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Editor’s Letter

After a brief but much-needed lull in exhibitions during late 2024, a resurgence at the start of 2025 has lured most people back onto the carpets and the walkways of these extensive halls.

ISE was of course the showstopper. It grew once again and shows no signs of slowing down. Final numbers fell short of the 100k figure that had been speculated by many exhibitors and visitors alike, but numbers are becoming less relevant I believe. Our trade media perspective doesn’t always mirror that of a regular visitor, but for me ISE has become too big. Quality time has been virtually replaced by 15-minute speed dates. Great for meeting people and setting the wheels in motion, perhaps, but meaningful conversations were rare. Dare I say we could do with a fifth day? You can find a recap of the show on pp50–52.

the Kingdom’s attempt at building the world’s tallest skyscraper but which has been left in limbo for the last five years. It will now be ready for 2029. A scar across the desert can also now be seen from space where the muchpublicised Line is slowly taking shape. The government has yet to draw a line in the sand though, as despite rumours last year of the project being scaled back, the full 110-mile section is still intended to be built by 2045.

I’ve found it interesting how conversations in 2024 increasingly shifted to focus on non-Saudi territories, such as the UAE or even the oncoming explosion of growth ready to hit the African continent. There is still no shortage of grand plans set for execution, but is Saudi’s shine starting to fade?

Email: sluckhurst@proavl-mea.com

Richard Lawn General manager rlawn@proavl-mea.com

Nick Smith Digital media manager nsmith@proavl-mea.com

Sue Gould Advertising director sgould@proavl-mea.com

Chris Yardley Video editor cyardley@proavl-mea.com

Carolyn Valliere Sales associate cvalliere@proavl-mea.com

Jack Stennulat Digital content creator jstennulat@proavl-mea.com

Caroline Moss Contributing editor cmoss@proavl-mea.com

Adrian Baker Production manager abaker@proavl-mea.com

Karen Wallace Editorial coordinator kwallace@proavl-mea.com

Marne Mittelmann Circulation manager circulation@proavl-mea.com

Bea Meikle News editor bmeikle@proavl-mea.com

Sue Su Guangzhou manager ssu@proavl-mea.com

DPA Microphones acquires Austrian Audio

DPA Microphones has acquired the majority share of Vienna-based Austrian Audio, founded in 2017 by former AKG Vienna employees.

The Danish company said it felt Austrian Audio complemented its own product range perfectly. DPA is a leading manufacturer of miniature microphones, while Austrian Audio has a strong offering of large diaphragm models. Both companies address the high end of the market and, together, they will be able to provide a broader product range for the broadcast, music, theatre, live events and recording markets, developing professional audio solutions that meet evolving industry demands and prioritise the user experience.

“Austrian Audio is a rising star for highend audio solutions and I am excited to join forces with such a strong team of audio professionals,” commented DPA Microphones CEO, Kalle Hvidt Nielsen. “Together, we can deliver increasingly innovative products and further enhance the service for our customers, which will elevate both brands to new heights.”

Austrian Audio CEO and shareholder, Martin A Seidl, added: “To be recognised as a strong and influential brand after only four years in the market was such a great honour

been selected to join forces with such an experienced and globally renowned partner. I very much look forward to what lies ahead for both brands.”

Austrian Audio will continue to develop and manufacture audio products under its own name in Vienna. “The ultimate key to

the culture,” concluded Nielsen. “With Austrian Audio, we get a significant addition of exceptional individuals and a culture of customer-focused innovation.”

www.austrian-audio.com www.dpamicrophones.com

Powersoft acquires majority

audio solutions provider. The combination of brands will reportedly open new joint business opportunities while allowing for the expansion of business offerings into new market segments within the Powersoft portfolio. K-array’s expertise in compact,

Reflecting on the increased focus on innovation and proprietary technological engineering, Powersoft CEO Luca Lastrucci commented: “We are excited to announce this acquisition, a significant strategic step for our company and the professional audio market.

Following an internal announcement on 8 January by its owner, Sphere Entertainment, Holoplot is to focus solely on projects for Sphere venues moving forward. Some 70 employees operating in sales, marketing, business development and applications support have been made redundant. Most of these positions are based at the company’s Berlin HQ where the software and hardware engineers and design teams will continue to operate.

deeply rooted locally yet globally oriented, we are united by a strong passion for technology and sound.”

www.k-array.com www.powersoft.com

Having previously committed a 30% investment in Holoplot in 2018, the operator of the Las Vegas venue wholly acquired the remaining 70% ownership in May 2024 from founder Roman Sick. Following the X1 matrix array, Holoplot launched the X2 matrix array in 2023 for speech intelligibility applications. As a result, the German brand started establishing a distribution network around the world, including PCI in China and Amber Technology in Australia. Given the considerable investments these partners made, including demonstration facilities, it remains to be seen how they will be supported going forward. High-profile customers currently in limbo following the announcement include Lightroom London and Lightroom Seoul in addition to the Misr Masjid mosque in Egypt. To date, Sphere owner Sphere Entertainment has not provided a comment.

www.holoplot.com

L–R: DPA CEO Kalle Hvidt Nielsen and Austrian Audio CEO Martin A Seidl at NAMM 2025

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PRG breaks records at Soundstorm

Production Resource Group (PRG) broke a Guinness World Record for the Largest Continuous LED Screen at the recent MDLBEAST Soundstorm festival, supplying a video package totalling over 4,800m2 of LED panels. Serving as a backdrop for acts throughout the weekend such as Eminem and Linkin Park, the total continuous screen measured approximately 35m x 164m (HxW).

The full package included INFiLED Titan-X displays on the main wings and canopy along with Atlas-X panels for the upstage risers. The project was a collaboration between PRG’s global offices, MDLBEAST and designers Heather Shaw and Vitae Motus.

As the festival’s designer specified “hidden” rigging, PRG Germany’s rigging team, led by John Van Look, designed and built an entire system of diverter rigging to keep the hoists

on the ground. Each wing, measuring over 50m, was lifted as a single section on 90 hoists with a finished weight of 72 tonnes.

Led by Alastair MacDiarmid, the PRG LED team and the original design engineers for the Titan-X screen performed detailed reanalysis of the structure to define the strict parameters within which the screen could be safely built to the extra height and fulfil the design brief.

Radio Botswana chooses Calrec

Radio Botswana has upgraded its 60-year-old analogue system to IP with the installation of a Calrec Type R mixing system across its 14-studio complex in Gaborne. The upgrade is aimed at creating more flexibility, encouraging growth and futureproofing the broadcaster’s infrastructure.

In collaboration with UK systems integrator Dega Broadcast Systems, Radio Botswana leveraged Type R’s modular and customisable feature set to adapt each studio to meet a specific set of needs.

“The shift from analogue to IP was driven by a desire for greater flexibility in our operations,” said Radio Botswana’s project manager, Rex Mogotsi. “IP simplifies connectivity, reduces the physical footprint of the equipment and enables remote capabilities all of which streamlines our workflows.”

He cited how Type R’s IP-based framework delivers significant cost savings for the station by reducing the need for extensive cabling and equipment maintenance. “Its modular design allows us to scale our operations based on demand, avoiding unnecessary costs,” added Mogotsi. “Also, its streamlined workflow reduces production time and enhances collaboration, allowing our teams to be more

The display curved around into the stage performance area and a 280m2, 40-tonne upstage section lifted approximately 8m into the air for stage access during changeovers. The Movecat digital hoist control system was used to lift the upstage screen in a custombuilt vertical track.

The screen management and playback system for the 15 UHD canvas space featured 16 Disguise VX4 media servers, 14 Barco E2 Gen 2 switchers and six Resolume media servers. Handling processing for the LED setup were 42 Novastar MX40 units configured with full redundancy.

Overall, 2.5 miles of fibre optic cable covered the media servers and camera systems, with a further 3.1 miles used for LED processing, covering the 120 and 220 active fibre cores respectively. More than 86 million pixels were processed on the continuous screen, all while ensuring capacity was available within the system to drive a variety of DJ riser screens throughout the event.

“This unique project required some exceptional engineering to manage signal precisely across such a huge canvas, but after careful planning we managed to deliver a strong, low-latency solution, with maximum redundancy and flexibility,” noted Jordan McMahon, video technical specialist, PRG events services team.

Yvonne Donnelly Smith, sales director for music at PRG, concluded: “We’re so proud to have achieved the Guinness World Record with the video screen this year. We’ve worked with the MDLBEAST team for many years now and it keeps getting better and better. It was a fantastic challenge for us to put our innovation and team to the test and what we’ve achieved is outstanding.”

www.prg.com

efficient and flexible. All this supports better quality content and quicker turnaround times.”

For studios 1–6, dedicated to live radio broadcasts, the station used Type R’s modular hardware to equip each one with control surfaces up to 16 faders. As its editing and

postproduction studios require fewer physical facilities, each one has smaller control surfaces of six or eight faders.

“The remaining studios handle news and special programming and we installed 8–12 fader control surfaces in these to cater for

a variety of programme types,” explained Mogotsi. “Type R’s modular system allows each studio to be optimised for specific production demands, while its flexible equipment configuration enables seamless transitions between studios.”

As each Type R DSP core can power up to three independent mix environments, Radio Botswana leverages three cores between six studios, utilising a total of just 11 cores to power all 14 studios across the complex.

“The workflow allows seamless routing and resource sharing,” said Mogotsi. “This interconnected setup enables cross-studio collaboration and provides resilience against potential equipment failures, ensuring a smooth and reliable production flow across all studios.”

Graham Murray, international sales manager at Calrec, added: “The station already has plans to launch a new channel and it’s also looking at how distributed production can deliver even more flexibility. Type R’s IP infrastructure not only helps to develop more diverse programming, but it also enables its customers to reach wider audiences, both at home and abroad.”

www.calrec.com

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Epson unveils ME innovation centre

Serving as a hub for demonstrating product releases, developing new thinking and deploying local market analysis and customer collaboration, Epson has opened an innovation centre in Dubai Production City. The facility will showcase the manufacturer’s latest projector displays.

The opening ceremony was attended by Yasunori Ogawa, president and representative director and CEO of Seiko Epson Corporation; Neil Colquhoun, president of Epson META-CWA; Abdulla Belhoul, CEO of TECOM Group; Ammar Al Malik, executive VP of commercial at TECOM Group; and Majed Al Suwaidi, SVP of Dubai Media City, Dubai Production City and Dubai Studio City at TECOM Group.

“The opening of the new Epson Innovation Centre underscores our commitment to our customers and partners across the region,” explained Ogawa. “We see strong demand to incorporate regionally tailored

design into product development, particularly from industries and communities that are

CTME’s “game-changing” Ayrton investment

In a move that it says is game-changing and underscores its dedication to elevating client experiences across the region, Creative Technology Middle East (CTME) has made a significant investment in Ayrton lighting products. Distributed by Procom Middle East, the purchase includes 100 units each of the

“Adding the Rivale Profile and Wash to our Ayrton range is a game-changer and being one of the first in the Middle East to have them is something we’re proud of. These fixtures, along with the Kyalami and its innovative laser engine, give us the tools to push creative boundaries even further and deliver truly exceptional lighting

pursuing digital transformation. Our new facility will serve as a foundation for creating

efficient, compact and precise products that reduce environmental impact.”

The centre will showcase advances in visual display, manufacturing and lifestyle solutions. It will enable customers and partners to contribute local insights into the design and development of next-generation technologies by providing a direct connection between the team on the ground and Epson’s research and development centres in Japan.

“Epson has created this advanced innovation centre to serve the region, having already committed more than US$1m to the establishment of the centre,” added Colquhoun. “This investment reflects our ambitious vision to support diverse industries and geographies by connecting with the local needs of each market to empower our customers and address the issues that affect them.”

www.epson.ae/eme

Sound on Stage brings Quantum 326 to Middle East

MIDDLE EAST

Dubai-based event management company Sound on Stage has made a milestone investment in the region’s first DiGiCo Quantum 326. Facilitated by 7Hertz, the purchase aims to elevate Sound on Stage’s capabilities for largescale events in the region, with the console being primarily deployed for highprofile concerts, corporate events, festivals and broadcast applications.

The company said the new fixtures will elevate its ability to deliver immersive lighting designs and visuals and ensure it can meet the dynamic needs of clients across a broad spectrum of events, including concerts, corporate gatherings, theatre productions and live television broadcasts.

Sam Connolly, head of lighting and power at CTME, noted his excitement for the purchase:

Creative Technology invest in Ayrton lighting products. This partnership reinforces our dedication to providing industry-leading solutions and support to our valued clients. We thank CT for their continuous trust in Procom and Ayrton.”

www.ayrton.eu

www.ctme.co

www.procom-me.com

Sound on Stage owner and sound engineer Rawad Saad said the decision to invest in the Quantum 326 was driven by its advanced processing, flexibility and reliability in handling large productions. “Our team required a console that could support high input counts, complex routing and dynamic processing while ensuring pristine audio quality,” he confirmed. “The Quantum 326 stood out due to its state-of-the-art FPGA processing, Mustard Processing channel strips and seamless integration with our existing workflow. Given its superior audio quality and extensive feature set, it is particularly wellsuited for events that demand high channel counts, multiple monitor mixes and real-time

He also cited the console’s compact footprint as a significant advantage, allowing the team to maximise space efficiency in FOH and monitor positions and simplifying transportation and setup for touring installations.

7Hertz and Sound on Stage have enjoyed a decade-long relationship, having partnered on projects in the GCC and Lebanon.

Before making the purchase, the distributor provided hands-on training and demo sessions for Sound on Stage including hands-on workshops, operational deep dives

and troubleshooting sessions. “We also conducted real-world simulations to evaluate its performance under live conditions, ensuring it met our technical and operational requirements,” noted Saad. “Additionally, we conducted internal training to familiarise our wider technical team with the system’s workflow and capabilities.”

Chadi El Masri, 7Hertz’s CEO and founder, said that 7Hertz’s goal is to empower its partners to get the most out of their investments. “We always look at the sales process from a different perspective – we want our partners to take advantage of their purchase to the fullest. Rawad is an old friend and a great sound engineer. It’s always a pleasure to work with him as he knows exactly what he is looking for. DiGiCo is a great innovator in mixing consoles, so our job is to make this happen as smoothly as possible and be there when needed.”

www.digico.biz

www.soundonstageevents.com

www.the7hz.net

MEA

L–R: CTME’s Sam Connolly, Procom’s Charbel Zoghbi, Andy Reardon of CTME and Procom’s Mike Demetriou

Integrated AV for Emerson’s Centre of Excellence

Global technology, software and engineering company Emerson recently opened its Centre of Excellence, part of its office in the Al Fardan Towers, West Bay, Doha. The space has been outfitted with AV systems, including a digital media solution from UNIQ Digital, alongside an immersive room created by Dubaibased distributor PRO LAB in collaboration with Qatari AV systems integrator Behind the Scenes (BTS).

A space for users to engage with presentations and demonstrations, the

Emerson Immersive Room features 360° projection mapping, real-time audiovisual synchronisation and intuitive controls, enhancing communication for audiences.

“Our objective was to create an immersive environment that not only captivates audiences but also serves as a versatile platform for impactful presentations,” said Waqas Ilyas, sales director at PRO LAB.

The immersive room leverages four Panasonic PT-RZ690LB and ET-DLE020 DLP laser projectors to deliver visuals, with content

synchronisation across all displays managed by Dataton’s WATCHPAX 62 A.

For sound, PRO LAB deployed eight Martin Audio CDD5W cabinets and four ACS-40TS-W ceiling speakers, complemented by an SX110-W subwoofer, while three Powersoft Mezzo 604 AD amplifiers ensure efficient audio output. Power and processing are courtesy of a Xilica system comprising a Solaro FR1-D processor, Solaro audio input and input/output cards, HearClear AEC software, a Gio Bluetooth network endpoint and a Lucia networked wall controller. An Audinate Dante AVB USB ADPUSBC-AU-2X2 adaptor facilitates low-latency audio networking, while Merging Technologies’ Ovation Premium audio and event sequencer software enhanced audio recording and playback. The system was completed with an Audix M3W tri-element hanging ceiling microphone.

Rami Haber, CEO of PRO LAB, said: “This project exemplifies our commitment to delivering innovative and impactful solutions. We are proud to have partnered with BTS Qatar to bring this immersive vision to life and look forward to future collaborations.”

Aesthetix served as the technology partner and systems integrator for the UNIQ installation. Collaboration LED walls, LED mood boards and pick to learn solutions have been installed throughout the centre. The finalised design consisted of UNIQ’s 1.5mm pixel pitch

curved LED screens for the Visionary area as well as the demo space. The screen in the demo room is complemented by a Samsung 55-inch display and push and learn button solution integrated with a media player. The collaboration room benefits from a UNIQ 1.2mm pixel pitch LED screen, while one of the manufacturer’s 86-inch interactive displays has been installed in the class room.

Various Samsung solutions have been implemented throughout the facility, including an 85-inch display in the 3D model area and 55-inch displays with ONELAN media players in the main centre’s space and pantry area. The board room also features 98- and 85-inch Samsung displays. The entire facility is content managed by an ONELAN digital signage solution which can be both managed locally and remotely from Emerson’s Dubai headquarters. “We feel very accomplished and proud of the way all parties involved came together from the design and estimation to project management,” remarked Jemy Mohan, general manager, UNIQ Digital. “The client is quite jubilant about the way things have turned out and Emerson’s leadership team has praised our local team for their dedication and wonderful execution. The project was a job well done.”

www.btsglobe.com www.digitaluniq.com www.prolabllc.com

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PRO LAB and BTS crafted the immersive room

KV2 leaps ahead at Mr Panther

NIGERIA

A new addition to Lagos’s nightlife, high-energy resto-lounge Mr Panther features a KV2 audio system to enhance the highend dining experience in the day and complement the lounge atmosphere in the evening. Located on the seventh floor of The Avenue Suites Hotel, the venue features opulent design elements, with the aim of leaving a lasting impression on guests.

