truck would be too big to get into the golf estates.

Solutions, added: “Having an all-IP infrastructure means we can minimise the rack space and give as much room as possible over to the comfort of the operators. Even in this smaller unit, SuperSport will be able to readily host a large crew.”

www.broadcast-solutions.de

www.hi-app.de

SuperSport is standardising on the hi human interface system developed by Broadcast Solutions. This control layer provides auto discovery and easy configuration of all the system and a “very intuitive” user environment. It also allows for interconnection between IP1 and IP2, so for large-scale productions the two could act as one.

“We did a lot of research and talked to many industry professionals around the world, before inviting Broadcast Solutions to build IP1,” SuperSport’s Govender said. “It made an immediate impact on our operations, so we took the bold business decision to build a second truck immediately, and once again Broadcast Solutions have delivered against our very specific requirements.”

Sascha Franke, director of project delivery at Broadcast

L-Acoustics goes to Neverland

Braamfontein-based Joburg Theatre has recently invested in an L-Acoustics audio system, delivered just in time for Janice Honeyman’s production of Peter Pan set on The Mandela Stage. The theatre’s previous L-Acoustics sound system was installed by audio engineer Richard Smith in 2002. In 2018, he joined DWR Distribution, also L-Acoustics’ Certified Provider Distributor for South Africa, so when the distributor secured the

contract for the new system, it was Smith who designed it.

“The previous system lasted 21 years, a testament to the reliability of the product,” said Smith. “The new system sounds

Joburg Theatre’s head of audio, specified a left, centre and right line array system with flown subwoofers, fills and surround speakers. The arrays cover everything, allowing the audio engineer to place different instruments wherever desired and hear them clearly from anywhere in the auditorium.” The system consists of left and right main arrays consisting of nine Kara IIi per side.

The left and right sub-arrays are made up of three SB18 IIi flown behind in a cardioid configuration. The centre array consists of four A15 Focus and one A15 Wide, while the centre subs are made up of six KS21i, flown in two columns of three also in cardioid configuration. The fills are four X8 and the front fills are made up of six 5XT. The surround speakers include four X8 downstairs and another four X8 upstairs. The system is powered by LA4X, LA8 and LA12X amplified controllers.

While the system is a permanent installation, the small 5XT front fills can move physically depending on the orchestra pit configuration, with custom-made brackets allowing them to be mounted on the stage front regardless of audience configuration. Running the audio is the theatre’s DiGiCo SD9, with the audio upgrade including an additional AES digital output card to run the system digitally, with automatic analogue redundancy.

Bozo said: “I’ve always said that when it comes to L-Acoustics, it takes an effort to mess up the sound! But of course, with an ageing system, it began to show signs of performance decline. Because working at the Joburg Theatre has been my first and only job, I’ve only ever known L-Acoustics sound. While I’ve always been a fan of the brand, the new system just blew me away.”

He added: “The DWR team were amazing. They always consult, are very informative, have a story to tell behind each product and we could count on the installation team. This has been a wonderful experience for me.”

www.l-acoustics.com

Sky News Arabia sets up studio automation

Long-time Vizrt client, Sky News Arabia, has adopted the Viz Mosart studio automation software as it moves away from a manual process-based approach in its newsroom.

Studio automation had been on the news broadcaster’s radar for some time and driving efficiency and simplifying workflows were reportedly the primary factors behind its decision to adopt the software. “When we first investigated studio automation, we realised it wasn’t really used in the UAE region where our headquarters are based, so we did not have a frame of reference. Our workflows are more complex than many broadcasters in other regions, with the need for multiple language broadcasts of the same content,” Suresh Kumar, director of technology at Sky News Arabia, recalled. “We like to tackle technical challenges, so while some studios may adapt their workflows to suit studio automation, we wanted to adapt the studio automation system to our existing workflows instead.” In particular, the system needed to be supportive of changes to content right up to the point of distribution. “We have a very dynamic newsroom and, given the nature of the business, we need to be prepared for last-minute changes,” added Kumar.

“We do have a very acute focus on maintaining the quality of our shows,” said Wissam Ayoub, director of studio operations at Sky News Arabia. “We know from our own research that our viewers are accustomed to seeing things presented within the same style and high level of quality that they have become used to,

and they do value that kind of consistency in our production. Maintaining that becomes much easier when you are using Viz Mosart.”

The previous use of Vizrt products also meant staff had familiarity with the brand and hence a reduced need for preparatory training. Varoujan Joulfayan, head of

creative at Sky News Arabia, said: “With our existing Vizrt ecosystem, it really was a ‘no-brainer’ to adopt Viz Mosart as well. The entire integration process was seamless.” As a result, the software is now being used to automate a wide variety of key studio systems, including NRCS, a Grass Valley Kayenne vision mixer, an Avid FastServe playout server and a Miranda NV9000 video router controller. The project – originally estimated to take a full six months – was actually completed in half the time and the team at Sky News Arabia also went on-air with Viz Mosart a week ahead of schedule, with no errors encountered. “It gives us pride to have accomplished this project effectively and in such a short time frame,” said Ayoub. “The fact that we have a great team here and could call on the assistance of the Vizrt team made a massive difference in completing this project, not just to schedule but ahead of time.”

“We wanted a studio automation platform that was dynamic and efficient, and a supplier that is enthusiastic and wants to make sure we extract the maximum value from our system, and that’s exactly what we got with Viz Mosart,” concluded Kumar. www.vizrt.com

SAUDI ARABIA

SOUTH AFRICA

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Focusrite acquires OutBoard and TiMax solutions

Focusrite has announced the acquisition of UK-based Sheriff Technology Limited, trading as OutBoard, the company behind TiMax immersive audio solutions and OutBoard stage rigging motor control products and PAT4 enterprise electrical safety testing. The brands join the Audio Reproduction division of the Focusrite Group alongside Martin Audio, Optimal Audio and Linea Research.

Founded in 2001 by Robin Whittaker and David Haydon, OutBoard creates entertainment technology solutions for live performances, event management and immersive sound experiences. TiMax audio and show control technologies including Soundhub and Tracker D4 products are frequently used for Broadway and West End theatre shows, and it is anticipated there will be many opportunities to collaborate with sister Focusrite brand, Martin Audio.

“The acquisition of OutBoard represents another strategic expansion within our Audio Reproduction business, enhancing our product range and market reach,” commented Focusrite CEO, Tim Carroll. “We are looking forward to integrating OutBoard’s technologies and exploring new opportunities in this segment of the rapidly evolving audio industry.”

Whittaker and Haydon added: “Joining forces with Focusrite marks an exciting new chapter in OutBoard’s story. We are thrilled to see our products reach new markets and benefit from Focusrite’s global presence and brand recognition.”

Vision Media invests in Absen

Founded by Steven Wolhuter in 2001, Vision Media specialises in the hiring of AV equipment for business presentations, product launches and special events, ranging from projectors, PA systems, lighting, stands and dancefloors. Wolhuter recently invested in Absen’s NT 2.9 LED panels from DWR Distribution, marking the company’s first purchase of LED screens. “With a lot of drive, determination, ambition and imagination we have developed what we are today,” explained Wolhuter. “Our growth and success are based on meeting clients’ needs, going the extra mile and, in doing so, establishing long-term bonds and relationships. With this in mind, we were pleased to include applications.”

DWR’s Dylan Jones was pleased to facilitate the sale to Vision Media and he visited the company to present in-house training. “Steven and his crew are an awesome bunch, and it’s wonderful to have the assurance that the screens are in capable hands,” he said. “Vision Media run a tight ship, the warehouse is neat and clean, and there is a commitment to empowering young staff.”

www.absen.com

www.focusriteplc.com

www.outboard.co.uk

www.timaxspatial.com

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Riedel’s RefBox is certified by FIFA

Riedel Communications’ RefBox video review system has been officially certified as part of the FIFA Quality Programme for Video Assistant Refereeing (VAR) technology. The certification affirms the system’s compliance with FIFA’s rigorous standards for quality, latency and synchronicity.

The FIFA Quality Programme is aimed at improving the game and protecting the players, clubs and associations by endorsing products that comply with the highest safety and quality standards. Riedel’s achievement of the FIFA Quality certification authorises professional football competitions, leagues and federations to use the Riedel RefBox video review to fulfil their VAR and VAR

Light requirements over the next four years.

Riedel’s multicamera review system underwent a series of thorough tests evaluating its video feeds’ synchronicity and latency, as well as the video quality of the VAR system output.

Matthias Czastrau, product manager, strategy and innovation, said: “We take pride in playing our part in enhancing the integrity of the sport by empowering the officials on and off the pitch with reliable and intuitive solutions. And now, we are cementing our position as a trusted technology partner for football leagues, clubs and broadcast service providers worldwide.”

www.riedel.net

DLC Events gets inclusive

DLC Events, a specialist in conference technology throughout the Middle East, has enhanced its service offerings through an investment in Televic solutions with the support of longstanding partner NMK Electronics.

The recent acquisition by DLC Events, including 420 Televic Confidea Flex conference microphones and three Plixus MME control units, is said to represent a leap forward in its mission to provide “unparalleled support” to conference organisers.

With inclusivity in mind, the Confidea Flex is designed to cater to visually impaired users, ensuring DLC Events delivers a comprehensive conference experience for all participants. This move also caters to the evolving needs of its

diverse clientele, ranging from event agencies to government bodies and corporate clients.

The integration of Televic systems has proven invaluable, particularly at the recent annual Abu Dhabi Strategic Debate. The equipment’s reliability and versatility, backed by support from NMK and Televic, is said to have contributed significantly to the event’s success and client satisfaction.

Jesse Dullabh, key account manager at NMK, said of the partnership: “We are thrilled to have been working with DLC for many years. It’s a great relationship built on mutual respect and shared goals.”

www.nmkelectronics.com

www.televic.com

AtlasIED elevates further with Aimline WORLD

AtlasIED has formally announced a significant equity stake in Aimline. The investment brings the German loudspeaker manufacturer’s products into the AtlasIED product portfolio.

Since its inception in 2015 in Warendorf, Aimline has produced a range of digitally steerable loudspeakers and arrays for various

Power of Ethernet (PoE) models. Aimline’s solutions are specified for transportation hubs, houses of worship, education, museums and courthouses.

“As we explore ways to expand our portfolio with additional premium products, Aimline was one company whose products and technology stood out to us for their elegant design but also their excellent quality and performance,” explained AtlasIED executive VP, Matt Czyzewski. “Our investment in Aimline allows us to immediately offer customers excellent quality steerable loudspeakers for use in a range of applications.”

www.atlasied.com

user for more than two decades, UAE production company Artes has become the first in Dubai to take receipt of the American manufacturer’s Panther linear line array.

Delivered in late November 2023, Artes’s latest investment includes 20 Panthers in 80° coverage variant and four in 110° coverage, augmented by 12 2100-LFC subwoofers and four Galileo Galaxy processors. The equipment was supplied by local distributor Venuetech.

“We are a good friend of Meyer Sound and have been using their systems here now for almost 22 years; Panther was a logical next step for us,” said Artes technical director Mendes Nelson. “The system is very flexible,

Artes takes ownership ULTRA Events invests in d&b’s AL90

South Africa-based events specialists, ULTRA Events, recently invested in the A-Series line array system from d&b audiotechnik, specifically the AL90 loudspeaker. With significant experience in deploying d&b line arrays on projects ranging from live events to festivals and houses of worship, the purchase of the AL90s was said to be a natural progression for ULTRA Events.

“We wanted to remain within the existing d&b ecosystem,” explained Costa Champanis, owner of ULTRA Events. “We are committed to the brand and to providing our clients with consistent audio solutions. The AL90 is the ideal solution for medium-scale sound reinforcement, where up to four cabinets can be flown in vertical columns or mounted as horizontal arrays. This versatility means we can cater for a variety of events and stage setups. The A-Series also complements our existing stock of d&b V-Series loudspeakers.”

ULTRA Events has collaborated with Stage Audio Works (SAW) on several projects over the past few years, so when it came to highlight its audio solutions, the experts at SAW were able to provide recommendations and advice. This significant investment makes ULTRA the owner of the sole A-Series system available for rental in Cape Town, and one of only a handful in the entire country. Thanks to the wide sound dispersion of the AL90s, full

we used it was for an Indian show, and they were really pushing things to the max. Panther handled it easily. Then we used it for the Jazz ensemble Snarcky Puppy, which was more the right type of band to test everything thoroughly. What is particularly noticeable is the amount of detail you get at softer volumes. We also invited a lot of other engineers and companies to come and listen during this event and received great comments.”

“Artes has a long relationship with Meyer Sound, so there were no issues from a technical perspective,” noted Meyer Sound MEA sales manager Andrea Granata, “and even integrating with their older system, it’s very simple. Also our previous systems, like LEO, provided excellent sound and a lot of power but the thing that never stops surprising people when they first experience Panther is how small it is compared to what you hear.

much greater output in a far more compact and lightweight package. The size of the cabinet, its power and its very light weight made it pretty impressive for us. We then got to experience the system first-hand at the Roskilde Festival in Denmark. The detail at lower volumes is simply incredible, but the system also allows us to cater to bigger and better shows. Currently, we are augmenting the Panthers with our existing Mica cabinets,

Traditionally, Meyer was always known for big boxes, but no one goes to a show and wants to see the speakers anymore. We’re seeing an approach towards more immersive experiences or more elaborate panning recently, and Panther is really flexible for these uses – being much faster to deploy and tune.” When it comes to training the Artes team on the new technology, the company’s longrunning relationship with Meyer Sound makes it a straightforward process. “The main goal for us is getting the new guys up to speed learning AVB; however, the Nebra platform makes everything very easy,” explained Artes system engineer Josin Francis. “Everything’s there; you can see the whole network and all

events whilst the A-Series was being installed permanently at the church. On hearing the kit,

www.stageaudioworks.com

www.ultraevents.co.za

The ULTRA Events Team

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CTME brings pro AV to the UAE dunes

Liwa Tal Moreeb Festival provides the region’s most talented four-wheel drivers and bikers an opportunity to take part in challenges including motocross, cameland horseracing, along with a classic cars competition and freestyle drifting. The festival is a 25 day-long celebration of UAE heritage, with the highlight being a race to the top of one of the world’s highest sand hills.

CT supplied a rig and array of 78 Panasonic RQ35 video projectors to create a visual backdrop to the event displaying 13,200m 2 of video content across the Tal Moreeb dune. The content was designed by Artists in Motion, which curated films that told stories of Emirati culture, also displaying hill climb statistics and data. For sound, CTME deployed a system comprising 32 d&b audiotechnik KSL line

array cabinets, complemented by 18 SL-SUB subwoofers. These were strategically arranged into nine ground stacks, each consisting of four KSL cabinets over two SL-SUBs.

To enhance the ambience for guests in the LIWA food truck area, CTME deployed 30 L-Acoustics Syva speaker systems. These speakers were connected via a wireless satellite network.

Partner: Seal Telecom

The

www.ct-group.com

lot of

DAS Audio unveils

ALMA platform in the Middle East

Procom Middle East recently hosted a training event that also served as the regional launch of DAS Audio’s ALMA solution at its state-of-the-art facility in Dubai. Taking place in late November,

their goals quickly, effectively and reliably. Attendees from various regions, including Romania, Albania, Bosnia, Poland, Jordan, Georgia, Kazakhstan and Turkey, along with key representatives

the ALMA platform, but also focused on the capabilities of the software, which enables an ecosystem of networked management and control of systems and processors. Developed in-house by the Spanish manufacturer for install and touring use, ALMA powers DAS’s next generation of speakers and control systems, such as the ARA line array. It boasts a graphically advanced UI that allows users to manage the systems instantly and intuitively, reducing system configuration time and reportedly helping them achieve

in first-hand experiences and in-depth insights into ALMA’s multifaceted functionalities.

“As the hosts of this event, we are delighted to have collaborated with DAS Audio in unveiling ALMA,” expressed Rami Harfouch, business development manager at Procom Middle East. “We are very excited about the extended opportunity it brings to our customers, as it enables DAS Audio to deliver an end-to-end audio solution for venues.”

www.dasaudio.com

www.procom-me.com

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AtlasIED appoints Simon Godfrey for EMEA sales Harry Lister promoted by PRG Middle East

AtlasIED has appointed Simon Godfrey to director of sales for the EMEA region. In a newly created role, Godfrey is responsible for sales of all AtlasIED product lines, including loudspeakers, the AtlasIED Atmosphere audio processing and control system, the GLOBALCOM enterprise communications platform and the AtlasIED IPX Series. He will report directly to executive vice president Matt Czyzewski.

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Godfrey has over 20 years of experience in audio and entertainment sales. “Simon is a sales pro with an impressive background in international sales and extensive relationships,” said Czyzewski. “With a proven track record of creating and implementing successful customer success strategies, Simon will play a pivotal role in elevating our sales efforts and driving sustained growth in the region.”

Godfrey said: “I look forward to contributing my skills to drive sales initiatives, develop and

www.atlasied.com

Jan Pagès Carreras

Production Resource Group (PRG) has announced the appointment of Harry Lister as director of account management, a development the company says marks a significant milestone in its Middle East expansion. In this new role, Lister will spearhead the strategic growth of key accounts across the region, fortifying the client portfolio

continued success and growth of the company.”

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Harry Lister

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Mina Goumenaki to manage PRO LAB video brands

Mina Goumenaki has recently joined PRO LAB as brand manager for its video brands. She will now be responsible for building and maintaining relationships with video brands, creating portfolios offering a full solution to clients as well as pre- and post-sales support, and training.

Goumenaki started in the industry working for a systems integrator in Greece, installing and commissioning LED walls, displays, projectors and servers. Her roles have taken her to the UAE, Germany and back to the UAE again, often providing her with opportunities to travel. She said: “I have to admit, being onsite, you are

Tsonopoulos to manage Powersoft’s MEA business

Powersoft has appointed Takis Tsonopoulos as business development manager for the Middle East and Africa. In his new role, Tsonopoulos will be responsible for new and existing clients and working closely with high-level decisionmakers in the region. Bringing over 30 years of industry experience to the role, Tsonopoulos previously served at Harman International. In his new role, Tsonopoulos will be focusing on building and strengthening relationships with potential clients and partners in the

Maffei steps up at K-array UAE

K-array has appointed Francesco Maffei, formerly area sales manager EMEA, to the new position of sales director. In this role, he will oversee commercial efforts across all regions.

“Having been part of the K-array story since the beginning, I’m very proud and excited to take on this new role. Thanks to the complete ecosystem of solutions offered by the K-array, KGEAR and KSCAPE product family and our dedicated team, I

region, gaining insights from Powersoft’s customer base.

Tsonopoulos added: “These regions are dynamic with ongoing technological growth and developments. This presents fantastic opportunities for the pro AV market, specifically for Powersoft, at the forefront of pro AV technology.”

Luca Giorgi, sales and business development director, said: “With a strong background in the pro AV industry, Takis is well-positioned to bring a wealth of experience to his new role. I am confident that his expertise will contribute

exposed to a lot of different cultures and challenges. This trains you to think 360°, which I’d say is my strongest skill.”

Goumenaki added: “I’m looking forward to the exciting teamwork and sharing inspirational stories of success based on the solutions supplied by PRO LAB.”

PRO LAB’s CEO, Rami Haber, said that with Goumenaki’s expertise, he believes she will “elevate PRO LAB in the AV market, ensuring continued growth and extended support for PRO LAB

to our ongoing success and help foster growth in the MEA region.”

www.powersoft.com

feel very positive about the next step on this journey.”

Alongside Maffei, Daniel Strasserra and Lorenzo De Poi are adopting new and strategic roles within the company, while Vincenzo Borelli also joins K-array for the first time in the role of business development manager focused on the live events market.

www.k-array.com

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7Hertz adds DirectOut to its portfolio

DirectOut has entered into a strategic partnership with 7Hertz, a Middle Eastern distributor of professional audio products. John Parkhouse, senior live audio consultant at 7Hertz, said of the deal: “We are very happy to welcome DirectOut to our portfolio at 7Hertz. The alignment of our core philosophies has seamlessly paved the way for a straightforward and exciting partnership.”

Lorenzo Sassi, business development manager at DirectOut, added: “DirectOut is delighted to join forces with 7Hertz to bring our innovative audio technology solutions to the Middle East market. We believe that 7Hertz’s commitment to excellence and deep passion for sound harmonises perfectly with our values, making this

PRO

PRO LAB is now the exclusive distributor of the Laserworld brand for the GCC and MENA regions. With this partnership, PRO LAB will be able to offer a range of laser systems to its clients across the region.

Rami Haber, CEO of PRO LAB, said of the partnership: “We are thrilled to announce our exclusive partnership with Laserworld. This collaboration aligns perfectly with our

LAB partners with Laserworld Theory

commitment to offering the best solutions to our clients. Laserworld’s reputation for excellence in the field of laser systems perfectly complements our mission to provide top-tier AV and stage equipment. We look forward to bringing the best of Laserworld’s innovative products to our customers in the GCC and MENA regions.”

“We are happy to have found a wellestablished and reliable partner for the GCC

Professional

area with PRO LAB. Knowledgeable local partners are crucial to our success,” stated Norbert Stangl, CMO of the Laserworld Group.

“PRO LAB has a great passion for our products and brands, so we are looking forward to a great long-term cooperation.”

www.laserworld.com

www.prolabllc.com

DirectOut’s products, the company will soon hold comprehensive training sessions in Dubai. This initiative aims to equip both the 7Hertz team and its clients with the knowledge they need to effectively advise, utilise and implement these audio solutions.

“We are looking forward to DirectOut’s visit to Dubai, where training sessions will be held for both the extended 7Hertz team and our customers. This underlines our shared commitment to providing in-depth knowledge of DirectOut’s exceptional products and ensuring that we and our clients are well informed and able to make the most of these state-of-the-art solutions,” concluded Parkhouse.

www.7hertz.net

www.directout.eu

lands in Southern Africa StageOne signs with JTS Professional

Zimbabwe, Namibia, Lesotho, Swaziland and Botswana.

Jeandré Botha, managing member at Audio Visual Boutique, said: “Theory Professional is

Dynamic Projection seals the deal with MPME

technologies perfectly complement our existing range of high-quality visual solutions. This partnership not only expands our product offerings but also reinforces our commitment to delivering cutting-edge technologies and exceptional customer experiences in the Middle East.”

a welcome addition to our portfolio as it opens doors into a wider commercial space including distributed audio solutions and high-end cinema solutions.”

“The Audio Visual Boutique is the right distributor to represent our brands in Southern Africa for multiple reasons. Jeandré has a wealth of experience in residential, commercial and cinema audio applications. We’re looking forward to a long, growth-oriented relationship,” said Marc Bertrand, COO, Pro Audio Technology, Theory Audio Design and Theory Professional.

www.avboutique.co.za www.theoryprofessional.com

technologies open up new possibilities for our clients across various sectors, enhancing our ability to meet and exceed the evolving demands of the AVL market.”

StageOne has signed an exclusive distribution agreement with JTS Professional in South Africa, in which StageOne will sell JTS Professional’s products, including an extensive range of wired and wireless microphones, instrument microphones, headphones, earphones and installation microphones. JTS Professional, based in Taiwan, is said to be a recognised brand in professional audio solutions. The new partnership aims to strengthen JTS’s

Bilal Assidi, a spokesperson for MPME, said: “Joining forces with Dynamic Projection Institute is a landmark moment for us. DPI’s innovative Mirror Head and ULS Mirror

Hani Al Awar, head of projects at MPME, added: “This strategic collaboration with DPI aligns with our dedication to innovation and customer satisfaction. DPI’s state-of-the-art

Thomas Kühne, managing director of DPI, said: “This collaboration not only expands our distribution network in the GCC territory but also signifies our shared commitment to elevating creative visual solutions in the Middle East. With Martin Professional UAE, we are poised to exceed our customers’ expectations, delivering innovative experiences through our advanced technologies.”

www.dynamicprojection.com www.martinpro-me.com

L–R: Lorenzo Sassi (DirectOut), John Parkhouse and Chadi El Masri (7Hertz), Luca Giaroli (DirectOut) and Rami Bou Hadeer (7Hertz)

L–R: Peter Berry with the JTS team

Jeandré Botha Marc Bertrand

Conception, design, planning, realization, overall management: Atelier Markgraph GmbH, Frankfurt am Main for Viega GmbH & Co. KG, Ennest Photos: Kristof Lemp, Darmstadt

Snap happy

Going from amateur photographer to Master of Photography, technical product company Solas’s sales director Rick Wade talks to Libby Stonell about his love for the art, as well as his ability to switch off while doing it

What’s a typical 9–5 day in your role as sales director for Solas?

This will vary depending on the time of year. During the summer months when the projects aren’t so frequent, I get more time to go out and visit clients and work on our relationships. However, when we hit the peak season, it gets a bit trickier as everyone is so busy, so my routine changes a bit – there’s definitely more conversations taking place via phone or WhatsApp.

What sparked your love for photography?

That’s easy to answer. I have always enjoyed looking at great photographs, but I didn’t have any idea of how to take one. I was amazed at people’s ability to produce such magnificent images and didn’t think I could ever do that. I guess this is why for so many years I didn’t explore it as a hobby but then, one day, I changed my mind. So, a couple of years ago, I enrolled with the Serge Ramelli Institute of Photography. This was one-on-one training with Serge, who is a famous French photographer, and it focuses on teaching the techniques of landscape and cityscape photography. After 18 months of hard work, I graduated with a diploma certifying me as a Master of Photography.

What do you enjoy photographing most?

My focus is more on landscapes and cityscapes. I don’t think I would enjoy portraits or fashion shots as much as I think the pace at which you must work at on these types of shoots is too fast. I like to slow things down – you can take a bit more time in your workflow shooting landscapes as they don’t really want to go anywhere.

What is the photo you’re most proud of to-date?

If I had to pick one, then it’s probably one I took in Venice, Italy. It was a long exposure photograph taken from the Accademia Bridge facing the Basilica di Santa Maria della Salute during sunrise. The trip was actually a seven-day photography workshop travelling around Italy and was a treat to myself for getting my diploma.

What has been your biggest challenge while photographing?

Getting the settings right! This was always a challenge to start with; however, I have improved a lot over time. Actually, I think the hardest challenge is finding the shot – you have to have a composition that really tells a story, which I think is the secret to a great photograph. That and the right lighting!

Are you part of a club? Or do you prefer to go solo?