The restaurant owner, Standalone Group, engaged Freehand Acoustics for the project. “We were brought onboard to design and commission the sound system,” said Rayan Wehbe, principal consultant at Freehand Acoustics. “This allowed us to coordinate seamlessly with interior design, lighting and audio to ensure all elements worked harmoniously.”

Wehbe chose KV2 Audio after hearing the brand in similar highenergy environments. “KV2’s acoustical performance, especially their subwoofers’ rich low-end, always impresses. Coupled with competitive pricing among highend brands, the decision was straightforward,” he noted.

A meticulous configuration of KV2 models was employed to ensure sound coverage across the venue. Compact gold-painted ESD Cube loudspeakers have been installed in the lobby elevators, while the champagne bar is equipped with four custom-painted, ceilingmounted ESD5 loudspeakers to provide background music as guests wait for their tables.

The main floor features an L-C-R system, with ESD10 loudspeakers positioned left and right and an ESD12 used as a centre channel, paired with three ESD1.18 subwoofers integrated into the furniture. ESD Cubes are strategically placed under the balcony for sound distribution across lounges that would otherwise face limited direct sound coverage.

The VIP mezzanine section features an L-R configuration of ESD8 loudspeakers paired with two ESD1.15 subwoofers, providing a bass-driven experience for patrons. More ESD Cubes are used in the restrooms, reinforcing the ambiance.

“The venue’s combination of hard floors, glass façades and thick felt-like materials created an acoustically challenging environment,” Wehbe explained.

“To mitigate this, the KV2 system’s controlled dispersion and precise directivity was ideal in focusing energy where needed and minimising excessive reflections.”

System control is courtesy of a Xilica Solaro QR1 processor with a custom-designed interface that allows the venue team to adjust levels, monitor performance and recall presets from mobile devices or PCs.

Wehbe noted the project a success: “The client praised the system’s clarity and power. At full capacity, the system provides the required SPL while maintaining headroom.”

www.kv2audio.com

Robe shines bright for The Masked Singer

SOUTH AFRICA

Broadcast on SABC, the second series of The Masker Singer SA featured a lighting design by Ryan Lombard and Joshua Cutts, based around the core components of 150 Robe moving lights. The series was recorded in Randburg, Greater Johannesburg, with all technical production supplied by Blond Productions.

Twelve ESPRITES were incorporated as a key element of the design, utilised to follow the artists during the performances and controlled via a RoboSpot system. “I love ESPRITES for their brightness and colours,” noted Lombard. “They were also our essential ‘surgical’ front lights which helped keep the giant scenic

for side light and dappled gobo work on the stage as well as infill on the masks in some songs to enhance the projected images.

Twelve 600E Beams were rigged to fire beams in from the sides for extra effect, while 24 CycFX4 were used for additional rear eye-candy and pixel effects behind the audience. Positioned behind the scenic masks, 12 miniPointe lights created visual effects when the masks opened and enhanced the stage with beam-work. The production also incorporated 48 LEDBeam 100 and four MegaPointe luminaires provided by DWR Distribution.

Six LEDWash 300 and 12 iSpiider washbeam fixtures were implemented as front lights, used for audience washes and to create specific back and front light looks. Occasionally, the luminaires were augmented with 24 LEDBeam 350 units running in wash mode. The LDs leveraged 12 MMX Spot units

contributed to this that increased our opportunities for efficacy and creativity and it was great having two minds on it as well as all this Robe kit at our disposal,” concluded Lombard.

www.robe.cz

HiLights

a

for Riyadh’s Latino Night

Fusing Latin culture and world-class boxing, Latino Night at Riyadh Season 2024 incorporated an extensive remit of AVL technology, deployed by HiLights Group in partnership with Sela | صلة and Proline International.

In the short timeframe of 48 hours, the Egyptian event production company transformed “The Venue”, one of the new zones in Riyadh Season, with solutions from Ayrton, Watchpax, DiGiCo and L-Acoustics to enhance the atmosphere for the crowd and live broadcast. For sound, the group deployed L-Acoustics’ K2 speakers, suspended KS28 subwoofers and Kara cabinets for balanced sound coverage throughout the venue, with a DiGiCo Quantum 5 console leveraged for mixing. Amplification was courtesy of 85 L-Acoustics LA12X amps, with an Optocore X6R system as a backup to transmit AES signals to the amplifiers. The AVB protocol was used via DirectOut Prodigy.MP to send signals to the amplifiers.

Shure’s Axient Digital Wireless Microphone system was provided for the artists, equipped

with SM58 capsules for sound capture, while the manufacturer’s PSM 1000 was used for in-ear monitoring, providing 10 channels of uninterrupted audio.

The lighting setup incorporated a range of moving heads from Vari-Lite for effects, including the VL2600 Profile, VL3600 Profile, VLZ Profile and VLZ Wash. These were complemented by Ayrton Cobra, Domino LT, Domino S and Argo 6 FX fixtures, alongside Claypaky HY B-Eye K15 lights. Control was provided by MA Lighting’s grandMA3 family, including the grandMA3 full-size, grandMA3 light and grandMA3.

For the video system, the team installed 800m² of LED screens, alongside 20 Barco UDX-4K40 projectors. The manufacturer’s E2 Event Master processor provided content switching, while Dataton’s WatchPax 60 media server managed the processing. Four Novastar video processors were also integrated for enhanced visuals.

www.hilightsgroup.me

Enhanced acoustics for West Nairobi School

Nairobi-based AVL supplier Sound Creations, in collaboration with CATS, has designed and installed audio systems from Yamaha, Nexo and Shure at West Nairobi School. The solutions have been implemented in the school’s recently constructed auditorium, designed to foster immersive learning and spiritual experiences.

“The West Nairobi School auditorium acoustic design was customised to allow for both absorption and diffusion,” explained Renson Kipchirchir, architect and acoustician, Sound Creations. “The side walls of the auditorium feature a unique tree-shaped acoustic design, made using high-performance absorption materials that have been further enhanced with vibrant rainbow LED lights, symbolising the growth of God’s word in the hearts of the students and reflecting the Lord’s majesty within the space.”

The ceiling has been designed with a carefully curved acoustic structure, engineered to reflect sound emanating from the stage and distribute it evenly throughout the audience area. The floor was fitted with custom acoustic carpeting,

while the back wall was entirely treated with sound-absorbent materials to eliminate unwanted sound reflections and reverberation. Acoustic seats were also installed.

Following this, Sound Creations installed a sound system tailored to the space’s unique acoustic profile. At the heart of the solution is Yamaha’s TF5 console, connected to

two Tio1608-D I/O racks via Dante. Sound Creations said it chose this setup to ensure seamless audio communication, flexible routing and precise control.

Two Nexo ID84-I speakers have been fitted in an L-R configuration, with three ID24-I units for front fill, complemented by IDS312-I subwoofers to cover the low end. Power and

processing are courtesy of the manufacturer’s NXAMP4X1MK2 amplifier.

For stage monitoring, two Yamaha DZR12-D speakers and two Yamaha HS5 powered studio monitors have been installed at FOH.

A Shure wireless microphone system has been incorporated for audio capture and delivery, featuring the QLXD124/85 wireless microphone system, UA844+UHF antenna distribution system, UA864 antenna, ULXD8 wireless gooseneck base transmitter, MX410LPDF/C cardioid dualflex gooseneck microphone, SBC200 dual docking charger, MX202 condenser microphone, SB900B rechargeable lithium-ion battery, and SM57 and SM58 microphones.

“This harmonious interplay of acoustics, sound and lighting creates a bespoke design that not only enhances the auditory experience but also evokes and heightens the human sense of spirituality, making it a truly remarkable space for learning and worship,” concluded Kipchirchir.

www.soundcreationsltd.com

KENYA

Image courtesy of Gilbert Haddad

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Martin Professional hosts The Lighting Institute

Held under the auspices of The Lighting Institute, Martin Professional Middle East hosted a socialite event at its Dubai experience centre exploring the intersection of lighting and design integration. The event brought together industry leaders, architects and design enthusiasts and featured a panel discussion, interactive Q&A and networking opportunities.

Heba Hani, business development manager, Scientechnic Lighting Solutions, moderated the session which highlighted the role of lighting in shaping modern architectural spaces.

Discussions revolved around design integration, the transformative power of light in interiors and the future of lighting innovation.

The panel featured industry luminaires such as David Gilbey, the lighting design director for Diriyah Gate Development Authority. He

The conversation delved into topics such as sustainable lighting practices, the interplay between natural and artificial light and the evolving demands of urban environments. Also discussed were the role of lighting in enhancing the user experience, latest trends and technologies in the field and the role of AI in shaping the future of lighting design.

Bilal Assidi, sales manager, Martin Professional Middle East, commented: “Hosting The Lighting Institute at our experience centre was an enlightening experience, showcasing the power of collaboration and innovation. Together, we sparked creativity and ignited new ideas.”

www.martinpro-me.com

3DB has boosted its lighting and networking capabilities with Chauvet luminaires and Luminex networking equipment. With the investment, the company now boasts one of the largest stocks of Chauvet Maverick fixtures in the Middle East.

The purchase includes 38 Maverick Storm 2 Profile, 30 Maverick Storm 2 Beam Wash, 38 Rogue Outcast 1 Beam Wash and 30 Color Strike M luminaires. Supporting this lighting setup is Luminex networking technology, including the Luminode 12 and Gigacore 20t and Gigacore 10 units to enhance data distribution and provide smooth communication between lighting systems.

“When evaluating options, we focus on output, functionality, build quality and cost. Chauvet exceeded our expectations, meeting

all three criteria seamlessly,” noted 3DB lighting designer/project manager Jack Kelly.

“We wanted specific types of fixtures and Chauvet’s offerings stood out in tests against other brands.”

The acquisition was facilitated by NMK Electronics, with the company’s senior key account manager, Jesse Dullabh, commenting: “It’s been a pleasure working with 3DB to help bring this impressive array of Chauvet and Luminex products into their setup.”

Concluded Kelly: “NMK’s guidance and support have enabled us to expand our stock significantly, helping us stay competitive while enhancing our event capabilities.”

www.3db-dxb.com

www.nmkelectronics.com

SBA upgrades with Grass Valley

The Saudi Broadcasting Authority (SBA) has transformed its Studio A with Grass Valley’s live production technology.

Studio A is the core news and talkshow studio for Saudi One, the flagship SBA channel. The upgrade aligns with Saudi Arabia’s Vision 2030, emphasising SBA’s commitment to advanced media production. SBA also said the project underscores its dedication to preserving cultural heritage, promoting social development and meeting the evolving expectations of its audience both domestically and internationally.

At the forefront of this modernisation initiative is the comprehensive integration of Grass Valley’s live production solutions. The

project was executed by the manufacturer’s partner in the region, First Gulf Company (FGC). TV broadcast and production control equipment has been implemented, including Grass Valley’s 4K-ready solutions, such as the LDX 98 cameras, K-Frame Kayenne 4 M/E switcher and Densité processing equipment.

“This partnership with Grass Valley is crucial for advancing our objectives of excellence and innovation,” commented Hatim Abounassf, executive vice president for engineering affairs at SBA. “Grass Valley’s proactive support significantly impacts our progress, highlighting the importance of collaboration in achieving transformative milestones.”

organisations across the Middle East with cutting-edge solutions. Strengthening our partnership with the Saudi

UNICA. THE PLATFORM WITH THE AMPLIFIER ON BOARD.

So capable. So Unica.

is key to redefining the

media landscape.”

www.grassvalley.com

Unica will have a fresh-out-of-the-box feel throughout its life, and it will be possible to integrate features and functionalities down the line, making it truly futureproof. Proving the engineering efforts undertaken in the development of this platform are 5 registered patents

Panasonic unveils 4K studio camera in Doha

Panasonic Marketing Middle East & Africa (PMMAF), with its local partner Beamcast, recently held a broadcast and pro AV event titled “Innovation in Action” where Panasonic unveiled its AK-UCX100GSJ 4K studio camera. Attended by professionals and enthusiasts from across the broadcasting, media and infotainment spectrum, the event focused on how agility and flexibility can be leveraged to elevate the art of storytelling in the broadcast and AV spaces.

“Innovation in Action” featured a mix of presentations from industry experts, including a session on the benefits of IT/IP-based live production platforms using Panasonic products. The atmosphere was described as vibrant with demonstrations and extensive

hands-on sessions in an increasingly softwarebased production and delivery environment. Fujio Hiramori, marketing manager, PMMAF, said: “Our longstanding mission established by our founder is that Panasonic should always contribute to society. We are pleased that we share this commitment with our esteemed local partner, Beamcast, to make ‘Innovation in Action’ happen. This event allowed us to enrich the skills and capabilities of systems integrators, broadcast professionals and media enthusiasts. Equally important, it paved the way for collaboration with partners and interaction with customers, which ultimately will help us shape the future of broadcasting.”

www.panasonic.com

Tim Banks, chief revenue officer at Grass Valley, said: “We are proud and committed to empowering media

Studio A

Durban university chooses L-Acoustics and DiGiCo

The Elizabeth Sneddon Theatre at the University of KwaZulu-Natal (UKZN) in Durban has been upgraded with new audio solutions from L-Acoustics and DiGiCo, supplied and installed by DWR Distribution. The university theatre plays host to many world-class productions and provides a training ground for the next generation of technicians and performers.

The theatre elected to replace its outdated line array system which had been in use for over 20 years. “Our decision to invest in L-Acoustics was first and foremost because of the excellence of the product, but also because DWR has always offered us invaluable backup service here in Durban,” noted the theatre’s director, Jackie Cunniffe.

Richard Smith, audio sales at DWR, visited the Sneddon auditorium to perform an analysis and design for the PA system. He recommended the L-Acoustics A10i solution, featuring A10i Focus, A10i Wide and KS21i subs on each side, powered by LA4X amplifiers. Cunniffe said that in the future, the theatre also hopes to replace its small fill speakers and central cluster with L-Acoustics’ 5XT and X8 respectively.

The system was first put to the test with the UKZN Inaugural Music Showcase, with pop ensembles featuring 12 vocalists and a full rhythm and brass section to Maskanda groups, iSicathamiya, classical instrumentalists and opera choruses. “We have only had positive remarks concerning the new PA – it has an incredible sound with ample headroom and even at its loudest remains contained and clean, with no

harsh frequencies,” reported Cunniffe. DWR also equipped the facility with a DiGiCo S31 console to use as an interim, in replacement of its previous desk, before the team ultimately decided to invest in one for permanent use. “The little desk proved intuitive and easy to use – even for an oldschool analogue person like me,” said Cunniffe. “This is an important consideration in our theatre, as we do not have a permanent sound technician and the desk would have several different freelance users, with limited get-in and rehearsal periods.”

NMK enhances meetings in Saudi

NMK Electronics, in collaboration with systems integrator Khaldia Hallstage, has provided an audiovisual system for Shaqra University to enhance meeting experiences. One of Saudi Arabia’s prominent public universities opened during the reign of King Abdullah Bin Abdulaziz Al Saud, the establishment comprises 24 colleges spanning a diverse range of disciplines.

In the meeting room, an Arthur Holm voice and control system has been installed for use by the chairman of the meeting. The system has been integrated with 20° of automatic inclination at the head of the round meeting table and includes a customised, electrically retractable 21.5-inch

while the Plixus Audio Engine with recording functionality takes care of all the signal handling required for the audio in the space, complete with an external power supply. Thirty-four customised delegate units have been integrated with the Arthur Holm monitors, including microphone connectors for the Loudspeaker button on the mics. For the chairman, a customised microphone connector unit has been integrated with Loudspeaker, Prior and Next in Line buttons. The CoCon meeting management software supports the preparation and administrative process before meetings and offers control during.

HD monitor and an independent silver cover plate with View Share and Priority buttons. For delegates, 34 Arthur Holm customised 17.3-inch widescreen HD monitors and cover plates in silver have been integrated around the table. The cover plates have been fitted with a Televic GSM 50mm immune gooseneck microphone.

The cover plates feature integrated USB pass through, USB power points and power outlets. There are also 11 multitouch screens for AH17DX 2HDGA monitors, as well as an ERT IP to RS-422 interface to control, configure and diagnose all the Arthur Holm motorised products.

The Televic solution includes a T-CAM camera tracking package featuring four cameras,

commented: “The compatibility between systems

Electronics to achieve exceptional results.” Waleed Zaghloul, brand manager at NMK Electronics, said: “This collaboration highlights how advanced AV solutions can reshape meeting spaces, enabling seamless operations and enhanced experiences for all.”

www.arthurholm.com www.nmkelectronics.com www.televic.com

SOUTH AFRICA

SAUDI ARABIA

The UKZN Inaugural Music Showcase

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ARC Studios launches in Saudi

SAUDI ARABIA

ARC Studios has launched as a 3D animation studio in Saudi Arabia, aiming to set new standards in digital content creation. Strategically based in Riyadh, ARC Studios plans to become a leader in immersive storytelling, high-quality animation and digital media, in alignment with Saudi Arabia’s Vision 2030.

The project is the result of a culmination of efforts between audiovisual integrator Maktabi Tech and VirtuWall, an experiential digital technology and content creation company. Together, they bring expertise in media production, real-time rendering and immersive experiences, hoping to make ARC Studios a hub for creativity and technology.

“By combining technology, creativity and deep cultural understanding, we are not just keeping up with the global digital evolution –we are shaping it,” commented Banan Masri, managing partner of Maktabi Tech. Bahir Omar, managing partner of VirtuWall, added: “ARC Studios represents the future of digital storytelling in Saudi Arabia and beyond. We are building a dynamic, agile and visionary studio that will redefine how brands and businesses engage with the audience.”

As part of its expanding global footprint, ARC Studios was featured at ISE 2025 in Barcelona, showcasing its content on the

LED screens at Chinese LED manufacturer LP Displays’ booth.

www.maktabitech.com www.virtuwall.show

Kenya’s Radio Nation chooses AEQ

KENYA

Part of the Nation Media Group, Kenya’s Radio Nation has integrated an AEQ Forum Split as the digital console for its main broadcast studio. Founded in 2002, the station has nationwide coverage, with central studios in Nairobi and repeaters in the country’s main cities.

of news, sports and music, all in English, broadcasted on 96.3FM for the central core of Kenya, and it is also possible to follow the broadcasts from its comprehensive website.