There are a couple of groups of photographers that I go out shooting with. We get together in various locations around the Emirates throughout the year. But, actually, I do prefer to go alone, as it becomes a bit more of a “my time” moment and gives me the ability to unwind.

Have you made any future plans regarding your photography? A trip, perhaps?

Yes I have – I want to start selling my pictures. I am working with a fellow photographer friend, Liesl Walsh, on selling my art via the platform Fine Art America and have already sold a few images. As for travelling, I am planning to visit New Zealand’s South Island. I’m also looking at going to Iceland.

What advice would you give to someone wanting to start photography?

Just do it! It is a great hobby, although it can become addictive. I spend most of my free time either shooting, learning or editing. As for gear, you don’t need an expensive camera and, to be honest, if you’re going to be doing it for your own personal enjoyment, then there’s no need to spend a huge amount. Admittedly, I have spent a bit having upgraded to professional-level cameras and lenses, but this is more because my focus now is on selling my work, so having that extra quality is an advantage.

I’m out shooting or at home editing, I’m not thinking about work at all. It’s my way to switch off completely, even if it’s only for a few hours.

www.7-richard-wade.pixels.com

www.solas.ae

Rick Wade

Rick Wade

Rick’s favourite picture

Fast and furious in the UAE

SailGP came to Dubai for the first time this season but, thanks to remote production technology from Riedel, the footprint on the ground was kept to a minimum

BILLING ITSELF AS THE WORLD’S MOST EXCITING racing event on water, SailGP has come a long way in a very short space of time, having only emerged on the racing scene for the first time in 2019. The global league’s fourth season kicked off in the middle of 2023 in Chicago, and ended the year by heading to the UAE for the first time with a Dubai leg taking place at Mina Rashid from 9–10 December. Another first was made when the race kicked off the New Year at the Abu Dhabi waterfront from 13–14 January.

In fact, SailGP is a platform full of firsts, particularly when it comes to the technology involved and approach taken to race control, umpiring and coverage. It makes for a refreshing change from other big tournaments like Formula One, where rules and regulations typically heavily slow the pace of change. SailGP has no such legacy to protect and stands proudly behind its more forward-thinking approach.

The races themselves consist of 10 identical six-person (four in light winds) F50 catamarans each accumulating a wealth of data and requiring the transportation of multiple video sources, including two cameras per-boat, up to two helicopters, up to three camera chase boats and a further four RF cameras based back on shore. Having served as chief technology officer for SailGP since its outset, Warren Jones has been central to this mindset of how advancing technology can help evolve the platform. “I was one of about four or five people with SailGP from the beginning,” he recalls. “Previously, I was part of the America’s Cup with Oracle team USA. Unfortunately, we lost the America’s Cup in 2017, but that allowed us to start building SailGP. When it comes to the race technology, it was just me initially, and I was incredibly fortunate to have a completely blank sheet of paper; no legacy contracts and no legacy workflows to adhere to. When it came to the broadcast element, we could see that the industry was already moving towards fully remote broadcasting, just no one dared to do it. This was back in 2018, remember, and long before the pandemic changed the game.

“We developed a remote workflow where all the camera feeds and necessary data for the broadcast are sent back to London and produced and distributed from there. At the time, people were quite unsure of this approach, but in hindsight it made us one of the first events to get back up and running after the pandemic. To be honest, the mindset does not just come from me. I’m very lucky that our CEO Sir Russell Coutts and owner Larry Ellison are both keen to push the boundaries of the tech. We don’t just want to copy, we want to innovate. This is somewhat necessary anyway because everything takes place on the water.”

Enter stage left Riedel, whose remote broadcasting and wireless communications solutions have quickly become the favoured choice of broadcasters on a variety of different sports. At SailGP, the German manufacturer provides the setup and infrastructure for the local part of the production onsite, before handing everything over to remote production partner Timeline TV. Riedel also supports the race communications needs.

“The comms solution is a bespoke version of our Bolero wireless intercom, fully salt-waterproof, and works in combination with two-way radios and our Artist intercom,” says Jeff Strössner, Riedel programme director for SailGP. “There are Bolero antennas on every F50 race boat, support boat and helicopter, and they’re all networked through our RF system – which handles audio, telemetry, tracking data and comms – to guarantee reliable coverage for the athletes as well as for every camera in the air and

The system is networked with another Artist intercom operated by Timeline (the remote production partner in London). The wireless backbone connects the competing boats, support boats, referee boats, camera boats, spectator boats, the cameras in the helicopters and all the competitors and officials. All these elements sit on one wireless network as nodes within an RF network, similar

L–R: Jonas Badura, Riedel’s SailGP project manager, and Jeff Strössner, Riedel programme director for SailGP

to how MediorNet works over a fibre network. Each Bolero signal is transmitted across several paths: it is embedded in the video, sent over a local RF network and there is a backup RF connection as a last resort.

“We need best-in-class comms from the boats to the shore, and from the shore to London,” adds Jones. “Not only is the broadcast handled from London, but we have no umpires or race commentators here onsite. Riedel has assisted with all of this. They’re a big aspect of what we’ve needed to do to take SailGP around the world.”

Back on dry land, Riedel’s MediorNet is used as a routing and fibre network and to transmit and receive signals between the onsite central operations container. Here, the company’s team of engineers monitor signals flowing to and from Timeline, with MediorNet serving as the central video backbone providing multiview and signal processing.

“We treat SailGP like a series that continually develops rather than a one-off project and it’s very interesting because it’s a very agile and constantly changing environment,” says Strössner. “Previously, there were a lot more assets on the water, which are now being removed where possible. This obviously saves fuel, saves insurance, saves transport, etc., and is good from a sustainability perspective. A lot of the technology we use here is a bespoke version of regular equipment, packaged in a way that’s durable in conditions on the water.”

One example of this is the specially housed Bolero beltpacks first trialed last season that pair with antennas atop each F50 catamaran. “At the top of the sail of each boat is our mast head unit. It’s a specially developed antenna that combines various transmission formats and frequency bands,” explains Jonas Badura, Riedel’s SailGP project manager.

Each boat also gets what the team have dubbed a “media case” that houses all the technology needed to transmit to and from the shore. “It contains Bolero hardware and also video

Alex Peter monitoring the coaches’ feeds

Inside the coaches’ grandstand, each coach gets a dedicated SimplyLive station

Each boat gets a “media case” that houses all the technology needed to transmit to and from the shore

deployment of new technology is the coach’s role. Traditionally, at a break in racing, coaches would speed over to their teams on the water to discuss tactics and next moves. This season, the drastic decision was made to keep coaches off the water entirely, instead feeding them the necessary data remotely.

Coincidentally, Riedel CEO Thomas Riedel is the owner of the German SailGP team, and this has afforded the manufacturer a unique perspective on past and future race operations, as well as the ways its technology can deliver improvements. “At some point, the question was raised as to why the coaches needed to be out on the water. It turned out that things had just always been done that way,” says Strössner. “Beyond the coach’s role, removing the need for 10 chase boats on the water helps meet the sustainability goals the league has and creates fewer hazards.”

“At first, the coaches were quite apprehensive,” recalls the SailGP CTO. “However, we knew that the amount of information they can get not being on the water was much greater than they would get on the boats. You’ve got small boats bobbing up and down, you’re going fast and you can’t really comprehend

view everything – to look at the cameras, talk to the teams and then take clips of the salient points to assist future races.

“SimplyLive allows the coaches to easily clip-up bits of audio and video from the race sessions and compile it all together on-thefly,” furthers Peter. “It makes for a much quicker process when it comes to debriefs later. Everything has been implemented so quickly that we’ve been able to go from nothing to what we are using today in just five races. The result is that the storytelling is now completely different.”

of the coaches actually prefer it, as it allows them to properly focus on their job. The amount of race information that we’re able to provide them with has also completely changed their role and has been quite amazing to see. They can view all the camera feeds, including the overhead helicopter cameras at any time, and they can see all of the other coaches too and assess how they react to situations.”

Inside the coaches’ grandstand, each station has its own rack that houses a network switch and a PC, with touchscreens, a keyboard and mouse shuffle for controlling Riedel’s SimplyLive software. Each also has an Artist intercom panel and two headsets. “They are really just remote stations as the full software is running on the broadcast site in order to integrate all of the camera’s feeds, etc.,” explains Riedel’s Alex Peter, who monitors the communication feeds from the side of the grandstand. “Each coach has the same setup and is able to

Peter adds: “As we progress, we are getting more and more into what the coaches want, need and desire. For this race, we split up the headset channels for better communication. We are also improving our UI to give them a better workflow experience. There are consistently a lot of improvements and changes from race-to-race.”

Because of all these changes, data is unsurprisingly a big business at SailGP. Uniquely, all team racing data is made freely available to any of the other teams. With the live broadcast graphics being created by Timeline in London, all this race data must also be fed back.

“We generate around 48 billion data requests every day, and all that data has to run from the boats to the shore, then over to an Oracle database in London before being sent on to our studio in Ealing in London,” explains Jones. “The trip takes 152ms. We process that information, put it on the screen and then from that location, everything is sent all the way back – no satellites involved. We know within 1cm where the boat is on the water, and we need to because the umpires have to know precisely where everyone is. We have some military-grade equipment on the boat to tell us this information.”

While many of these technological developments have been integrated for aspects that benefit the race environment, a big part of SailGP is sustainability and having less equipment and fewer people physically required onsite is a big win for the platform’s overall carbon footprint. Taking place alongside COP28, the Dubai race provided a good opportunity for the organisers to promote SailGP’s commitment to sustainability.

“We have just 15 people onsite here,” says Strössner, “and a few guys working from our remote operation centre in Wuppertal who are basically on standby, supporting configuration things and able to remote monitor systems. How many people do we really need to be physically there to provide a proper service? Sustainability is a big cause for the organisers – if we can limit flying people around the globe, we should do. The SailGP team are constantly striving to fulfil their sustainability goals, which makes us more efficient. That alone puts us on the edge of technology and the edge of innovation.”

The race in Dubai before Christmas ended in the closest three-boat final of the season, with the New Zealand team ultimately coming in on top – a last-minute penalty denied Canada the win. The same team secured back-to-back wins as they also came in first at the Mubadala Abu Dhabi Sail Grand Prix in January.

www.riedel.net

www.sailgp.com

The bespoke waterproof Bolero beltpacks The comms solution is a custom-made version of Riedel’s Bolero wireless intercom

The view from the judges’ grandstand

Even the position of the buoys is remotely managed by the judges

CHRIS ROSTALSKI LIGHTING DESIGNER www.cr-lichtdesign.de

Managing teams at a major music festival is like conducting a symphony of chaos.

With its unparalleled connectivity and clarity, Riedel’s intercom solution is our lifeline in an environment pulsating with noise.“ ARTIST INTERCOM

United in faith

An exhibition-style lighting solution was required to showcase the blending of the three religious faiths at the Abrahamic Family House in Abu Dhabi

THERE AREN’T MANY SITES ON THE PLANET WHERE A VARIETY of faiths all come together to celebrate the multi-disciplined nature of worship. Dedicated to the pursuit of peaceful faith coexistence for generations to come, the Abrahamic Family House (ABH) on Abu Dhabi’s Saadiyat Island is certainly an impressive oddity.

The complex has been designed by world-renowned GhanaianBritish architect Sir David Adjaye OM OBE, who specialises in public architecture, creating symbolic buildings designed to tell stories. At its heart are a mosque, a church and a synagogue – designed of equal stature, size and materiality to eliminate any sense of hierarchy. The mosque is oriented towards Mecca, the church towards the east and the synagogue towards Jerusalem. The architecture is beyond impressive, each building a 30m-tall cube of bush-hammered concrete, standing atop an expansive limestone plaza.

The primary aim of the ABH is to bridge man’s common humanity through the exchange of knowledge, ongoing dialogue and the practice of faith. Beyond the three landmark buildings that initially grab the eye, the real magic lies within. Nestled between the mosque and church is a welcome area that connects to a multi-use exhibition space. The entire thing serves as an educational centre, with guests taken on a journey through various immersive exhibits.

“The exhibition area serves as a common space where guests can experience aspects of all three faiths together – it’s a showcase of how the UAE has welcomed all of these different cultures together,” explains Triangle Power Solutions senior project manager Liz George, who has been involved in the project since the early days. “There’s an area called the Oculus, where they showcase videos accompanied by music. It’s split up into multiple zones with each presenting something different.”

The first installation, Faith, comprises 11 dynamic, petal-shaped AV screens that showcase different life events in the religious journeys of Islam, Christianity and Judaism. The second exhibit, Word, focuses on the three respective holy texts of Islam, Christianity and Judaism and showcases nine extracts from the Quran, Bible and Torah. The final Place, explores the relationship between religious spaces and faith. Here, immersive screens incorporated into a plinth and the ceiling depict different prayer environments, like the Sheikh Zayed Grand

“When you first enter the complex, to the right of the reception is the story of the ABH,” furthers George. “Next, you’re directed inside a dark room with showcased projections of various prayers. After this, you move through another dark room illuminated with religious symbols and finally end at a magnetic wall that visitors can pin their wishes or goals to. Within exhibit, a show runs where every 30 seconds a different sermon plays, cycling through the various faiths. Here, we integrated gobo lighting

The entrance to the Visitor Center

that highlights the accompanying sermons by projecting Muslim, Jewish and Christian symbolism across the walls. It’s a nice story, and from the visitor perspective it’s all one integrated experience.”

Triangle was tasked with integrating an exhibition-style lighting package throughout these areas that would augment the audiovisual system construction by XYZ Technologies. “Initially, we became involved in the project through the consultant directly and were supplied a concept from the lighting designer,” recalls George. “But as the project progressed, there were several design changes made, and this is where the Oculus space came in. XYZ was tasked with providing the AV integration throughout this space, and so we worked closely with them to incorporate the lighting package.

“They came up with the concept of using AV to trigger the show control because there’s a range of audio cues and video projections happening at the same time. They wanted it so that when the Islamic prayer comes on, for example, the lighting will flip to show a half-moon and all these kinds of things. That was the initial concept, and we had to integrate with the wider system over IP in order to synchronise everything. This was done using a server called Isaac – it gives us UDP commands, and we take those commands and use them to trigger different scenes within our system.”

Illuminating these exhibition spaces are more than 200 Prolights products from the manufacturer’s EclDisplay DAT and Wash ranges – flexible LED spotlights specifically designed for museums, galleries, retail spaces or any public venue where a classicallooking fixture is needed alongside several control options, sources, optics and brightness levels.

In total, 69 EclDisplay DAT 30K, 64 EclDisplay Wash L2550 and 31 EclDisplay RZL2040B zoomable profiles illuminate the exhibits. “The beam angles differ in each area between 25–50° and 20–40°, and they are installed in a variety of configurations depending on the ceiling, mounted on lighting tracks, ceiling clamped or directly ceiling mounted,” says George. “We particularly like the flexibility of the products. They offer multiple options from RDM to DMX and DALI. We also have several kinds of lenses that

allow the same unit to function for spot and gobos, plus they are really perfect for integrating colour changing. You can load the gobo with locked accessories that help to tell the story of the project.”

As has so often been the case off the back of the pandemic, one company’s loss is another’s victory. “Originally, a different manufacturer was specified by the consultant for the lighting –he was quite biased to using only this specific brand – however they were experiencing serious issues with chip manufacturing and shipping delays of well over six months. We were forced to explore alternatives, and this led us to Akram and the team at PRO LAB who proposed Prolights. We took some samples to give to the consultant, performed a range of tests and ultimately got everything approved for use. By the time we completed that process, the consultant had become convinced that the Prolights fixtures could match or exceed everything promised by the original brand.”

“Right from the start of this project, Triangle warmly welcomed collaboration on finding the best solution,” offers Akram AbdelBaki, PRO LAB business development manager. “Honestly, I’m thrilled and satisfied with the results, and it brings me a sense of pride to have played a part in overcoming the challenges of this project.”

“Our goal is to go beyond aesthetics, symbolising unity,” adds Rami Haber, CEO of PRO LAB. “Through thoughtful design and functionality, we strive to offer an integrated and enriching experience for visitors of all backgrounds. We’re honoured to contribute to the Abrahamic Family House’s aambience.”

This new relationship is already beginning to pay dividends on future projects. “Since trialling the fixtures on this project, we’ve gone on to use them again or specify them at several more important sites, such as the Natural History Museum,” concludes George. “The Abrahamic Family House site itself is also unique, and we are very proud of our company’s involvement in bringing it all to life.”

One of the galleries with the house lights up

A treat for the soul

The two-pronged nature of activities at SAX meant the need for a flexible, yet highly manageable, audio system

LOCATED ON THE FOURTH FLOOR OF THE ST REGIS

Hotel in Doha, SAX is one of 15 destination restaurants nestled within the complex, each offering guests something slightly different in appreciation of Qatar’s heritage and culture. The vibe inside SAX is described as chic, yet soulful, the space decked out with elegant stools and a selection of back-painted glass and marble-top tables, all awash with delicate lighting throughout both its cosy indoor area and outdoor rooftop greenery and resto-bar space. Both inside and out, music plays a central component and was an aspect that the SAX management knew would need special consideration during the venue fit-out. Following discussions with Darwish Technology, a Bose Professional ArenaMatch solution has been integrated throughout to fully support the range of music – both pre-recorded and live – planned for SAX patrons.

explains SAX general manager Saleem Farha. “Typically, from 5–8.30pm, we have a happy hour where we only open the outdoor section. From 8.30pm, we move indoors or operate both sides depending on the reservations. From Monday till Saturday, a band takes the stage from 10pm onwards to deliver two 45-minute live sets. The first has more of a speakeasy vibe where you can still enjoy talking to your guests without shouting or having to repeat a sentence a hundred times. For the second set, 90% of the time my guests are dancing. There’s a real party atmosphere and, because there is no designated dancefloor area, people just get up and have fun.”

for guests dancing around, but can also be flexibly (and simply) managed by staff on-the-fly. “The restaurant is run by SAX International, which has other branches in Lebanon and also around the world,” explains Darwish Technology’s ISD operations manager Ahmed Dabberni. “The project was referred to us via the Antaki Group, the distributor of Bose Professional in Lebanon, which worked on several of SAX International’s previous projects. We jointly created an audio design that somewhat replicated what Antaki had done in Lebanon; however, it’s not just a copy and paste, because the areas, dimensions and speaker coverages in each location were completely different. Because of this, we made studies of the NTI and SPL to ensure complete coverage

The interior stage

could be achieved. It was a very fast-tracked project, in which everything had to be finished within a month.”

Providing coverage in the garden area are eight Bose Professional ArenaMatch speakers hung high up on the ceiling. The entire ceiling is painted black, making the cabinets effectively disappear. Four Bose Professional MB210WR subwoofers, two under the stage and at opposite ends of the space facing them, provide the required low-end energy. Moving inside, a pair of ArenaMatch AMU208 90X60 cabinets flank the stage, while a further six extend coverage to the outer reaches of the room. MB210WR subwoofers hidden under the stage are augmented by three more distributed around the dining area. These have been treated to a wood-panel finish that makes them appear to be part of the point-of-sale system. Power for all the cabinets comes from

contractor using the same cloth/carpet material that lines the walls of the restaurant in order to perfectly fit with the whole look and feel of the place,” notes Dabberni. From the management’s perspective, the ability to intuitively control the system on the day-to-day basis, was as, if not more, important than achieving high audio quality and level – both attributes the ArenaMatch cabinets in tandem with Bose’s X1280C processors are more than capable of also delivering.

The X1280C processors allow for tablet control of the system from any location. “I have full control of the volume and the EQ from my personal mixer, not only from the deck inside, which allows me to balance the guest experience, choosing my playlist and choosing the correct decibel level throughout the opening hours,” explains the general manager. “I can more or less operate everything myself. As soon as we move indoors, the music and sound can be controlled directly by the sound engineer, via my feedback, and the Bose ControlSpace CC 64

factor to work around, and was accentuated by the fact that all of the cabinets were custom-covered in fabrics matching the restaurant décor,” shares Dabberni. “Thankfully, with the great support of our contractors, everything was completed in time for the opening and the clients are very happy with the final result.” “When Darwish outfitted the space, they performed tests, handed the project over to the main contractor and everything was perfect,” concludes Farha. “Then, all of a sudden, I had 300 guests indoors and outdoors banging their cutlery on the plates. While this could not be forecast, it has altered

additions very soon to further enhance everything for the guests and also to retune the processors slightly. This is what I like most about Darwish Technology – they are always on top of their support. Ahmed even picks up the phone on his day off. We are super happy with everything they have done for us here at SAX.”

As is increasingly the case on restaurant projects such as SAX, the biggest challenges came not with the audio design, but the logistical considerations. “The time constraint was a major

www.darwishholding.com pro.bose.com

Dragonfly SMPTE LEMO SMPTE

SmartBeam DUO SmartBeam QUAD SmartBeam OCTO SmartBeam DODEKA

The ArenaMatch subwoofers have been hidden within the PoS

L–R: Darwish’s Ahmed Dabberni and Bose’s Pankaj Sahdev

The garden terrace

Beating the weather

Bad Weather Productions comes up shining following a last-minute date change to the Rocking the Daisies festival in South Africa

THANKS TO RAIN AND FLOODS IN THE WESTERN CAPE, THE MUCH-LOVED ROCKING the Daisies music festival, normally held at Cloof Wine Estate in Darling and Supersport Park in Centurion, was postponed for several weeks at the end of 2023. The concert is often said to mark the beginning of South Africa’s festival season, so pulling off the shift in dates meant the team at Bad Weather and their technical partners had to secure the necessary equipment amidst the peak events season.

With a decade-long involvement in Rocking the Daisies, Bad Weather Productions has played a big part in the festival’s evolution. Notably, it pioneered the first hip-hop stage, TwosUP, in 2016, diversifying the festival’s music offerings. Since 2018, Bad Weather has been the go-to technical production and design studio for the entire festival, spanning four stages in Cape Town and the fifth in Johannesburg, held on the Sunday of the Daisies weekend.

“It’s been an incredible journey working with Rocking the Daisies over the last 10 years and watching it develop into one of the most diverse festivals in the country,” says Jonathan Bandli, co-founder and creative director of Bad Weather Productions. “This year, we were entrusted with handling the AV production for four stages in Cape Town and one stage in Johannesburg, making it one of our most complex projects to date.”

The resource challenges of working in Cape Town during the height of the festival season were overcome by strategically selecting specialised rental and events companies to provide equipment and support for each stage. Bad Weather Productions leveraged its relationships to handpick a team of 50–60 crew members, from lighting operators to front-of-house operators, with teams assigned according to specialities. “Thankfully, our suppliers were fantastic and did their best to help us rearrange the new dates,” says Bandli. “While all technical vendors could accommodate

DiGiCo was the FOH and monitor console of choice for the Johnnie Walker Jungle stage

Station stage

the change, we lost some freelancers to other bookings and had to rebuild some of the teams. Honestly, the most challenging aspect of the move was securing gear due to the industry’s high demand, especially since the new date fell in the midst of the busy season rather than at the beginning.”

The technical companies overseeing the different stages at the Cape Town leg of the festival featured Bad Weather Productions, The Gearhouse Group, Ultra Events, Eastern Acoustics, Extreme Events, CCPP Group, Intello Acoustics, Ampere and S-LED. In Johannesburg, companies commissioned included The Gearhouse Group, Stage Effects, Blue Array and Bad Weather. Specifying the right equipment is extremely important, notes

system design and give us feedback was critical to the show’s success. I felt empowered by the support I received from the SAW team.”

DiGiCo has become the standard FOH and monitor console of choice for the Johnnie Walker Jungle stage in both cities, with audio managed by Eastern Acoustics in Cape Town and Blue Array in Johannesburg. “Adding to the fact that Stormzy’s engineers needed dedicated hardware with them asking for an Avid S6L at FOH and a Quantum 338 at monitors, we had to have even more consoles around, and with the date change and the number of consoles used during that time period, we had to provide them with a Quantum 338 in Cape Town and an SD5 in

A d&b V-Series system was deployed on the Heineken House stage

Fitness for all

Pulse Middle East has equipped the latest Wellfit gym to open in the UAE with a high-tech AVL setup

NESTLED WITHIN THE CITY OF SHARJAH, MADAR IS entertainment complex designed by Zaha Hadid Architects, made up of green spaces as well as shopping and dining options, and is now home to the latest Wellfit gym to open in the UAE. With its two other flagship gyms located in JVC and Meydan, the Madar gym is the first branch to be split by gender. The ground floor is entirely for men (and boys for the junior area), while women and girls have access to the mezzanine above. The building is ellipse-shaped with lots of open space, catering to the growing number of families that live nearby.

Wellfit Madar hosts over 100 classes every week, around 30 of which are family-oriented, with classes also including four martial arts sessions and four junior sports programmes. Equipping such a large and busy complex was never going to be an easy task, so Wellfit Madar called on Pulse Middle East for AV and lighting assistance.

Pulse Middle East’s Aslam Hydrose managed the project and worked closely with the Wellfit team to specify the AVL equipment that would be used for a variety of functions, such as livestreaming and audio for the multiple classes going on at the same time, all the while making sure that there was no spill from each of the rooms, that the audio could be heard over the sound of the exercise equipment and without compromising on quality.

At the entrance of the ground floor lies the reception area, which features a 7,936mm x 3,744mm LED screen, made up of Vision Video BIM Pro 2.6 LED panels, displaying content including promotional material, health and safety reminders and session timetables for the gym’s members. This area features a restaurant, staffrooms, changing and washrooms, as well as a sauna, where a gentler background track has been selected. Six Martin Audio ACP-55TB compact, pendant, two-way loudspeakers were selected for background and foreground applications in the reception area, due to their suitability to spaces with an open architecture. Five ACS-55TS-W speakers have also been fitted into the restaurant.

The largest and arguably busiest space on the ground floor is the male gym area, primarily catering for weight training and cardio. To cover this large, open area, Pulse has mounted 30 Martin Audio CDD8B 8-inch speakers from the building’s central columns, allowing the sound to radiate outwards. The integrator also specified 22 Martin Audio X8B passive two-way speakers and eight X115B, four SX210 and two SX212 subwoofers for the space. Hydrose explains: “The area is balanced – it isn’t necessary for members to go near a speaker to hear the sound at its best, because the system is even throughout the space.” The male gym area also includes a 3,584mm x 2,304mm 16:9

LED screen, featuring an LG Commercial 55UH7F-B digital display incorporating LG’s Smart Signage Platform. In the male spin studio, a 4,608mm x 2,592mm Vision Video BIM Pro P2.6 LED screen caters for streaming, video calls and instructional videos. It receives content from a Resolume Arena 7 media server in combination with a Novastar VX16S processor located in the nearby AV room. Cabling was completed through conduits starting from the AV room to the spin studio. Some 70m of LED strips were selected to light up the room, while two Martin Audio CDD10B 10-inch, one CDD8W 8-inch, two X12B 12-inch and

Next

two

of LED screens and lights that truly set the mood for the space.”

www.martin-audio.com

www.pulse-me.com

www.wellfit.me

door is the male kids’ studio, featuring an LED touchscreen, LED strip lights, four Martin Audio Blackline X8B speakers and one SX210 subwoofer. The mixed martial arts area has been fitted with a range of Martin Audio speakers – specifically

The male kids’ studio

Getting stuck in

Van Wyk Consulting guides the IRLI through its “go-it-alone” meeting room and conferencing upgrade

THE JOB OF A CONSULTANT CAN VARY QUITE DRAMATICALLY depending on where in the world they’re based. In mature markets such as Europe and the US, the job is typically well-defined. You assist with the design, make some recommendations about potential equipment that can make that design a reality and then you go back at the end and see how faithfully the appointed systems integrator brought your vision to life.

For South African audiovisual consultant Anton van Wyk – whose services span the length and breadth of the African continent –each job has to be taken on its individual merits. Nothing is a given. Arguably that makes the work of a proper independent consultant that much more important when it comes to delivering a pedigree solution.

Contacted in late 2022 by Biruk Debebe, ICT manager for the Ethiopian branch of the International Livestock Research Institute (ILRI) in Addis Ababa, van Wyk was tasked with creating a more thoughtful AV design that would better meet the institute’s needs in its auditorium, main meeting room and training space.

“We went through the existing infrastructure – which was based on older DIS technology – with ILRI’s meeting room managers and support staff,” recalls Debebe. “It wasn’t flexible to the demands of current users, and a lack of quality on the old projector was also an aspect that kept cropping up again and again. We approached Shure – which absorbed DIS – and the managers at Shure Dubai recommended we work on the design aspect with Anton right away. Once we met and explained our goals, it became clear that he was the right partner for us. He produced a draft design on how to achieve what we were looking for and it convinced us we were on the right track. It was a huge decision, as there were some serious budgetary constraints on our part as well.

“One other thing that we wanted to achieve was to simplify the setup so that it can be supported by all ICT technicians easily. The older system was very intimidating to even touch as it was more hardware-based. The new one uses software and configurations to do the work – it’s much easier to customise when needed, and easy to back up and restore as well.”

“We went back and forth to come up with a couple of concept ideas and then I produced a design. Biruk liked it, so I wrote a

complete functional description and handed him a list for the bill of materials,” recalls van Wyk. “Three to four months later I got an email. They had procured all the equipment and wanted to get started on the installation, but had no idea where to go next.”

The consultant admits that this isn’t the typical path that projects take. “There’s different layers and stages of consulting in terms of how deep a client wants to dive in,” he explains.

“Normally we would provide several different design and equipment options to meet differing budget levels. At ILRI, I

adjudicating tenders and suggesting suitable systems integrators that could carry out the installation.”

Phase one of the project would focus on the essential equipment or the backbone of the system. “With that functional, the teams could build upon that and scale the system as their requirements grow,” says van Wyk. “They opted for the high-end designs, which incorporated QSC as the backbone and Shure Microflex ceiling tiles for voice lift. However, you can have a Ferrari or Porsche

The IRLI Ethiopia campus in Addis Ababa

but, if you’re not going to drive it on a proper racetrack, it won’t perform well. The same is true with AV integration, and is where the integrator’s value comes in. It’s how the system as a whole functions that actually matters for a client.”

Those initial conversations between ILRI and van Wyk Consulting centred around three spaces, with the decision ultimately made to focus first on the Azage Auditorium and ILRI’s main boardroom, the Konso meeting room. “Initially, they were not too sure what they even wanted to get out of the rooms, so we started from the basics and worked upwards,” notes van Wyk. “They wanted to be able to do videoconferencing, presentations with audiovisual wireless screensharing and audience participation and also the ability for the rooms to operate in either a boardroom or classroom style, as well as the possibility of spilling over into the boardroom if the auditorium is full – this formed our needs analysis. We knew that down the line we would also have to work on the acoustics, but the priority for phase one was to get

everything in the spaces that they need right now to become functional for their needs.”

Having created a series of thorough pictorials and 3D models detailing his plans, the consultant assisted with sourcing suitable SIs to carry out the integration. Installation began in late 2023. Divisible into two segments, the Azage Auditorium is a 17m x 11m space with five rows of seating – three in “Room A” and two in “Room B”. Six Shure Microflex MXA920 arrays provide voice lift capabilities inside the auditorium and feed a Q-SYS Core 110 alongside a Shure ULX-D wireless microphone system for the presenters – with headset, beltback and handheld mic options. On the video side, the Q-SYS Core accepts inputs from three QSC NC-20x60 PTZ conference cameras and laptop HDMI signals via a Q-SYS NV-32-H configurable video endpoint, while offering control of the entire system by QSC TSC-80w-G2 connected touchpanels both in the auditorium and a nearby central control room.

The Q-SYS Core outputs the video signals to a 152-inch Absen LED wall hung at the front of the room via another Q-SYS NV-32-H, and the audio via Dante to LEA Professional CS704D and CS354D amplifiers. The CS704D powers the room’s primary QSC AD-S10T-WH wall-mounted cabinets and a pair of 100V QSC AC-C4T ceiling speakers, while the CS354D powers a further five pairs of AD-C4T extending reinforcement to the rear. Barco ClickShare is also present for laptop screen sharing and presentation. A Blackmagic Design UltraStudio Mini Recorder serves as a capture device.

The smaller Konso meeting room has a slightly simpler configuration with another 152-inch LED videowall at the front, audio reinforcement from a primary pair of AD-S8T-WH in tandem

spaces has been integrated into a false ceiling with no conduits required. The voice lift capabilities of the Microflex arrays mean that the speaker can freely roam the space while still being intelligently heard regardless of standing position.

“I chose the Q-SYS range of products as the backbone purely because it’s LAN-based with plug-it-in scalability. When it comes to supporting multiple cameras with tracking in the video collaboration space, such as Teams and Zoom, their solution works seamlessly,” shares van Wyk. “You just add boxes to the LAN and you can transmit from one room to another without anything else. Even though it’s perhaps not the most budgetfriendly platform, it’s by far the most flexible and scalable for their future needs. Pairing this with LEA amplifiers gives a high amount of functionality for a very good value. They have DSP on board, Dante, the power capabilities, remote control and the Bluetooth app – it’s just an amazing value-for-money product and really a rock solid amplifier. On the visual side, Absen has great local support here in Africa and so it was an obvious choice to go with them.”

After the ILRI itself amassed the necessary equipment for these spaces, van Wyk recommended several integrators for Debebe to engage with. “We went through the various tenders, and I realised some of them didn’t use the product we specified, some of them didn’t include installation, some of them actually re-engineered things to be totally different,” says the consultant. “It was a painful process but thankfully everything is now in.”

“The two meeting rooms are up and running now and we really like the final result,” notes the ICT manager. “There’s still some slight tweaking that needs doing as we’re still trying to work on the perfect voice lift settings at the Azage Auditorium, but it achieves most of the goals we set out to reach. It took a lot of work and energy for all involved, but it was well worth it. All in all, working with Anton was really a great experience – we really appreciated his insightfulness and guidance.”

“It’s spiralled into an ongoing project at the moment because right now they’re fine-tuning everything,” concludes the consultant. “And the more they use the system, the more they realise there are new things they can now do with it. No one else in Ethiopia has this kind of technology, and the next step is to deliver the same at ILRI’s Kenyan branch soon.”

www.ilri.org

www.vanwyk.consulting

The newly refurbished Konso meeting room

The Konso meeting room prior to the refit

A single MicroFlex array is enough to provide voice lift capabilities throughout the room

Six spherical Shure Microflex arrays have been installed into the Azage Auditorium ceiling

Dan Daley asks: is Sphere a round peg in a square concert hole?

“OTHER THAN THAT, MRS LINCOLN, HOW WAS THE play?” That comic one-liner has been floating around since America’s 16th president was assassinated in Washington DC’s Ford’s Theatre in 1865. It’s rolled out whenever one needs to sarcastically underscore how a seemingly primary reason for being somewhere is overshadowed by something larger and unexpected.

Something like that is happening to Sphere, the megalithic venue opened in Las Vegas last year. It had a dream launch: a residency by arguably the world’s most intellectually and artistically arch band, U2, in a 15,000m2 spaceship in which an audience of up to 20,000 is enveloped by the largest, highest-resolution wraparound LED screen on earth. Sphere was touted as the beachhead for a new era of performance venue, in which the space itself was performative. It came along as the upper end of the concert touring business rebounded explosively in the wake of the long Covid shutdown. Last year saw US$9.17 billion in global show grosses, up almost 50% from sales of the previous year. A year when Taylor Swift and Beyoncé tours upwardly impacted US GDP by a measurable metric. After a couple of years of remote concerts over Zoom and other internet channels, people were again ready for

A letter from America A letter from Europe

a spectacle – and prepared to pay for it, with Swift’s The Eras tour commanding $500 for nosebleed seats and as much as $7,000 for decent tickets. It seemed as though the stage was set for a venue like Sphere, one that would validate Marshall McLuhan’s dictum that “the medium is the message” on a stadium scale, in which the actual stage was tantamount to the performance upon it. So it’s surprising to see Sphere’s future schedule as derelict as it appears to be. Other than four Phish shows in April, the 1,000-plus shows listed on the schedule comprise mostly endless repeats of The Sphere Experience with Darren Aronofsky’s Postcard From Earth, which could be described as a nature documentary produced by George Lucas and Michael Bay: technically brilliant but hardly at the level of cultural intensity one might expect after the U2 shows. A venue that presented itself as the future of concert going, that pitched itself as the equivalent of VR without the goggles, has become a sort of planetarium where the representations of objects of amazement make do for the real things.

There could be a number of reasons for this. Sphere may be too cool for its own good, creating challenges for touring shows that need to be one-and-done every night. Front-of-house

mixers are confronted with a complex new aural landscape and unique PA system that may require several days of rehearsal to master. And given reviews that the four-piece U2 was hard to actually see amid millions of light-emitting diodes, not every touring artist is going to want to compete with the venue itself.

Then there’s the resurgent concert business, which has become top-heavy with major artists more than happy to stick with the global circuit of stadiums and arenas that have become the bread and butter of music’s onepercenters. Sphere could hardly be expected to book local bands or stand-up comics on otherwise dark-house nights. Even those sorts of shows would need a hefty cover charge just to turn the lights on for the night – all 1.2 million of them.

Rejecting a Sphere of its own, London’s mayor politely described the design as “bulky” and “unduly dominant” and would not “constitute good and sustainable design”. Sphere may eventually find its place in the world of entertainment venues, but it may not be the one envisioned by its creator, Madison Square Garden honcho James Dolan. It wouldn’t be the world’s first white elephant but, at $2.3 billion, it may turn out to be the most expensive one.

Phil Ward’s intuition is on the money regarding company sales and acquisitions, though not so much when it comes to Orders of the British Empire

I WAS HAVING LUNCH WITH OUTBOARD’S DAVE Haydon the other day, together with Jo Boyd who handles the press and marketing for TiMax and all its derivatives. We were in a very Christmassy West End of London and found ourselves in the basement of Pizza Express on Dean Street. It’s a proper jazz basement, and singer Clare Teal and her band provided suitable accompaniment for the Sloppy Giuseppe. And the Montepulciano. Jazz is based on improvisation and is always full of surprises.

The topic of our official conversation was the recent deployment of TiMax TrackerD4 on a variety show out in the wilds of Norfolk, much too far to rendezvous in person at this time of the year, plus the presence of TiMax HARDCore FPGA in a studio demo facility just down the road in Soho. Not just any studio, mind: the former De Lane Lea and Warner Bros facility, the main part of which is now run as a showcase venue by Southby Productions.

Innocently, I asked about any legacy strategy for OutBoard. I’ve known Dave and his business partner Robin Whittaker for over two decades, and I have latterly begun to wonder if they might have considered either some way of alleviating the obvious pressures on themselves of being independent, or

of perhaps bolstering their response to the rapidly increasing competition in the fast-riffing world of spatial audio. Or both.

At this point, and you’ve probably already guessed why, Dave was fortunate in the arrival of some garlic bread, which nowadays, in the cut-and-thrust of festive catering, comes with a side salad and a non-disclosure agreement. I had absolutely no reason to pursue the subject, and so didn’t.

The following day, I happened to be on a Zoom call with Focusrite chairman, Phil Dudderidge. This time the agenda concerned the late Mickey Johnson, cofounder of Nexo and a unique influencer behind the scenes at several other brands. Mickey had a hand in raising capital for Soundcraft, Nexo and Focusrite, as well as encouraging or at least inspiring Soundtracs, EAW, Garwood and many others at critical times in their development.

Phil, who invented Soundcraft with Graham Blyth and later steered Focusrite through crucial interfaces with Pro Tools and more, was helping me compile a list of suitable candidates for an editorial tribute to Mickey, who helped to meld so many associations between complementary businesses that now look back on rich technical alliances. There was no shortage of names. Again, I asked innocuously if the Focusrite Group might

be enriching its portfolio any time soon, noting the parallels with Mickey’s legacy and the strong bonds between Focusrite, Martin Audio and the rest. Phil paused, consummately professional, and suggested I look out for an announcement the very next day. He didn’t think I’d be disappointed. Of course, there was no reason at all why I should have connected the prevarication of both Dave and Phil at this point. They had improvised with all the skill of Clare Teal’s piano player and saxophonist, and not a single NDA had been uncorked. As promised, the following arrived the next morning: “Focusrite purchases OutBoard and TiMax”. Now, all the notes were being played in the right order, and everything fell into place like pizza dough. And for me, an early Christmas present: as if Mickey Johnson was still at it, piecing together all the right ingredients and all the right chord changes. Just imagine the potential of Martin Audio’s point source heritage with TiMax, and then add Focusrite’s expertise at scaling highend pro audio for versatile, affordable solutions. No wonder Phil Dudderidge, for his contribution to pro audio, has been awarded an OBE (Officer of the Order of the British Empire) in the UK’s New Year’s Honours List. 2024 has started in the right key. Didn’t see that coming.

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NAMM 2024

Forty-eight months on and The NAMM Show finally returned as a four-day expo in its traditional January slot

FOLLOWING ITS LAST OUTING JUST A LITTLE OVER NINE months ago, the 2024 NAMM Show reunited the MI, pro audio and entertainment technology communities by welcoming more than 60,000 attendees through the doors of the Anaheim Convention Centre (ACC) from 25–28 January. The four-day event had struggled to gain traction in recent years as a result of several undesirable shifts in the calendar but returned with all guns blazing this time around. With manufacturers kicking off the year by showcasing their latest innovations, the tradeshow also stimulated business opportunities and valuable reconnections as the industry continues its post-pandemic reboot.

The forecasts among exhibitors were admittedly mixed as the doors opened on day one, although most believed that a January NAMM would result in a return to normality in all aspects of the exhibition programme. A slow start on the opening day added to the anxiety levels among exhibitors and NAMM officials. Like the rays of Californian sunshine, however, breaking up the prevailing clouds over Orange County, those initial fears quickly subsided.

From the show floor

The once-familiar cacophony of vibrant music and exuberant visitors had returned to the aisles and remained there like a welcome dose of high pressure over the entire four days.

Last year’s ACC North Hall was a shadow of its former self. The booths at this year’s NAMM remained stunted in comparison to the 2020 format, but the pro audio halls had fully reopened this time around. There was something for everyone with demonstrations being staged on the upper level by Alcons, DAS Audio, d&b audiotechnik, dBTechnologies, EAW, Electro-Voice, LD Systems, Meyer Sound, PK Sound and QSC. The demo rooms won critical praise from exhibitors and attendees alike, their popularity no doubt boosted by their great location flanking the sides of the Upper ACC North Hall.

Despite scaled-down footprints this time, exhibitors were determined for NAMM to succeed. How many of those will return to display their wares on large-format booths next year though is another matter, as some clearly prefer the downsized networking format. Nevertheless, the consensus at the show’s conclusion was that this year’s outing had served as the necessary stepping stone to full normality in 2025.

Over the last two editions, NAMM had increasingly become a very US-focused exhibition, and so it was also heartening to see a strong complement of APAC and Latin American customers returning. Having announced their 2025 exhibition dates, NAMM and ISE have resolved the logistical nightmare that befell those exhibitors and attendees who attempted to cover both shows this year. With the 24-hour gap widening to nine days, NAMM will have room to breathe and ultimately expand.

2024 Dates: 25 – 28 January

2025 Dates: 23 – 25 January

Venue: Anaheim Convention Centre

Total exhibitors: 1,600+

Attendance: 62,000+

Contact: www.namm.org

TT+ launch at the Arena

Celestion’s 100-year anniversary booth

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From the show floor

dates with ISE, but I’ve been pleasantly surprised. I’m impressed by the new management, and some of the subtle changes they are now applying, including the new NAMM app. There is a buzz amongst visitors and it feels positive; however, there is less traffic in the halls. It will be interesting to see what the bounce back is in 2025.”

“This is the first NAMM that Sound Devices has exhibited at. With the launch of SuperNexus, our goal is to penetrate location sound, concert touring, systems integration, HOWs and other verticals. Astral is our entire wireless ecosystem and within this we have released our new generation A20. We expected to be busy and lose our voices at NAMM and, so far, this is going to plan. With the Optocore integration, there is interoperability with DiGiCo and the other Audiotonix brands.”

ISE 2024

Caroline Moss attempts to summarise a show that has rebounded gloriously, triumphing over every past edition

AFTER FOUR RECORD-BREAKING DAYS, CROWDS OF footsore visitors and exhibitors streamed out of the Fira de Barcelona at the conclusion of ISE 2024. Despite the exhaustion, most of them had doubtless been inspired and stimulated by the biggest AV show the world has to offer. Visitors were up by 27% from last year, taking the number of unique attendees to 73,891 – a record since the show launched in Geneva in 2004 –all attempting to cover as much of the 82,000m2 show footprint as was relevant, not to mention possible.

On its 20th anniversary and third Barcelona outing, the show has truly taken the city by storm. The day after ISE 2024 ended, a taxi driver informed me it had broken all previous records set at the Fira – he’d heard it on the radio. Posters and banners fluttered in the breeze well beyond the exhibition halls, while industry creativity spilled out into the city including projection-mapping onto Gaudi’s Casa Batlló, technical tours of the immersive football museum at Barça’s Camp Nou, the America’s Cup Experience exhibition in Port Vell and the Great Library of Tomorrow at Aribau Immersive Space, plus a light festival illuminating the streets of Poblenou.

With global travel well and truly back on the agenda, ISE has once again become an international show, with visitors from 162 countries in attendance, evidenced by the amount of people we caught up with from Asia, Australasia and MEA.

While Covid has thankfully become a distant memory, many current technical trends have emerged out of the pandemic, including high-quality streaming technology as well as equipment being developed for a new landscape of hybrid working, office sharing and hot desking: scaled down, simple to set up and accessible by remote workers. Meanwhile, the convergence of broadcast and AV continues apace.

AI was a trending topic across the exhibition floor and in the conferences alongside other developments such as sustainable design and the future of remote collaboration. Meanwhile, keynote presentations from multi-Academy Award-winning director Sharmeen Obaid-Chinoy and digital artists Jeroen van der Most and Sofia Crespo inspired audiences with insights into emerging trends, market dynamics and technological breakthroughs. Commemorative events celebrating ISE’s 20th anniversary, including the ISE Time Tunnel and Vintage Audio Museum, provided nostalgic reflection and pride in an industry that has

From the show floor

created so many historic events and groundbreaking records, as well as recognition of the technological advancements made across the decades.

Already fully booked, ISE 2025 is promising to be even bigger. Word on the floor was that next year’s show will add the far-flung Hall 8, above the demo rooms, to the floorplan, while Hall 1’s lighting and staging displays will move to Hall 6, opposite the audio contingent in Hall 7, and digital signage will relocate to Hall 4.

As the week drew to a close, it was certain that ISE 2024 had debunked one of the doubts to surface during the dark times of 2020 – do we require in-person events now we were all connecting on Zoom and Teams? Yes, we do. The AV industry positively needs forums to meet up, share ideas, demonstrate new technology and, ultimately, reinforce connections with colleagues,

friends and competitors, some of whom we’ve known and worked with for decades, some of whom are new and all of whom were joining in this celebration of an industry that has roared back to life and promises an exciting chapter ahead.

2024 Dates: 30 January – 2 February

2025 Dates: 4 – 7 February

Venue: Fira de Barcelona Gran Via

Total exhibitors: 1,408

Attendance: 73,891

Contact: www.iseurope.org

L–R: Kristine Fowler and Kim Jurgensen, QSC with TAG’s Bryan Davidson: “QSC focused on providing an experience for showcasing Q-SYS by walking visitors through various environments. As Q-SYS incorporates a large software-based control and video component, we decided to showcase its scalability and how customers can use it in years to come. We have set up a certified Microsoft Teams room, an interactive hybrid meeting room and a more interactive demonstration room, which is aimed at the entertainment and hospitality sectors. Last year we scanned 2,000 participants over four days, but we exceeded our KPI (key performance indicators) halfway through day two with many attendees registering themselves based on word-of-mouth recommendations.”

L–R:

events pre-Covid; it’s not the new norm, it’s the old norm. We are a global company and this really is a global show. We’ve seen more end users without an AV background who are using the technology in their offices; they want something that’s plug-and-play, and Covid catapulted that drive. It’s helped us manufacturers fast-forward our roadmap to meet the new needs. We’ve all evolved quickly and there are some great solutions out there. We’re focusing on our new education matrices, Danteready products and ceiling speakers.”

and the Aimline Series of column speakers to the restof-world market. We’ve met potential new distributors and customers which will lead to new opportunities. The visitors over the four days are truly international, so it’s no longer appropriate to classify ISE as a European show. In addition to our collaboration with Aimline, we have also introduced new members to our team. This is only our third ISE, but it has been hugely successful as visitors are seeking us out.”

The Barcelona Fira main entrance

Hal Truax with Samantha Buchanan, WyreStorm: “ISE 2024 reminds me of

From the show floor

Ricardo Castro, RCOE global consultancy:

“I’ve been coming to ISE for over 20 years, not every edition, but almost. The platform continues to grow year after year; even last year surprised me with how busy the show was so soon after the pandemic. There are lots of nice projects coming on in the region at the moment too, so that definitely helps. I work all over the world, so this has become a good central meeting place.”

Bhavin Sureliya, Innovative Systems and

“Having ISE here is fantastic; I feel Barcelona is a better city for the show. The climate is very nice, and the accessibility and location of the show and how it has been planned and distributed across the different halls is great. I’m visiting lots of manufacturers, and the ISE app has been useful in finding the different booths. The signage and the increase in entrances and exits has improved. There is a lot of Indian participation this year.”

Olegario Pérez, Equipson:

Chandni Parikh, AVI-SPL, UAE:

“Having never been to ISE before, I’ve been thoroughly impressed. We’ve had loads of meetings on our stand but we’d also like to go out and see the demos – it’s a great place to get into the nitty gritty of new technology. The show is global and we’ve also seen loads of people here from the Middle East. Of course, we can see them on home turf, but the everyday gets in the way. Here, we can be a lot more focused.”

“It’s been a really successful show and it’s very near for us, being based in Valencia. We’ve been seeing a lot of Spanish people of course, but our international distributors and customers that came to Amsterdam are also coming here, and we’ve met new distributors and customers. Alongside the new Synthea installation amplifiers and Integra audio matrix series we’ve introduced new outdoor products, including the Arena series speakers. The demand for outdoor products grew during Covid but, now the market is more normal, there is still a demand for them.”

Nittin Dargan, Bose, UAE:

“Looking at the crowds, it felt like there were way more people attending from outside Europe than usually would. There have been many customers here from our region, so the show is truly becoming an international one. It was great to be here right at the front of Hall 7 again. There’s so much to get around in four days, if I had any suggestions for the future, perhaps it’s time for a fifth day?”

Howard Jones, Genelec:

“Access to the show has been much easier this year with more entrances, and Halls 1 and 2 opening an hour earlier. The layout is linear and logical. We are in a more central location in Hall 2 and that’s worked well for unveiling our new PoE-powered subwoofer. We’ve seen an international audience from across Europe, America and Asia, and a good spread of integrators, partners and distributors. Everyone has got used to the show being in Barcelona not Amsterdam; whenever a show moves there’s some resistance but after a few years that

Mark Gardner, Ross Video:

“We’re celebrating our 50th anniversary and return to ISE after six years, showcasing solutionsbased ecosystems of video products within sports, live events and corporate applications. AV systems integrators demand broadcast quality and reliability with the simplicity of user-friendly control for streaming content in HD and 4K. Having listened to their needs, Ross is continuing to provide ease-of-management functions such as presets for repeatable experiences, requiring significantly fewer operators.”

Joe Andrulis, Biamp:

“Our team has created a stand that engages the audience by putting the visitor first. Signage invites you in, gives you names of people on the booth and a touchpanel to select what you are interested in. There’s a call to action, such as suggesting the person you should be looking for, with a photo of them. Each exhibit is well-marked, with a touchpanel showing the different elements and stand lighting to highlight the relevant product. A QR code brings up an AI chatbot that’s been trained on our products and there’s an AI quiz in the seating area. All of these new elements have enhanced our success at this show.”

David Glaubke, Harman International:

“We’re focusing on the results of a general design philosophy that we’ve started to embrace, breaking down the silos of our processing and DSP into an open architecture. This incorporates a lot of flexibility and scalability to bring in all our different products as well as those from third parties, allowing integrators to work the way they want to. The new BSS Soundweb Omni open architecture DSP series is managed by the AVX software suite, which is also new. Visitors are very curious about this so we’ve had big crowds here at the show.”