During a recent renovation, the company’s technical team decided to upgrade to the Forum Split for its ease of use, operation capabilities and audio quality. Designed for on-air broadcast control, the console incorporates all the basic features required by the station, such as automatic monitor

The IsoFlare™ is a wide bandwidth, high sensitivity loudspeaker designed for the ultimate in fidelity, coverage, and aesthetics. They are ideally suited for prestigious commercial environments where music is part of the guest experience. ISOFLARE SERIES Check

L–R: VirtuWall’s Bahir Omar with Banan Masri of Maktabi Tech

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SGP bolsters its Allen & Heath inventory

SOUTH AFRICA

South African turnkey production company, the SoundGP Group (SGP) has recently taken delivery of a range of Allen & Heath mixers, provided by Audiosure, to extend its reach and capabilities for local events. Under the leadership of Cristo Hattingh, SGP’s team has been responsible for a comprehensive spectrum of events such as the ABSA Golden Partner Awards, Spirit of Praise and RMB Starlight concerts.

The acquisition includes an Allen & Heath dLive S5000 control surface and two dLive C3500, SQ-5, Qu-16 and Qu-32 mixers each, along with the accompanying CDM64 and DM64 MixRacks. This complements the company’s existing stock of ME Personal Mixing Systems which integrate with all the new surfaces, including the QU mixers already in SGP’s inventory.

All the MixRacks were fitted with Allen & Heath’s new Rack Ultra FX2.0 cards. These technology with ARM processing, opening effects.

“SGP began the Allen & Heath journey with the introduction of the ME1 solution,” remarked Hattingh. “Since 2016 they have been part of our solution to our clients, later adding a few small QU consoles to the mix. Then after being exposed to the dLive integration options at RedPepper Studios, it became clear Allen & Heath is definitely the way to go for us. We needed a product that not only covered the current needs but also opened new options for streamlined solutions and forward-thinking in a growing market.”

The investment aims to enhance the company’s capabilities for a range of events in the region, from small stages to large-scale festivals.

www.allen-heath.com

www.audiosure.co.za

www.sgpgroup.africa

Isparta’s new shining star Q-SYS installed for Lagos Federal High Court

TURKEY

Establishing itself as a prominent cultural hub since its opening, the Isparta Trade and Cultural Center has hosted over 100 events to date for the city and surrounding region of Southeast Turkey. With capacity for over 650 patrons, the main auditorium presents unique acoustic challenges in the form of a 24m-high ceiling and balcony design when hosting events requiring sound reinforcement. Sympathetic to the reverberant nature of the architecture, Dinakord Elektronik applied its extensive experience to supply and install the resultant AV and lighting technologies into the venue. Following software simulation analysis, the

including theatrical performances and presentations, the auditorium’s lighting relies on SSP Professional Lighting LED source fixtures. Offering clear visibility for the entire audience, an Epson 15,000-lumen LCD laser projector outputs its 4K content onto an 8m x 5m motorised screen. In addition to supplying a conference and simultaneous translation system together with Shure wireless microphones, Dinakord Elektronik also supplied and programmed the Crestron control automation that enables ease-of-use facility management.

The full range of works extended to an additional 321-seat auditorium, two more

bass speakers, a further two K-LA218-DSP subwoofers are positioned under the stage. An additional 12 LD Systems SAT62 active enclosures ensure consistent sound coverage across the balcony seats. Digitally designed to deliver optimal sound quality throughout the venue, the audio system is managed within the Dante network protocol and mixing is conducted on a Yamaha console.

Tailored to meet the diverse needs of entertainment being staged within the venue,

audio and lighting solutions that balance performance with affordability has been aptly exemplified within the Isparta Trade and Cultural Center project,” continued Cavusyan.

“By collaborating with leading international brands and leveraging our 60 years of experience, we’re well-positioned to enhance venues with comprehensive solutions.”

www.atlantik.com.tr

www.sspworld.com

Alongside its partner, Systems Intelligenz, Paxt recently installed a Q-SYS system for the Federal High Court in Lagos to enhance communication in the room, as well as for participants calling in from remote locations. Founded in 2011, Lagosbased Systems Intelligenz is one of the distributor’s most experienced strategic partners, providing AV technologies for clients in the domestic, retail, corporate, education, house of worship, healthcare and government sectors.

Systems Intelligenz worked with MBR Computers to design and install a system based around the Q-SYS Core Nano audio, video and control processor, which is commonly used for extending the applications of the Q-SYS ecosystem into a wider range of smaller-scale installations. A CX multichannel amplifier provides customisable power to AD-S6 speakers for clear and intelligible sound in the courtroom.

MBR and Systems Intelligenz both submitted initial system designs for the Paxt technical team to check and suggest performance-

enhancing changes. Paxt advised during commissioning and, with a shipping department handling movement of stock into the country, the distributor was able to ensure that the Q-SYS products arrived onsite on time and in a cost-effective manner.

“Systems Intelligenz has been working with Paxt and the Q-SYS platform for six years and exemplifies the skill and experience of our systems integrator partners across Africa,” commented Paxt managing director Tim Pollard.

“The installation at the federal court in Lagos is just the latest example of the great work they do.”

Speaking for Systems Intelligenz, managing director Michael Adebunmi said: “We have completed 10 courtrooms now with the same design and the federal court is delighted with the performance of the systems. We appreciate the technical support we receive from Paxt and the assurance that all the elements of the Q-SYS system will be available when we need them.”

www.paxt.com

www.qsys.com

NIGERIA

•

STAGETEC

MANAGER

Leonardo D’Andrea joins dBTechnologies

Leonardo D’Andrea has been appointed MEA export sales manager at dBTechnologies. He will become the new point of reference for all commercial partners in the MEA regions, overseeing the development and management of sales activities in select countries across the region.

D’Andrea’s journey began as sales manager for the Middle East, Eastern Europe and Africa and has evolved through roles of increasing responsibility, including commercial director, culminating in over 12 years as sales manager in the EMEA market. His knowledge of global

markets and expertise in driving business growth are invaluable assets that will contribute significantly to dBTechnologies’ development in the regions under his remit.

Analog Way boosts its EMEA team

Analog Way has enhanced its leadership team with the appointment of Vincent Piarou as sales director for Europe, the

Piarou will lead the sales team to drive continued growth across the region, focusing on structuring and enhancing sales and support operations. His initiatives aim to strengthen customer relationships to solidify Analog Way’s position in the industry.

“I am thrilled about Vincent joining Analog Way,” said Eric Delmas, Analog Way CEO.

“His customer-centric vision underscores our commitment to

delivering exceptional value and support to our partners.”

Meanwhile, Demetrio Faroldi, the former EMEA sales director, has transitioned into a business development role. He will focus on expanding Analog Way’s portfolio of solutions, identifying new use cases and verticals and fostering partnerships with key vendors.

I am confident we will achieve new milestones and reinforce our leadership across the region,” concluded Delmas. “Our focus on innovation, collaboration and longterm value for our clients will guide us forward.”

“I am happy and excited to start this new adventure with dBTechnologies,” commented D’Andrea. “dB has always been a reference point for me when I wanted to better understand the reasons behind a marketing success and, now, I am honoured to be part of the project.”

Flavio Malpighi, head of export sales, dBTechnologies, remarked: “We are delighted to welcome Leonardo to our export sales team. I am confident that, thanks to his expertise, he will help create new opportunities for growth and development for dBTechnologies.”

www.dbtechnologies.com

7Hertz promotes John Parkhouse

MIDDLE EAST

Evolving his role from senior live audio consultant, 7Hertz has appointed John Parkhouse as chief technology and strategy officer (CTSO). Parkhouse first joined the company approximately 18 months ago, with his initial focus on servicing 7Hertz’s rental partners and brands.

Prior to joining the Lebanese-founded distributor, he held various roles at UAE rental companies, including head of audio at eclipse Staging Services for seven years, before taking his skills to the Sharjah Performing Arts Academy as lead sound tutor. Additionally, he has been involved in various freelance work in the region as a live audio and events specialist, consultant and manager.

“We are thrilled to have JP at this role as we are confident that his technical and strategic expertise will lead to success and greatly impact our services to our

www.analogway.com

team, partners and clients,” remarked Chadi El Masri, CEO at 7Hertz.

Parkhouse commented: “As I enter my 20th year in the UAE, I’m proud to step into the role of CTSO at 7Hertz. This position lets me harness my technical background and strategic insight in a way that truly supports the people and the industries we serve. I’m excited by the opportunity to shape 7Hertz’s future, both technically and strategically, while always

MEA

EMEA

Vincent Piarou

Demetrio Faroldi

HASOUB expands its portfolio

the manufacturer’s reach across Egypt and the GCC countries, including Bahrain, Kuwait, Oman, Qatar, Saudi Arabia and the UAE. Through this alliance, STAGETEC will supply its audio, video and signal management solutions to a diverse range of applications, including stadiums, public spaces, exhibition and conference centres, as well as broadcast and event venues.

“We are thrilled to partner with HASOUB in expanding our footprint across the Middle East,” said Norbert Bau, senior sales manager international at STAGETEC. “Their expertise, market reach and deep understanding of the region’s technological needs make them the perfect partner to deliver our advanced solutions.”

Emirates and Oman, and specialises in extra low voltage (ELV) systems and information and communication technology (ICT) solutions.

Covering Saudi Arabia, HASOUB’s partnership with Renkus-Heinz aims to enhance availability of the manufacturer’s sound solutions for a range of sectors, including smart buildings, education, hospitality and entertainment.

Karan Kathuria, director of sales and development, Asia, Renkus-Heinz, added: “With its presence in major regions, HASOUB enjoys a great understanding of MEA customer trends. We are confident this alliance will enable us to better understand and serve our customers and improve our channels.”

As its exclusive distributor in the Middle East, HASOUB’s alliance with STAGETEC extends

Abdulmotalab said: “Representing STAGETEC unlocks exciting opportunities to introduce transformative solutions to the Middle East market, elevate the standards of audio/video integration and exceed customer expectations with competitive solutions tailored to the diverse needs of institutions across various sectors.”

www.hasoub.com www.renkus-heinz.com www.stagetec.com

NMK and INFiLED join forces

INFiLED has named NMK Electronics as its distributor in the GCC. The partnership is built on NMK Electronics’ ability to provide holistic solutions and handle large-scale video segment orders. Combining the manufacturer’s LED expertise with the distributor’s market knowledge and local presence, the alliance aims to benefit systems integrators, rental companies and AV professionals across the region.

“We are proud to add another top-tier brand to our portfolio,” said Neil Carroll, brand manager, NMK Electronics. “INFiLED is not only a recognised leader in LED innovation, but they are also highly respected in the rental world which is another key segment we are actively developing. This collaboration reinforces

Enhancing its presence in the region, Clockaudio has appointed Thomsun Trading as its exclusive distributor for the GCC. The partnership will leverage Thomsun’s extensive regional network to expand the reach of Clockaudio’s solutions in the local market.

“We’re thrilled to partner with Thomsun Trading,” commented Rod Geary from Clockaudio. “Their expertise and strong market presence make them the ideal partner to bring Clockaudio’s innovative solutions to the GCC region. We’re confident that together, we can deliver exceptional audio solutions to customers across the region.”

Davis Varkey, general manager at Thomsun Trading, added: “Clockaudio’s commitment to quality and innovation aligns perfectly with our mission. We were thrilled to showcase their products at GITEX and GESS and our Thomsun Learning and Experience Centre will allow customers to experience them firsthand. With our extensive network across the Middle East, we’re confident in delivering exceptional customer service and support. We’re excited and look forward to a successful partnership.”

www.clockaudio.com

www.thomsunmusic.com/proav

our commitment to delivering more than just technology; we bring value, service and industryleading knowledge to every project.”

Samer Otaibi, VP of sales, INFiLED Middle East, added: “Partnering with NMK Electronics is a natural step for us as we continue to expand our footprint in the GCC. NMK Electronics’ dedication to excellence makes them the ideal partner.”

www.infiled.com www.nmkelectronics.com

L–R: Saed Albanna and Fathy Elshenawy from HASOUB with Wolfgang Salzbrenner, Norbert Bau and Craig Newbury of STAGETEC

L–R: NMK’s Neil Carroll and Dino Drimakis, Samer Otaibi and Marco Bruines of INFiLED with NMK’s Alex Kemanes and Nick Cox

Apex teams up with 7Hertz

events and other verticals that require reliable, high-performance audio solutions.”

MIFA Musique will focus on driving sales, expanding market reach and establishing a robust presence in Morocco. The company plans to do this by identifying new opportunities, managing relationships with current customers and providing after-sales support, training sessions and workshops. The company also aims to showcase the manufacturer’s products at key industry events such as GITEX Morocco, further enhancing brand visibility and customer engagement.

“This partnership positions both Powersoft and MIFA Musique for long-term growth in Morocco, as we collaborate to grow the professional audio landscape and provide unmatched audio products for Moroccan customers seeking the highest standards in sound quality,” concluded Varun Jagger, Powersoft’s EMEIA

manager.

www.mifamusique.com www.powersoft.com

7Hertz has partnered with Belgian amplifier manufacturer Apex in the GCC countries Bahrain, Kuwait, Oman, Qatar, Saudi Arabia and the UAE, as well as Lebanon. “7Hertz is highly respected throughout the region for its proactive approach, technical expertise, comprehensive customer training and support,” commented Apex sales manager, Val Gilbert. “I am excited to work with the 7Hertz team to show integrators in the GCC and Lebanon how our CloudPower amplifiers can enhance their projects and reduce their install time.” amplifiers remotely is something many

www.the7hz.net

sales

L–R: MIFA Musique’s Karima Khireddine with Varun Jagger of Powersoft

MOROCCO

L–R: 7Hertz’s Rami Bou Hadeer, John Sujay, Chadi El Masri, Rabih El Masri and John Parkhouse

Reel Life

Dan Zimbelman

Dan

Zimbelman, senior international business development at PMC Speakers, shares his passion for deep sea fishing

What does your role at PMC entail?

After retiring from API as director of sales for 30 years, I was recruited to develop the global market for PMC, responsible for all PMC Professional sales outside the UK and US. At a partner meeting they had great fun at my expense by listing me as “very” senior international business development and I use it all the time now.

How did you get into fishing?

My parents took a photo of me at age five, napping on a couch with a fishing rod in my arms. My Dad and I fished a lot. When I was a teen, it would be me, my mom and dad in a small boat, fishing freshwater lakes in North Dakota, where I grew up. As soon as I had a driver’s licence, I would trailer our boat to a lake and fish on my own. A few trips to wilderness lakes in Canada gave me my first taste of travel fishing. After experiencing the ocean and saltwater for the first time in the Dry Tortugas off the Florida coast, I was “hooked” for life. I bought my first boat in Chicago and learned to fish Lake Michigan for salmon and trout. This was my introduction to big water high-tech fishing. Owning a studio business at the time gave me opportunities to spend time on the water. I operated a boat for years set up like a charter, but only fished for family, friends and business clients. Moving to Maryland in 2003 put me in the middle of Chesapeake Bay, where the fishing was hot for striped bass.

Where do you do it?

I fish both fresh and saltwater. I love fishing light tackle, shallow water in marshes as much as offshore, including conventional and fly fishing. I have had the opportunity to fish Panama, Guatemala, Mexico, Belize, Argentina, Portugal and Japan. And now, living in Florida gives me almost unlimited opportunities for skinny [shallow] water fishing for redfish, flounder, sea trout and more, freshwater fishing in the inland lakes and rivers and – my favourite – offshore fishing for species from red snapper to mahi mahi and blackfin tuna. But the most exciting times for me are travelling to Latin America and fishing Mexico, Guatemala, Costa Rica and Panama.

So many! Last January, fishing from Guatemala and landing 24 big Pacific sailfish in three days, with 12 of them caught on flyrod, was just epic for me, as was launching a small skiff from a deserted beach in Panama and fishing popping lures for roosterfish, jacks and Sierra mackerel with 17 species landed in three days. Fly fishing a stream in northern Portugal with over 40 sea-run trout in a day was off the charts. Fishing Oshima Island off the coast of Japan with a good friend, engineer and producer Goh Hotoda, was an exotic experience. And during our PMC installation at LPME Studios in Dubai, fishing the Gulf of Oman for mahi mahi and tuna was fantastic.

What is the most challenging fishing trip you’ve done?

Saltwater fly fishing for large pelagic fish is a serious challenge. It’s a ballet between the boat captain, the mates and the fisherman. Many go a lifetime trying to catch one sailfish that

way. To fish with Captain Chris Starrs and his team in Guatemala catching 12 in three days was incredible. I will never forget a day in a small skiff, 65 miles off the Mexican Pacific coast with my son, Matt. Over the course of 15 minutes, we hooked three large yellowfin tuna. After two-and-a-half hours of battle, we landed all three of them, with the largest at 180lb and the smallest 120lb. Elme, the captain, said: “Ok Señor Dan, you are no longer a Señorita!”

How do you fit deep sea fishing around your day job?

I’m quite intense in my work – I really love it and the people I work with. I bring that same intensity to fishing. I live on the water in Florida with my boat next to my home, so I’m able to take advantage of the convenience. Between my closest friends here, we have more than a few boats, so there is always opportunity.

What about it gives you fulfilment?

The escape. Being on the water and focused on the day removes the normal cares of life for me. I love taking friends’ kids fishing and seeing the excitement on their faces when they catch a fish for the first time. Some say fishing is boring… not the way we fish! It takes intense focus. The eco tour, experiencing the water, the sea life and nature are all a huge part of the experience. The tug on the rod, the explosive strikes, the adrenalin fix of the power of a big fish – it’s all woven into the best days of my life. Not to mention the freshest fish dinners from those we enjoy eating.