“Dante is now incorporated into 4,000 products by some 600 manufacturers. There is a growing momentum among video companies which account for approximately 10% of this figure. We’re meeting manufacturers wanting to incorporate Dante, particularly with the API being made available with Dante Domain Manager 1.5 that provides quicker switching. Consultants, systems integrators and end users enjoy the remote functionality the software enables, so there is a need to educate and update. Dante is no longer a protocol – it’s a platform, and it’s

From the show floor

Patrick Hussey, Blackmagic Design:

“Blackmagic first exhibited at ISE in 2012 when we were more based in our traditional broadcast and postproduction markets. There has been a transition towards standardised workflows by AV professionals, together with a myriad of connectivity options, and these create natural opportunities for growth in the AV space. The greatest driver of the broadcast and AV convergence has been the move towards IP. We exhibit at ISE to better understand what our users require for IP network-based projects. Having drawn the appropriate audience, ISE continues to grow each year, and the organisers are constantly working to make it more reflective of the market today, bridging the broadcast and AV worlds.”

Graeme Harrison, Bluesound Professional:

“We launched the active BCS300 and passive BCS250 PoE ceiling speakers and we are also educating our customers to register for remote monitoring via the Device Cloud platform with the unified service provider, Xyte in addition to a full function wall panel touchscreen. There has been a huge amount of interest from international attendees and the show has been fantastic. I’ve not left the booth because of back-

“Following ISE 2023 when we demonstrated X1 for the first time, Holoplot has returned to the same demo room in 2024 with the same product but different content. Additionally, we are demonstrating X2 on our booth, which has led to a change in conversation with many first-time visitors who are less familiar with Holoplot. We are enjoying follow-up discussions with last years’ visitors wanting to know how X2 technology is relevant to their applications. We are turning away about 50 people per demo session as the room has no more capacity, so ISE needs to increase to five days or the demo programme must be expanded from every two hours to every hour. Consultants and designers looking at audio, video and lighting for a project, need to view experiences with all three elements combined.”

Christian Scheck, Lawo:

“We’ve tried to take the focus away from products and concentrate on solutions. We’ve been delighted to present a project we’ve just finished at the Real Madrid stadium, which is packed with Lawo products. They wanted a broadcast system that also manages all things AV, and they are also planning to host events and concerts. Everything is back to full steam ahead, and there are lots of new developments and interest in digital signal transport and distribution.”

“The thing that struck us most about this ISE is it’s truly an international show. I’ve met with as many American reps, dealers and integrators as from this side of the world. It’s the first time we’ve demoed at ISE in at least eight years, and the response has been amazing. While the setup of the demo rooms is good –they are massive and well isolated – the timings are a bit chaotic and that’s made them difficult to promote. We’d like to see them happening, say, every other

“LEA is looking at international growth, so ISE is an important aspect in expanding our global distribution

new solutions enabling us to penetrate other vertical markets. Being technology focused, there is always room to innovate and grow as LEA is a young brand.

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Cleared for takeoff

Richard Lawn visits the Ennis, Texas premises of AtlasIED to find out more about the company and its ongoing strategy of careful investments and mergers

AN ENTREPRENEUR HANDING OVER THE REINS OF A successful, privately owned business usually has a long-term succession plan conceived over decades. Fifteen years before stepping down, AtlasIED founder Loyd Ivey was no different. Having built his businesses both organically and through strategic acquisition under the MiTek umbrella, he had the foresight to groom his son Johnathan long before he assumed the hot seat. Little did his son realise that his initial throne would be in a lofty cab hauling 40ft containers across the American highways.

Having acquired Matrecs and the American Case Company, Loyd Ivey founded the MiTek Corporation in the early 1970s. As the parent company to numerous specialised audio companies, the family-owned business has designed and manufactured commercial, mobile, residential, marine and motorsports audio solutions for 40 years without interference from outside investors. Today, MiTek is the parent of 13 companies, including MTX, with manufacturing plants in various American states and three countries around the world.

Johnathan (John) Ivey grew up in the family business. His father ensured, however, that there would be no fast track to the boardroom or presidential suite. “I cut my teeth running the Xtant car audio company,” he recalls. “It was a premium hand-crafted audio line with a business turnover of around US$10 million. We used to market it as $2 per Watt amplification and it still has a huge online following today. But, coming from a small town in

Missouri, my dad convinced me to consider other opportunities beyond cattle farms and restaurants, where our cattle got skinny and our restaurants did not do well.”

Well beyond Missouri, in Brooklyn, NY, Atlas Sound had established itself in 1934 as an early pioneer of outdoor public address loudspeakers. Merging with the residential audio brand to form Atlas-Soundolier, it specialised in the design and manufacture of commercial loudspeakers. An opportunity to purchase Atlas-Soundolier arrived, and Ivey senior canvassed his son for an opinion.

“I started looking up at ceilings and appreciated the vast amounts of commercial speakers up there, so I knew this proposition was a good opportunity for MiTek,” recalls Ivey. Understanding the benefits of diversifying within the commercial market, MiTek acquired the brand. Although its trade only accounted for roughly 5% of the total MiTek Corporation business, Loyd Ivey saw the potential in the brand and changed the name of the company back to Atlas Sound. Following the acquisition, John Ivey found a replacement to manage Xtant, enabling him to work for Atlas Sound. “The vehicle business is cool, but it was becoming increasingly difficult, so I opted into the commercial audio business as I’m equally as passionate about it.” Appointed as truck driver, he quickly realised that the silver spoon was still missing. “I’m the president of Xtant and suddenly my dad wants me to be the truck driver because I know nothing about commercial audio!” laughs Ivey. “Despite my protestations that I had been literally raised in a speaker factory, he convinced me to assume that role.”

Ivey familiarised himself with North America’s interstates and smaller roads over the next three years. “Looking back, it was a great education as I was networking with people who would go on to manage the largest systems integration companies today. I would drive in and set up at 2am before the regional manager arrived to conduct the demonstration. The following day, the manager would conduct the sales pitch

AtlasIED estimates 89% of US airports are installed with its solutions

Custom box packaging in Ennis

Founder Loyd Ivey in earlier days

The AtlasIED factory in Ennis, Texas

and fly back, and I’d load the demo equipment and drive onto the next city. However, this invaluable experience taught me how the industry worked, and where the consultants, integrators and manufacturers fit in overall.”

Ivey senior wanted his son to perform every job at some point, including customer service, warranty, shipping and engineering. The grassroots networking with employees placed him in good stead, as did the conversations with integrators in the field. “The integrators would highlight products that were hard to install, did not work properly or the specification was written as a design build or for consultants.” Reporting back to base, Ivey’s eavesdropping led to changes in Atlas’s specifications, ensuring its products could be better understood by field engineers.

“I’ve never stopped listening, because it is the operators in the field that manufacturers need to communicate with,” he says. “I was recently transiting through Dallas-Fort Worth airport and noticed some Atlas products that could have been better installed. I called the integrator who showed up at the gate. I had 22 minutes before my flight departed, but I asked for an explanation of the installed products before telling them how I believed it should have been done. Ten minutes later, they shook my hand, and commented that it was the first time that anyone had met them to discuss a project. They were very thankful and changed their practices. It may be unique that the owner of a company works in the field, but that’s what I love about this job.”

Operating independently of one another, but benefitting from combined executive management, Atlas Sound and Innovative Electronic Designs (IED) became sister companies in 2009. IED had forged a name for itself as an established leader of mass notification systems in airports, corporations and government institutions. “IED was selling airport solutions for many years before the Atlas acquisition,” explains Ivey. “The digital audio processors, amplifiers, graphical user interfaces, programming software and controls all operated from endpoint to endpoint as a single system solution.”

Owing to the ill health of his father, who sadly passed away in September 2023, John Ivey assumed leadership of all MiTek operations in 2016. His rounded internship both on the highways and behind the scenes in the field prompted the new president to initiate immediate changes. The sharing of R&D resources between the divisions was a primary target.

achievements to date. From 2018, the Atmosphere platform demanded multiple building blocks to be put in place including manufacturing processes, engineering divisions and newly acquired technologies. Recruitment was key. “The team I have brought in are equally as passionate about AV. By allowing them to run the individual business units, I can focus on whatever area of the business needs my attention most. I wish I could remain focused on one segment of the business, but my true passion is product design and I remain one of the lead developers of new products.”

In addition to demonstrating good judgement in hiring the right people, Ivey admits to fortunate timing when Samsung opted to close its Crown and BSS/dbx engineering facilities in Illinois and Salt Lake City respectively. “There were pools of talented engineers in both locations, so I acted quickly,” he explains. “I offered these experts in amplification and DSP the opportunity to relocate to Kentucky or Phoenix. However, they are all family people, so it seemed more appropriate that we should invest in new offices at these locations. We are not in this for the short term and the creation of these new engineering departments has worked out incredibly well as the employees fit into our culture.”

The new recruits ambitiously devised Atmosphere as a ground-up technology. With more technically inclined people either retiring or leaving the industry, ease of installation would become an overriding design feature. Two years in development, AtlasIED launched its digital audio platform in 2020. Offering modularity, scalability and versatility across a wide range of commercial applications, this ecosystem promotes ease of configuration, installation and operations management in comparison to traditional audio systems.

John Ivey grew up in the family business

Travis Pranschke has played a central role in the company’s growth

The ALXD Aimline Series

Matt Czyzewski joined Atlas in 2022

The sales, electrical engineering and manufacturing facility in Phoenix, Arizona

Suitable for restaurants, bars, hotels, school campuses, houses of worship and retail establishments, the platform has been engineered to enable the use of touchless control, automation and artificial intelligence. Programmed by the systems integrator, the controls of the digital audio processor populate automatically when the user’s mobile device scans the DSP’s QR code, granting access to individual parameters. Ambient noise compensation technology including multipatented algorithms is embedded into each DSP. Through data collected and transmitted by an ambient noise sensor, the DSP learns to recognise patterns, automatically raising the volume to compensate for high levels of background noise. Messages uploaded to the DSP as WAV files can be dispatched according to a pre-programmed schedule based on priority or when triggered by an input device, such as a volume or source selector. The entire Atmosphere lineup is engineered to integrate with AtlasIED loudspeakers, for which integrators can use the preloaded EQ files within the DSP to tune the speakers for their specific application. Based on user feedback, the ecosystem continues to be refined and expanded with new hardware developments and software updates.

In addition to Atmosphere, the Globalcom product ecosystem has infiltrated a large percentage of domestic transportation, healthcare, commercial and industrial applications. With increasing demands, AtlasIED has invested wisely in its existing manufacturing plants, exemplified aptly at the Ennis facility, 30 miles south of Dallas. Many industrial processes including metal stamping, laser cutting and manual press forming engineering are conducted here. “It was logical to expand the infrastructure in place, so we have invested heavily in robotics and automated manufacturing processes in Texas,” says Ivey. “We do not intend to reduce our workforce as we are increasing productivity through mechanisation to keep pace with rising demand.”

Plastic laser cutting in

well during the pandemic and it made me rethink how we could drive our business.”

AtlasIED and MiTek vice president of global quality and manufacturing, Travis Pranschke, has played a central role in enabling the company’s growth. “When Loyd passed the reins over to John, we transitioned from being an audio manufacturer to that of a process-orientated technology company,” he explains. “Loyd was hands-on manufacturing, but John is more sales-driven and his biggest fear is running

Partnering with the University of Texas in Arlington and the Manufacturers Association for Texas, MiTek adopted Lean Six Sigma to improve efficiencies and performance by eliminating resource waste and defects. “We have improved our throughput and reduced the lead time for our customers’ orders. This has led to a reduction in inventory and although we still retain plenty of stock, we have a cushion to make it through. If you’ve got product and can either perform custom runs or quickly fulfil a large order, you can overcome a lot of supply chain challenges. Naturally, increased automation has played a large role in helping us achieve that.”

Since the dawn of the Millennium, most manufacturing in the West has offshored to China, but Pranschke highlights why MiTek decided to control its destiny by continuing to

require a team of engineers to programme the machinery. Because we are a privately held company, we reacted immediately and integrated eight robots within 10 months. Nobody was made redundant, and we managed to redistribute all 20 employees. This is unheard of at most organisations.”

By engineering efficiencies that create increased capacity, MiTek has further benefitted from exceedingly low failure rates. “Working with our OEM partners has helped us to transition from producing approximately 9,000 parts per million defects to just six,” continues Pranschke. “The integration of new practices into the overall manufacturing processes have all contributed to turn up the dial on quality. Like some other parts of the business that have grown exponentially, the waterproof speakers we supply for water sports vehicles accounts for 33% of our business now.”

In addition to taking Atmosphere to the next level of product

executive vice president Matt Czyzewski – who spent 20 years

L–R: AtlasIED’s Graham Hendry, Dean Standing, Gina Sansivero and Matt Czyzewski showcasing Atmosphere amplifiers

Ennis

at Biamp, working his way up to VP, was drawn to AtlasIED in mid-2022. “Matt’s combination of engineering, business development and progressive management experience made him the ideal choice to lead AtlasIED,” explains Ivey. “He understands the importance of constantly innovating to develop new and better technological solutions, and he thinks globally.”

Equally, Czyzewski recognised the fact that AtlasIED commands a very strong brand presence in North America but appeared to be less established in the export market: “When you explain to someone that we have a factory in Texas, no one knows where Ennis is. It’s hard to describe in words what goes on there, but what goes on inside those 25,000m2 is impressive. To build our international presence, AtlasIED is recruiting key personnel including Simon Godfrey, who recently became our EMEA sales director.”

Portland-based Czyzewski knows he enlisted to the cause at the right time. “You can feel an adrenaline and a buzz throughout the company from the factory floor to the senior management level,” he says. “If I was employed at a company that didn’t do any engineering or manufacturing because it outsourced resources, it would not be a good fit for my background. John should take all the credit as he has empowered us to do what we do best by removing the roadblocks, allowing us to hire the right people and acquire the right technologies.”

AtlasIED aims to strengthen its core markets including hospitality, transportation and education. “Our technological portfolio continues to benefit from continued product development, acquisitions and investments,” he continues. “As a majority shareholder in Aimline, beam steering technology is taking our Atmosphere, Globalcom and IPX Series to the next level. Beam steering had been on our radar for some time as it fits perfectly into our portfolio so, when the opportunity to acquire Aimline presented itself, the timing was right.”

Ivey has consistently endorsed his team’s convictions, including the envelopment of finite element analysis and simulation software developer, Comsol Multiphysics. However, the recent acquisition of Aimline feels like the final piece of

a big part of AtlasIED’s business,” he says. “We recognised a space in the market for a premium true point source transducer. Rather than reinvent the wheel, an opportunity arose with some ex-colleagues who had founded Fyne Audio. Active in the residential and hi-fi sectors, Fyne Audio has succeeded globally with their premium transducer technology.” The two companies merged their resources to design a range of premium point source loudspeakers for the commercial sector. “The resultant point source IsoFlare driver is characterised by a bass midrange driver sharing a common centre with the high-frequency unit,” continues Hendry. “The industrial strength and vision of AtlasIED, coupled to the artisan skills and reputation of Fyne Audio, is a winning combination for commercial audio.

AtlasIED solutions, with the Globalcom range designed for transportation applications. Rather than develop our own digital beam steering solution, which would have taken a long time and used up R&D resources, it made more sense to envelop Aimline into the AtlasIED family. By bringing beam steering manufacturing and R&D in house, we can confidently specify across multiple verticals beyond transportation, including houses of worship and conference spaces.”

Privately owned and in control of its own destiny, AtlasIED differs from competitor brands by possessing a huge potential in manufacturing and engineering. “The owner is a very ambitious and respected man who has invested in people and technology to enable the brand to sit at the

the jigsaw to Czyzewski: “Since I came onboard, I’ve been observing what technologies and personnel we need to have in house or what partnerships or acquisitions will help take us forward.”

Another industry veteran, Graham Hendry, has been appointed to the newly created role of VP of loudspeaker strategy. With more than 25 years’ experience in audio engineering and business development, the likeable Scotsman resides just three hours’ drive from Ennis. Hendry is now leading all facets of the company’s loudspeaker business strategy in addition to defining, developing and implementing product strategy.

Hendry knows a thing or two about beam steering and coaxial technology following his two decades at Tannoy specifying bespoke speaker systems around the world, including for Dubai’s largest shopping malls and iconic skyscrapers. “Covering security to commercial audio, within transportation, leisure, hospitality and retail sectors, loudspeakers now form

“True point source is where sound emanates from one point in space; that is true for the entire transducer, and not separated by physical space. IsoFlare is true point source technology that not only produces high-end audio but maintains directivity and control. With the adoption of IsoFlare technology across our entire loudspeaker range, including our latest surface mount pendants and Dante-networkable models, we can maintain consistent voicing throughout a venue. Beyond a technology partnership, we recognise the enormous potential beyond collaborating with Fyne Audio, which is another factor in why we invested in the company. Fyne Audio continues to trade in name within the residential and hi-fi domains.”

Hendry played an instrumental role in driving the partnership with German developer Aimline. “During the fulfilment of several Chinese airport projects in 2021, Aimline helped develop the beam steering capabilities for us. The company estimates that 89% of US airports are installed with

premium end of the audio market,” adds Hendry. “In the US, AtlasIED is omnipresent across all the verticals. Although we are less visible on the global stage, its full potential will be maximised in the APAC and EMEA regions by investing in people and marketing.”

Ivey is keen to return the compliments to his team. “I owe a lot of gratitude to the people that trust me to lead them into battle. By hiring people who are smarter and work harder than myself, I just need to let them do their job. We’re a nimble, family-owned company that does not have any boards of directors, shareholders, quarterly reporting or a big C-suite, and there’s no bank telling us what to do. My father was truly passionate about what he did and left us with a solid foundation. Crucially, we’re in control of our own destiny.”

The updated AtlasIED edition is now revealing the highways of the world to Ivey.

www.atlasied.com

AtlasIED solutions are found in a large percentage of domestic transportation applications

AtlasIED’s Atmosphere platform

Optimising video tech for a greener future

Philippe Wetzel, chief executive officer and founder of VITEC, explains why the explosion in video traffic demands a combination of sustainable production, distribution and consumption

chain. This should include everything from the extraction of raw materials, design, manufacturing, transportation and even the final recycling of the devices. All key players will need to actively participate in reducing energy consumption across their segment of the ecosystem.

So, what can be done to reduce the impact of video traffic? In fact, there are a number of things that can be

ACCORDING TO A STUDY BY THE SHIFT PROJECT,1 the internet contributes more than 3.7% of global greenhouse gas emissions. Within that, video represents over 80% of the traffic that flows through this global network. And this figure is increasing at about 25% per year. A similar trend is unfolding across enterprise networks deployed by organisations of all sizes and industries. The tremendous amount of video traffic managed today by IT departments is now challenging data centre operations as one of the biggest generators of corporate carbon emissions.

Challenges

Adding to the challenge is how users produce and consume video in both their personal and professional lives. Consumers are not only watching videos for work and play; they are increasingly producing and sharing content for distribution on social media and enterprise networks for colleagues, customers and suppliers. In so doing, demand for encoders – to support video content creation and the decoders that enable consumption – has been driven to record highs.

It is in this context that it is important to focus on the details of video technology. Encoders, for instance, consume significantly more energy than decoders – sometimes as much as 5–10 times as much energy, in comparison. As a result, in addition to more traffic flowing through public and private networks, much more original content generation is taking place, significantly elevating the carbon footprint of the video sector.

Sustainable practices

This is why tracking the impact of digital video consumption across the business ecosystem is becoming increasingly important. Industry leaders must balance sustainability with the ever-growing corporate and consumer demand for video content. They must take responsible steps to initiate efforts to reduce the carbon footprint on the entire value chain of this industry. Carbon footprint assessments must encompass all direct and indirect emissions within the value

and decoders. The latest encoders and decoders have been designed to significantly reduce the amount of data required to transmit high-quality video, a feature that can lower overall energy consumption. Of course, reducing the bitrate of video content (without compromising visual quality) through techniques like adaptive bitrate streaming which dynamically adjusts the bitrate based on network conditions and display resolution, also has a role to play.

Other initiatives that can make a difference include using more energy-efficient data centres for storage, using renewable energy sources as well as educating users about the environmental impact of video consumption. Campaigns to raise awareness among video consumers about the

Wetzel,

environmental consequences of their viewing habits will hopefully encourage responsible consumption habits. This includes opting for lower bitrate streams, adjusting display brightness and turning off idle video playback. The video industry is facing a number of challenges, including the increasing demand for video content and the environmental impact of video traffic. While individual consumer awareness plays a crucial role in shifting habits and reducing the environmental footprint, the industry itself must take bold steps. This is precisely where our initiative GreenPEG comes in. GreenPEG goes beyond raising consumer awareness by outlining a concrete, five-pronged strategy for mitigating video traffic’s environmental impact:

Modernise manufacturing facilities with sustainable technologies

Streamline logistical supply chains

Incorporate energy-efficient design principles in hardware and software

Manufacture products to be recycled at end of life

• Incorporate energy monitoring and control in all product designs

While our own internal efforts have significantly reduced our carbon footprint, we recognise the need for collective action. Sustainability can’t be a solo endeavour. The rapid growth of video traffic presents a significant challenge for both network infrastructure and the environmental sustainability of the audiovisual industry. While this may seem daunting, it also represents a unique opportunity to adopt greener practices and drive positive change.

By encouraging responsible consumption, investing in technological advancements and fostering collaboration across the industry, we can transform video consumption into a more environmentally conscious activity. Empowering users with knowledge and tools to make informed choices, such as adjusting video quality or choosing renewable energy options, can meaningfully reduce the carbon footprint of each streamed pixel.

Similarly, embracing innovation in areas like encoders, decoders and data centre solutions holds immense potential for resource optimisation and waste reduction. While individual efforts are valuable, achieving lasting change requires collective action. GreenPEG embodies this commitment through various initiatives ranging from streamlining production processes to fostering crossindustry partnerships. That’s why we are actively enlisting key stakeholders, partners and even competitors to embark on collaborative sustainability initiatives across the entire video ecosystem. By uniting industry leaders, we can amplify our impact and make a real, lasting difference in reducing the video sector’s environmental footprint.

www.vitec.com

1

Okada Manila chose VITEC for its integrated IPTV and signage system

Over 130 sources feed directly into VITEC HDMI encoders, including live international and local TV, gaming machine content, advertising channels, live camera feeds and event footage

VITEC’s MGW Ace Encoder is an HEVC/H.265 hardware encoder packaged in a portable streaming appliance

Philippe

VITEC CEO

EclerCLOUD platform.

PULSO

NIMBO Series of design loudspeakers and MIA Series of column speakers.

Two new subwoofer models: EDGE-SB110P and KICK-SB28.

Strong distribution brands for your success!

MONACOR INTERNATIONAL is expanding its sales network throughout the EU and now looking for further distribution partners to take the success of our internationally renowned brands MONACOR and IMG STAGELINE to the next level. Are you interested in becoming an international distribution partner and being part of our future success and heritage? www.monacor-international.com/distribution

Find out more:

VIDA and HADA Series of Digital Amplifiers.

Series of digital remote wall panels.

Immersed in genius

AFC Image software can control up to 128 object-based channels of immersive sound

Richard Lawn visits room L104 of Yamaha’s headquarters to find out more about its AFC immersive technology

WHEN TORAKUSU YAMAHA WAS CALLED TO A Hamamatsu school to repair an imported reed organ in the late 19th century, a corporation was born. Bearing his family name, Yamaha Corporation dominates as a leading manufacturer of musical instruments including guitars, percussion, brass, grand pianos and keyboards.

Yamaha has also become a major international player in professional audio. Before the company started to develop live PA technology, an acoustic consulting division was created to discover the ideal relationship between performer, audience and space. Tucked away in room L104 of Yamaha’s Hamamatsu’s headquarters, this division, conceptualised in 1969, has been researching and perfecting immersive systems from content production to playback for almost four decades as well as handling acoustic design for concert halls and theatres.

By 1985, the acoustic consultants had delivered the world’s first immersive audio platform. Active Field Control (AFC) technology was developed in response to a growing need for venue diversification as demand for a wider array of events grew. Yamaha’s engineers discovered they could adjust the acoustics of a space to suit different types of performance, offering a cost-effective, push-button alternative to mechanical means of modifying room acoustics by enhancing the reverberation.

Gradually refined over the years, AFC currently features 96kHz of next-generation audio processing and space control. Currently installed in over 200 venues globally, including the Tokyo International Forum and Sydney’s Neilson Theatre, the technology was expanded in 2021, with AFC Enhance joined by AFC Image for acoustic image control. Collaborating with Yamaha’s partners Steinberg and Nexo, the solution extends from production to playback.

The dimensional reverberation control capabilities of AFC Enhance are used to create spaces in which acoustic images are positioned and moved around within the GUI of AFC Image. By controlling the feedback via multiple microphones and loudspeakers strategically located throughout the space, the technology makes use of the existing natural materials to create an acoustic loop that amplifies the room’s acoustic energy. Without adding artificial reverb to the source sound, reverberation and volume can be configured and the natural sounds of musical instruments and voices are maintained. The inline approach

uses convolution signal processing to add a variety of measured impulse responses to the mix from the microphones. By precisely varying the output balance from the system’s multiple speakers, sound can be moved to match programming and staging needs. The perceived positions of acoustic images within a space are controlled by AFC Image. With a conventional stereo configuration, the image will vary according to the listener’s position but, in an immersive setup, acoustic images can be located wherever they are needed to produce the desired effect. Unique features include a speaker zoning function that assigns object sounds to only the desired speakers within the system and

DZR10-D speakers created an immersive environment in the auditorium of the Shimizu Cultural Centre Marinart

Remote solo instrumentalists performed in the cultural

The Spatial Audio Group in the spacious anachoic chamber

binaural output for immersive sound in headphones. Up to 32 speaker zones can be converted by AFC Image for precise control of the perceived object position.

Systems can be customised to integrate DAWs, mixers and tracking mechanisms, in addition to third-party hardware and software. Space conversion then reproduces 5.1 channel content to the loudspeaker network using a DAW so that playback can be matched to the venue. The detailed, dimensional electronic reverberation control capabilities of AFC Enhance are then used to create acoustic spaces in which the images are positioned and controlled by AFC Image. Working with Nexo NS-1 system configuration software and a range of outboard equipment, AFC faithfully delivers the content in a wide range of environments.

AFC Enhance and AFC Image can be used within a multitude of external controllers. AFC Image control devices include Rivage PM, CL and QL series Yamaha digital mixing consoles, Stagetracker by TTA, third-party media engines and tablets via a browser. AFC Enhance can be controlled from the ProVisionaire Touch and Control applications running on a tablet or by the Yamaha MCP1

Led by Yamaha Professional Solutions Division Spatial Audio Group (SAG) manager Hideo Miyazaki, the team in the two-level room L104 work with 12 cardioid and electret microphones together with 40 self-powered Yamaha speakers. “Yamaha possesses advanced digital console and DSP technology such as the DME7 digital mixing engine together with this 3D acoustical research facility that can analyse sound in real applications,” asserts Miyazaki. “The acoustic energy and feedback within the room is managed using the microphones

Relatively dead acoustic spaces with little reverberation, such as assembly halls and banquet rooms, are acoustically designed for speech. For classical music, these venues require more depth, and AFC Enhance can create an ideal sonic environment without changing the structure. A classical musician playing a cello demonstrates this perfectly for settings including a large concert hall, a cathedral, a small concert hall, a shoebox theatre

and a rehearsal room. For each scene, the reverberation can be simply managed from a tablet.

“The screening process is very important, so we need to manage the delay time for each speaker in the room, and the levels for the loop gain between the microphones and the speaker,” adds SAG’s Hiromu Ohgi. “It is important that we know how to control the soundfield. By controlling the reverberation and early reflections that have a big effect on the listener, the sound throughout the room can be adjusted while retaining the natural acoustic properties of the room’s structure. It is necessary to feed back as much energy as possible but, with

more energy being fed back, the higher the risk of uncontrolled feedback.”

For object-based rendering, the DAW or console rendering area can be converted to any configuration, from a basic cube to a 16-sided polygon within which objects can be positioned. Three layers are available with heights that can be individually defined. Therefore, objects being output from a console can be rendered and controlled within the stage area from the console. Conversely, objects being output from a DAW are rendered and controlled within the audience area.

Having relocated to the US$100m Innovation Centre headquarters in 2018, Yamaha continues to be at the forefront of the pro audio industry. Designed to accelerate pan-Yamaha development and efficiencies across a wide range of audio-related products, engineers from Yamaha’s professional audio, Unified Communications, home audio and MI divisions now work on one site. Operating in three buildings, including a seven-storey, 35,000m2 engineering facility, Yamaha is benefitting from the collaborations between different business units and more streamlined disciplines.

In addition to room L104, SAG designers have access to an anechoic chamber, speaker testing rooms with high-quality acoustic insulation, recording studios, vibration experiment and ergonomic evaluation rooms, sensory rating rooms and reverb chambers offering adjustable 0.3–1.6s reverb times.

The recording studio allows engineers to bring in any audio I/O, mixing and processing equipment they choose and another large session studio with lighting and cameras is also at their disposal. The studios and experiment rooms are connected by analogue and Dante networks, allowing remote sessions and the simultaneous recording of studio sessions in different monitoring environments.

As well as fixed installations, Yamaha’s AFC technology has been deployed at high-profile international events. “We successfully collaborated with Nexo for a sports arena at a Qatar University,” says Miyazaki. “By adopting AFC, the atmosphere of the crowd intensified and the players on the pitch were noticeably affected by the added excitement.”

A world-first in October 2021 saw the Shimizu Cultural Centre Marinart in Shizuoka City host The Marinart Forest, directed and conducted by Maestra Tomomi Nishimoto and performed by the IlluminArt Philharmonic Orchestra and Choir, with a recitation by Ryoko Sakuma. Taking classical music beyond the boundaries of a conventional indoor concert, the venue was transformed via AFC Enhance and AFC Image into a variety of sonic locations, such as forests and cathedrals, to create a single soundscape from performers located in three places. Connected by natural sounds, various compositions were integrated into a single work. The fully immersive listening environment incorporated 50 onstage microphones and another six for AFC together with an equal number of Dante-equipped DZR10-D powered loudspeakers throughout the auditorium. AFC Enhance replicated forest, riverside and seashore ambience as well as changing seasons to match the music while, in between musical recitals, location recordings of flowing rivers, birdsong and insect sounds relied on AFC Image.

A screen in the venue’s smaller performance hall relayed Maestra Nishimoto’s conducting in real time to the 61-strong IlluminArt Choir. Here, 16 speakers and AFC Enhance reproduced the precise sonic ambience of the main hall, with the choir’s performance picked up by 13 microphones routed to a Yamaha CL1 digital mixer via Dante to the production’s Rivage PM7 digital mixing system in the main hall. The Yamaha technologies made the chorus feel – and sound –like it was singing in the main hall, while with AFC Image the voices appeared to descend from above the audience.

Remote solo instrumentalists including piccolo, piano and organ players performed in the venue’s main rehearsal room. Here, six Yamaha HS5 monitor speakers and AFC Image’s 3D reverb reproduced the sonic ambience of the orchestra in the main hall and the choir in the small hall. As with the choir, the sound of the soloists was picked up by five microphones and routed via another CL1 to the Rivage PM7, where AFC Image moved the piccolo sounds vertically and horizontally to reproduce the effect of birdsong. The concert was a breakthrough, delivering a new expression through immersive classical music and proving that audible ambience is no longer at the mercy of fixed architectural acoustics. With AFC Enhance, technicians can actively control the ambience and manage the audio parameters of any live performance in real time. Unlike channel-based immersive systems that employ a fixed speaker layout, the object-based AFC Image can reproduce an acoustic environment which is no longer constrained by the shape or size of the venue.

Having previously relied on digital reverbs to add artificial resonance to performances, AFC Enhance is winning plaudits for the natural richness it has seemingly created. A quantum leap in acoustic expression perhaps but, given the facilities and technology that SAG has at its disposal within the vast chambers of the Hamamatsu Innovation Centre, Yamaha will surely remain at the forefront of immersive audio technology.

www.yamaha.com/en

A Rivage PM7 handled audio mixes for the main hall, smaller hall and rehearsal studio centre’s rehearsal room

L–R: Spatial Audio Group’s Takayuki Watanabe, Soichiro Yoshida, Hiromu Ohgi, Miki Shimizu and Hideo Miyazaki

UNITE YOUR AUDIENCE

Our philosophy isn’t just a motto, it’s the guiding principle behind everything we do. Our systems deliver signature sound with coverage and consistency that truly connects the fans and the artist.

Unite Your Audience

The Martin Audio Experience

martin-audio.com

of the DS100 with Dante. Leveraging the technological power of Milan, the DS100M extends its functionality to provide an expanded range of features. These include more audio channels via Milan, MADI and word clock inputs, making it “an essential part” of a complete Milan system for both d&b Soundscape and matrix applications. Meanwhile, the D90 is the manufacturer’s new flagship amplifier. It reportedly delivers unparalleled sound quality and performance, increased system efficiency and powersaving features “which place the D90 at the forefront of advanced amplifier technology”. As well as providing maximum loudspeaker performance, it maintains lower internal temperatures at the highest output to promote long and reliable operation. By incorporating Milan networking technology, its design allows seamless configuration for redundant system setups for audio signal transport, complemented by fallback capabilities for all inputs and device communication.

d&b has also announced the launch of En-Bridge, a software tool for the Soundscape ecosystem designed so that the manufacturer can streamline the interoperability between the DS100 signal engine and leading thirdparty systems. En-Bridge is a standalone software available for Windows and macOS that provides OSC bridging and third-party

Soundscape parameters on the DS100 signal engine. It allows BlackTrax tracking systems to be used for automatic object positioning on a Soundscape system, including the latest BT-1 system, by translating the BlackTrax RTTrPM protocol into DS100 OSC commands and providing additional mapping functionality.

Meanwhile, En-Snap, the d&b Soundscape cue automation and show control software provided in collaboration by d&b and Gareth Owen Sound, has been given a major upgrade and is now available to all Soundscape users as En-Snap V3. In addition to a range of new cue automation features and show control workflow improvements, the update adds the ability to use En-Snap as a standalone sound object control user interface for FOH for all types of immersive live stage system.

The Object Viewer allows users to monitor and control the positions of sound objects directly in En-Snap, within a workflow that supports positioning and parameter editing for a single object or group selections in absolute and relative editing modes. The ability to organise the visibility of objects, background images and view sections in user-defined “view presets”, combined with options to colour objects and assign names, reportedly ensures maximum customisation. Input groups for quickly selecting multiple objects for mass editing and object linking with multiple mirror modes for group positioning provide efficiency within the streamlined, user-centric workflow of the Object Viewer, which has been designed for objectbased content creation in immersive live applications.

En-Snap supports single and multiple DS100 setups and is available for macOS and Windows. En-Snap V3 is a multi-window application with separate windows for Cue automation and Object Viewer and also provides compatibility with V1 licences and show files. To take advantage of En-Snap V3’s many features, the software must be connected to a DS100 signal engine.

www.dbaudio.com

LA Series in pole position

DESIGNED AROUND transducers and simple deployment, the LA Series is a family of two-way, self-powered loudspeakers geared towards small and medium live shows, weddings, corporate events, restaurants, bars and clubs.

The series consists of four models: the 12-inch LA121 and LA123, and the 15-inch LA151 and LA153. The LA123 and LA153 are described as performance versions and feature a 3-inch voice coil compression driver to provide higher output. All four models weigh less than 22kg individually,

and the asymmetric pattern of the horn maintains high-frequency directivity and eliminates unwanted reflections in the venue. XLR in and loop output is said to make daisy-chaining multiple loudspeakers easy, while a mic/line switch simplifies setups where only the amplification of a single microphone is required. A TRS input provides flexibility with different external mixers and processors, eliminating the need for adapters, and the LA123 and LA153 use Neutrik powerCON in and loop through for secure connection to the mains’ source.

ARRoCC and roll loudspeakers

CONCEIVED AS a complete PA solution for medium-throw sound reinforcement scenarios, Audiofocus has unveiled its ARRoCC constant curvature loudspeaker series. The ARRoCC system comprises the wide-coverage CC210W cabinet and its narrow coverage twin, the CC210N, plus the 118S compact subwoofer. The CC210W and CC210N each house a pair of V-mounted 10-inch LF transducers with Tetracoil double voice coils. A 4-inch titanium diaphragm HF compression driver allows Audiofocus to employ a lower crosspoint, resulting in better dispersion and control down to the lower frequencies. Both cabinets achieve a peak SPL of 135dB and a frequency response of 55Hz–19kHz.

The CC210W and CC210N offer 25° x 90° and 12.5° x 90° coverage respectively, and can be deployed either vertically or

incorporate Audiofocus’s 3D printed Severin precision waveguide for rigid definition of coverage patterns, which the company says ensures an optimal listening experience for all audience members. Directivity can be adjusted further with a forthcoming adjustable horn plug option.

The 118S compact 18-inch subwoofer has been specially developed to complement the ARRoCC series and rigging system and has a frequency range of 30–100Hz with a peak SPL of 135dB. Supported by a comprehensive system of accessories allowing it to be stacked or flown in numerous configurations, ARRoCC loudspeakers are offered in self-powered and passive versions. Multiple self-powered cabinets can be managed remotely from any device via Audiofocus’s SCiO browser-based software.

The enclosures are lightweight, despite housing onboard bi-amplified electronics (1,500W), EAW’s Focusing and Beamwidth Matched Crossovers and DynO digital signal processing. The series also includes a monitor angle and monitor mode button that accommodate mains and monitor use in one product.

www.eaw.com

Miniature marvels complete

Larger and louder with EVERSE 12

ELECTRO-VOICE HAS launched the EVERSE 12, which the manufacturer claims to be a “larger and louder” 12-inch two-way option for users looking for bigger sound than the EVERSE 8 – although maintaining the battery performance and wireless-friendly features of its 8-inch counterpart. The larger model boasts a maximum SPL rating of 126dB, a low-frequency response reaching 45Hz and 100° x 60° coverage. Said to be suitable for an array of scenarios, whether it’s a rooftop DJ set, a patio gig or expos or events, the speaker caters for both inside and out. The EVERSE 12’s customdesigned Li-ion battery pack is optimised for audio use and said to provide power for over 12 hours at an average SPL of 100dB with typical programme material or over six

hours at the maximum output level before limit indication, surpassing the EVERSE 8’s equivalent performance at 95dB.

The EVERSE 12 is equipped with an array of new features including a weatherised design, a titanium-diaphragm compression driver and true wireless stereo streaming and app control/mixing. Its woofer and titaniumdiaphragm compression driver are coupled to a patented SST ported waveguide, resulting in a significantly smaller enclosure. The app allows pairing and grouping of up to six Bluetoothequipped Electro-Voice portable loudspeakers, in any combination.

The components are powered by a Dynacord high-efficiency 400W Class-D amplifier and DSP module. Features include a built-in fourchannel digital mixer with studio-quality effects

and processing, mode/location/subwoofer presets, 48V phantom power, feedback suppression and audio ducking. Local configuration can be completed using the single-knob encoder with LCD. An integrated 12V DC port draws power from the EVERSE 12 battery, making it suitable for wireless

An ergonomically designed soft-touch handle and lightweight construction aim to simplify moving and mounting, whether it’s onto a tripod for an extended throw, set long-side-down as a stage wedge with a 55° monitor angle or placed upright with a 25° kick-back angle. An optional rain cover, as well as a duffel bag, is available for additional weather resistance.

www.amadeuslab.com

Mount up with the CA 163

DESIGNED FOR acoustically challenging environments, the CA 163 from Extron is an easy-to-mount column array speaker which features a focused vertical dispersion that directs sound to listeners instead of reflective ceilings or floors. Providing a contemporary aesthetic, it is available in paintable black or white. Designed for one person to mount securely, the speaker uses two mounting systems to accommodate different room layouts and sizes. The company includes a wall-mounting template to make it easy to accurately position – once the mounts are installed, a slot on the rear of the speaker allows it to slide up and down to the desired height. The CA 163 PT includes a pan and tilt mount for maximum speaker aiming flexibility, mount for minimal protrusion from the wall. Rooms controller or a Zoom Scheduling panel, the ZRTP Pro 1025 Series and ZRTP Pro 725

touchpanels allow users to manage the Zoom Rooms meeting experience, while the addition

with any Zoom Rooms controller. Meanwhile, scheduling display mode transforms them into room scheduling devices providing scheduling status. ZRTP Pro Series touchpanels and the users to host a videoconference and simply shades, display power and cameras from the temperature sensing, it delivers 60W across monitors power consumption while providing for tracking temperature conditions of any ambient air space or device. Housed in a compact 1U quarter-rack enclosure, it is designed to be used with an IPCP Pro xi Series control processor for secure, encrypted power control of attached devices. It can also operate independently using a secure Extron API, enabling integration for specialised applications or direct control via the built-in web page.

www.extron.com

Mixing it up

ADDING TO the MAUI G3 Series launched last year, LD Systems has unveiled the MAUI 11 and 28 G3 MIX models. Providing an integrated six-channel digital mixer, numerous professional-quality built-in effects and convenient wireless remote control via mobile phone or tablet, the additions have been designed for performers who don’t want to bring a separate mixer to gigs, such as singer-songwriters. The manufacturer has also released QUESTRA v1.2, which includes a number of significant updates designed to improve functionality and enhance the user experience, such as improved system architecture and an expanded device library. Another new feature is Scenes, which provides global automation of actions involving all devices in a project. Other developments include an Elements Library, Widgets, Multi-selection in pre-edit mode plus

direct software upload for QTP touchpanels, which are all said to contribute to an improved user experience.

www.ld-systems.com

Adamson looks to the future of audio with VGt PRODUCTS

FORMING THE first product in the Vergence Group and aiming to set a new standard for high-performance audio products, the VGt has been unveiled by Adamson Systems Engineering. The M140 is a largeformat line array system using the manufacturer’s patented midrange technology, Class-D amplification, redundant and daisy-chainable Milan AVB and comprehensive DSP.

The VGt offers variable low-frequency coverage patterns that means users can choose from various cardioid or non-cardioid configurations to tailor coverage precisely to their needs. The system’s Autolock rigging system is said to allow a single technician to quickly and safely set up an entire system, saving time and labour costs.

Bridge closes the gap to integrate all legacy ground-amplified systems. The Optimisation

The VGt element is part of an ecosystem designed to work with Adamson’s Array Intelligence software that includes brackets, dollies, accessories and covers. Array Intelligence allows for the combination of the VGt with the CS-Series, while the Adamson

with an array of 18 VGt requiring four rack units, and only six power and network homeruns. By getting rid of most rack space and transporting all space-consuming accessories on the dolly, the company claims that the VGt forms the tightest truck pack possible, reducing environmental impact.

www.adamsonsystems.com

Bringing the great indoors, outside

ePS OUTDOOR is a range of four weatherproof loudspeakers from NEXO that are engineered and tested for use in outdoor installations. The ePS6EN54, ePS8-EN54, ePS10-EN54 and ePS12-EN-54 loudspeakers partner high-excursion 6-, 8-, 10- and 12-inch LF drivers with a 1.4-inch diaphragm HF driver (ePS12/1.7-inch) in 15mm Baltic birch cabinets with a high-grade polyurethane coating. Subjected to 800 hours of salt spray testing (ISO 9227 standard) and 600 hours of UV testing (DIN 75220 standard), connections on the ePS Outdoor rear panel are via two in/out pairs of terminal blocks with an IP

the requirements of EN54-24 certification, the speakers use high-grade A4 stainlesssteel screws to UV-protected front cloth and polyurethane coatings.

Cabinets feature two M6 with 80mm pitch and one M10 fitting on the sides for mounting to a U-bracket, bumper or eye bolts, while the back of each speaker is fitted with three M6 with 70mm pitch fittings for wall mounting in both horizontal and vertical positions. NEXO’s NXAMPMK2 powered controllers include presets for ePS Outdoor to make it easy to include the EN54-rated speakers as outdoor components of a larger installation.

Expanded PL Series targets close coverage

PROMISING TO deliver extended bass response compared to point source models of a similar size, Q-SYS has expanded its PL Series with five new loudspeakers

Bundle features the Lenovo ThinkSmart Core and ThinkSmart Controller for Teams Rooms. Pairing the UC Compute Bundle with Q-SYS’s portfolio of Certified for Teams devices will help

MK5 makes its mark

RCF HAS unveiled MK5 models for its ART 7 Series. Features include 132dB max SPL, 1,400W two-way peak power, DSP processing, a 3-inch titanium compression driver, a 15-inch neodymium woofer, an 800Hz crossover point and a 90° x 60° wide dispersion constant directivity horn.

woofer, offering improved bass reproduction and high excursion capabilities. The transducers feature ultra-long excursion and four-layer ultra-light CCAW voice coils.

The ART 708-A MK5, ART 710-A MK5, ART 712-A MK5 and ART 715-A MK5 models feature

increased definition, strength and thermal

the ART 932-A MK5, ART 935-A MK5 and

coverage is not required. The series include the PL-CA5, PL-CA6, PL-CA8, PL-CA12 and PL-CA15.

Pairing them with Q-SYS network amplifiers is said to offer several benefits, from custom loudspeaker voicings and protection safeguards to advanced telemetry, helping to speed up deployment and deliver an optimal system operation experience.

Beyond the PL Series addition, Q-SYS has also announced that its UC Compute Bundle for Microsoft Teams Rooms is now certified for Microsoft Teams. The bundle streamlines the design, procurement and deployment of solutions for high-impact spaces. In collaboration with Lenovo, the UC Compute

Tsystems integrators purpose-build a complete Microsoft Teams Rooms solution to the needs of any space. In addition, by installing the Q-SYS Control for Microsoft Teams Rooms application, users can add room environmental controls alongside their Microsoft Teams controls on the same pane of glass.

www.qsys.com

time for PK Sound

DESIGNED FOR a wider audience, PK Sound had developed the T8 sub-compact robotically controlled line source. Featuring PK’s patented multi-axis robotics, the T8 can attain a peak SPL of 143.5dB down to 400Hz in the vertical and horizontal planes. Designed for pairing with the T18 intelligent subwoofer, PK Cell modular touring rack and PK.dynamics control software, the T8 system incorporates inclinometers and network-based Auto-Array via .dynamics software. Enhancing the speed, safety and accuracy of any deployment, each T8 module can recognise its position and angle within the system. Robotic control, onboard DSP and network data are routed through IP65-rated connectors on the rear panel.

The three-way T8 enclosure comprises dual vented 8-inch Tetracoil transducers with custom phase plugs and a coaxial compression driver in addition to a twochannel VE15 1,400W Class-D amplifier. A

The Italian manufacturer has also extended its NXL active column speaker series with the NXL 14-A. Available in black and white, the self-powered NXL 14-A boasts two 6-inch woofers,

feature pure titanium compression drivers reduce distortions and improve robustness, while the constant directivity waveguide provides “perfect” coverage to the listening area and continuity with the woofer emission. Newly tuned presets and settings are said to take full advantage of the XBOOST algorithm for optimal sound at any volume.

The Precision Transducers Series has expanded with seven additions, including the NDT895 and NDT995 titanium/neodymium compression drivers, and the NDX595 and NX495 1.75-inch PKX dome compression drivers. Recently released cone drivers include the LN19S400 and LN19S450 subwoofers, featuring 19-inch, high-power voice coils, and the 16-inch LN16S400

The PMR 60T is a two-way 80W pendant speaker for commercial double 19-inch come equipped with high-excursion and have been designed to be paired with the XPS 16K amplifier.

Finally, the SUB AX Series offers full DSP control and Bluetooth remote capabilities. The SUB 15-AX and SUB 18-AX models centralise loudspeaker management on the subwoofer with professional digital tools for tuning and optimisation. MK3 versions of the SUB 8003-AS and SUB 905-AS subwoofers have been updated with improved sound quality and a new polyurea coating.

www.rcf.it

between on- and off-axis coverage points, according to the Canadian manufacturer. Flown straight, the array’s directivity is configured remotely using industrial linear actuators, with vertical angles variable in 0.1° increments. A

The T8’s elongated waveguide is robotically manipulated to offer variable symmetric and asymmetric horizontal dispersion in 49 configurations, from 60–120°. Enabling the configuration of tapered arrays for unique

coverage requirements, the array’s radial directivity can be shaped remotely in real time. Indoor venues benefit from the energy being focused on the audience away from reflective surfaces in indoor venues and outdoor applications can mitigate noise pollution emissions to the surrounding residential areas. The low-profile T18 subwoofer offers peak SPLs of 140.4dB within an operating range of 25–100Hz. Sharing many internal components with PK Sound’s T218 subwoofer, the T18 features a front-loaded, long-excursion 18-inch transducer in a bass-reflex design. A large, unrestricted vent enables high SPL performance with minimal port distortion. A single, field-replaceable module on the rear of the cabinet contains the 2,700W Class-D amplifier, control electronics and power supply. DSP and Milan-ready networking are included for ease of setup and calibration. www.pksound.live

ART 708-A MK5

Portable sound

bracket is available in addition to a tabletop stand accessory for mounting on flat surfaces either horizontally or vertically. An optional Adaptive Technologies. www.theoryprofessional.com

Wharfedale keeps active with two additions

WHARFEDALE PRO has announced the launch of two product ranges: the WLA-210XP line array system and T-Sub active subwoofers. The WLA-210XP is a dual 10-inch passive array featuring the manufacturer’s EVO-Fold waveguide and custom phase plugs to deliver a consistent off-axis frequency response. Combined, these features reportedly lead to a reduction in the usual phase issues suffered by traditional two-way line arrays caused by the physical distance between drive units.

The 18-inch T-SUB-AX18B is the latest addition to the company’s T-SUB family of active subwoofers. It has been designed to work perfectly with active tops such as the Tourus, Titan and Typhon series, delivers 900W continuous and is finished in Wharfedale Pro’s polyurea Tough-Tone paint.

www.wharfedalepro.com

TASCAM HAS released a pair of closedback headphones, with the aim of “combining quality sound with affordability”. The TH-11’s sensitivity and frequency response are said to ensure balanced sound suitable for many music genres and applications and reportedly provide clear highs, a welldefined midrange and a robust low end. Because a clean, modern look and comfort are just as important as the sound, the TH-11 features plush cushioned ear cuffs and a padded headband for long hours of comfortable use. The headphones also offer flexibility with 90° rotation on both sides, making them suitable for listening to extended recording

audio formats from USB memory devices and SD cards with a maximum capacity of 512 gigabytes (SDXC). A power-on play function enables playback automatically upon powering up. Combined with repeat playback, the audio/video content will start, loop and play continuously until the system power is turned off. The repeat function can be defined by chapter, title or A–B range. Avoiding visual distractions during operation, the BD-MP1MKII displays a black screen on the monitor during startup and hides status messages. Outputs include XLR connectors and RCA connectors for stereo signals, a seven-channel output array for 7.1 surround sound systems and an HDMI output for routing audio formats including Dolby Atmos and DTS-HD to an AV amplifier.

Jabra withstands the elements

JABRA HAS unveiled a suite of updates to its latest Elite wireless earbuds, the Elite 8 Active and Elite 10. The updates include an on/off toggle for Adaptive Active Noise Cancellation (ANC), HearThrough and Sidetone features, as well as voice tone prompts. Additionally, users will be able to customise the device name of their earbuds.

Customers can also expect an optimisation for call clarity for the Elite 10 for bustling environments like offices, restaurants and

busy streets. Jabra’s latest noise suppression algorithms are designed to identify and diminish background voices. Improvements on the Adaptive ANC on an Elite 8 Active paired with HearThrough aim to be even more effective in windy conditions, thanks to noise detection technology. Updates are via the Sound+ app and will be available to all new and existing users.

www.jabra.com

WLA-210XP

Audio-Technica extends directional audio capture beyond the boundary

WITH THE introduction of the ES964 boundary array microphone, Audio-Technica has extended the line of Engineered Sound solutions. Designed for ease of install, the table-top ES964 has been developed for online conferences requiring clear audio for multiperson videoconference environments, and for rooms that cannot accommodate a ceiling or hanging microphone array. Providing audio capture and control of two-way calls, the lowprofile boundary takes up minimal space on a conference table.

The ES964 employs one omnidirectional capsule and two bidirectional capsules. When combined with an Audio-Technica digital SmartMixer, the ES964 offers directional sound capture via its virtual hypercardioid and cardioid pickups, providing speaker-focused sound capture within a 360° radius. Compatible with

a range of other open architecture DSPs, the with three touch switches located on the array housing for quick mute/unmute switching. In addition, Touch On/Touch Off, Touch to Talk, Touch to Mute, and Local, Remote and LED Remote switches are provided on the main unit. Compatible with 20–52V DC phantom power supplies, the ES964 features UniGuard proprietary shielding technology for protection against radio frequency interference (RFI). Measuring 88mm x 22mm (DxH), the boundary array can be fixed to a table with a dedicated jig or with generalpurpose screws. Allowing for the capture and mixing of a three-dimensional audio image, the BP3600 immersive audio microphone is now supported in the latest released version of Flux::Immersive’s SPAT Revolution software (version 23.08). The microphone has

MXW neXt 2 is quite the flex

SHURE HAS unveiled its Microflex Wireless neXt 2 (MXW neXt 2), the latest addition to its Microflex Ecosystem. Catering for diverse and hybrid environments, such as teaching and conference spaces, it is a two-channel wireless solution that aims to be costeffective and intuitive.