What advice would you give to someone who wants to begin deep sea fishing?

Get a guide, book a charter and get on the water! Go to a tackle shop and engage with people; there is so much education available today, both in person and online. Most fisher people are friendly and glad to give advice and share their knowledge. Great fishing opportunities are almost everywhere there is water.

Dan Zimbelman lands an American red snapper

THE SLEEK AND ELEGANT LINES DEFINE THE DESIGN OF THE NEW VERTUS MODELS

FBT unveils two new VERTUS CLA point source models built in aluminium extrusion. The CLA 204T and the IP55 certified weather resistant CLA 203T that includes water resistant enclosure, water resistant treated loudspeakers, a grille with hydrophobic fabric and hermetic terminal box. These models are also EN 54-24 certified for emergency and evacuation systems, with a ceramic terminal block and thermal fuse ensuring protection for the line connection in case of fire. A range of accessories is available to enhance the product’s functionality.

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CLA 203T

CLA 204T

Brompton broadens its outlook

Hassan Abu Minshar details his new role as technical sales manager – MENA at Brompton Technology and what the company has planned for the region

You’re no stranger to the AV industry, what’s been your background up until now?

Over the past 12 years, I’ve had the privilege of working across various roles within the AV industry, including at video processing manufacturers for the last seven. While I’ve been fortunate to work on extraordinary projects throughout my career, nothing truly captivated me until I encountered virtual production studios. The sheer possibilities of such a complex mix of technology, combined with my experience using Brompton processors in previous projects, deeply impressed me. I was drawn to Brompton not only by the cutting-edge technology and the company’s reputation for innovation but also by the inspiring culture and dedication to providing exceptional customer support. I’m excited to join the Brompton team and contribute to pushing the boundaries of what’s possible in the ever-evolving world of AV.

What will your new role as technical sales manager cover?

My primary focus is to develop and nurture strong relationships with customers and partners in MENA by leveraging Brompton’s worldwide reputation to further expand into new sectors and identify new market opportunities. In general, my role is to be the face of Brompton in the region, to understand the different ways professionals use LED videowalls and to help them learn more about our products and technologies, and where and how they can utilise them. In short, my mission is to maximise the visual experience for projects.

Is the Middle East market a core focus for Brompton?

Absolutely – MENA is a dynamic and rapidly growing market for Brompton. The Expo 2020 Dubai and the FIFA World Cup in Qatar showcased the region’s growing demand for high-impact visual experiences. There are a multitude of events happening right now in the Middle East, driven by factors like government visions and increasing investment in large-scale events, entertainment venues and architectural installations. Our products are loved and respected around the world and we are committed to expanding our presence and supporting our customers in MENA.

In what ways are you looking to evolve and expand the regional business?

One of the key areas we want to focus on is strengthening our channel partners, which includes bolstering our relationships with LED panel manufacturers, integrators and rental companies by enhancing their technical expertise and market reach. We also plan to develop new market segments like broadcast, XR/VR and VP studios, premium videowall

spaces for digital signage applications and control rooms, and live event production and AV rental companies. Another key focus is enhancing brand awareness, reinstating Brompton’s global reputation.

What technology trends have you seen gripping the region recently?

The pandemic acted as a catalyst for innovation within the Middle Eastern AV industry. There was a rise in immersive experiences, such as the intertwining of live and virtual events into hybrid formats, driving the adoption of advanced video processors, media servers, video conferencing tools and streaming technology. We also noticed that LED displays have become ubiquitous in digital signage and live events, with applications ranging from large-scale digital signage to architectural installations and creative content displays. The demand for fine pixel pitch LED displays is particularly strong. Lastly, the upsurge of social media and streaming platforms has fuelled a boom in content creation, increasing the demand for high-quality video production equipment and technologies, including LED walls for filming and livestreaming.

Brompton Technology accelerated the evolution of virtual production by developing features that addressed the industry’s evolving needs with technologies like

ShutterSync, Frame-Remapping, hidden markers and many more. These features, now considered industry standards, empower studios and event production companies to adapt and flourish in the new landscape.

Any

new products on the way?

Brompton is committed to staying at the forefront of cutting-edge technology and we are excited to unveil the Gen3 Tessera SQ200. This groundbreaking processor features 8K60 12-bit 4:4:4 support and advanced videoover-IP capabilities. The SQ200 will enable customers to create stunning, high-resolution visuals while simplifying complex setups. It offers a scalable solution that accommodates a wide range of project needs, allowing for higher frame rates and increasing pixel space with new levels of visual performance.

How does Brompton differentiate itself from its competitors?

In terms of products, Brompton solutions are renowned for their reliability and robust performance and our Tessera LED processors deliver unmatched processing compared to other alternatives. As a company, we pride ourselves on our around-the-clock customer support and commitment to long product lifecycles. Moreover, our solutions are designed with user-friendliness in mind to make it easier for integrators and operators to configure, manage and run their systems. Seeing is believing and I encourage everyone to experience the difference firsthand by checking out our demos and witnessing the visual impact of Brompton’s technology processors.

Have you noticed a demand for Brompton solutions in the region?

There is a definite demand for Brompton products in MENA, fuelled by several key factors like the rise of video and content creation, with studios transitioning towards VP setups, driving the need for high-performance LED solutions. Customers in the Middle East are also increasingly seeking immersive and visually stunning experiences, turning to Brompton’s technology for superb image quality and performance.

What’s next for Brompton in MENA?

We are actively exploring opportunities to expand our network and are looking for partners who share our commitment to excellence, with a strong track record of delivering outstanding AV solutions. We believe this is crucial for our continued success in the region. Brompton is also currently involved in a wide range of exciting and innovative projects across MENA. While I cannot disclose specific details at this time, I can say that the region will have a couple of Hollywood-calibre VP studios coming live soon. Stay tuned!

www.bromptontech.com

Hassan Abu Minshar

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The retail journey

Renovations

for the

duty-free areas inside DXB Terminals 2 and 3 have seen all the signage replaced with LED

FOR A COUNTRY WITH A POPULATION OF LESS THAN 4 million people, it boggles the mind to realise that Dubai’s DXB Airport saw more than 90 million passengers traversing its halls in 2024, a more than 5% rise on the previous year alone. This trajectory shows no signs of slowing down. Having been involved with specifying and implementing digital media and digital signage requirements for major retail brands at the new Abu Dhabi Midfield Terminal which opened in late 2023, the team at Uniq Digital was eager to get involved when Dubai Duty Free (DDF) announced the intention to upgrade all of the digital signage it operates inside Dubai Airport’s T2 and T3 with new LED displays, leading to preliminary discussions with Uniq Digital technical director Roshan Raj and senior project manager Manzoor Ali.

“The client had quite special criteria, such as the fact that all the screens needed to be constructed from flexible LED panels, in order to match the surface curvature of the built area,” explained Ali. “They requested a proposal and we were shortlisted as our solutions offering perfectly matched their specification, while we also managed to be extremely competitive on the pricing side. Fortunately, we won the tender for both projects together.”

The standout displays in each terminal are large façade ultrawide screens measuring over 57m in T3 and 44m in T2. These are positioned where passengers enter the duty-free area, showcasing the day’s best product deals and advertisements. Given the nature of an airport, everything has to run 24 hours a day, seven days a week, meaning that the switch to LED would provide DDF with substantial cost savings over the long

Due to specific requirements, the currency exchange area features the only panels still using LCD technology

term. “DDF leases out the area to brands according to a strict schedule,” says Ali. “It provides them with fantastic revenue and so they are very keen to maximise its potential.”

In addition to the primary façade screens, which are constructed from 2.6mm pixel pitch indoor flexible LED panels, the team has commissioned a further 38 smaller screen upgrades according to the project consultant, Retail Concept Design (RCD)’s specification. This included 22 in T3 using the same 2.6mm panel displays as the façade, as well as eight smaller pixel-pitch 1.9mm screens, and eight further 2.6mm displays for T2. These smaller screens vary in size from 3m x 2m right down to 75cm x 50cm. While the Uniq team solely handled the installation and

a Novastar 4K or Standard LED controller which is in turn fed from a dedicated ONELAN media player, of which 43 have been deployed across both terminals.

“The giant façade screens are playing content from 4K players, while the rest are connected to HD Media players from ONELAN,” explains Ali. “The client also had special requirements in the currency exchange area that meant they needed to stick with LCD panels. We supplied new updated 55-inch 0.44mm even bezel videowalls from LG for this purpose and these are also powered from 4K players.”

According to Raj, daily management of the content via the ONELAN solution is “very easy to work with” and can be operated effortlessly by DDF. The content is fed to all displays via the ONELAN content management system and DDF can manage and schedule the content according to festive or seasonal campaigns with just a click of a button.

The 24-hour nature of the airport not only impacted the choice of screens used in the renovation, but security concerns and limited opportunities to work undisturbed created considerable logistical constraints to an already tight timeline. “There are always large time constraints on projects like this, as we are typically one of the last companies coming onsite,” Ali explains. “This is necessary as the screens are very sensitive and can’t be installed until all the other work has been completed. At Dubai Airport, our schedule allowed for 40 days but, in the end, everything had to be completed in less than three weeks.

L–R: the Uniq team at Terminal 2 – senior technician Satheesh Chandran, AV technician Anthony Jose, senior project manager Manzoor Ali and project engineer Soju Sreerankan

supplied and installed by the main airport contractor. This was a requirement from the airport since they have very high safety standards; however, when we mounted the panels initially, not everything was aligned. These are fine pixel pitch panels, so if they are even slightly off it will be noticeable to customers.”

With everything installed and all the screens operational, Uniq is in the process of handing operation over to DDF. “One of the other major requirements for the tender was for a five-year warranty on the products, so now the stress of the installation is over, the handover can be done in parallel in quite a relaxed manner. The client was very happy with our delivery and that we managed to complete the work on time.”

“On behalf of the entire team at Uniq Digital, I extend my heartfelt gratitude to everyone involved in this remarkable project – our in-house team at Uniq Digital, the consultant RCD, the main contractors Deco Emirates and Storemakers, and our valued client DDF,” added Uniq Digital general manager Jemy Mohan. “Together, we not only achieved a significant milestone but also set new benchmarks for spectacular quality and innovation within the industry. Thank you for everyone’s outstanding contributions and continued partnership – here’s to many more successes ahead.”

www.digitaluniq.com

The main façade screen in Terminal 3

An 11.5m x 50cm 2.6mm screen provides DDF with new ceiling-mounted advertising opportunities

Staying on top

AS THE LARGEST AND MOST ESTABLISHED

institution in the federation, United Arab Emirates University (UAEU) has a need to stay at the top of its game if it’s to maintain its prestigious status. Long gone are the days of outdated overhead lamp projectors and not-so-smart whiteboards – schools in the 21st century now rely on a heavy use of audio and video capabilities to improve the learning experience.

In a bid to ensure its offerings remain at the top level, UAEU worked recently with VITEC to supply IPTV, digital signage and streaming technologies throughout its Al Ain campus, enhancing the university’s communication infrastructure, facilitating seamless content distribution and enriching the overall learning experience.

Founded in 1976, UAEU enrols around 15,000 Emirati and international students from 82 countries annually. As the nation’s flagship university, it offers internationally accredited graduate and undergraduate programmes through its nine colleges, featuring ultra-modern facilities and technologies at its 80-hectare campus. It aims to be “The University of the Future” in the region, aspiring to join the top 20 academic institutions in Asia – and the top 200 globally – by 2030.

The new encoder and decoder units have also brought about a significant improvement in the quality and reliability of livestreaming, facilitating seamless access to lectures, seminars and events for remote learners and off-campus

Everything is combined thorough the manufacturer’s software platforms, empowering the university with greater control and flexibility in managing content distribution while enabling efficient content creation, scheduling and delivery tailored to the diverse needs of students, faculty and staff members.

“The university sought to modernise its communication infrastructure to better support the evolving needs of a technologically savvy academic community,” explains VITEC business development manager, Ahmad Bsat. “These involved aspirations to improve livestreaming capabilities, enhance the distribution of educational content through digital signage and foster greater student engagement.”

The university aimed to create an immersive and dynamic learning environment that surpasses traditional boundaries, with seamless access to educational resources without any geographical constraints. Through direct dialogue with the manufacturer, a tailored approach was presented to showcase how these requirements could be addressed by leveraging several VITEC technologies.

The company’s solutions were subsequently chosen to complement and enhance the overall functionality of the institution’s multimedia ecosystem, ensuring a unified user experience across different platforms and devices. This included the integration of AvediaStream g4xx Series gateways,

The solution delivers high-quality streaming content and digital signage across the entire campus

e38xx Series encoders, r93xx/m93xx and m93xx-WiFi media players, decoder units and an AvediaServer for device and content management. Mobile streaming is a key feature deployed at the university utilising both an AvediaStream t56xx series transcoder and o7520 Origin Server for streaming live TV channels over Wi-Fi.

The project presented several logistical and technical challenges that required careful planning and execution. “From a logistics standpoint, coordinating the deployment across the campus while minimising disruptions to ongoing academic activities posed a significant undertaking,” furthers Bsat. “The new solution needed to be interoperable with professionalgrade cameras and AV equipment, and work with the existing infrastructure, including network infrastructure, AV equipment, content management systems and digital signage displays. This necessitated attention to detail and continuous testing to avoid potential compatibility issues.”

On a technical level, configuring the VITEC solution to meet the university’s specific requirements, optimising network bandwidth for reliable streaming and providing comprehensive training to faculty and staff members were crucial elements in ensuring a successful implementation. The university now has a robust and scalable multimedia infrastructure capable of delivering highquality streaming content and dynamic digital signage across its campus and has significantly enhanced its IPTV capabilities.

Proof of these benefits are simple for the university to assess through various key performance indicators. It has noted an increase in the viewership of livestreams and on-demand content, higher levels of user satisfaction derived from feedback surveys and improved user engagement analytics. Additionally, the university has observed a reduction in operational costs associated with traditional communication methods, along with improved resource utilisation and efficiency in content management and distribution processes. By tracking these quantitative metrics, UAEU can gain valuable insights into the tangible benefits and return on investment.

As part of its continued vision of the future, the university is keen to further leverage the manufacturer’s expertise in siteto-site streaming to establish robust communication between locations, facilitating real-time interaction, knowledge sharing and collaboration among students, faculty and administrators.

“By harnessing the power of VITEC’s advanced streaming solutions, UAEU aims to span geographical barriers and create a cohesive learning environment that bypasses physical boundaries, thereby enriching the academic experience for all,” concludes Bsat. “Moreover, the university is exploring the integration of VITEC’s classroom signage solutions to further optimise campus-wide communication and engagement. By deploying these signage solutions across its classrooms and communal spaces, the university will enhance campus connectivity, promote institutional branding and facilitate seamless navigation for students and visitors.”

www.uaeu.ac.ae

www.vitec.com

I‘M AN ARTIST

GREGORY CHOSSON

CEO AUDIOVISTA / FOUNDER MARCH ON MARS

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ARTIST INTERCOM

Professional and reliable live communications.

Seamless integration of Riedel‘s SmartPanel and Bolero wireless intercom.

Stylish Cyclone 10 IP55-rated enclosures maintain a

Distinctively rouge

Beach Mama is attracting its clientele with luxury accommodation and a Void Acoustics Cyclone speaker setup

LOCATED SOME 150KM FROM THE ATLANTIC OCEAN shoreline on the eastern outskirts of Marrakech, Beach Mama is breaking stereotypes. Skirting the shore of the man-made lake where wakeboarding and other water sports are now popular, the virgin landscape on the edge of the Sahara Desert has been further transformed by a golf course and luxury condominiums. Completing the full transition from scrubland to sophisticated setting, a Void Acoustics Cyclone loudspeaker system recently made landfall in the shadows of the Atlas Mountains.

Attracted by the refined and diverse menu of Spanish cuisine, Marrakech’s well-heeled patrons are setting the satnavs of the A-list wheels for Les Jardins de L’Atlas in the vicinity of Douar Moulay Abbas. With cool drinks and cocktails being served long into the evening, the unique setting of Beach Mama is now Marrakech’s hot spot for weddings, gala evenings, fashion shows, birthdays, concerts, launch parties and seminars for up to 500 guests. Matching the colour of the Ferraris outside, the red fibreglass enclosures within are playing their part in making curious visitors into regular patrons.

“The audio is a vital component of our DNA,” comments co-owner Morgan. “It’s essential to get the ambience right and ensure our guests return again and again.” Initially impressed by several audio systems in Puerto Banus near Malaga, investors Morgan and Olivier turned to 2K Prod to design, supply and install a zoned Void Acoustics loudspeaker system throughout the outdoor venue.

Having joined forces in 2019, DJs Karim Jablili and Karim Ouijdani are transforming Morocco’s high-end residential and commercial entertainment sectors. As the sole distributor for Void Acoustics, 2K Prod is making its presence felt by specifying the distinctive British loudspeaker systems for its growing list of admirers and clients.

The Cyclone subwoofers are raised 0.3m above the sand on Void Type 75 mounts

In addition to a zoned BGM network, Jablili added the capacity to stage DJs and live music performances into Beach Mama. Designed to operate in rain, sun exposure and high humidity, weatherised Cyclone loudspeakers were recommended by 2K Prod. Powered by a Void Bias amplification system, a combination of Cyclone 10 enclosures augmented in the lower frequencies by Cyclone subwoofers maintain a consistent audio output.

Dispersing its energy across a 90° x 60° listening area, each Cyclone 10 combines a 10-inch woofer and a 1-inch compression driver. Extending the system’s frequency range down to 40Hz (–3dB), the 12-inch Cyclone subwoofers are capable of outputting 124dB (continuous). “Consistency of voicing from the 10-inch Cyclone 10s was a key factor in this

L–R: 2K Prod’s Karim Jablili and Karim Ouijdani

important of course, its great audio fidelity. In addition to maintaining a consistent audio output, we have also created energy pockets where customers can enjoy a higher SPL ambience.”