To meet the requirements of a world demanding user-friendly, consistent, highquality audio, the Microflex Wireless neXt 2 features a combination of DSP capabilities

and comprehensive audio I/O connections, including USB, Dante networked audio and analogue audio. The solution has been created with a simple setup in mind – for example, mics can be paired in just a few clicks before being connected to a videoconferencing system.

The Microflex Wireless neXt 2 also features a new microphone design with upgraded security, increased dynamic range and a longer battery life of up to 28 hours, meaning integrators can set up a room knowing the

Adding to its non-Dante two-channel receiver, Sennheiser now offers the EW-DX EM 2 Dante, a half-rack (9.5-inch) two-channel receiver that allows for various network modes to integrate into existing workflows. The receivers have a switching bandwidth of up to 88MHz, which can translate to up to 146 channels in standard mode and up to 293 in link density mode.

In addition, the CHG 70N-C replaces the CHG 70 non-cascading variant of the EW-DX two-bay network charger and can be cascaded

eight compact capsule assemblies integrated into the body, for capturing realistic sound in recording location scenarios. SPAT Revolution is a real-time immersive audio mix engine, in which incoming source objects, including the BP3600, can be positioned in space using a GUI.

www.audio-technica.com

space will be equipped with audio for use through long lectures and all-day workshops. Recognising the importance of confidentiality in corporate spaces, the MXW neXt 2 includes Shure Audio Encryption, based on the AES256 algorithm. This built-in security ensures audio content is protected among all Microflex devices in the room, giving both end users and integrators peace of mind.

www.shure.com

or educational environments during lectures or meetings, Sennheiser’s Control Cockpit version 7.1.0 now includes support for both the EW-DX EM 2 Dante receiver and the EW-DX CHG 70N-C Cascading Network Charger. For operators in multichannel live audio environments, the Sennheiser Wireless Systems Manager 4.7.0 now supports all EWDX products for setup, monitoring and control, while Sennheiser’s Smart Assist App version 2.1.1 provides automated setup, operation

and monitoring of smaller setups on any iOS

Following a strategic partnership, Sennheiser’s

Automate VX voice-activated speaker tracking.

dynamic beamforming technology ensures speakers are continuously heard. Sennheiser says that with the integration of the complete Sennheiser TeamConnect Ceiling Family into Crestron’s Automate VX technology and the Intelligent Video Designer software, integrators can now streamline the setup of larger systems,

CHG 70N-C

the room work together to track active speakers while removing distractions that are visible when a camera pans, tilts or zooms. The integration means that as the conversation moves around the room, the TCC M’s patented automatic

40m², it can be surface-mounted, suspended or flush-mounted to allow for cable-free tables and flexible furniture arrangement.

www.sennheiser.com

EW-DX EM 2 Dante

ES964

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The sound is all around with the power 750-8

Connecting the power

BLAZE AUDIO has released four PowerZone Connect eight-channel amplifiers. The PowerZone Connect 508, 1008, 4008 and 6008 are powered by Pascal UMAC Class-D technology and are available in 1U (PowerZone Connect 508/1008) and 2U (PowerZone Connect 4008/6008) form factors.

The amplifiers can power both conventional low-impedance (508 and 1008: 4–16Ω/4008 and 6008: 2–16Ω) loudspeakers and constant voltage (70V/100V) transformer-coupled loudspeakers. They also feature automatic power-sharing technology for proportional distribution in both Lo-Z and Hi-Z modes. All models also incorporate Blaze Audio’s DSP web app controller, PowerZone Control, for an “intuitive” system setup.

The PowerZone Connect eight-channel amplifiers range from total power of 500–6,000W, with the PowerZone Connect 4008 and 6008 exceeding 3,000W, making

models to reach this power rating. They all offer eight balanced Euroblock inputs and eight unbalanced RCA Phono inputs. They also include S/PDIF digital audio I/O with routing that can be configured via the PowerZone Control web app, a configurable GPIO (General Purpose I/O), along with eight configurable loudspeaker outputs that use Euroblock connectors.

The manufacturer has also announced that its PowerZone Connect amplifier series units are now available as Dante-equipped models. Dante AoIP compatibility caters to the demands of networked audio systems requiring up to 4x4 channels at a sample rate of 44.1kHz and 48kHz. Launched in 2022, the four PowerZone Connect models currently include the 122D (125W/two-channel), 504D (500W/fourchannel), 2004D (2,000W/four-channel) and 3004D (3,000W/four-channel) amplifiers.

and ceiling channels in Dolby Atmos professional installations. When bridged and configured as a four-channel amplifier, the

and set up any number of amps.

www.pmc-speakers.com

Lavoce extends its range

Amped up about hardware

BRITISH AUDIO manufacturer Optimal

Audio is expanding its footprint in the commercial audio sector with the launch of the Amp series, featuring three high-power Class A/B amplifiers. Housed in compact 2U enclosures, the Amp 100 is a 2x350W at 4Ω, the Amp 200 is 2x700W at 4Ω and the Amp 300 is 2x1,350W at 4Ω. All three are available in both 120V 60Hz and 230V 50/60Hz models. Designed to power the complete suite of Optimal Audio’s Cuboid

limiters and time of day routines. These can be managed via Zone’s onboard WebApp. Users can monitor and control performance via Optimal Audio’s intuitively designed front panel, which features indicator LEDs for status monitoring of each amplifier channel. Meanwhile, versatile input connectors boast two balanced XLR/¼-inch jack combi line input connectors, while output options include speakON or binding posts. The amplifiers can be configured for a variety of

TRANSDUCER MANUFACTURER, Lavoce Italiana, has added a 15-inch ferrite common HF/LF magnet coaxial in the form of the CSF153.00K to the existing four smaller models in the CSF range, which are further characterised by a low distortion “dual gap” motor. Measuring 700W program power handling and 98dB sensitivity, the LF woofer incorporates a 3-inch edge wound copper voice coil on a glass fibre former. Recording 120W program power handling and 108dB sensitivity, the HF polyimide diaphragm and surround uses a 1.75-inch edge wound copper-clad aluminium voice coil on a Kapton former. The combination promotes operation over a 50Hz–20kHz frequency range with low harmonic and intermodulation distortion with the incorporation of double demodulating rings.

In addition, the Italian designer has created a neodymium magnet compression driver as part of its growing range of premium large-format HF devices. The DN20.300T is a 2-inch throat version of the DN14.300T 1.4-inch throat model with a 3-inch voice coil. An optimised throat adaptor that expands the exit to 2 inches offers improved thermal dissipation from the motor to the horn by increasing the adaptor surface area in direct contact with the driver motor. The electroacoustic design features a 3-inch edge wound copper-clad aluminium voice

CSF153.00K

Integral Input Surface phase plug topology provides a smooth input surface on the phase plug to remove unwanted resonances in the critical high-pressure area.

A range of high-output woofers are now shipping in the form of the WAN082.02 (neo 8-inch, 400W), WAN143.00 (neo 13.5-inch, 700W) and WAF153.03 (ferrite 15-inch, 1,000W). All three models feature aluminium baskets for multi-way systems and have been developed using Lavoce’s LF Loudspeaker Design Suite which combines various aspects of design (lumped parameters, electromagnetic, suspension, vibroacoustic and thermal) into one simulation model. Optimised to exhibit a smooth frequency response and low distortion, the WAN082.02 comes with a 2-inch copper voice coil, 96.5dB sensitivity, 5.8mm Xmax and a frequency range of 80Hz–5kHz. Other key features include a copper ring for extended frequency response and a waterproof treatment on the front side of the cone. Characterised by its neo slug magnet design, the WAN143.00 incorporates magnetic shielding and the WAF153.03 includes an aluminium demodulating ring for reduced distortion.

DN20.300T

www.lavocespeakers.com

Cables extended for portable power

THE NEUTRIK Group’s Contrik brand has expanded its CKPE series of power multicore cable assemblies with the Harting E16 and Socapex SL 419 compatible Power Multicore connection cables, and the Socapex SL 419 compatible singlephase powerCON TRUE1 Power Multicore Split cable assemblies. Specified for use in videowall, lighting and audio applications, the rewireable power multicore cable assemblies complement Contrik’s portable power distribution systems and are DIN 15765 standard-compliant for mobile event production. The expanded Power Multicore cable range offers six- and eight-channel Harting E16 connector variants and a six-channel LKS 19 (Socapex SL 419 compatible) connector variant, while the Power Multicore Split cable features an LKS 19 male to 6x single-phase powerCON TRUE1 female connector. The

CKPE50

Tasker goes with the FLUO

the cables’ increased PE-conductor crosssection improves reliability which extends to operation across a range of –5°C to +70°C, and all offer high IP protection ratings in mated condition – IP65 in the case of the Harting E16 connectors and IP68 for the LKS 19 connectors. The assemblies are available in standard lengths from 5–40m.

www.contrik.com

Added Bavarian transmissions

DISTINGUISHED BY its compact aluminium housing, an etherCON socket and an 800mm long four-channel splitter, Klotz AIS has created the CATLink Series of mini multicore systems. Signals can be transmitted over a shielded

network cable up to 100m and each model features four analogue audio signals (mic, line), eight digital audio signals (four AES/EBU) or four DMX/MIDI. Enabling a 2/2-channel sendreturn line without additional XLR adapters, the

AS RECOGNISING and identifying cables during an installation becomes increasingly important, Tasker has developed a range of products with particular colours. Available in orange, yellow, green and blue, the four FLUO cables are joined by a transparent brown version that enhances the range’s underlying shielding. All of the products are available in reels of 100m and mini reels of 10m and 20m. They come with a rubber sheath effect,

instruments, with 1x0.5mm² section and “carbon screen” technology; and the T32 2x0.22mm² microphone cable.

The manufacturer has also released a series of pre-made audio cables. The Premium Series consists of eight different configurations, each available in different sizes from 1–12m. The various connectors associated with the range are all 24-carat gold plated and wired by hand. Both stereo and mono 6.3 and 3.5 jack connectors,

CATLink Mini 2/2-channel adapter (CLAESMINI22..) is equipped with two XLR 3p. male and two XLR 3p. female connectors. A flexible digital cable with a small outer diameter has been specially developed for the CATLink Mini as a mic/line/AES patch cable. Other product variants include the XLR 3p. (mic, line, AES/EBU), XLR 5p. (DMX) and TRS (line) and individual channels can be easily identified by the clear channel labelling, colour coding and laser engraved XLR connectors. With the CAM311 series, the German manufacturer has also added SMPTE/ARIB camera cables for mobile use and for studio cabling. Featuring bend-resistant fibres and a temperature-resistant PUR jacket, the CAM311P has been designed for mobile studio and outdoor applications. An FRNC version (CAM311H) has been adapted for fixed installations and indoor cabling. All SMPTE camera cables are available by the metre or pre-assembled with connectors from the LEMO 3K.93 C series, Neutrik

Going to extreme lengths

FOCUSING ON use in extreme and adverse outdoor influences, Cordial’s CLA LL 4 and CLA LL 44 loudspeaker line array cables are designed to perform in weather conditions of extreme heat, cold and precipitation. Whether laid on the floor with no additional protection or suspended between line array systems in open-air weather situations, the Titanex bulk cables comply with the so-called “heavy rubber hose cables” (H07RN-F) standard. Equally capable in temporary outdoor use and in permanent installations within public spaces such as sports arenas, industrial as well as flame retardant. They contain standards.

integrated, the H1P.. and H3P.. hybrid cables combine both mains and data wires in a single cable. Based on the HC72P15 and HC72P25 hybrid models, the H1P.. and H3P.. pre-assembled cables are ideal for connecting computer-controlled devices. Two flexible Cat7 cables connect components of digital audio networks including Dante, CobraNet and EtherSound or transmit DMX control signals based on the Art-Net, MA-Net or Pathport protocol. Capable of transmitting high data rates over long distances without interference, the cable can be applied in IT applications where a network connection plus power line are required. The Cat7 cables are protected within double aluminium foil and copper braiding shielding.

To mark its 45th anniversary, the manufacturer has also redesigned the Joe Bonamassa Signature cable, adding a cable tie and Neutrik connectors with abrasionresistant “Joe Bonamassa” laser engraving and hard gold-plated jacks. The cable is now optionally available with the Neutrik SilentPlug for noiseless instrument changes.

www.klotz-ais.com

Assembly is manufactured according to VDE guidelines, while Cordial uses Neutrik speakON connectors which also meet all required standards. Conductor cross-sections of four 2.5mm² (AWG14) for the CLA LL 4 and four 4mm² (AWG12) for the CLA LL 44 ensure the cables meet all signal transmission expectations. Meanwhile, transparent shrink on tubes at the cable ends ensure easy labelling. For a wide variety of application scenarios, the products are available in diverse lengths ranging from 0.5–30m.

www.cordial-cables.com

Sommer signals new season

Gateway to the cloud

Total control from Work Pro

EQUIPSON BRAND Work Pro has unveiled a digital signal processing matrix that gives users “full control” of their audio output across multiple zones. Aimed

that it is adaptable for many different types of installation.

The more advanced 16-channel Integra 16+ and the 32-channel Integra 32+ both

POWERSOFT HAS released Verso, a gateway device designed to connect all of its current products to its MyUniverso cloud platform. The Verso gateway helps systems integrators and IT managers take full advantage of the MyUniverso cloud platform. Formerly known as Universo, MyUniverso has now merged into MyPowersoft, ensuring that all users with MyPowersoft accounts can access the cloud platform. Verso is a half-rack device designed to enable access to the MyUniverso cloud platform and all its related functionalities for the entire current Powersoft amplifier portfolio, allowing monitoring and centralised remote firmware updates for all connected amplifiers, as well as supporting Powersoft’s Dynamic Music Distribution (DMD) solution. Verso’s logging and data storage capabilities reportedly ensure local continuity or service, even during internet outages. It also

process to larger installations with a variety of different areas, such as department stores, supermarkets, gyms, conference rooms and hospitality.

The eight-channel Integra is delivered with Integra 8S, a free native parameter management software offering function control on inputs and outputs and configurable DSP architecture for each channel. The software includes controls for input and output gains, expander, compressor, parametric equalisation, limiter and anti-feedback on each channel. Its visual matrix and automix module mean

for iOs and Android. The series is also supported by a WC 3U Wall Control unit with an OLED screen and built-in rotary button/push button, which is designed for simple and complete programming through the Integra 8S and Integra Plus software. Housed in an aluminium casing, the Wall Control unit also features TCP/IP and UDP communication capabilities, making it easy to integrate into a variety of systems. Additionally, it is powered via PoE (Power over Ethernet) to simplify installation.

www.equipson.es

incorporates the Easy Swap procedure, introduced as part of Unica’s features last year, making it “simple and convenient” to address any service outage swiftly, in the rare event of a malfunction. The gateway device is compatible with third-party cloud platforms, providing users access to baseline cloud project backend information. Additionally, through Verso it is possible to access MyUniverso’s remote firmware update functionality, minimising the need for repeated trips to installation sites. In other news, the manufacturer’s Unica Series now benefits from the addition of DMD functionalities, previously exclusive only to Mezzo. With the launch of the lower-power Unica 1K8 and Unica 5K4 models and the addition of DMD features, Powersoft is boosting the “one size fits all” nature of the Unica platform.

www.powersoft.com

Audient interfaces and controls with Oria

DESIGNED SPECIFICALLY for multispeaker arrays ranging from stereo to 9.1.6 setups in large studio complexes and education facilities, Audient has introduced the Oria audio interface and monitor controller. Oria is equipped with 16 outputs via TRS or AES, two relayed switched stereo outputs, two headphone outputs, BNC Word

partnership between the UK manufacturer and Sonarworks ensures that a room can be measured and calibrated within an hour. As part of the Oria package, a Sonarworks Reference Measurement microphone and a 60-day free trial of the SoundID Reference for Multichannel software are included. Following calibration, full control of stereo,

SoundID Reference profiles can be directly downloaded into Oria’s hardware. The

www.audient.com

Building bridges to flexible testing

EXPANDING ITS commitment to electronic audio testing, Audio Precision’s APx516B audio analyser is designed to better reflect today’s diverse audio landscape by bridging analogue and digital audio testing. With a digital interface slot to allow adaptation to changing requirements, the APx516B is a modular product that can adapt to the needs of extended R&D teams and production test engineers.

An analyser for both digital and analogue audio, it features two analogue generator/analyser channels capable

Digigram adds to ALP-X range

FRENCH AUDIO equipment manufacturer

Digigram has announced the release of a Dante sound card as part of its ALP-X range. Available from Digigram’s network of distributors, the ALP-DANTE is the sixth addition to the fast-growing range of ALP-X sound cards launched in 2022.

The ALP-DANTE card’s low-profile form factor is coupled with a fanless design. The card has been designed for applications where space and reliability are key factors. In addition to the two Ethernet ports which provide a seamless

Dante network redundancy for situations where reliability is paramount, the ALP-DANTE has two Ethernet switch ports for easier connectivity to other Dante/AES67 devices. Several cards can be installed in the same workstation to increase the channel count and deploy large structures. In addition, the ALP-DANTE operates under Windows and Linux environments to address multiple applications, regardless of the operating system.

www.digigram.com

of testing both consumer and pro audio devices.

Its digital interface module slot is compatible with all current and future AP digital audio I/O modules, including support for Bluetooth, HDMI2, I2S/TDM, PDM and S/PDIF, Toslink and AES3. The APx516B also integrates with APx500 measurement software, providing a comprehensive library of measurements available with compatibility across all APx analysers.

ClearOne connects to Dante

CLEARONE IS aiming to provide integration partners and end users with added flexibility in system connectivity with the introduction of its Versa USB22D Dante adapter. Enabling customers to directly connect any computer to a Dante network without first requiring software installation, the Versa USB22D adapter can be used with any audio application for playback or capture and is suitable for a wide range of small and mid-sized meeting spaces, including executive offices,

conference rooms, classrooms and lecture halls for Bring Your Own Meeting (BYOM) audio and videoconferencing and in-room presentations.

The Versa USB22D adapter supports two input and two output channels of audio, allowing PCs and mobile devices to play and capture audio with Dante-enabled devices over a standard IP network. Users can automatically discover and configure the adapter using Audinate’s Dante Controller software.

Keeping legacy users in the game

US WIRELESS audio specialist Lectrosonics is keeping legacy users in the loop with its SRDB25AES Digital Output Adapter for SR Series receivers. The adapter converts receiver analogue audio outputs to AES digital at 48kHz, enabling users to mount older and newer receivers together in various docks, all with digital audio connections. Aiming to provide more options for users with a variety of hardware platforms, the SRDB25AES mounts onto any Lectrosonics Digital Hybrid Wireless SR Series two-channel slot receiver. The company says it is especially useful when pairing an older unit like an SRC in a slot dock with a new receiver like a DSR4, allowing all channels from both receivers to enter through the slot in a common digital format. The adaptor is also suitable for SRB and older SR receivers while no data connection is present, so receiver settings need to be made via the receiver front panels. However, the SRC does have a data connection, and all previous functions are retained in terms of receiver control through the slot interface. SRB receivers with the FM01 update also have this data connection. While the height is identical, this adapter adds

around ½-inch to the receiver case length, which means that any slot-mounting hardware used for the DSR4 can be used with an SR receiver and the SRDB25AES bottom plate.

The manufacturer has also released its BAGFRAME organisers, designed to mount

portable receivers via specialised accessory kits, and keep these receivers organised in a bag.

The BAGFRAME units are available in several different widths and heights to accommodate a variety of receivers. Two different BAGFRAME widths are available – one for two receivers and

Dear Reality adds VR mixing to Cubase 12

the dearVR PRO spatialiser plugin. dearVR SPATIAL CONNECT facilitates positioning and automation of audio tracks via gesture control

in a virtual 360° environment. In combination with Dear Reality’s dearVR MONITOR headphone monitoring plugin for multichannel speaker setups, Cubase users can now benefit from a professional toolset that “brings spatial productions to the next level”.

one for three receivers – while three different heights are available: S (short), M (medium) and T (tall). The units are shipped ready to be assembled and are constructed of aluminium alloy, making them sturdy and tough and yet also lightweight. The BAGFRAME units use snap-in inserts for all receiver mounting. Some receivers also require screws and mid-frame mounts. Audio and data connections are all handled per receiver, via whatever audio outputs or backplates are used on those receivers. The TM400 test and measurement system eliminates the need for long cable runs between hardware or software test platforms (such as SIM, SMAART or TEF) and a calibrated measurement microphone. An HMa or DPR-A plug-on transmitter snaps directly into the XLR barrel of the mic with no need for cabling, and the R400a or DSQD receiver provides digital signal handling for audio free of companding artefacts. The TM400 has a wide dynamic range and flat frequency response, delivering the accuracy and low latency of a cable “with none of the hassle”.

www.lectrosonics.com

By linking a VR headset like the Meta Quest or HTC Vive with their DAW, users can position and automate audio tracks in the virtual space by pointing at them with two handheld controllers. dearVR SPATIAL CONNECT enables direct VR access to the position, channel volume, solo and mute, and the automation status. This gesture-controlled process speeds up the mixing workflow and is said to lead to more lively and authentic automations.

In addition, dearVR SPATIAL CONNECT provides overlay modules for extended navigation and control in the VR headset. The main control module enables direct control of Cubase 12’s transport functions like start, stop and rewind. Furthermore, users can directly jump through the timeline and set markers and loop points. In the meter bridge module, users control each audio channel’s volume, solo and mute status. When the mixing session grows in complexity, the “minimap” module provides a comprehensive overview of all audio sources in the scene. It is an interactive, miniature view of the whole session and reflects the surrounding VR space, the audio sources and their automation in real time.

www.dear-reality.com

Crestron covers the room

CRESTRON ELECTRONICS has announced additional features that the manufacturer hopes will improve the framing for the Automate VX voice-activated speakertracking solution. One of the challenges for organisations is delivering an equitable experience for the in-office participants engaging with remote users. Recently certified as a Microsoft Teams Room Device for large and extra-large rooms, Automate VX places multiple optical zoom cameras

cameras to track body movements and reframe participants based on their position within the frame. If a chair slides to the left or a participant moves in their seat, Automate VX can pick up on those motions and reframe the participant so they are always centred in the shot.

These Automate VX enhancements have been added to create a better experience for the participants and improve room maintenance for the administrators. For integrators, the updates are said to simplify the installation process by

speakers.

Rooms equipped with Automate VX have historically leveraged tracking to presets and audio pickup to determine which camera picks up which speaker based on their location within the room. This latest update adds facial and torso detection intelligence, allowing the

allows for a more adaptable system.

In brief, the manufacturer has also achieved ISO 9001 certification, which is the foundational international standard for quality management systems (QMS).

www.crestron.com

Model 201 is open to interpretation

DEDICATED TO language interpretation applications, the Model 201 Interpreter’s Console from Studio Technologies is a Dante-enabled unit that is suitable for use in single- or multi-language situations both locally or in offsite/ remote applications. Able to create two independent interpretation audio channels, content can also be automatically muted or dimmed when interpretation is active. It features a two-channel headphone monitor output that is routed to both 5p. female XLR and 3.5mm TRRS headset interface connectors. The headphone output can be configured, including audio source selection, channel routing and sidetone signal operation. Two pushbutton switches and three rotary controls on the unit’s front panel allow users to select their desired headphone audio sources and signal levels. Meanwhile, a pushbutton switch and two associated LED indicators allow direct selection of the desired monitor

Lawo reveals secondgeneration mc²36 MkII console

ENGINEERED FOR high-performance live and broadcast audio applications, Lawo has upgraded the mc²36 audio production console. The mc²36 MkII integrates A__UHD Core functionality offering 256 processing channels, available at both 48kHz and 96kHz, and natively supports ST 2110, AES67, RAVENNA and Ember+. With an I/O capacity of 864 channels available, local connections include three redundant IP network interfaces, 16 mic/line inputs, 16 line outputs, eight AES3 inputs and outputs, eight GPIO connections and an SFP MADI port.

User-centric features include Button-Glow and touch-sensitive rotary controls, colour TFT fader-strip displays, LiveView video thumbnails and precise 21.5-inch Full HD touchscreen controls. Featuring peak and loudness metering for measuring individual channels as well as summing busses, the built-in full loudness control is compliant with the ITU 1770 (EBU/R128 or ATSC/A85) standard.

www.lawo.com

Making connections to accelerate digital transformation

DIGIKVM FROM ATEN International is a range of all-digital KVM-over-IP Omnibus Gateways and KVM DigiProcessors designed to advance IT/OT convergence. Claiming virtual media data transfer

available wherever users are located. Visuals from a specific server can be displayed at 1920x1200 @ 60Hz, while video feeds from all servers are organised in a multi-view grid layout to ensure real-time monitoring for

source – either the floor (the person whose text needs to be interpreted) or relay (an intermediate audio signal that is usually selected as an interpretation technique to support multiple languages).

Separate active and mic mute buttons allow connected microphones to be routed to desired interpretation channels as well as being momentarily muted, while an independent talkback function allows a separate audio path to be established from the interpreter to production personnel. A slowdown function also allows the interpreter to signal to the presenter that speaking more slowly is warranted. The Model 201 can be used by itself as a single-language interpretation position, as well as part of a multi-language application, while Dante connectivity enables the Model 201 units to integrate with other products.

www.studio-tech.com

rates up to 10 times faster than typical KVM-over-IP switches, ATEN’s KG0016 and KG0032 are universal KVM-over-IP Omnibus Gateways. Engineered to facilitate digital transformations in server rooms, data centres, control rooms, broadcasting applications and on production lines, they offer centralised control through a single, secure access point, enabling immediate BIOS-level access to all connected servers. OmniBus Gateways offers robust security through an all-digital KVM-over-IP infrastructure and feature Java-free remote access via HTML5 WebClient or advanced WinClient options. TLS 1.3 and FIPS 140-2 certified OpenSSL cryptographics enhance security, while compatibility with DP, DVI, HDMI and VGA ensures versatile server connectivity.

The OmniBus Gateway allows up to 32 remote users to access servers in real time. Server connections can be extended up to 100m and remote access to all servers is

situational awareness. During emergencies, the KVM-over-IP OmniBus Gateway also allows IT operators access via out-of-band management.

ATEN has also released its CM1942 twoport 4K DisplayPort, dual display mini-matrix KVM switch. Designed to offer instant access to two DisplayPort computers and two USB 3.1 Gen 1 peripherals from a single USB/HDMI console, it supports two operation modes: single PC mode and dual PC mode, offering full content display flexibility. It features boundless switching for easy cursor movement between screens and an audio mixer mode for mixed audio output from both computers. The company says it is ideal for desktop tasks and collaborative work in finance, design, engineering or home office scenarios and supports flexible port switching options, including pushbuttons, hotkeys, mouse and the remote port selector.

www.aten.com

KG0016

DESCRIBED AS a significant upgrade on the company’s current RF system, the RF 865/915 series is said to offer improved sound quality, extended transmission range, inbound Bluetooth streaming, a hand-held RF transmitter and a software suite that can be used for fast group programming via smart chargers.

Contacta adds to its Fulcrum finds the One Unlimited listening

The ID-7 is a low-profile loop driver that offers a number of integrated variations with features such as battery backup, AGC and Class-D electronics. This range is designed to deliver clarity of sound to hearing aid users in lifts and other small spaces, and integration into applications such as ATM machines, LED screens and kiosks, automated check outs and help points.

Meanwhile, the manufacturer has also upgraded its V Plus hearing loop drivers. The V7+ and V15+ are constant current single output drivers, while the V15a+ is a dual output option with integral phase shifter for phased array configuration. Building on features from the current V Series range, the upgraded units add enhanced loop diagnostics and switchable AGC (on/off) which, together with the Class-D output stages, reportedly allow the V+ drivers to achieve “first-class” sound reproduction. Additional features include adjustable acoustic time delay, high pass filter and continuous self-testing.

www.contacta.co.uk

K-array’s growing family

FULCRUM ACOUSTIC has introduced Fulcrum One, a system design and simulation software available for Windows and Mac. The system streamlines the design, deployment and management of both traditional sound reinforcement and immersive audio systems within a single, user-friendly interface. The all-in-one nature of Fulcrum One “saves time, reduces the need for multiple software applications and caters to the needs of diverse audio projects”. Incorporating the Fulcrum Acoustic loudspeaker catalogue, Fulcrum One enables users to accurately plan and position loudspeakers within a 3D venue model. The software will also facilitate the creative design of active acoustics and object-based mixing components for immersive audio installations powered by the Fulcrum Immersive Venueflex processor.

A key feature of Fulcrum One is its acoustic simulation capability, which allows users to accurately predict how their sound system designs will perform in real-life settings. Its rapid processing power enables near realtime calculations for loudspeaker coverage mapping and maximum SPL visualisation. Fulcrum One also offers advanced optimisation for line array configurations, signal processing and system equalisation.

www.fulcrum-acoustic.com

series has been designed for applications that require advanced signal routing and processing capabilities. Powered by K-array’s operating system OsKar, Prisma can handle up to 16 inputs and 16 outputs (analogue and Dante) and has been designed to provide a complete K-array solution for bars, restaurants, clubs, casinos, corporate and channel analogue mixer comes with four mic/ line inputs, one auxiliary line input, two balanced/ unbalanced outputs and an adjustable output limiter. Sound can be customised using individual input assignment and +48V Phantom power.

The GMX4L is said to integrate seamlessly with KGEAR’s amplifiers and the GM44L matrix.

Lastly, KSCAPE Rail S is a more compact 1.2m version of the product and comprises Lyzard KZ1 loudspeakers along with CASAMBI-controlled lighting. It’s said to not only cater for niche markets such as retail and hospitality, but is also equally valuable in healthcare or workplace environments. While it offers a different audio experience to traditional Rail products, it is also reportedly more versatile and scalable in comparison.

www.k-array.com

THE LATEST addition to Pliant Technologies’ MicroCom family of products is the MicroCom 863XR wireless beltpack. It operates in the 863–865MHz ISM band, which allows for unlicensed use in most European countries, features two intercom channels and the capability to support up to six full-duplex users with unlimited listeners without the need for a base station. The MicroCom 863XR features an easy-to-read OLED display, an optional drop-in charger, a four-wire I/O interface and is IP67-rated. Built to endure

the extremes encountered in outdoor environments, it also has a field-replaceable, 12-hour battery for use in theatre, concert and corporate events.

Pliant has also introduced its CrewCom IP-rated Radio Transceivers (RTs). The latest addition to the flagship CrewCom wireless intercom line, the weather-resistant, IPrated RTs are available in four models, and in both 2.4GHz and 900MHz versions.

www.plianttechnologies.com

NETRON gains new members

OBSIDIAN HAS added to its range of NETRON products in smart form factors optimised for systems integrators and fixed installations. Firstly, two compact devices with interchangeable connection plates are said to offer performance and flexibility. Available as RDM6D (six-port RDM splitter) and EN6D (six-port EtherDMX node), the units come with a rugged chassis and can be DIN-Rail or wall mounted, and provide data ports that can be

repositioned to the top, bottom or front of the devices.

Also joining the NETRON family are the EN12i, a hardwired rackmount node; the EP1, a singlegang size EtherDMX node; the NS8, NETRON’s half-rack-sized managed switch solution; and the RP2, a two-way DMX power relay that serves as a protective device for lighting fixtures.

www.obsidiancontrol.com

Prisma

The RF range

Atmos approved for analogue

UK AUDIO manufacturer AMS Neve has unveiled three products, including what it claims is a world-first. The company says that the Genesys G3D is the first objectbased hardware and software platform that allows for 3D analogue mixing directly from the console surface. Working closely with Dolby, the Genesys G3D is capable of remotely controlling Dolby Atmos technology by enabling object-based mixing of up to 118 objects. The G3D system adds 3D positioning parameters to the Genesys ControlPlugin, allowing for object automation from within the DAW, and provides the ability to remotely configure and control speaker outputs from the console surface in 7.1.4, 9.1.4 or 9.1.6. Meanwhile, binaural headphone routing integrates the console’s powerful headphone amp into the Dolby Atmos system.

Aiming high and low with Split Essentials plugins

EVENTIDE HAS launched its Split Essentials plugin series with the DeBoom and Sheen Machine. Both are taskspecific, sonic sculpting plugins based on applications of Eventide’s SplitEQ technology. DeBoom enhances lowfrequency clarity and Sheen Machine accentuates high frequencies without the consequences of traditional techniques

by analysing incoming audio and separating it into transient (noise, pops, mic plosives, vocal sibilance, attacks) and tonal (sustained notes, harmonics, tone, ambiance) elements. Specially crafted EQ curves are applied to the tonal layer of the source audio.

Eventide’s Structural Split technology is task-focused in the Split Essentials plugins, merging SplitEQ into a single, one-knob gesture. It enables engineers to enhance low-frequency content with DeBoom without losing the energy of the incoming signal, or add vibrance and airiness with Sheen Machine without the harshness introduced by traditional EQ techniques. The Split Essentials user interface also includes undo/redo, input gain control and a built-in bypass.

The company has also introduced the StarNet DM256, a high channel count MADI-to-Dante/Dante-to-MADI digital audio format converter housed in a 1U 19-inch rack chassis. The StarNet DM256 converts up to 256 channels of Dante Rx to 256 channels of MADI Tx and vice versa. With the integration of Dante IP core technology, it enables an expansive I/O count through a single Ethernet connection. The DM256 accommodates 256 channels of MADI inputs and outputs across four MADI ports, which feature duplex MADI SC

feature, the DM256 also ensures seamless multiplexing of MADI I/O assignments per port, maintaining session integrity during sample rate switches. The unit’s frontmounted OLED screen provides at-a-glance access to crucial network settings.

Finally, the StarNet ADA16 is AMS Neve’s first analogue line level to Dante AD/DA convertor, a 16x16 converter that delivers versatility to recording studios, live sound venues and broadcast/postproduction suites. The company says the ADA16 offers mastering-grade A/D converters which produce 119dBFS of dynamic range and D/A converters producing

Enhanced music creation with Pro Tools update

AVID HAS announced an update for its Pro Tools software that introduces new capabilities for both music and audio post workflows, including an integrated Dolby Atmos renderer to streamline immersive mixing. The release also offers enhancements to Pro Tools Sketch, adds new Markers functionality, I/O Setup and Routing colour coding and Same as Source bounce support for H.264 video, as well as support for Native Instruments S-Series controllers.

The Dolby Atmos renderer is included free in Pro Tools Studio and Ultimate, and aims to improve the efficiency of immersive mixing workflows with a simplified setup, mixing and monitoring. Users are now able to render

and monitor Dolby Atmos mixes within Pro Tools without having to roundtrip to an external renderer. A new window provides comprehensive visualisation of Dolby Atmos mixes from various perspectives and enables switching between multi-speaker and binaural headphone monitoring. Additionally, a new I/O Setup tab is said to simplify the configuration of beds, objects, groups, trim and downmix settings and saves them as part of the session for easy recall.

The 2023.12 software release introduces interoperability between Sketches and Pro Tools sessions and adds new MIDI workflow improvements. Users can now drag and drop instrument clips as audio or MIDI into the Pro Tools timeline from Sketch. When dragging audio clips from Pro Tools into the Sketch window, customers have the option to render the full signal chain to maintain their processed sound. Also, improvements to the desktop Media Browser aim to make it easier to access loops and samples, including monthly Pro Tools Sonic Drop sound content. Initially introduced with the Pro Tools 2023.6 release, Track Markers enable users to add detailed, colour-coded comments within a track to improve both music and audio post workflows. In response to customer feedback, the latest 2023.12 release builds on this functionality with more marker rulers for better visibility. Markers have also been made easier to find in the Memory Location window through improved sorting and filtering options.

The update also introduces I/O Setup and Routing colour coding that enables users to identify where any track is bussed or routed quickly. It also offers Same as Source bounce of H.264 video files, allowing the picture to pass through untouched without needing to re-encode the frames or change the original video’s timestamp. Finally, Pro Tools has been updated to support the new Native Instruments Kontrol S-Series MK3 controllers. Version 2023.12 is now available to all Pro Tools customers on an active subscription or perpetual licence with a current Upgrade Plan, as well as all Pro Tools Intro users. www.avid.com

DeBoom

Genesys G3D

Analogue history in a plugin

BRINGING THE sound of its 4000E console to a DAW, Solid State Logic has launched a plugin of the 4K E Channel Strip. It is available in multiple formats including VST2, VST3, AAX Native and AU as part of the SSL Complete subscription. Modelled on the original analogue console down to component level, the plugin includes Brown, Black and Orange EQ flavours, as well as revision four dynamics, including the classic soft-knee and logarithmic release circuit. SSL says that the emulation also includes the Jensen T-115K-E transformer found on early 4000E mic pres, while the dbx 202 “gold can” fader VCA is also modelled to provide multiple layers of harmonic saturation found throughout the circuit design. As with the Channel Strip 2 and 4K B, the 4K E plugin integrates with SSL’s UC1 controller, offering knob-per-function control of the plugin in a channel strip-style layout. In addition,

SSL 360’s free Plug-in Mixer provides users with a single place to view and control all 360-enabled plugins.

Expanding its premium FX offerings, PlateVerb is the first in a range of boutique plugins from SSL that deliver the sound of classic and contemporary reverbs. Using an FX pedal-style interface, PlateVerb emulates a classic plate reverb in a user’s DAW. It combines two bespoke algorithms for early and late reflections to capture the sonic, mechanical and damping properties of

Predictive 3D sound design with Auralis

US LOUDSPEAKER manufacturer

1 SOUND has announced the introduction of its Auralis 3D audio design and prediction software. Auralis is a multipurpose sound design tool that enables precise, highresolution, full-colour audio predictions for any loudspeaker design in a threedimensional space. It can import 27 different types of files, including SketchUp (SKP) and AutoCAD (DXF) files, as well as creating its own three-dimensional spaces using fingertip free-rotation and named groups. line array using 1 SOUND’s Tower Series, for

Products boosted with powerful plugins

UK SPATIAL audio company TiMax is plugging the gaps with the introduction of two features for the TiMax SoundHub and TrackerD4 stagetracking products. TiMax’s multichannel, live production reverb feature for SoundHub is available

with their localisation onstage or in the auditorium.

Meanwhile, TrackerD4 stagetracking also gets a boost with TiMaxSP, a plugin option for integrated lighting and media control.

Developed in collaboration with Stage

a plate reverb, with adjustable reverb decay times ranging from 100ms to 3s. The plugin also features colour adjustment, ducking with external side-chain, and freeze and kill options, enabling engineers to dial in a precise sound and producers to experiment with creative reverb FX. Additional features include diffusion adjustment to fine-tune the density of late tail reflections; decay and room size customisation; damping controls to limit decay in low/high frequencies; and advanced mix control to blend any combination of wet and dry signals. PlateVerb is available as part of the SSL Complete subscription, SSL’s Rent To Own plan and for perpetual purchase via the SSL eStore. It is available in all standard formats including VST2, VST3, AAX Native and AU.

www.solidstatelogic.com

place to plan for system optimisation. From there, users can see 3D acoustical mapping, SPL predictions and measure phase coherency and off-axis response. The application works with all 1 SOUND loudspeakers and rigging hardware with measurement microphones, and is able to generate customisable reports with design photos, notes and other relevant information for reporting.

www.1-sound.com

AtlasIED beams into a rarified Atmosphere

ATLASIED HAS made a software update available for the Atmosphere audio processing and control platform. Combining digital audio processors, amplifiers, GUIs, programming software and controls, Atmosphere provides modular and scalable audio to support digital audio systems. Allowing Atmosphere customers to virtually pair to the system, Atmosphere 3.5 adds remote Bluetooth pairing. The update also provides a deep sleep mode for the Atmosphere AZMP models with an integrated amplifier. In addition, multi-language support is also available for the Atmosphere X-ZPS multi-zone paging station accessory and virtual wall controller, including Arabic, Chinese, French, German, Hebrew, Italian, Japanese, Russian and Spanish. The primary GUI,

to all existing HARDCore FPGA-equipped TiMax SoundHub units. It adds four individual one-in/16-out reverb engines to give sound designers full control of all parameters as well as access to an advanced 3D room reverb-builder application. Aux sends to each reverb engine can also be driven by TiMax TrackerD4 stagetracking so that performers’ mic sources or effects can be cross-faded between different reverbs, and configured to be spatially consistent

Precision, TiMaxSP enables TrackerD4 to intelligently direct and focus groups of moving-head light fixtures using Art-Net and sACN-networked DMX. TiMaxSP operates seamlessly for synchronised groups of fixtures across multiple tracked objects and unlocks further Stage Precision integration with videomapping and camera control, as well as Unreal and Notch control.

www.timaxspatial.com

Having made a significant equity stake in Aimline, the US brand has released the Aimline Series of ALXD and ALXP digitally controlled and passive column array loudspeakers. Featuring beam steering and Dante audio as standard, the ALXD 4, 8, 24, 32, 40 and 48 models incorporate the indicated number of DSP channels and transducers. The ALXP 4, 8, 12 and 16 passive column arrays with their controlled dispersion characteristics are designed for acoustically challenging environments. Larger arrays of various lengths can be created by vertically cascading the same models of the ALXD and ALXP Series.

www.atlasied.com

All the performance with half the power Back to black

AVAILABLE IN 50-, 55- and 65-inch variants, the Philips Signage 3650 QE-Line from PPDS claims to deliver best-in-class 4K Ultra HD performance via its 350cd/m² LED display, while boasting a 50% reduction in energy

to Philips B-Line 4K Business TVs. Developed in-house and in consultation with partners and customers, the app provides users with the tools and freedom for businesses to remotely take total control of all their visual

PPDS’s Eco Design methodology, the 3000 EcoDesign Series complements the features and benefits enjoyed on the company’s 3000 Q-Line Series, but with significant energy efficiencies and reduced wastage.

Equipped with a quad-core chipset, the Philips Signage 3650 EcoDesign joins PPDS’s growing Android SoC family of displays. It can be managed both manually or remotely using third-party software and is also compatible with the manufacturer’s range of in-house products like PPDS Wave, a secure cloud ecosystem that provides remote device management and content control for Philips Professional Display fleets in any location. It can proactively monitor and address issues before they occur, while optimising performance and managing power schedules, screen brightness and the energy consumption of each display.

The Philips Signage 3650 EcoDesign also comes equipped with PPDS’s “FailOver” technology which automatically switches to the secondary input if the primary source becomes unavailable. It uses SmartPlayer to enable content to be saved onto a USB or microSD card plugged directly into the display, while the integrated media player allows for playlists to be created and scheduled via its onscreen menu. The PPDS Publisher app has been designed to bring creative content control and scheduling

Whether in an office or meeting room, a busy bar, café, gymnasium, local sports club or medical waiting room, the PPDS Publisher app comes embedded into all new Philips B-Line Business TVs, or can be quickly added to existing ones via a simple software update, for free. Requiring zero training, users can download PPDS Publisher – available free of charge via the App Store and Google Play – onto their preferred smart device (including smartphones and tablets). The app can then be securely linked to their network of TVs.

The platform comes with a growing choice of templates, which can be selected and tailored to suit. Content can be displayed on the entire screen, or presented alongside other forms, such as the screening of live sporting events. PPDS Publisher also offers the ability to schedule content at specific times, such as happy hour deals in bars, daily specials in restaurants, promotions in retail stores or even staff celebrations in the office. Content can be fully managed as part of a playlist, with all content set to be presented for specific durations. It can be looped throughout the day, or as part of a slide show. Ad hoc content can easily be created and immediately displayed in real time, all managed securely via a single device.

www.ppds.com

Brompton Technology gets screen time with Prolights

ITALIAN LIGHTING and video technology manufacturer Prolights has chosen Brompton LED processing for its KappaPix LED screen series. Boasting a 2.6mm pixel pitch, the KappaPix series is designed to meet the demands and

control requirements of motion picture and XR studios, and serves as Prolights’ flagship LED screen. The 26B model comes equipped with Brompton R2 receiver cards to achieve a 7,680Hz refresh rate and 251Hz frame rate.

AUSTRIAN AV technology manufacturer

AV Stumpfl has rebranded its FLEX BLACK PRO projection screen surface as BLACKPEAK. Using conventional projection screen surfaces, projected images may sometimes appear “washed out”, due to ambient light, and important image details might even disappear. The redesigned BLACKPEAK projection screen material allows for the projection of “highly impressive” images even in bright environments. Its image reproduction quality is said to be comparable to LED displays and other light emitting display technologies. Unlike white projection screen surfaces, the projection screen surface is also very inconspicuous during the moments when no content is being projected, making it suitable for fixed installations.

The company has also released GEN 2 hardware for PIXERA one and PIXERA two servers, including the PIXERA two RS.

This pre-configured version of PIXERA two hardware system has been specifically designed for cross-rental scenarios.

www.avstumpfl.com

Teachers get on board with Google

INTEGRATING WITH the Google Mobile Services Ecosystem, BenQ’s Board Pro RP04 and Board Master RM04 boast total functionality with the entire Google Mobile Services (GMS) ecosystem. As Google Enterprise Devices Licensing Agreement (EDLA) certified smart boards, the company says

interface. Educators can write and illustrate with its EZWrite 6 digital whiteboarding software, while fostering a collaborative environment with InstaShare 2, which shares up to nine screens

that the RP04 and RM04 are the only smart boards for education with a complete range of health-centric ClassroomCare features to foster healthy learning environments.

This generation of BenQ boards provides schools with access to official Google services including Google Play and Google Classroom, and offers classrooms a seamless experience when using Google Search and other Android applications directly on the board’s touchscreen

peripherals. Meanwhile, an account management system allows teachers to start a class instantly with lessons stored in the cloud. School IT admins can remotely update firmware, apps and power settings for groups of BenQ devices.

www.benq.com

Prolights reports that it is especially impressed with Tessera’s PureTone, HFR (High Frame Rate) and Frame Remapping for projecting trackers on a dedicated camera. All screens have also been calibrated using Brompton’s Hydra advanced measurement system to leverage the Dynamic Calibration technology and ensure the LED panels are Brompton HDR-ready.

www.bromptontech.com

Board Pro RP04

BLACKPEAK

Keeping busy

AUDIO TECHNOLOGY specialist Mackie has been keeping busy with the addition of several products to its catalogue.

First is the DLZ Creator XS, a slimmed-down version of the DLZ Creator content creation studio. Designed for podcasters and streamers who need fewer inputs and outputs, Mackie says it delivers the same broadcastquality results as its bigger sibling using built-in assistive technologies such as the Mix Agent audio engineering assistant and AutoMix, while easy, enhanced and pro work modes give users predefined levels of access based on experience.

The DLZ Creator XS features two Onyx80 mic preamps with up to 80dB of gain and two headphone outputs, with a 7-inch touchscreen and knobs instead of faders to reduce desk space.

MobileMix is a USB-powerable analogue mixer for AV production, live sound and streaming. It can also be powered via a USB battery that fits in a dedicated slot. It can handle up to eight channels, including microphones, instruments and Bluetooth audio, and features preamp channels with combo XLR and ¼-inch connectors, Hi-Z impedance switches, lowcut filters and 48V

Stereo sources can be connected with ¼-inch line and 3.5mm aux inputs, while bidirectional Bluetooth audio can bring in phone calls with total mix minus functionality.

ProFXv3 mixer series has been expanded with three “plus” models that add switchable USB recording modes, bidirectional Bluetooth audio and a GigFX+ effects engine with

12 upgraded, customisable effects. The ProFX6v3+, ProFX10v3+ and ProFX12v3+ all feature full-colour LCD screens and allow users to capture their stream or performance at 24-bit/192kHz quality with the built-in 2x4 USB-C audio interface. Three recording modes capture a full mix, a clean mix with no effects or EQ, or the ability to mix computer audio into the recording. All + models feature a wide range of inputs, including Mackie’s Onyx mic preamps delivering up to 60dB of gain, along with 48V phantom power, 100Hz low-cut filters and Hi-Z switches.

Finally, the Mackie ShowBox is a batterypowered, all-in-one live performance rig for musicians that combines a portable PA, acoustic guitar amp, six-channel mixer, effects rack and USB-C interface into a single device. Its 400W amp delivers up to 12 hours of live sound via custom drivers

and the included battery. It also boasts a breakaway mix controller, connected via an included Ethernet cable to provide total control over levels for mics and instruments, as well as ShowBox’s built-in effects, tone shaping, user snapshots, looper, tuner and recording controls. ShowBox has switchable “amp” and “PA” voicing modes, settings for indoor and outdoor performance and features two layers of effects for vocals and instruments.

www.mackie.com

MobileMix

IN THE face of the increasing number of control room challenges, Datapath has enhanced both its hardware and software portfolio for its Aetria solution, an integrated platform for control rooms of any size. The Aetria Touch is the company’s dedicated touchpanel for Aetria installations. The 10.1-inch tablet comes with two distinct user modes of operation. Pre-packaged with Basic mode, users will be able to open preset layouts on videowalls, while customers upgrading their environment to Advanced mode will encompass a full touch-based user interface, allowing greater control with features such as source drag and drop, layout and template design, scaling of content windows and videowall zoom capability.

The VSNMini 300 is a dedicated personal videowall controller and has been designed to be inconspicuous and space conscious for the modern operator workstation environment. For use either as a personal videowall controller/ workstation within an Aetria environment or as a standalone videowall controller for small installations, the VSNMini 300 combines “modern aesthetics with industrial-grade components”. It supports the latest standards including 12th Generation Intel Processors (i9, i7, i5) and NVMe (M.2) SSD storage. Graphics and capture capabilities are provided via three PCIe slots that can be configured as required with Datapath’s Image graphics, Vision capture and ActiveSQX IP decode/encode cards.

www.datapath.co.uk

One controller to rule them all

THE VS-PTC-300 PTZ camera controller from Marshall Electronics provides the ability to mix and match cameras with different control protocols using just one controller, including NDI, RS-232/RS-422/RS-485 and IP, VISCAover-IP and ONVIF. Providing user control across multiple cameras on a single network, the VS-PTC-300 can control up to seven RS-232 cameras, 14 RS-422 cameras and up to 255 NDI/IP cameras. It also allows easy NDI/IP

setup utilising NDI/IP discovery setup functionality. With 10 instant access camera control buttons, the VS-PTC-300 has a straightforward interface, and the information displ

Tracking back over distance

DESIGNED TO support flexible auto-tracking of subjects over long distances, the triple lens VC-TR70 PTZ camera from Lumens autotracks at any distance between 2m and 30m. The company says it overcomes a limitation of most tracking systems which lose accuracy and reliability with distances beyond 8m. It features a 25x optical zoom, a pan/tilt mechanism and numerous mounting options to provide flexibility on camera installation.

Built around a 1/2.5-inch UltraHD main camera sensor, the VC-TR70 has simultaneous SDI, HDMI, IP and USB outputs which means video can be incorporated into virtually any UC and AV installations. As the camera supports Rec. 709 and BT2020 colour spaces, producers can easily match multiple units for use in live events and broadcast productions. Two additional face-tracking HD cameras are installed in the VC-TR70’s base to enable the AI processor to scan and analyse the scene, identify individuals and follow a chosen subject. Switching between tracking targets is simple using either the supplied remote control or by tapping on the web interface. The PTZ is suited for use in larger venues where the camera is installed at a distance from the podium or presentation area.

Meanwhile, Lumens’ latest generation of AI-based cameras and voice-tracking technologies have been validated by Barco for use with ClickShare Conference. Newly

validated devices include the VC-TR30 HD and VC-TR60 4K auto-tracking PTZ cameras, plus the CamConnect Pro and MS-10S voicetracking meeting room solutions. Sennheiser has also announced that its TeamConnect Ceiling Medium (TCC M) microphone has been integrated into Lumens’ CamConnect Pro voice-tracking camera system.

www.mylumens.com

VC-TR70

Vizrt unveils most powerful control panel to date

REAL-TIME GRAPHICS and live production solutions developer Vizrt has added a second TriCaster Flex control panel in the form of the Flex Dual. At the core of the dual stripe control panel, an unparalleled number of user-definable

the first TriCaster Flex, the TriCaster Flex Dual is also an NDI native panel, for connecting to the network and allowing switchers to be remotely controlled. With TriCaster Flex Dual, operators can create simple setups or elaborate multi-

screen doubles as a video monitor for NDI and RTSP streams. Featuring a PTZ joystick, professional zoom rocker and individual fine-tune adjustment knobs,

focus, pan/tilt speed and zoom speed. The VSPTC-300 can store up to six assignable function keys and save up to 256 camera presets, while dedicated knobs and control buttons provide direct access to functions without needing to use on-camera menus. The built-in display also allows the crew to easily check framing/focus, store presets and practise camera moves.