Along with dedicated DSP control, three Bias Q2.0 4-channel amplifiers power the 12 Cyclone 10 enclosures, six Cyclone subs and two pole-mounted Venu 15 V2 cabinets located in the DJ zone. With new decks ordered, a DJ currently operates every night on twin Pioneer CDJ-2000 Nexus turntables and a Pioneer DJM-750 mixer. When the DJ is not in session, simplified zone control management of the background audio parameters, including scenes, is performed on a WM Touch panel mounted to the audio rack. Connected to the amplifiers over Ethernet, the PoE 4.3-inch screen provides control of the dynamic music distribution system.

The cabling infrastructure from the amplifier rack to the 20 enclosures is neatly hidden in conduits buried in the sand. Weighing 14.5kg, each Cyclone 10 is mounted on Easy Hang XL and T80 XL brackets fixed to the wooden pillars. To avoid erosion or damp penetration, the subwoofers have been raised 0.3m above the sand on Void Type 75 mounts. For added protection when the audio system is not in use, the enclosures are covered by fitted waterproof jackets.

“Beach Mama required a polished, weather-protected audio for exterior use, with a wide range of adjustment,” furthers Jablili. “Not only have we provided just that, but we were able to quickly and securely install all 18 Cyclone cabinets within the venue.”

Following the initial demonstration, Morgan now feels vindicated for increasing

Cyclone 10 enclosures are augmented in the lower frequencies by

the initial audio budget. “In the afternoon, our clients prefer a chilled musical ambience,” explains Morgan. “As the evening progresses, the atmosphere becomes more electrified with house DJ music. The Cyclone system is perfect for whatever ambience we want, because our customers can hold conversations clearly, yet enjoy the music. Unlike some of the other brands we demoed, the Void Cyclone system is clear, natural and hi-fidelity. We have received a lot of positive comments and it’s one of the main reasons why our customers continue to return here to Beach Mama.”

This Moroccan Cyclone is set to continue creating a storm.

www.instagram.com/2kprodmaroc www.voidacoustics.com

Cyclone subwoofers

consistent audio output throughout Beach Mama

Bringing BAPS to life

The impressive story of BAPS Hindu Mandir has been brought to life with AV

Maharaj, the Prime Minister of India, Shri Narendra Modi, as well as the Minister of Tolerance, Sheikh bin Mubarak Al Nahyan. The venue has attracted over two million visitors from across the world to date.

“The temple is made of seven spires. It not only hosts seven deities from different parts of India, but it also symbolically

represents the seven emirates of the UAE,” describes BAPS Hindu Mandir director Pranav Desai. “It’s our way to say thank you to the leadership of this country, who generously donated

Given the great amount of effort that has gone into the project, BAPS is keen to bring the story of the temple’s construction to visitors, opting to create a complete 360° projection mapped

Mandir tour. Running daily inside the space is “The Fairy Tale” immersive show, which has been brought to life through video

“When visitors come and see this temple, they are in awe of the architecture and want to know more about the story and its history,” furthers Desai. “That’s the reason for creating this

temple was actually constructed while also giving them a largerthan-life experience. When they move into the temple itself, they

L–R: Vue AV’s Adrian Goulder with Christie’s Mahesh Singh

The temple complex from above

projectors in similar locations within India. “Christie played a collaborative consultant role in this project,” explains Christie Middle East regional sales manager Mahesh Singh. “A series of meetings, presentations, product demonstrations and system design sessions were conducted to gain a deeper understanding

subwoofers for playback,” adds Goulder. “There are multiple individual parts coming together, with everything linked and programmed to form a single solution from the user perspective.”

Hung from the ceiling truss on custom-made mounting brackets designed by Goulder, spatial audio is delivered from 16 KI-102-SMA-II cabinets and four KI-115-SMA-II single 15-inch subwoofers. These are fed from eight Klipsch KDA-1,000W DSP amplifiers via Audinate Dante Virtual Soundcards running inside Pixera.

Goulder continues: “One thing that really blew us away was the team here at BAPS. It’s very rare that you see an in-house content team at a place such as this, and what they have to work with here is not your standard native resolution. All the walls are separate, the floor is separate, it requires a lot of understanding. So, it was a real pleasure to work with the team there to help them bring that dream to life. Inside the room, using Pixera, the user has complete control holistically over the entire system, IP address allocations, projects, audio control, lighting control – everything has gone in and met the spec and it just works. It’s a solid, reliable product.”

The immersive space has become a prime attraction for visitors since kicking off “The Fairy Tale” immersive show in late September 2024. The show is the result of over three months of creative concepts, scripting, visualisations, animations and meticulous design by the in-house BAPS team of swamis and

experience with a whole mixture of audio and video projection,” explains Goulder. “The Christie projectors combined are delivering around 300 lumens of light onto all surfaces and over 60 million pixels in total. To power all of that, we are using Aurora for video distribution and live monitoring of the system via the IP base manager, and behind that we’ve got Pixera pushing all those pixels and keeping everything in sync.”

“It’s a ticketed event that the temple manager brings people in for,” notes Goulder. “The show controller has an iPad with basic commands for stop, start and volume control, etc. The show runs every single day from 8am–9pm, and sometimes longer, so a big concern is reliability. In a space like this, if you have one projector down or even just a pixel off, it’s very obvious.”

That’s not to say the process up until this point has been entirely smooth sailing. “Due to timescales, everything came to fruition pretty quickly, in about six weeks,” Goulder furthers. “The design phase, of course, was a lot longer than that. Supporting the various AV teams onsite with the installation and getting everything shipped in towards the Christmas season as well, added to the challenge.”

“Our experience working on this immersive show with Vue AV and Christie has been amazing, right from conception to delivery,” says Desai. “During the inauguration, they were physically present to make sure that everything ran smoothly. During day-to-day operations, whenever we have any issues, if we raise a request, within a couple of hours they will have connected remotely and help guide us through the issue. It is so easy to operate that our operational staff, our volunteers, can easily run the show, but we know that we have the backend support of this team at any point of time, if anything is required.”

“The final result is very impressive,” concludes Singh. “And everyone that I have met so far has been awestruck. This is not only due to the technology but also the incredible storytelling. A lot of credit goes to the creators themselves; they have created a brilliant story that effectively showcases the cultural and interfaith unanimity.”

www.christiedigital.com

Christie high-brightness projectors cover both the walls and ceiling

The Fairy Tale immersive show

Pranav Desai, director of BAPS Hindu Mandir

Let’s get physical

Following the opening of a new experience centre in Riyadh, NMK Electronics discusses its Saudi plans

FOR BUSINESSES OPERATING IN THE MIDDLE EAST, IT’S been a case of all eyes on the Saudi market for the last couple of years. Massive investment in infrastructure development at a time when the country has simultaneously embraced new cultural norms created an explosion of opportunities as a non-existent hospitality and entertainment industry rose from the ground. In 2025, the gold rush to capitalise on all this new money flowing into and out of the country is in full effect. Almost overnight, companies have bound their success to Saudi’s future promises, some on the verge of abandoning the homegrown territories that first made them what they are. Others can see the bigger picture and have taken a far more considered, long-term approach.

As Pro AVL MEA sits down with NMK Electronics Middle East regional director Alex Kemanes, it’s clear that the distributor’s opening of a dedicated Saudi experience centre in Riyadh at the end of 2024 has been a long time coming. But it’s just one step along the path. For Kemanes, Saudi is a market to nurture rather than capitalise.

“We’ve always been active in Saudi but, with the market growing so much, it’s clear how important it is to have a stronger presence here,” Kemanes explains. “The market’s still in its infancy stage, it’s still developing and therefore requires a lot of learning and structuring, especially when it comes to the AV industry. Having a greater physical presence on the ground is helping to lay that foundation for the AV market to grow, but it’s only one aspect of our focus. Over the past year, we’ve significantly strengthened operations by doubling the size of our team and adding strong technical support capabilities. Our goal is to align activities with Saudi’s 2030 vision, which revolves around innovation and technology, in particular by enhancing the use of AV.”

With the cultural revolution that swept the country in 2019, Saudi business soon came knocking on NMK’s door in Dubai. As the market in KSA boomed, the government implemented new rules and regulations to streamline operations and support the growing infrastructure. For a country of the kingdom’s size, this growth emphasised the need for local support and efficient logistics, highlighting the importance of being present within Saudi Arabia to meet the evolving demands of the market. “Plus, at the end of the day, if I am from a major company and I’m spending a few million on kit, I would expect you to at least have an office or some local presence in the country. With a

people who know what they want to do, just not how to achieve it.

“As a result, we’ve been developing our technical team in Saudi drastically and have doubled our technical resources,” he furthers. “Our primary purpose is to grow and mature the market over time. For that, we’re playing our part to connect the right technology to the right people, giving them small keynotes or cheat

notes on how to create solutions, put things together, what the key elements to look for are, etc. All of that structure is primarily what our team in Saudi is focused on.”

The company’s recent InterActiVe event, which drew a crowd of more than 400 local AV professionals, highlights the impact comprehensive, on-the-ground activities can make to this endeavour. “I think that we are one of the first from a distributor’s standpoint to host such an event locally,” Kemanes says. “We had a huge turnout and an incredibly diverse crowd. A lot of the comments we got were that there’s never been a space before in Saudi where so many systems integrators could gather in one location. The goal with an evening like InterActiVe was not to sell a product but to inspire integrators and showcase what the technology makes possible. The feedback was really positive, and everyone was surprised at how many people turned up.”

Removing people from the equation and there’s one final undeniable reason for increasing local presence – simple logistics. Saudi is not known for its free movement into and out of the country, and while companies like NMK have adapted well to changes in recent years, there’s no substitute for being there on the ground.

“Having ready stock is essential for meeting our customers’ needs without delays. We maintain a robust inventory of key products to ensure customer satisfaction and, most importantly, quick turnaround times. This approach helps us support ongoing projects efficiently and strengthens our role as a leader in delivering excellence across the region. There are lots of minor foibles to doing business in Saudi that you don’t really appreciate until you have staff experiencing them on a daily basis. The greater our presence on the ground, the greater our experience and awareness, which in turn helps us be better as a business.” With the 2030 Vision deadline rapidly approaching, there’s not much time left for Saudi to make the jump from emerging market to fully developed powerhouse. “The market has changed and so must our business in order to match,” concludes Kemanes. “I think as we progress, everything will continue to get bigger and better. This market has immense potential for growth, and I believe that in the coming years, it will establish itself as one of the most dominant markets in the region.”

www.nmkelectronics.com

Alex Kemanes, regional director, Middle East at NMK Electronics, a Midwich Group company

Impressive crowds gathered for the first NMK InterActiVe event in Riyadh

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The need to adapt

Richard Lawn explores the need for Turkish businesses to remain flexible in the face of constant challenge

REGARDED AS THE GATEWAY TO ASIA, THE MIDDLE East and Europe, Turkey currently ranks as the 17th-largest economy in the world by nominal GDP. Following a period of strong growth at the start of the millennium, economic slowdown fuelled by the 2018 Turkish currency and debt crisis prevailed until the onset of the pandemic. A steady recovery in Turkey’s GDP figures was then tempered by a preference to keep interest rates as low as possible.

Termed as Erdoganomics, after President Erdoğan, the economy has experienced extremely high inflation in recent years.

Often defined as a newly industrialised country, the economy relies heavily on its trading routes with the EU. An associate member of the EEC for over 60 years, Turkey joined the EU Customs Union in 1995, yet its 85 million citizens have not been granted full EU membership to-date. Despite there being no customs tax on trade between the EU and Turkey, the government imposed new taxes in 2021. For goods falling under the category specified in the Special Consumption Tax Law, such as luxury products, an extra fixed tax of 20% has been applied to products including digital mixing consoles, loudspeaker systems, lighting fixtures and LED video displays.

Maintaining its position as the largest city in Europe and the chief financial and economical centre of the country, Istanbul is home to the majority of AV distributors and systems integrators. The MI, AV, broadcast and engineering businesses operating here have adapted to the dynamic economic conditions by combining a steely resilience with ingenuity. Whilst survival is key, some are applying their expertise beyond Turkey’s borders into the emerging markets of Africa and central Asia. Additionally, the demand for ingenuity, reliability and the most respected brands remains high.

Celebrating its 60th anniversary in 2025, Dinakord Elektronik has continually evolved in sync with market dynamics in the entertainment industry. Established in 1965 as a manufacturer of loudspeakers, amplifiers, mixers, stands and accessories in the Turkish market, the company shifted its strategic direction in the 1990s to become a key importer of professional audio brands.

“The upturn in the Turkish economy during that period

conference systems, our aim is to make Dinakord a onestop shop for the entertainment business. Over time, we have curated a diverse collection of brands, focusing on products that are not only reliable and high performing, but also offer exceptional value for money, which is a crucial factor given the fragility of Turkey’s economy.”

Dinakord represents established audio brands including Alto, Audiocenter, Kling & Freitag, Lavoce, RCF and Superlux, among others. The company has also expanded its portfolio to include lighting solutions, distributing Osram, Philips, Visual Production Lighting Controllers and Lee Filters, alongside its SSP brand.

“As a manufacturer, Dinakord was the first company in Turkey to produce flight cases, and in doing so we set a benchmark for customisation in our industry,” Cavusyan continues. “More recently, we launched our own lighting brand, SSP, which focuses primarily on stage lighting solutions. Fitting in seamlessly with the Osram and Philips lamp brands, SSP enables us to provide tailored solutions that meet the unique demands of clients in rental businesses, TV studios, hotels, theatres, cultural centres and the education sector.”

Cavusyan has witnessed a resurgence in the touring market both inside and outside Turkey and, with it, a growing demand in the SSP portfolio. “Over time, the SSP brand has started to appear on the technical riders of touring companies and international lighting designers,” he adds. “This in turn has led to a greater acceptance of our SSP-branded products. As we continue to extend the SSP portfolio, we are experiencing increasing demand from the export market. It is important, therefore, that we remain competitive and continuously improve our designs, by listening to our customers.”

As the third generation of family-owned MI distribution company Zuhal Muzik, Ali Sungurlu knows his business cannot compete with price performance brands. “With continuing high inflation, taxes and regulations, businesses must adapt and remain competitive to survive,” he comments. The economy may be difficult, but Sungurlu remains optimistic and focused. “We can only maintain growth by targeting selected higher-income customers, so we no longer sell entry-level equipment and instruments.” In addition to owning Turkey’s biggest online store, Zuhal Muzik currently runs 15 retail shops, including six stores in Istanbul. Designed to add value to the consumer experience, more lifestyle concept spaces are being planned. “There

combining bricks and mortar retail with online sales, and our

Asimetrik installed an extensive Q-SYS AV system into The Peninsula Istanbul

L–R: Dinakord Elektronik owner Sarkis Cavusyan and international procurement coordinator Ari Cavusyan

what we are offering. By offering a range of experiences, both new and existing customers are envisaging their dreams, including building their own musical studios or home cinemas, for example.”

To stimulate customers unfamiliar with immersive audio, Zuhal Muzik has created a Dolby Atmos experience room.

“By demonstrating cinema quality, customers can envisage a similar setup within their homes. This is paving the way for our next venture – Dolby Atmos recording studios. By allowing our customers to listen and experience the technology, we are confident that the opening of new market sectors will expand the number of key decision makers.”

Having recently assumed exclusive distribution for the Music Tribe brands, Midas digital consoles and highoutput Turbosound portable loudspeakers are showcased adjacent to displays of vinyl, t-shirts, acoustic guitars and Moog keyboards. The creation of a new division, Zuhal Pro, is dedicated to importing professional technologies, aftersales service and education for the systems integration

The Maiden Tower project extended Asimetrik’s Q-SYS credentials

L–R: Zuhal Müzik founder Ali Sungurlu with senior consultant and pro division leader Samim Mutluer

does not work in Turkey, so we must go beyond supplying, training and customer service. By assuming project-based sales, including free design consultancy, we can supply, install, commission and provide training. However, I am aware that the pursuit of projects limits potential sales of the brands we represent.”

Asimetrik is a renowned and reliable turnkey provider amongst television broadcasters, hospitality venues, government institutions, sports stadia, transportation hubs and event organisers. Representing brands such as Ayrton, Bose Corporation, L-Acoustics, RCF, Robert Juliat, QSC Audio, Sennheiser and others, it has created a formidable distribution portfolio. Building and gaining trust amongst decision makers operating in these sectors, however, does not come overnight. To secure the contracts, dedicated engineering teams in Ankara, Antalya and Istanbul continue to push the design envelope beyond what is considered possible. A talent to install existing technology, such as Q-SYS, and re-engineer it for new applications has turned heads.

“With each successfully delivered project, our growing portfolio of references enhances our reputation and leads to both repeat and new business development,” explains Kayral. “For the Peninsula Istanbul contract, we modified Q-SYS to gain fire certification, despite it not being EN54approved. As a result, we are now receiving enquiries from 5-star hotels wishing to install similar complete solutions.” When lighting designer for the Maiden Tower project, Martin Kuhn, requested a technology that could synchronise and drive the audio, lighting and video systems in three different points of the Bosphorus strait, Asimetrik rose to the challenge. “With Q-SYS, we knew that we could seamlessly handle the entire audio, video and control requirements on a single platform,” adds Kayral. “Our R&D team developed bespoke automation software using Q-SYS’s built-in capabilities as a foundation. By blending Q-SYS as the central brain with our in-house, cloud-based software, we provided timecode-based synchronisation, triggering audio, video and lighting – including laser effects – in real time across three different locations: Maiden Tower, Galata Tower and Salacak Shore.”

The economy may limit domestic business, but Asimetrik’s expertise is in demand beyond the Turkish borders.

“Reputable Turkish construction companies working in Azerbaijan, Africa and the Stans (Turkmenistan, Uzbekistan, Krygyzstan and Kazakhstan) subcontract our expertise to fulfil the AVL side of their projects,” adds Kayral. “Our business is growing in some of these countries, and we have an office with engineers and İnstallers for managing our projects in Kazakhstan.”

increasingly found their way into other vertical sectors beyond broadcasting, including mission-critical homeland security and industrial applications.”

Like Asimetrik, its engineering credentials are in demand within the emerging central Asian and African markets. “As an established distributor catering for systems integration projects, we prefer not to compete with our network of dealers and partners,” explains Yelkencioğlu. “By empowering our Turkish sales partners and maintaining a proper sales distribution network, we have developed an increasing amount of business overseas over the last 20 years. In doing so, we have adapted to the different market requirements without creating any conflicts of interest.”

The distribution company works closely with dealers and systems integrators, while Radikal Muzik interfaces with several prosumer markets including online sales channels such as Amazon. Radikal Teknik provides the sales support, including commissioning and systems integration. Support and servicing are the cornerstones of the business according to Yelkencioğlu.

Repeat business is earned by continually supporting

Catering more towards the broadcasting community, Radikal Elektronik has carved out a reputable niche since

1997. “We focus on supplying reliable products that offer redundancy, do not conflict and work well together,” explains founder Sarp Yelkencioğlu. “Brands such as Lawo have

to find solutions never diminishes, so all the brands we represent receive maximum exposure to every single market. By focusing on sectors with potential growth, we can restore the balance for stagnant or underperforming markets, such as broadcast radio, for example.”

With the continued rise of IT, and the subsequent convergence of technologies over networks, Yelkencioğlu highlights a growing trend of decreasing margins. “Radikal is not immune to this force, but reliable world-class brands and dependable support demand a premium. We have stayed ahead of the competition by cooperating with dealers and systems integrators from different market sectors. In return, partners benefit from our outlook, because Radikal is regarded as a source of international

As a keen aviator, Yelkencioğlu assesses the Turkish AV market as he would the city of Istanbul from his Cessna plane. “The Turkish AV and broadcast sectors have their own microclimate, characterised by unique turbulent dynamics that need constant management. A successful Turkish company could be defined as one that can withstand continuous storms. Rather than complain, the key is to adapt to rapidly changing winds.”

www.asimetrik.com.tr

www.atlantik.com.tr www.radikaltr.com/tr www.zuhalmuzik.com

A Radikal Elektronik-designed broadcast studio adopting a Lawo control surface

L–R: Asimetrik Sound’s CTO Ferhan Kayral with marketing executive Zehra Ozalay and R&D manager Buğra Kezan

L–R: Radikal Elektronik systems engineer Seha Akbaş with managing director Sarp Yelkencioğlu

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A letter from Europe

Phil Ward examines how a charity single celebrating its 40th anniversary at Christmas 2024 has mapped the progression of music recording

IN THE 40 YEARS SINCE THE FIRST VERSION OF Do They Know It’s Christmas by Band Aid, everything has changed, and nothing has. On the surface, the evolution of produced sounds that morph the song through the decades provides a fascinating slice of recording history, and the comparison between the original and the subsequent versions speaks volumes. Below the surface, the depressingly unchanging need for something like this is balanced only by the continuity of goodwill that the industry is still capable of generating.

It begins in Midge Ure’s home studio in late 1984. The music tech of the day provides the framework: a looped sample of the drum intro to Tears For Fears’ The Hurting crunches into a monophonic and staccato bass line sequenced and quantised via MIDI. The synth pads swell and eventually “The clanging chimes of doom” in the lyric are represented by the unmistakable FM peal of a Yamaha DX7, possibly the single most distinctive sound of the record through all the years. This was taken into London’s Sarm West Studios the next day, normally available for £85 per day – waived, of course, by owner Trevor Horn. That’s about £350 a day now, but the

collapse in such rates led to huge changes in the London studio scene, although Sarm West survived until 2013 when the brand was relocated. Horn was present in 1984 to conduct the overdubbing of the famous chorus, before leaving Ure and Bob Geldof to drop in each solo contribution the old-fashioned way: rolling tape backwards and forwards and punching the record button.

Five years later, Pete Waterman’s riposte to Horn took the song into his PWL studios in South London to use the hit factory’s own roster, Mike Stock having rebuilt Midge Ure’s blueprint out of the Stock Aitken Waterman house presets. For the 20th anniversary, Nigel Godrich – a reviver of classic analogue signal processing who was 14 in 1984 – rejected MIDI and gathered everyone as a band in a room together at George Martin’s Air Lyndurst, having nailed Paul McCartney on bass, which will always help you put a band together. Dizzie Rascal’s rap went down in one take and the product set new records for online sales while managing to be the last single to sell a million physical copies. “As a record producer,” said Godrich, “all you really do is try and make something that you would like”.

A letter from America

Paul Epworth’s 2014 take, one last hurrah at Sarm West after it closed, sounds enormous while fusing ambient with highly organic samples. “A bit like being an airline pilot with the cockpit wide open and all the passengers lining up to fly the plane,” he commented. This one was for the social media generation; more directly effective and widespread, versions were recorded in Germany and France too.

That brings us to this year’s Trevor Horn mega-mix, a straightforward cut-and-paste job in this age of drag-and-drop. (Amusingly, it couldn’t use the PWL version because “no one had the multitrack….) Today, a completely fresh version would be done remotely exploiting 5G’s super-fast studio interaction, so maybe dissipating the commitment. Pete Waterman certainly thinks the internet has recalibrated the signals. “Music makes people care but, with streaming, does it mean the same thing?” he queried. “With the originals you had to physically go out and make an effort to spend the money, so the gesture was far more powerful. We couldn’t do that now.”

Maybe not, but the Band Aid Charitable Trust continues to do something, white saviours or not. Do they know it’s crisis? Yes, we all do, because of it.

As the music industry scales even greater heights, Dan Daley remembers a time when mega-earning artists included compassion on their

ABOVE, MY COLLEAGUE PHIL WARD REMEMBERS LIVE Aid, the 1984 Ethiopian famine relief single. It was followed some months later by Band Aid: parallel concerts at Wembley Stadium in London and JFK Stadium in Philadelphia, the same year as the first Farm Aid in rural Illinois and a string of other charity-minded festivals that decade.

Forty years ago, the music industry had evolved from the youthful scruffiness of the 1960s. The proto-grunginess of UK skiffle and Midwest American garage bands had become polished into an efficient machine so reliably profitable that the cost of all the famously trashed hotel rooms could be absorbed by generous per-diem expenses. It was a business in which nine of every 10 artist signings could fail to return their investment while the 10th would not only recoup all 10 outlays but also turn a profit.

Small wonder then that by the 1980s, music had begun to grow a conscience as it entered its affluent adulthood. It was propelled, in unequal parts, by the native compassion of artistry – a sense of obligation that accompanies great success coupled with the embarrassing financial excess of the Ronald Reagan and Margaret Thatcher years – and a load of music money to fund newly developed charitable impulses

riders

manifesting themselves on a grand scale throughout the decade. It even had its own theme song: We Are The World

However, even on that scale, these charitable efforts still retained a lot of the DIY ethos that made the music of those eras as durable as it has proven to be. A look at the production values of concerts of the period suggests a live sound sector just getting its footing as an industry, still taping a pair of Shure SM58s together on a stand to foil feedback before boxes could provide sound coverage of surgical precision.

Today, music has gone from scale to spectacle at a level that would stun even Ronnie and Maggie. Last year, Taylor Swift’s Eras tour sold more than US$2 billion in tickets – equivalent to the GDP of the small African kingdom of Lesotho. Live Aid’s $140 million haul helped feed millions of starving Africans; Swift tipped Eras’ lorry drivers $100,000 each. Eras was just the pinnacle of a trend that has seen performances become pageants. Meantime, the engines behind those productions continuously merge and combine to meet the ever-greater necessities of scale. For instance, Clair Global, bolstered with funds from a $71 million governmentbacked loan, is now one of the largest sound reinforcement providers in the world, a status achieved by acquiring

competitors including Eighth Day Sound, Britannia Row, Sound Image and ATK Audio.

That same dynamic is pushing up the price of those tickets, with the money chasing the most spectacular of spectacles. The result is evident in the decimation of the small, independent music venues that have historically been music’s incubators. That, in turn, compels ever-greater spectacle, which can be seen in venues like the immersive Sphere in Las Vegas and the virtual residency of ABBA Voyage. Most recently, music is combining with sport – the world’s single greatest moneymaker – to create even bigger spectacles. Beyoncé’s appearance at the halftime show of an NFL regularseason match in December overshadowed Kendrick Lamar’s Super Bowl gig two months before the rapper’s first note. A logical conclusion: the NFL and the Premier League merge with Universal and Sony Music, funded by KKR and Elon Musk and based in Riyadh?

Ever since the Romans staged chariot races and naval battles in the Colosseum, humanity has loved spectacles. The problem with pinnacles is there’s always a downside to the mountain. Altruism may not be as much in style as it once was in the current era of billion dollar music copyright deals, but it did build quite a legacy. It’d be worth a try again.

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The NAMM Show 2025

A move to three days from four seemed to be the right decision; meanwhile, pro audio continued its steady ascent

SET AGAINST THE UNFORTUNATE BACKDROP OF wildfires that were ravaging northern Los Angeles, the 2025 NAMM Show returned to the Anaheim Convention Center (ACC) from 23–25 January. Serving as an annual gathering place for the music industry – and the only truly global exhibition uniting the MI, pro audio and entertainment technology communities –the NAMM Show welcomed an additional 250 exhibitors through its doors compared with last year’s iteration, and a slight bump in visitor attendance to 63,000.

Shortened to a three-day event in 2025, the exhibition has struggled to return to its pre-pandemic glory days of 100,000-plus visitors. NAMM president and CEO John Mlynczak was keen to note on the eve of the show, however, that the goal for 2025 was not only to increase the number of attendees, but to bring in the right kind of visitors. Many exhibitors agree that the make-up of attendees present at NAMM is one of the keys to its success. The other major draw in pre-pandemic times was its January timing. So, when the show returned to January last year, it seemingly set the exhibition on a trajectory for fortunes to turn back around. But there were still plenty of obstacles to overcome – a one-day gap between NAMM and the AV industry’s incredibly popular ISE exhibition in Barcelona, for example, stretching manufacturer resources to the bone.

That was no longer an issue this year, as the two exhibitions maintained a weeklong separation once again. However, the LA wildfires no doubt put a damper on festivities for locals, while a surging dollar combined with an increasingly turbulent political landscape left some exhibitors wondering whether NAMM could reach its goal of becoming a truly global exhibition. A slow start on the opening day added to the anxiety levels.

They needn’t have been worried, however. Those initial fears quickly subsided as the familiar cacophony of vibrant music and exuberant visitors returned to the aisles a couple of hours after show opening. And in stark contrast to last year’s lacklustre fourth day, crowds remained busy right up until the final hour of day three.

In general, the floor plan is once again growing, booths are

line array systems from TT+ Audio and d&b audiotechnik, along with column speakers from QSC and dBTechnologies. DPA Microphones also broke the news on the first day that it had acquired fellow microphone brand Austrian Audio, while both companies had standout launches with DPA’s CORE+ technology and Austrian Audio’s flagship large-diaphragm condenser microphone.

Loudspeaker manufacturers taking demos rooms on either side of the ACC North Hall’s Level 2 included Alcons, DAS Audio, d&b audiotechnik, dBTechnologies, EAW, Electro-Voice, LD Systems, L-Acoustics, Meyer Sound and QSC. All were swamped with listeners throughout the entire exhibition. But beyond decibels generated inside the acoustically isolated demo rooms, the subdued, more professional atmosphere in the ACC North Hall’s upper level was in stark contrast to the

installations and events requiring portable systems. We’ve launched the GTX 7C compact cardioid line array and GTS 16C subwoofer to fill this need. While NAMM is a musicians’ show, pro audio is getting bigger and bigger. We’ve seen some customers from North and South America, Australia and New Zealand, but almost no one from Europe, where it has been very expensive to attend this year in particular.”

energetic atmosphere down in the lower levels and throughout the traditional music halls.

While some questions still remain, the general sentiment on the show floor was that NAMM is now very much back to business after some turbulent post-pandemic years. All in all, it was a return to form.

2025 Dates: 23 – 25 January

2026 Dates: 22 – 24 January

Venue: Anaheim Convention Center

Total exhibitors: 1,850+

Attendance: 63,000

Contact: www.namm.org/thenammshow

come to the show this year with the highest expectations. Yes, the aisles up here on the top level of the North Hall are still very wide, but I must say, the number of people that we’ve met and the number that have come to the show has changed my opinion quite considerably. Right now, the show is about to close and looking around the hall it is still quite full. I think it was a make or break situation for NAMM, and if the show wasn’t up to par this year I would have seriously reconsidered coming back. But given the results we’ve had, we will be back next year.”

Sergio Alvarez, Shure: “We’re showing our Axient Digital PSM system for the first time here in the US, which is a product that customers have been wanting for some time. It’s a fully digital wireless system providing benefits like better audio quality and improved RF performance, and is also our first WMAS product. We also have new Nexadyne instrument microphones unveiled today which feature our Revonic dualtransducer technology. As a result, our booth has been really busy throughout the show and we’ve been excited to talk to as many people as we can.”

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More art. Less noise.

From the show floor

it’s a welcome distraction. We’ve been contributing to a lot of charities who are helping people and studios that have been put out.”

Jodie Thorne, Prism Sound:

“What’s been good this year is the amount of attendance considering what’s been happening recently in Los Angeles – it’s been fantastic. We’ve had a very diverse group of individuals coming to see us ranging from independents through to major facilities who are looking at purchasing for major projects. But what’s also been very nice is the people that have actually been impacted by the disasters here in Los Angeles who’ve literally lost everything, but they’re still smiling and now looking at rebuilding. We’re working with those people and trying to help them out as much as we can, to rebuild not only their lives, but their facilities.”

Audrey Ensor, EAW:

“We took a different approach with our NAMM booth this year which seems to be working well – we didn’t go with a big demo room style but instead opted for a more relaxed approach with a large meeting room where we can conduct presentations. The key thing is to meet with people and get to know them. It seems a lot of companies are taking this more relaxed approach designing their booths. All in all, the show has gone

Ray van Straten, QSC:

“We’re proud to have won a NAMM Best in Show award for our new K Column portable loudspeaker. Our marketing tag for it is ‘Just Listen’, because while we can explain everything about it verbally, you need to experience it to ultimately decide if it’s right for you, so having an opportunity to experience it inside our demo room has been invaluable. We had

Joshua Rush, Audinate: “We’re huge supporters of NAMM but, from a manufacturer’s perspective, one of the challenges since we came back from the pandemic has been the overlap with other activities. In 2023, it overlapped with InfoComm and last year it was really close to ISE. This makes it hard for manufacturers to figure out where to put their staff and their gear. The fact we have a healthy gap this year is really great. A three-day show also feels just right. We’ve always had a strong relationship with NAMM on the training side and this year we did three full days of Dante training before the actual show

Lee Stevens, Adamson:

from Australia to be we’ve had Australia, New Zealand, Korea

great to catch up with people all around the world. It’s my

and also hosted listening demos for our VGt and VGs line compact cardioid line array. It’s a small box with a lot of output and we’re doubling down on d&b’s commitment to well-behaved directivity on our loudspeaker systems. It’s a single-channel cardioid system, meaning it requires half as many amp channels as its bigger siblings, which also means smaller truck space, less power consumption and lighter weight. Last year’s NAMM was decidedly a step up in attendance, and this year seems even better again. It’s good to see that some of the music companies like Fender and Roland are back. I think that’s a good barometer for the health of the show.”

Javier Navarro, DAS Audio: “We launched our new medium-format line array system, MARA, at NAMM this year as the solution is much more relevant to NAMM customers than ISE. We’ve been showcasing it inside our demo room throughout the show and the reception has been really good. We came to this year’s NAMM with the same expectations as every year. This is a key event for us to meet people from the US and also South America, which is a very important market for our company. We’ve seen a lot of visitors from Central America and our representative for the Latin market, who lives here in Miami, has been very busy throughout.”

GTS

GTX

XPS

GTS 19G

ISE 2025

ISE can be summed up in one word: unstoppable. More is definitely more when it comes

by some as a mini-LDI (US-based lighting tradeshow). Its new position, right opposite the audio contingent in Hall 7, gave live events a stronger presence this year. This was reinforced by the growing amount of loudspeaker manufacturers taking demo rooms to showcase mainly immersive systems, with more visitors making the long trek to Hall 8. This required a detour through the new Hall 8.1, home to the Esports Arena hosting live gaming events and broadcasting technology, as well as the Robotics and Drone Arena. Hall 1, meanwhile, was liberated for unified communications, residential, education and smart building technology.

Other new features included the Discovery Zone, a launchpad for emerging companies, and the AVIXA TV Studio which hosted live broadcasts and interviews with industry experts. The content programme included the newly introduced Track sessions on industry trends, jointly curated by AVIXA, CEDIA and ISE, while conference sessions also achieved record-breaking attendance.

AS WE WAITED IN THE PRESS ROOM AT ISE 2025 AT close of play to hear the official attendance figures, nobody needed confirmation that there had been a substantial increase. At 85,351, the unique visitors total was 15.5% higher than last year, beating even the busiest Amsterdam pre-Covid show figure (2019) by a good 4,000, with the amount of actual visits reaching a mindblowing 185,700 across the four days. However, most attendees, including our eight-strong Blank Canvas team, had been expecting an increase of this order all week judging by the time it was taking to cover the show floor – also expanded this year to 92,000m 2. Hall 3 was a particular challenge to navigate as mesmerising displays stopped crowds of visitors in their tracks but, frustrating as this sometimes was from a media coverage perspective, that’s the point of tradeshows, and there was certainly plenty to engage with throughout the halls and the new show features.

From the show floor

Despite prolific launches and upgrades, many exhibitors and visitors were confirming that ISE is becoming less about the actual products and more about solutions, collaborations, convergences and innovations. There was talk among manufacturers of more end user visitors than ever, with discussions about what they require out in the field feeding into R&D planning surely paving the way for future shows. ISE is certainly providing an invaluable platform for driving the industry forward, with the 2025 edition living up to its theme of Connection Restored “This week was a living example of connections restored –professionals coming together to learn from each other and experience the latest innovations,” said AVIXA president and CEO, David Labuskes, with ISE MD Mike Blackman adding: “ISE 2025 has surpassed all expectations, setting new milestones in both attendance and innovation.”