Sliding into view with the DB3

BUILDING ON the design ethos of its DB2 motorised monitor, Spanish technology design company Arthur Holm has introduced the DB3 to provide better functionality to the user. Like its predecessor, the DB3 retractable monitor has minimal impact on a table’s design. The monitor emerges vertically from the table’s surface and has up to 25° of inclination on top of the desk. The cover plate has been designed for veneering to provide a streamlined finish.

The DB3 also provides the ability to adjust screen position to respond to ergonomic needs and visibility towards other people in the room. It uses sustainable aluminium and glass materials, while the 21.5-inch LCD industrial display panel comes with a long life. It provides two DVI HDCP-compliant inputs and movements can be locally controlled by capacitive touch buttons integrated on the screen’s front glass over RS-422, or via the company’s AHlink app.

www.arthurholm.com

Aetria Touch

A calculated companion for LED prep

TAKING THE guesswork out of prepping LED screens, ROE Visual has upgraded its ROE Calculator

APP with a suite of tools that includes ballast calculation, pixel and resolution calculation, and power requirement analysis.

Aiming to offer an all-inone solution for tackling complex calculations, the ROE Calculator APP calculates essential data for LED technicians and professionals whether onsite or in the preparation stages of a production.

Ballast calculation is simplified and requires just the wall size and stacking system information to calculate the precise amount of

ARRI goes live

DESIGNED AS an upgrade option for Trinity Gen.1 – the first generation of the bodymounted camera stabiliser system –

ballast required to ensure optimal reliability for any LED screen setup. Meanwhile, the app also works out the required processing power and cabling setup for the resolution of a screen. It also provides accurate power consumption estimates to save both time and resources, and is constantly updated with the latest data and technology standards to ensure the most up-to-date information. The app is available for download from the App Store and Google Play, and is also accessible as a webapp.

www.roevisual.com

AJA adds DRM2 frame for its Mini-Converters PRODUCTS

AJA VIDEO Systems has unveiled the DRM2, a rackmount frame that can house and power up to 12 AJA MiniConverters of any kind, or up to 24 AJA FiDO Mini-Converters with a new optional

are easily installed or taken out without removing the frame from the rack. Twelve carriers are integrated and replacement carriers can be purchased individually or in a 12 pack. The frame’s power cable

balancing the rig, reportedly reducing its weight by up to 4kg. The new position is also said to result in a more stable wireless signal because

professionals to rackmount multiple AJA Mini-Converters for signal conversion needs.

The frame includes customer-requested features such as a removeable faceplate that allows quick access. Mini-Converters

DRM2-AP model includes an optional active faceplate featuring four fans for maximum cooling in higher ambient temperature environments, facilitating high-density installation without heat soak concerns.

these products and provides a way to integrate stabilised ARRI cameras into live, multi-camera broadcast environments.

Trinity Live allows the wireless video link that is required for broadcast work to be mounted at the bottom of the system instead of being attached to the camera, as is normally the case.

Positioning a wireless video link such as the Vislink system at the bottom of the centre post allows it to be used as a counterweight when

with two video lines when dual SDI (2x 6G) is needed. The fifth video line serves as a playback line, allowing the operator to see the program image on a second monitor, transmitted wirelessly from the OB van. Meanwhile, the additional internal 10Gbit Ethernet line provides the OB van with full camera control and communication.

www.arri.com

www.aja.com

HDBT3 comes to WyreStorm

long-distance distribution of ultra-highspeed uncompressed HDMI 2.0 audio controls and power, with zero latency, Wyrestorm has developed an HDBaseT

4K60 4:4:4 uncompressed 18Gbps over

SW-120-TX3

and CEC trigger together with two inputs and 4K@60Hz HDBaseT 3.0 transmission. Further functionality allows USB devices to be routed back to the source via a USB host or natively via USB-C, alongside three additional USB device ports that are locally available for a total of six devices. Rounding out its feature list, the SW-120-TX3 boasts 60W

transmitter comes with USB-C charging

www.wyrestorm.com

AV LINK adds to MaitreView

OFFERING FLEXIBILITY for conference and collaboration settings, the MaitreView 4KPlusX is an uncompressed 4K/60Hz HDMI multiwindow video processor which provides dragand-drop thumbnails from four of its six inputs (four HDMI and two HDBaseT) in any size and position to display on four outputs (two HDMI and two HDBaseT). Meanwhile, the MaitreView 4KQuad is an uncompressed 4K/60Hz HDMI presentation switcher with diversified viewing modes, including a multiviewer, videowall and matrix.

The TAA-compliant MaitreView family – which includes the MaitreView 4KPlusX, MaitreView IPS series is powered by SDVoE (uncompressed 4K/60Hz AVoIP) to distribute a venue-wide AV signal at 4K/60Hz 4:4:4 over a 10GB network. The company says this satisfies the demands of interactive training, sports events and gatherings of all sizes.

The HDM-3EXCU+ HDBaseT 3.0 uncompressed 4K/60Hz HDMI and USB 2.0 extender transmits uncompressed video in 4K/60Hz 4:4:4 over 100m, and smart EDID management allows for efficient configuration

of EDID settings. Similarly, the compact size of the HDM-3MXCU HDBaseT 3.0 uncompressed 4K/60Hz HDMI and USB 2.0 extender (40m) promotes flexible deployments in small spaces. The WUH-3MLCU HDBaseT 3.0 uncompressed 4K/60Hz HDMI and USB 2.0 wall plate extender (40m) can switch between USB type-C and HDMI video sources with the WUH-3MLCU (transmitter) and transport the video stream to the HDBaseT equipment (receiver). The HS-1614W distribution amplifier connects multiple monitors to the same 8K/60Hz HDMI source.

www.avlinksystem.com

Single-channel AVC and HEVC streaming and recording

MATROX VIDEO is expanding its Maevex range of video products with the introduction of its lower-cost Maevex 7100 Series of single-channel 4K60 AVC/HEVC encoders. For low-bandwidth applications requiring high levels of compression, Maevex 7100 Series encoders provide streaming and recording for both moving video and desktop content with a range of compression rates. Designed for low-latency, high-quality, low-bitrate encoding of single high-resolution HDMI sources for audio and video streaming, contribution and collaboration, Matrox says they provide flexibility with support for multiple streaming protocols suited to all network topologies.

Users can choose H.264 (Maevex 7112A) or H.264/H.265 (Maevex 7112H) models for streaming and simultaneous recording with support for five streaming protocols: RTSP, MPEG2-TS, RTP, SRT and RTMP. Both are are authenticated and validated before installation for additional protection. Users

for secure, low-latency streaming on noisy or unpredictable networks.

ETC extends F-Drive platform

LIGHTING MANUFACTURER ETC has announced that F-Drive compatible versions of the Irideon FPZ, Irideon WLZ and Source Four Mini LED are now available to help make it easier for users to pair ETC luminaires with the company’s flagship LED driver solution. According to ETC, direct connection to the F-Drive system enables facilities to build more cost-effective lighting systems. The F-Drive LED power system is both modular and centralised for “easy installation and maintenance”. Swappable driver cards and power supplies in the F-Drive R12 rack are said to make all critical components

readily accessible. A wide variety of LED systems, including Irideon and Source Four Mini LED, can take advantage of the centralised drive and power structure of F-Drive to reduce costs and simplify the remote lighting positions.

Source Four Mini for F-Drive offers a compact LED solution that reportedly fits seamlessly into any lighting system, while Irideon FPZ for F-Drive and Irideon WLZ for F-Drive are said to bring a “sleek design” to any F-Drive system.

www.etcconnect.com

The Maevex 7100 Series encoders are fanless, small form-factor appliances for high-density rack mounting or throw-down installation. They offer zero-latency input pass-through for real-time video output for applications such as videowalls. Matrox Video’s complimentary Maevex SDKs and APIs mean users can add the encoders to any mission-critical environment. Operators can also integrate the Maevex 7100 Series with third-party AV systems including Video Management Systems (VMS) and others. TAA-

www.matrox.com

Control in the palm of your hand

PROVIDING INSTANT point-and-click control for full lighting ecosystems, the White Remote from Astera is a pocket-sized tool that acts as a counterpart to the company’s existing IR FX Remote. The remote allows a lighting engineer to execute precise lighting changes in seconds, enabling colour, strobing and effects control at the click of a button.

The White Remote can turn single or grouped sets of lights on and off and can also be used to quickly add lights to a control group to allow for changes to be made across the

full group simultaneously. Preconfigured buttons for light temperature have 12 preset values from 2,400–10,000K which allows for instant temperature transition, while the remote also features boasts CCT ± buttons to enable more precise, incremental control. Similarly, five preset dimming parameters are available to provide quick brightness adjustments, along with ± dimming buttons for fine-tuning.

www.astera-led.com

WITH THE launch of an IP65-rated version, elektraLite is bringing its Paint Can spot/wash hybrid fixture to the great outdoors. Available in WW (Warm White), CW (Cool White), VW (Variable White), RGBW and RGBWA formats, the Paint Can IP65 features a marine-grade chassis equipped with covered TRUE1 TOP connectors to ensure performance in the most punishing environments. It incorporates a zoom lens that ranges from 18–58°, and elektraLite says its electronic zoom maintains beam shape throughout the entire transition.

Claypaky keeps an eye on the prize Awash with the great outdoors

the full range of zoom. With no LED pop or bump at the beginning or end of the dimmer curve, both Paint Can RGBW/A models provide a range of colours, while the white allows rendering at a balanced 3,200K colour temperature. The Paint Can has several profile choices for control, including an onboard interface for control by either DMX or consolefree static operation. Operational voltage ranges from 100–240V with a variable refresh rate for pulse-width modulation.

The Aero from elektraLite is a compact moving light fixture which features a 350W COB single-source LED delivering a balanced Cool White (6,500K) colour temperature and CRI of 95. The Aero boasts not only a CMY system, but also three dichroics per wheel that offer a colour palette reportedly unobtainable

by colour mixing alone, with access to deep blues, deep reds and greens, plus a CTO filter on a separate channel, for colour temperature changes.

It is equipped with nine interchangeable static gobos and seven interchangeable rotating gobos. The rotating gobos are also indexable on a separate channel to give maximum accuracy in positioning. The Aero includes a rotating five‐way prism, iris, frost filter and strobe. Zoom (4–35°) and focus both have normal and fine controls, while the dimmer also has a channel dedicated to different types of dimmer curves.

The fixture offers 540° of pan and 270° of tilt, with fine-tuning channels. Control is achieved via a choice of five-pin or three-pin XLRs for hardwired DMX, or built-in wireless DMX. Along with its Micro C socket for external power, the Aero’s Remote Device Management (RDM) allows users to set DMX channel assignments and set up menus without AC power.

www.myelektralite.com

THE HY B-EYE K15 Aqua is the latest member of the IP66 Shield family. Based on the manufacturer’s ALEDA B-EYE technology with rotation and pixel-mapping, the K15 Aqua is said to provide true IP66 protection and has been rigorously tested to endure vibration and shock during transportation, extreme temperature fluctuations, impacts from hailstones, electrical stress, harsh surroundings and UV exposure.

Meanwhile, the Rhapsodya is a high power, low-noise multi-spectral LED-based fixture designed for a variety of applications, including theatre, TV production, touring and live events. It uses a custom 1,200W multicolour RGBAL LED engine, is capable of a 24,000-lumen output and offers features such as the Accuframe framing system using two focal planes for better resolution and focusing; Tonedown, which ensures whisper-

quiet operation at just 27dB; Absolute Position for advanced pan and tilt control; the Lineguard frost system using two pairs of blades for much higher beam uniformity and incremental adjustment of frost levels; and ColorMatch calibration for matching colour temperatures to other fixtures when using Claypaky CloudIO software.

www.claypaky.it

Emma takes care of your business, so your customers can take care of the show. Behind every great brand

Emma knows and loves the live event technology industry. She cultivates great customer relationships to develop and strengthen your brand.

We work with world-leading Audio, Video and Lighting brands and suppliers to help find top talent for their business and engineering teams in the UK, EMEA, North America and APAC. Interfacio connects professionals with world-leading pro AVL brands.

www.interfacio.com

Paint Can IP65

HY B-EYE K15 Aqua

Software upgrade gives more bite

DEVELOPING THE feature set across its entire range of LightShark DMX-based hardware lighting consoles, Spanish manufacturer Equipson has released its version 1.5.25 software upgrade. The introduction of a “Record Merge” feature makes it possible for programmers to quickly include their information in the selected Cue – or in all the Cues of a playback –without having to use the “edit + update” function. Conversely, “Record Remove” allows the removal of information from a Cue or from all the Cues of a playback without having to edit them individually. The upgrade also implements ArtNet v4 and increases the number of available ArtNet Universes from four to eight. Meanwhile, “Digital Patch”

makes it possible to assign any universe from the console to any network universe, even when they have different protocols. In addition, users can now activate or deactivate universes individually.

A Unicast feature defines the specific IP of the node or device to whichever universe information needs to be sent. Also, it is now possible to automatically detect LSW-1 remotes on the network and define which network interface the remote has been connected to. Finally, the inclusion of a web user manual within LightShark gives customers access to step-by-step video tutorials and screen recordings.

www.lightshark.es

Word up for Cameo

CAMEO, ADAM Hall Group’s lighting technology brand, has added a range of

Turning heads with the ERA 700 Performance IP

DESIGNED FOR permanent outdoor entertainment use, the Martin ERA 700 Performance IP moving head is an LEDbased profile fixture designed for permanent outdoor use, and completes Martin’s ERA family of fixtures. Boasting 26,000 lumens, the unit is engineered for larger outdoor shows, rental applications and architainment installations. Compact and lightweight, it measures 759mm high, weighs less than

the 4.4kg compact fixture can operate in tight spaces. Saving time when deploying more than one fixture, the optional four bar accessory assists in the transportation, rigging, unrigging and cabling the MAC One fixture in blocks of four. When creating a wall of light without a custom rigging structure, an optional grid mount adapter enables the fixtures to be self-supported in lines and matrices.

LEDs, which create stroboscopic and pixel effects.

The AZOR SP2 and AZOR W2 have been designed for flexible use in medium-sized applications. The AZOR SP2 is based on a 300W LED light source with 13,000 lumens of luminous flux and a large zoom range of 5–50°. It is said to supplement the advantages of a classic spotlight with motorised framing blades (±60° rotatable) on four levels. The AZOR W2 combines seven individually controllable 40W RGBL LEDs and a zoom range of 4–50° for classic wash looks. Featured is the eclipse burst effect –behind a dark filter are four segment SMD

The lighting manufacturer has also expanded the OTOS Series with three new models – the OTOS W12, OTOS W6 and OTOS W3. The OTOS WASH IP65 Wash moving heads are equipped with individually controllable RGBL LEDs and each has a separately controllable FX LED effect ring for the creative use of white tones and colours. A notable feature of the OTOS WASH Series is the multi-zoom function. Depending on

40kg and is designed to operate in a wide range of temperatures with C5M marinegrade salinity protection which shields the fixture against the elements. Its IP65+ rating and advanced gasket design also provides protection against dust and water ingress, eliminating the need for protection domes commonly used in outdoor installations. Meanwhile, its anti-tamper box not only

Additionally, the Harman brand has revealed the Exterior Wash Pro family. Building on the features of the Exterior Linear Pro family, the fixtures incorporate intelligent features that elevate colour performance in architectural lighting environments, including long-throw applications. Available in Quad and CTC variants, with four sizes in each, the compact fixtures are equipped with configurable beam control. The Quad variants are equipped with a dedicated colour temperature control channel

with a wide 4–27° zoom range, and emits a narrow, high-intensity beam of 300,000 cd. A backlight system with 24 RGB effect LEDs within the lens adds to the visual experience. Capable of outputting 2,400 lumens, the MAC One is powered by a 120W RGBL LED engine. Designed to be easy to handle and manage,

system controllers and P3 software update 6.0.0 provide automated mapping, scaling, configuring and addressing of fixtures, eliminating the need to address fixtures locally.

pro.harman.com

Eliminator brings a twist of lime

ELIMINATOR LIGHTING has released the Mega Hex L Par, designed for a variety of applications from uplighting walls to illuminating stages, highlighting décor elements and setting the mood on the dancefloor. With a lightweight and flexible design, it is equally suited to use by event companies and mobile entertainers as it is for permanent installation in bars, clubs and other leisure venues.

Powered by four 20W HEX (six-in-one) colour mixing LEDs and providing a concise native beam angle of 17°, the unit delivers a variety of colours, with each LED combining red, green, blue, lime, amber and UV elements and each with independent 0–100% dimming control. Inclusion of the UV element allows for the “black light” effect which causes white and neon coloured décor and clothing to glow when used alone, and it can also be combined with other elements to create vibrant colours such as hot pink, deep purple and electric blue.

The lime element allows for vivid shades of green as well as white light with a CRI of >90. A high CRI means that colours are rendered more accurately when the fixture is used as a wash to illuminate scenery, décor or performers, which is particularly important to ensure natural skin tones and enhanced depth. The fixture also offers tunable white light output with a wide colour temperature range of 2,300K (very warm) to 9,900K (extremely cool) and is pre-programmed with 15 presets to allow easy selection of popular options.

Thanks to a patented “sit-flat” design, inherited from sister company ADJ, the Mega Hex L Par may be placed directly on the ground or inside a truss because its IEC power and DMX input and output sockets are mounted on the sides of the fixture, not on the rear. These sockets are also grouped together, with the inputs on one side and the outputs on the other, to make cabling easier and neater. The included versatile two-part scissor yoke means that the unit can also easily hang from a truss or stand directly on the floor, locked into place at any desired angle.

www.adj.com

a light on 2024 with a raft of product launches across its Jolt and Vizi ranges. In keeping with the rest of ADJ’s Jolt Series, the Jolt Bar FXIP combines a bright white strobe/blinder LED with multi-coloured chase effects in the same unit, except the IP65-rated Jolt Bar FXIP can also be used outdoors. It features a central strip of 112 5W cool white SMD LEDs, surrounded on both sides by 448 1.5W RGB colour mixing SMD LEDs. This allows the fixture to generate intense white strobing as well as coloured washes and strobe effects. Both types of LED are grouped into independently controllable zones to generate strobe chases, and are wireless DMX enabled. Similarly, the Jolt Panel FXIP features a more condensed panel design with 800 1.5W RGB SMD LEDs for colour strobe, wash and other effects, as well as 48 5W cool white SMD LEDs to create the traditional look of a strobe. It also

More PATT, less flat

AIMING TO add a retro style to broadcasts, Robe’s PATT family of LED fixtures has expanded with the addition of two variants. Available in two sizes and featuring a brushed aluminium finish, the HolyPATT and the MolyPATT bring a warm tungsten glow that can add scenic elements to any show. Based on Robe’s PATT2013, the HolyPATT and MolyPATT feature a 4W LED vintage soft coil filament lamp with a colour temperature of 1,800K to illuminate the surrounding parabolic reflector, producing a warm, atmospheric glow. Convection cooling means the fixtures are silent in operation.

Robe has also launched two products in the iT12 Profile and the T32 Cyc. The fully weatherised iT12 Profile is IP65-rated for outdoor use and boasts a CRI of 95+ and a 13,000-lumen output. It offers the advantages of Robe’s Transferable Engine technology,

channel modes and internal programs. The manufacturer has also evolved its Vizi Series of automated luminaires. The Vizi Beam CMY fixture uses a 310W Osram Sirius HRI discharge lamp to generate a 2° beam designed for aerial effects. It features CMY colour mixing and a 14-colour dichroic wheel that includes CTO (3,200K), CTB (9,000K) and UV filters. The fixture also offers a gobo wheel loaded with 17 static patterns (including four beam reducers) and a dynamic gobo shake effect. Users can access onboard wireless DMX, motorised focus, 16-bit fine focus and high-speed, three-phase pan and tilt motors. The fixture’s feature set includes two rotating prisms (16-facet circular and six-facet linear) which may be overlayed and a frost filter for creating wash effects.

www.adj.com

refinement and consistent and precise replay-ability. It features

like DataSwatch for quick trusted colours and tones; low light linearity; 18-bit dimming for smooth fades to black; BARS, which locks the motorised zoom and focus firmly in position, even during power-cycling; and RAINS active management for humidity, temperature

Meanwhile, the T32 Cyc aims to address the challenges of effective cyc lighting to attain greater reach, smoother coverage and more visual impact from an LED luminaire. The lowprofile, easily inter-connectable T32 Cyc contains RGBBAL multi-chip LEDs to generate high light levels and reproduce full-spectrum colours and tints. A 6:1 height-to-distance ratio asymmetrical optical system produces a uniform flat field

cyclorama, freeing up valuable stage space for performers, sets and props. The T32 Cyc features Robe’s T-Series colour consistency and integrates with other lighting thanks to a virtually controlled CCT range of 2,700–8,000K, plus calibrated whites, the DataSwatch onboard colour library and tungsten emulation. Colours are rendered with ratings of CR:96 and TLCI:97, and RGB or CMY colour mixing control reportedly offers faster programming.

HolyPATT and MolyPATT

T32 Cyc

Jolt Bar FXIP

Vizi Beam CMY

Sound identity

Richard Lawn visits TOA Corporation’s Knowledge Square, a newly built, fully automated R&D base, as the Japanese manufacturer moves towards its centenary anniversary

ALTHOUGH WELL-KNOWN FOR ANNOUNCEMENT AND evacuation staples such as car park speakers and horns topping minarets, there is far more to TOA Corporation than meets the eye. Founded by Nakatani Tsunetaro in 1934, the Japanese giant has steadfastly innovated and shaped sound reinforcement technology without fanfare and has many accomplishments worth recognising. As an audio solutions provider in the education, healthcare, hospitality, retail, industrial, transport, stadium and house of worship sectors, TOA Corporation operates sales bases in 20 countries, delivering products and services into over 120 countries through local business partners. Having amassed a track record of reliability over nine decades, TOA’s manufacturing facility in Kobe has a reputation for high-precision design and fabrication. In addition to Japan, manufacturing takes place to the highest Japanese standards in countries including Indonesia, Vietnam and Taiwan. However, it is within Japan that the brand’s status is accurately portrayed. TOA’s mission to supply premium audio equipment has never waned, and this was reinforced with the opening of Knowledge Square in December 2020. Like the Tokyo 2020 Summer Olympics, the opening of the new R&D base in Takarazuka City, near Osaka, was somewhat muted owing to the pandemic. Serving as a stimulant and catalyst of inspiration, Knowledge Square is making up for lost time by attracting collaboration from developers, business partners and specialised educational institutions.

“The term ‘Knowledge Square’ evokes the idea of a place where information comes together,” explains Yusuke Ueno from TOA’s marketing communication section. The R&D base is an intelligent building equipped with OA (office automation)-compatible floors and fibre-optic networking. The scene is set at the entrance, or Omotenashi, where visitors are greeted by a “welcome” sound and personalised hospitality is directed to each customer via sound, video and light. TOA’s aural corporate image is discretely provided throughout the building by telephone hold tones, time signals, elevator tones and other sounds.

A museum by the main entrance provides a snapshot of the company’s achievements across the decades. The exhibits, including reflex trumpet horn speakers developed in 1947 and

the world’s first electric megaphone seven years later, provide an impressive reminder. The development of horn array speaker systems and high-performance amplifiers was followed by automated guidance broadcast systems for train stations in the early 1970s.

Located in a highly volatile belt of seismic activity, many of TOA’s successes have been born out of natural disasters, providing an early warning for earthquake, tsunami and typhoon activity. A super-large PA system 6.6m in length with a 3m-diameter horn was audible at 12km in 1962. Emergency broadcast networks throughout Japan feature TOA’s horn array and slimline array systems, while emergency broadcast systems for fire alarms have been continuously developed. TOA also produces equipment for the domestic market including security camera systems, and was an early pioneer of digital signal processing with its Saori integrated sound processor, conceived in 1989.

Knowledge Square provides a snapshot of how TOA stimulates, develops and operates. Containing an R&D floor as well as various testing rooms, the Cocolabo building develops future technologies via TOA Mirai Solutions, collaborating with specialised companies. The Otolabo facility offers anechoic chambers for specialised

research and the Takalabo stores the company’s extensive documentation.

The futuristic theme continues throughout the largely open plan, five-level building. The vast facility is defined by open, light architecture, designed to stimulate new ideas through collaboration. Partnering with prominent innovators such as Daiko Electric, TOA aims to encourage business creation that will drive growth. Six clearly defined sections currently focus on real-world scenarios. In the event space on the upper level, the World Window is a monitor depicting real-time status and enabling two-way global communication for connecting TOA partners around the world.

Developed in partnership with NEC, the Smart Office Security operates in an open environment rather than through wall and door security. The system recognises a person and their security level from captured images and sensors. Speakers and signage are then used to deliver cautions or response to the area according to its settings. Designed to be friendly to both those conducting evacuations and evacuees themselves, people-friendly systems provide fire evacuation guidance and real-time alerts.

Developed prior to the pandemic, the meeting room identifies and translates a speaker in real time, displaying subtitles and automatically creating meeting minutes. Similarly, on the uppermost level, the smart sound lecture hall enables speakers to talk and move as they please without worrying about the position of the microphone or speakers. Volume and audio parameters are automatically adjusted to produce optimal acoustics without an engineer.

“Communication between workplace teams has become smoother compared to before, allowing both sides to arrive at mutually beneficial conclusions and enable greater cooperation,” says Otono Toru, executive officer of the global R&D division, of the move to Knowledge Centre. “Additionally, we have started undertaking research themes commissioned by clients and our office spaces are being increasingly utilised as co-creation areas.”

An exciting development for the Japanese giant then as TOA enters its 10th decade.

www.toa-global.com/en

L–R: TOA’s Seiya Yamanaka, Maumi Nishihama and Yusuke Ueno in front of Knowledge Square’s Technical Plaza The event space on the upper level

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