Lighting and staging had been moved from last year’s shared location of Hall 1 to the dedicated Hall 6, described

core DNA, and we continue to interact with the sports broadcasting community. Following the acquisition of MECSware, Riedel launched the Easy5G private 5G network solution and, together with our RefCam intercom solution for football referees, we have attracted many enthusiastic sports broadcasters and stadium designers. I have met many customers from APAC, the Middle East and Latin America. The sports agenda in Latin America has many upcoming events such as the 2027 FIFA Women’s World Cup, so those broadcasters are here requiring our solutions.”

An ISE roundup wouldn’t be complete without a mention of AI: although a strong buzzword, still in its infancy in most areas of AV. Digital analyst and author Brian Sollis’s keynote speech highlighted that, while the industry is recognising the effects that AI can have on automated programming and signage as well as the loss and creation of roles, it has the potential to change the landscape of pro AV and systems integration, creating brand-new technologies and opportunities rather than or instead of enhancing and replacing existing ones. He summed this up rather simply with a quote from late business professor Oren Harari: “The electric light did not come from the continuous improvement of candles.” Watch out for lightbulbs at future ISE shows.

2025 Dates: 4 – 7 February

thought Smart was just focused on education, coming to check out our new, more expansive business lineup. It’s been super busy. Hopefully we can return to the same spot in 2026.”

From the show floor

Vincent Eade, EditShare: first time; we normally exhibit at IBC and NAB and some local shows but, because we’re in other markets such as corporate and education, we thought ISE would be a great opportunity to touch base with these other verticals. From the point of view of corporate clients, they are coming to an AV show to see how they can expand communications within their company and how to share media; these are the type of people one may not meet at a broadcast-type show. We have seen prospects which we haven’t touched base with before.”

“It’s interesting because it’s a mix of many different audiences: people from the film and TV world who are difficult to find in other places, then the integrators, video and corporate visitors that have a connection with Astera because we’re not just focused on the stage. It’s a big show, a bit too big maybe as there’s uncertainty whether visitors will prepare a plan beforehand or will they miss us? But so far we’re very happy; this new lighting hall is great and we’ve been very busy seeing people from all around the world. ISE has also given the Spanish industry a forum to get together, and it connects us with the rest of the world. Globally, it’s the one show that understands the macro trends that are happening and brings the verticals together in one place.”

Phillipe Vitali, Analog Way: “I’ve been struck by how many more people I’ve seen this year. The two first days were absolutely amazing in terms of visitor numbers; there were crowds everywhere, not only at our booth but across the entire show floor. Most people come here with a purpose and many travelled some distance. Most are from Europe or the Middle East, but there’s also been more people from the US compared to previous years, and a very strong showing from Asia too.”

Julia Mannarino, 1 Sound: “Prior to exhibiting at ISE 2023, few people had heard of us outside the US, so this show has been instrumental to our growth outside North America. Demonstrating our loudspeakers on the booth helps to distinguish our high-fidelity audio capabilities and signature sound, and we premiered three new products. We received great reactions to the flush-mounted, point source L35 from our Level series together with the Monitor M35 and SUB28 Banquet subwoofer. This exhibition is all about strengthening relationships because our representatives from Indonesia, Japan, UAE and Saudi Arabia are also welcoming their own clients on our booth and demonstrating these speakers to them.”

Marc Lorenz, Ayrton: “Lighting moving to Hall 6 has been great for us as we have all our competition in the same space. It feels like lighting is becoming more a part of the show compared to last year when we were in Hall 1, which felt like a stop off on the way in or out of the show. It points out very well that that lighting has become a larger part of ISE and is a bigger topic here. Also, it’s been interesting to see that on the third day of the show, which normally tends to quieten down for us, we’ve had a lot of quality clients and people coming to the stand and engaging with us, including a lot of creatives, not just buyers or distributors.”

Philip Cooksey, Disguise: “ISE is growing and influencing the industry because it’s an opportunity for so many different types of technologies to showcase themselves. There’s so much diversity in what’s being offered which enables a cross-pollination of

Roger Harpum, EM Acoustics: “I was at the first ISE in 2004 when there were just 120 exhibitors and it’s impressive to see what the show has managed to achieve since then. It has a worldwide influence, bringing in people from lots of different markets, which enables you as a manufacturer to sell into the right areas, or establish new sales channels by making contact with new distributors. The attendance has been up again this year for EM Acoustics; prior to this year’s show our diary was full – a first for us. As a growing brand, we’re seeing the right type of engagement at the stand, whether it’s integrators or distributors.”

Anastasiia Trubnikova, Adam Hall Group: “ISE has become a very important show for the Adam Hall Group and it is now the show of the whole industry. We have two booths, one in Hall 7 for Adam Hall integrated systems where

From the show floor

“KV2 Audio has been showcasing several loudspeaker series in Hall 7, including the compact ESD Cube, EX28 dual 8-inch and ESR106 column speakers. We also invested in a demo room in Hall 8, where visitors can experience one of our six daily 45-minute sessions. Last year, we demonstrated on an outdoor stage, so this year’s indoor listening experience allows us to highlight our true sound reproduction philosophy, drawing audiences closer to the original source. This year we’ve focused on small to medium-sized systems and floor monitoring solutions. Both the booth and the demonstration room have been solidly packed since day one.”

year ISE has been very international, with lots of customers from South America because

also the Middle East, Africa and, less so, Asia. There haven’t been as many US people but maybe that’s because NAMM has just happened. It’s been busier and more global, and we’re seeing more engineers and end users this year, which is very interesting. It’s moving away from products and more towards solutions, and the different halls for verticals

“In addition to sports who require increasingly higher quality live video content, but with limited resources. The Quorum Cloud Meeting Control system has been a big draw as it can be used by operators who lack engineering skills to produce good content. We’ve also partnered with AVIXA, supplying our products to their virtual TV studio to provide a real-world scenario with live programmes, demonstrations, and workshops. Having relocated to Hall 4 we’ve attracted a slightly different audience; with ISE’s continued growth and expansion, Ross must consider the business opportunities arising in other vertical sectors including corporate.”

Scott Sugden, L-Acoustics (demo room): “This year we’ve got a larger, better-positioned space with 120 seats. We’ve had about 170 for every demo and we’ve had to turn people away from each one. Demo rooms never win projects but they open conversations. From a tradeshow investment point of view we have to show new leads created and I’m sure it’s going to be a big success. We’ve also had seminars where we’ve brought in industry experts to explain about using our immersive technology and present their art. We’re in a showbiz industry and it’s a shame if we don’t create

“As a first-time visitor to ISE I’m impressed by the scale of the show, the quality of exhibits and amount of attendees. It has a completely different flavour from US shows; it’s more international in terms of the approach of both the exhibitors and visitors. Manufacturers are paying attention to the fact that, as global designers, we have high-end projects all around the world, so instead of putting us with country representatives, we are seeing a centralised person focused on the technology we need. On a technical level we’re having direct contact with the manufacturers in a way I’ve never seen before. It’s very organised, to the point that we’ll exhibit next year.”

“Merging has been exhibiting at ISE for 12 years, but we’ve only been part of the Neumann.Berlin portfolio within Sennheiser for the past two-and-a-half years. This year, the three business units of Sennheiser are unified in Hall 3, dominated by the larger projection and LED companies. Initial concerns about this location were wrongly placed as we have been busy demonstrating Pyramix 15 and Ovation 11 to customers and systems integrators who normally do business in Halls 5 and 7. All the different industries converge at ISE, and this has become more advanced this year. We have reached a point where the relevance of other exhibitions must be questioned, despite regional shows making sense.”

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brought new blood into the industry, much of which has since fallen by the wayside as the market returns to preestablished norms, a sizeable number of the region’s early key players still dominate the business today. Given the changing technology landscape and the ups and downs of the market, how do they remain relevant?

There are realistically two approaches to long-term success. You carve out a core niche in which to build a business and its USP around, and then resolutely stick to your guns through thick and thin. Or, you embrace all that comes your way, consistently exploring new avenues of potential opportunity. The latter approach has proved highly successful for 30-year veteran the Almoe Group. Having spent his early working life in Bangalore selling office equipment before moving to Qatar in the early 1980s, Almoe co-founder John Simento quickly joined forces with Tyrone Pires working alongside each other at a trading company in Dubai. It wasn’t long before they decided to go into business together.

“In those days, we used to be called Al-Mahbara Office Equipment, which is where the name Almoe originates,” explains Simento. “Sadly, Tyrone passed away in 2020 causing an immense loss to both the company and myself personally. However, I’m determined to honour Tyrone’s memory by continuing the work we had started together.”

The world of office equipment in which the pair cut their teeth quickly evolved beyond fax machines and scanners. If you’d have asked the co-founder back in the mid-1990s what he might be doing 30 years later, the answer was unlikely to include references to hybrid video conferencing solutions and cloud-based services, let alone explorations into the future potential of AI technologies. While it has remained closely aligned with the IT sector to this day, Almoe’s success comes from its ability to quickly change with the times.

market given the size of the Epson brand,” Simento recalls. “At the time, the existing distributor was focused on printers and sold less than 20 a year. We exceeded expectations by selling 125 units in the first six months alone.”

The projector market was woefully under-represented at the time, Simento recalls, while projector prices were already high and rising fast. Spotting a gap in the market, a dedicated rental division was founded in 2003 under the name Almoe AV Production and Rentals and has grown under the management of Glen Dougherty. “We saw a growing demand for short-term, high-end equipment solutions in the events industry, and shifting in this direction allowed us to leverage our existing expertise in AV technologies while providing clients with more flexible,

Perhaps a naïve move given that he brought next-to-no market expertise to the role, but Simento chose to throw his hat in the ring once more and enter the world of systems integration in 2006. “No one else in Dubai was installing projectors at the time, but I was hesitant because I had no experience. We didn’t even have a VGA cable, so we used five generic cables taped together as a substitute. This was how our integration division started life,” Simento smiles. A series of landmark projects further helped to secure Almoe’s reputation as a premier systems integrator, with standouts including Madinat Jumeirah, Meydan and Dubai Parks, alongside top-end hotels such as the Intercontinental

This move into integration would create a dichotomy for Almoe, as it was now effectively competing with itself as a distributor on projects. In 2005, Abcom was created to take over distribution from the wider group and has been overseen ever since by managing director Pradeep Kumar. Operated as an entirely separate business entity purely focused on distribution, Abcom Distribution leaves Almoe’s integration division to solely handle all project-based

Almoe AV Production and Rentals general manager Glen Dougherty

John Simento at GITEX 2024, where the group celebrated 30 years in business

endeavours. Success here enabled the company to quickly broaden its offering into Qatar, Bahrain, Oman and Saudi Arabia through the establishment of a dedicated reseller network. “Once we proved our reliability and ability to drive revenue, we quickly attracted other leading brands, helping us grow into a key distributor in the region,” Simento shares.

When the UAE–Isreal normalisation agreement was signed in 2020, Abcom was front and centre introducing the first Israeli manufacturer to the Arab market in the form of Kramer, a brand it has grown vastly in the Middle East market since. “We have launched several key products for the first time in the UAE and other Gulf markets. A good example is MAXHUB, a brand you can see everywhere nowadays,” explains Kumar. “Almoe was also the first company to basically popularise Epson projectors. They were here in the market, but were only selling in very small quantities.” Beyond Kramer and MUXHUB, Abcom

distributes other key market brands such as NEC, Bose, LG and Brother.

Around 2011, a major brand brought in restrictions to Almoe’s existing distribution agreements, prompting the team to start exploring its own in-house manufacturing. Specktron was born the following year. “This was a pivotal moment because it allowed us to offer high-quality products under our own name,” says the co-founder. “We focus on interactive panels, professional displays, AIO LED products and commercial LEDs. Fairly early on, Specktron became the first company to create smart classrooms for the Ministry of Education, and we’ve been working with them every year since. Education is a massive market for us as a group, probably driving 60% of our overall business.”

It’s for reasons such as this that the group was not nearly as affected during the Covid lockdowns as expected. “It actually somehow helped us,” recalls Simento. “A lot of new technology needed to go into businesses to create this new

We also developed some unique heat-mapping and face detection solutions, along with automatic hand sanitisers.” The constant fixture in Almoe’s ever-changing landscape is Simento, who quietly steers the group’s direction from the background alongside Almoe Group CEO Jamal Sabri. As the business expanded, it became clear that Sabri’s capabilities extended far beyond his initial role in financial management. A broad understanding of Almoe’s operations and markets, coupled with a proactive approach to problem-solving, made him indispensable and he quickly moved up the ranks.

“The AV industry has dramatically transformed and so have we alongside it,” Sabri explains. “We’ve moved from analogue solutions to fully digital systems, with personalised, interactive and on-demand media taking centre stage. Significant advancements in technology, particularly in immersive and interactive technology, AI, robotics, machine learning and the advent of 5G, have revolutionised content creation, delivery and engagement, and introduced a new world of opportunities. Today, our group’s operations cover every aspect of AV, have grown to represent over 40 of the world’s leading AV and IT brands, and we have a global footprint with direct offices in Dubai, Abu Dhabi, Qatar, Saudi Arabia, India and the UK.”

The accommodating and friendly mentality that Simento and Sabri exude is undoubtedly one of Almoe’s major strengths. It is also responsible for the prioritisation of elements such as the creation of a great working environment for staff. Similar attention is paid to clients, something Simento has been surprised to witness a lack of from many of his competitors, who often disappear once a sale has been made.

Looking to the future, Almoe highlights the desire to expand operations globally and establish new outposts in Africa, particularly in Kenya and Ghana, while the already strong education market will continue to be a major focus. An exploration into retail is also on the cards. “Additionally, we aim to open an office in China to support our brand and expand our presence in Asia. We are also considering strategic acquisitions and investments to speed up our growth and ensure we remain at the forefront of the AV industry.”

One thing is for sure – as long as the world of AV keeps evolving, so too will the Almoe Group as it strives to ensure customers can keep pace with a fast-changing world.

www.almoe.com

L–R: Almoe Group CEO Jamal Sabri with Abcom Distribution managing director Pradeep Kumar

When the normalisation agreement was signed in 2020, Abcom was front and centre introducing the first Israeli manufacturer to the Arab market with Kramer

A dedicated training space for Specktron inside Abcom’s Dubai Experience Centre

Abcom took on distribution of Matrox in mid-2024

Going all in

Live In Five Communications emerged on the scene during turbulent times, but its roots in the industry helped weather the storm

WHEN A COMPLETELY NEW COMPANY NAME BURSTS onto the scene, it can mask the reality hidden within. There was no shortage of new names cropping up in the local AV market as the pandemic began to upend established business models. But several years on and it seems many have disappeared just as fast as they arrived.

When Live In Five Communications sprung onto the scene in Dubai in early 2021, you could be forgiven for presuming this was the path the fledgling entity could be led down. Yet, three years on and the team, led by managing directors Liam McGrath and Jude Menezes, has defied the classic post-pandemic trend. Taking a deeper look under the surface and the reason why becomes clear. The pair are

However, once things began settling into the new normal, random freelance enquiries started flowing in, and they began to question whether pooling resources would be more beneficial than working independently. This led to the official formation of their partnership with the creation of Live In Five Communications.

“The amount of people looking for work at the time was unreal, so after months of deliberating we decided to make things official,” recalls McGrath. “Initially we managed to lock in part of the crewing sub-contract for the show communications at Expo 2020, through Riedel as the main contractor, and then later expanded to include another part of the audio crewing sub-contract as well. Within a couple of months of us starting the company, we had around 12 comms guys onsite and 25 audio guys who were contracted for full-time work until the end of the expo. We got off to a good start, but our focus initially was entirely on these crewing contracts since it was our only source of income.”

McGrath recalls. “I came out to the Middle East touring for a few years before ultimately meeting Andy Jackson at a Battle of the Bands concert we were doing in Bahrain, which he was mixing. Later we met up back in Dubai around the time he was setting up Delta Sound. I was pretty much there at Delta since the early 2000s.”

“I then joined Delta in 2016 as a freelance radio technician, and that’s where we first met – Liam was my manager and essentially taught me everything I know today,” continues Menezes. “Ultimately, I ended up leaving in March 2020. It was far from an easy decision; I spent several months mulling things over. Liam had invested a lot of time and effort in helping me get to where I was, and I was keen to acknowledge all he had done for me.”

Eagle eyes will note the importance of the above date. Like many in 2020, things did not go quite as planned. With the Expo postponed by a year and nearly all event work disappearing as lockdowns took hold, the pair frequently discussed ideas and plans for starting a side business to adapt to the changing market situation.

“A few more months into the venture, more of these enquiries started rolling in since there was a major shortage of crew in the industry during that time,” adds Menezes. “As the pandemic wound down, we managed to get radios in town as well, and walkie-talkie rentals became a key part of our business.”

That vital pandemic lifeline was withdrawn once the expo concluded. “It was a challenging and uncertain time,” admits Menezes. “While most of the team working for us at Expo 2020 were on contracts that had now ended, the close relationships we had formed meant we didn’t want to simply let them go. So, we made a conscious decision to support everyone that wanted to stay at the company using whatever resources we still had available. For more than six months there was little financial flow, but those who stayed did so because they saw the long-term potential of the business once this challenging period was over.”

It was during this time they realised crewing could be expanded to much smaller, day-to-day jobs. “It didn’t only have to be for major long-term events, and before

“Crewing will always be at our core, and we work closely with numerous local production companies, providing them with talented and skilled crew for audio support, comms support, radio support and IT networking.”

The rest, as they say, is now history. As a disrupted market started to stabilise, so too did the business. New creative directions could be explored, allowing the team’s capabilities to quickly grow beyond crewing. In the years since the pandemic, Live In Five Communications has cut its teeth as an expert provider of communications, IT and networking, and venue services for all kinds of live events.

“Our team has been instrumental in immersing us into

L–R: Jude Menezes and Liam McGrath

their conferences, roadshows, corporate retreats, hybrid meetings and various other events.”

Delivering large-scale projects is increasingly becoming a major aspect of the businesses. A few milestones include the Saudi Games Opening Ceremony, RAK NYE fireworks, Government Games, UAE National Day and the A2RL Autonomous Racing League, a unique fixture where AI-driven cars race around Abu Dhabi’s Yas Marina circuit, and where Live In Five played an extremely major role.

It’s an impressive portfolio of high-profile projects built up in next-to-no time that belies the company’s true scale. “As you know, Liam and I don’t come from a business or corporate background, nor

do we have the typical corporate mindset. At our core, we are – and always will be – technicians,” says Menezes. “The same applies to Live In Five. We’re not a multinational corporation that’s been in the market for years, we’re a startup that has worked tirelessly to get to where we are today, and we plan to keep pushing forward no matter the challenges. It’s really just Liam, myself and our dedicated team.” He continues: “The market is incredibly competitive, but what sets us apart is our ability to consistently go above and beyond for our clients. That’s ultimately why the business has thrived through such challenging times.”

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The FOH view on New Year’s Eve at Marriott Resort the Palm

Finding a voice

AS ITALY CONTINUES TO FORGE AHEAD IN PROFESSIONAL audio transducer manufacturing, the Elettromedia Group is a relatively new kid on the block, despite almost four decades in business. Extending its business model from the design and production of car audio speakers to supplying OEM components for high-end pro audio and MI brands, the Lavoce brand has become a powerful and intelligent voice. Incepted in 1987 in Potenza Picena, the Elettromedia Group lies in the heart of the Marche region, where the Italian MI industry burst into life in the 1960s. The group introduced the Audison brand in 1988, following this up in 1998 with Hertz. Supplying premium technology for the automotive aftermarket, Audison addresses the high-performance premium sector, whereas Hertz aims for the younger car audio enthusiast.

More recently, the Hertz marine audio division was established, offering solutions for boat manufacturers and owners.

“Maintaining a balance is very important,” continues international sales director, Kevin Shove. “Our R&D team is designing premium performance products in Italy which are produced at our world-class visits the Elettromedia Group to find out more about the Lavoce Italiana brand

Joining the group in 2001, pro audio division manager Pierpaolo De Minicis has been instrumental in creating and fast-tracking Lavoce Italiana. “Product director Riccardo Abbatelli and I were tasked to address the professional audio market, leading to the foundation of the Lavoce pro audio division in 2008,” De Minicis explains. “For car audio, marine and professional audio markets, the design and manufacturing processes slightly differ, but the main processes and tools are the same. Our standard is to ensure a uniform quality within the brands.”

L–R: Audison international sales director Massimo Mezzadri with Lavoce’s Pierpaolo De Minicis and Kevin ShoveProduct director Riccardo Abbatelli

Research and innovation manager Lucio Bianchi

The Elettromedia Group lies in the heart of Italy’s Marche region

transducer manufacturing plant in China. From a logistical and costbased perspective, Lavoce is a very attractive proposition for sound system designers. Our focus on innovation, optimisation and new technologies means OEM customers benefit from enhanced speed and efficiencies. For our pro audio OEM partners, customisation is a vital service, from 1-inch high-frequency compression drivers to common magnet coaxials to 21-inch subwoofers.”

At the outset, the Elettromedia Group made a significant investment in an ISO9001-certified manufacturing plant in China in 2009. Located in Jiashan, near Shanghai, the 31,000m² facility includes operations, testing, sampling, QC and warehousing. Initially a joint venture, the now wholly owned subsidiary of Elettromedia employs 375 personnel. Five production lines balance semi-automated and manual assembly. One of the lines is dedicated to batches of smaller transducers, another two focus on smaller batch sizes of 12- to 15-inch drivers and 18- to 21-inch subwoofers, while there is a dedicated line for highfrequency compression drivers and soft dome tweeters. A new semiautomatic production line will further increase capacity and efficiency. All five production lines are carefully managed by preproduction and mass production procedures. A Production Management System (PMS) integrates computer-based Standard Operating Procedures (SOPs) with the technical specifications of all processes such as glue types, glue quantities and magnetisers to be used. With all aspects of production under control, data matrix codes on LF and HF products ensure full traceability of all parts and production.

The Lavoce brand was officially launched in 2012. An Italian R&D team of 15 research, electroacoustic and mechanical engineers focus on innovation, sound quality, product reliability and consistency of electroacoustic performance. Using the latest design validation tools, the R&D team works closely with partners to customise standard product platforms and create ground-up designs which often advance new technologies for catalogue products.

“Our main market for Lavoce OEM transducers is pro audio, but we’re also one of the main suppliers of bass guitar speakers,” explains Shove, “and because of our wide product portfolio for pro audio, our global distribution business, which mainly services the sound system and do-it-yourself markets, is very strong. This range of product platforms offers many opportunities to develop customised designs for OEM customers and, by solving their acoustic challenges, our R&D team can continually push the boundaries of product design.”

Adding efficiencies and accuracy to Lavoce’s design validation process, the research team has developed five proprietary FEM (Finite Element Method) applications within COMSOL Multiphysics modelling software which can simulate performance to within 5% of a physical prototype. The results of these applications can be viewed in a tailored graphical user interface (GUI) and compared with an unlimited number of virtual prototype results.

“The five simulation applications we have developed inside COMSOL have been incorporated into our daily workload activities since 2021, fast-tracking key design aspects of the loudspeaker performance including the voice coil, magnetic system, mechanical parts and vibratory behaviour,” says research and innovation manager, Lucio Bianchi. “The customised GUI greatly benefits our engineers during pre- and post-processing operations. Because we can guarantee accurate results, the software processes have sped up the development process for our engineers and customers.”

To aid the electroacoustic design of high-frequency compression drivers, the research team has also developed a “nonlinear” modelling technique which uses an elastoplastic model for moving parts and an acoustic model for phase plug channels, compression chamber and horn. Collectively, real-world frequency response and second harmonic distortion of a physical prototype can be predicted. By adding the development of “linear” modelling techniques, HF devices offering low distortion, linear frequency responses and the flexibility to perform equally well on various horn flares can be designed to tight deadlines.

The Elettromedia Group may not be able to change the laws of physics, but a continued focus on software algorithm development comes close. An example is the patented EVOCA Adaptive Loudspeaker Virtualisation technology, which can virtualise and protect loudspeaker systems, intended for OEM partners with customisable DSP development capability. The modification of LPM and cabinet parameters allows a variety of performance optimisations and the technology is then embedded into the product’s DSP. “Loudspeaker performance is generally bounded by the limits of physicality, weight and cost but, by using EVOCA virtualisation, we can impose the desired performance to a physical transducer with different performance parameters,” explains Bianchi. “This is accomplished when the system senses the state of the physical transducer and modifies the input signal according to the current state. Rather than being an equalisation point in the system, we can decide which curve to follow and continuously adapt to how a transducer performs at a certain time. For example, we can develop transducers with higher performance capabilities to perform in smaller than usual cabinets and limit ageing effects and changing parameters by controlling the transducer, so it has the same stiffness for the working life of the system.”

Lavoce’s approach to quality control reflects its ISO9001 certification. From audio and distortion analysers to scanning vibrometers, the in-process and finished product QC relies on Klippel equipment for recording and analysing critical electroacoustical parameters and functional aspects. “From dome tweeters to 21-inch subs, we have continually invested in Klippel measurement devices,” explains De Minicis. “We mirrored our Italian setup in China for

replicating measurements and transferring data before making samples. Once we have simulated the speakers in Italy, we transfer them to China for creating prototypes and conducting power

Combining automated and monitored testing systems, a purposearea includes dedicated rooms for power testing, life testing, operation control and test cabinet storage. A meteorology and testing laboratory houses testing equipment for specific product and material validation requirements including adhesives, damage prevention, environmental, humidity and temperature.

Purpose-built in 2019, an immersive sonic test room with a floating floor is used for research and listening tests. “To ensure listening tests are consistent and repeatable, our engineers conduct them in a controlled environment equipped with custom calibrated instruments,” comments product director Riccardo Abbatelli. To develop the North American market, a warehouse and operation opened in Nashville in 2022 to serve Lavoce pro audio and marine customers directly.

Prior to joining Elettromedia Group, De Minicis graduated from the engineering department of Ancona University in 2001 with car audio sales director Massimo Mezzadri. They are not alone, as Elettromedia Group has developed graduate programmes for more than two decades. “Our performance has been boosted by a good recruitment process,” says De Minicis. “Before we created the brand, the management tasked us to implement a more scientific approach to our product design, which has led to more proprietary tools within COMSOL and Fine App and patented technologies such as EVOCA being developed inhouse.”

Another graduate is the owner’s daughter, Agnese Pantaleone, with a master’s degree in acoustic engineering specialising in entrepreneurship and innovation management. “Together with my brother Marco, who manages the marine speaker division, we represent the second generation of the Elettromedia Group,” explains Pantaleone. “Since I was young, it was my intention to join the family business and help my father.”

In the role of go-to-market manager and acoustic engineer, Pantaleone leads a group of project managers overseeing the pro audio and marine speaker divisions. “We continue to innovate and make improvements to make Elettromedia a great place to work. To sustain the future of the group, we have made significant investments in our Italian headquarters. Scheduled to open in early 2026, we are currently building a 68,000m² manufacturing facility in China for all three divisions of the company.”

Lavoce may be more science than arts, but Abbatelli reminds his colleagues that musical emotion cannot be measured: “An essential part of our design validation process is to listen to the physical prototypes we produce, to fine-tune the driver to precisely meet customer needs, technically and sonically. The future growth of the brand is related to the real-world consumer demand in live concert attendance and the need to be entertained.” Initially confined to vehicles, Elettromedia Group has blended its knowledge with a large dose of innovation and more than a pinch of financial investment to create a winning formula for the pro audio market.

www.elettromedia.com www.lavocespeakers.com

Motor block assembly on the new semi-automatic Lavoce production line

Third block of the semi-automatic production line which requires just one operator to complete the motor

Using a mic array to measure a speaker’s acoustic performance in a semi-anechoic chamber

d&b unveils new compact cardioid line array

The CCL System contains d&b’s signature cardioid directivity with a form factor designed for smaller venues and spaces

FORMING THE first product in the CL-Series, the CCL System (Compact Cardioid Line Array) has been unveiled by d&b audiotechnik. The system provides broadband directivity control with lowfrequency cardioid behaviour in a passive design, enabling single-channel amplifier operation, said to be an industry first in the compact line array category. The CCL features a revised implementation of a patented d&b design to bring the cardioid directivity and electroacoustic performance formerly only available in d&b SL-Series models to smaller, closer audience areas and a broader range of customers.

“d&b audiotechnik remains at the forefront of cardioid loudspeaker system design,” said Santiago Alcalá Baillie, product manager loudspeakers at d&b audiotechnik. “With the CCL we’re responding to market demand for a compact, lightweight system that brings the unparalleled benefits of cardioid technology to a broader spectrum of applications, making our flagship technical solutions accessible to a wider range of installations and events.”

solution for corporate rental, regional tours, festivals and larger events, where it can complement SL-Series arrays as side- or

At the heart of the system are two 7-inch front-firing drivers, two 5-inch side and rear drivers and two 1.75-inch high-frequency transducers with a completely new design. This approach combines low-frequency and broadband directivity control with high-frequency headroom and minimal distortion, “unmatched by anything else on the market”, according to the manufacturer.

in-fills. For permanent installations, the CCL System is most suited for theatres, auditoriums, houses of worship and acoustically challenging spaces, such as sports arenas or reverberant rooms. Complementing the system is the CCL-SUB, a flyable subwoofer available in both mobile and install versions.

The passive cardioid design features a front 15-inch and a rear 10-inch driver configuration. The CCL-SUB offers reduced port noise and extended usable bandwidth, particularly when deployed in mixed arrays with the CCL System.

www.dbaudio.com

BOSE PROFESSIONAL has released two AMU multi-use loudspeaker models – the AMU108-120 and AMU208-120 – as well as two mounting accessory options. The additions have been designed to provide wider coverage options while maintaining high-output sound.

The AMU108-120 features a constant directivity horn with a redesigned waveguide, delivering a wide and even 120° x 60° coverage. It is equipped with a Bose Professional LF8 8-inch woofer, producing 121dB peak SPL and a frequency response of 80Hz–16kHz. The larger AMU208-120 boasts the same 120° x 60° high-frequency coverage, combined with dual LF8 8-inch woofers. This configuration delivers a 126dB peak SPL and a frequency response of 70Hz–16kHz.

AMU Series mounting accessories also provide expanded installation possibilities and include a new pole adapter and suspension rail brackets, as well as stainless-steel U-brackets, surface-mount pan and tilt brackets, and singlepoint suspension brackets with multi-angle attachment points. All AMU Series loudspeakers come with a UV-resistant finish and an IP55 outdoor rating.

To further enhance the performance of AMU systems, users can incorporate the MB210-WR dual 10-inch weatherised subwoofer. Additionally, PowerShareX amplifiers also offer factory-optimised presets for peak-AMU performance and simplified installation.

www.boseprofessional.com

Lavoce extends its coaxial family

DESIGNED FOR high-powered permanent outdoor speaker applications, Lavoce Italiana has created an 8-inch common HF/LF magnet coaxial transducer. Adapted f r om the CSF082.00K, the CPF082.00K includes a corrosion-resistant ABS basket, a waterproof acoustically transparent dust cap and waterproof treatment on the front side of the cone and surround. The common motor magnet structure adopts components from Lavoce’s compression drivers and features a single magnet low-distortion “dual gap” motor utilising proprietary advanced linear modelling techniques. With a programme power handling of 400W and 95.5dB sensitivity for the LF, the HF section of the CPF082.00K has a programme power handling of 70W and 103.5dB sensitivity. The LF woofer uses a 2-inch edgewound copper voice coil on a glass fibre former and the polyimide diaphragm and surround employed for the HF uses a 1.4-inch copper-clad aluminium voice coil on a Kapton former. Operating within a frequency range of 90Hz–20kHz, the addition of two demodulating rings promotes low harmonic and intermodulation distortion.

FOLLOWING THE creation of the Atlas+Fyne brand in 2023, AtlasIED has added the IsoFlare FS Series of surface-mount loudspeakers to its growing portfolio. Based on point source technology, the manufacturer claims that FS’s harmonic alignment between highand low-frequency sources distinguishes

its design from standard discrete and coaxial offerings. Promoting integration with other IsoFlare surface-mount or inceiling loudspeakers, the IsoFlare driver exhibits optimal harmonic alignment between HF and LF sources.

Producing an even response throughout the listening area together with a constant time delay across the frequency spectrum, the IsoFlare driver propagates a spherical wavefront that is equally aligned across all axes. Ideal for 70V or 100V distributed applications, the FS features a 60W transformer so that the wattage tap selection and low-impedance bypass can be easily adjusted via a rearmounted slide selector switch.

Manufactured from ABS with a UV inhibitor for added durability, and finished in black or white, the minimalist design appeals to modern architectural practices. Equipped with advanced components including ferrofluid-cooled titanium HF drivers, weather-treated multifibre cones and high-current crossover components, the current IP56rated FS loudspeakers are available in 4-, 6- and 8-inch versions.

www.atlasied.com

Complementing the existing CAN (aluminium basket/neo) and CSF Series (steel basket/ ferrite), the CAF Series of common HF/LF magnet coaxials comprises aluminium baskets and ferrite HF/LF magnet motor structures. Featuring a single magnet lowdistortion “dual gap” motor, the CAF123.00T and CAF153.00T are 12- and 15-inch ferrite

coaxials that adopt their cones as horns with 80° nominal coverage.

with a frequency

woofers with 700W and 800W programme power handling respectively on and the HF with 160W programme power handling on a 3-inch edgewound copper-clad voice coil. Offering stability at low HF frequency to aid the design of passive crossovers, the HF assembly incorporates a titanium diaphragm with a polyimide surround. Sharing the same 12-inch specification, the CAF123.00TH adds a proprietary ABS horn and delivers a linear bandwidth dispersion with real 60° x 40° directivity for more specific point source system designs.

www.lavocespeakers.com

AUDIOFOCUS HAS launched the Edge series of lightweight, low-profile stage monitor loudspeakers for touring and live venues. The first two models in the range are the bi-amplified Edge 210M and the Edge 210Mx single-channel variant with passive crossover. Both models employ twin 10-inch LF transducers with Tetracoil double voice coils for “additional power, precise control, improved impulse response and superior handling of transients”. The models’ single 1.4-inch neodymium HF compression driver has a 2.4-inch diameter voice coil, loaded by a custom 3D printed ABS 70° x 50° waveguide for enhanced feedback resistance and consistent coverage across the listening plane.

The rugged birch plywood cabinet is a bass-reflex design incorporating a pair of

frequency range of 50Hz–18kHz and achieve a peak SPL of 135dB (Mtone 12dB crest factor with compression of 2dB average in the low section).

The speakers weigh 16.5kg, reportedly representing a saving of several kilograms compared to equivalent industry-standard wedge monitors. Their weight advantage and compact overall footprint are intended to appeal to rental companies seeking ease of transport, storage and setup. The chassis has a total vertical height of just 335mm, minimising its impact on sightlines between audience and performers.

Connectivity for both models is provided by in/link speakON connectors, which are side mounted to rationalise onstage cabling. Presets are offered for Audiofocus’s A series amplifiers and for Powersoft’s Armonía.

Adamson adds to the Vergence Group

ADAMSON HAS released the latest addition to its Vergence Group – the VGs – described as “a new benchmark in low-frequency performance for the most demanding scenarios”. The VGs is the second member of the Vergence Group and is a powered subwoofer built upon the foundation of the low-end range of the manufacturer’s E-Series E119 subwoofer, combined with a custom-designed and in-house manufactured, single-channel 6k W Class-D amplifier with onboard DSP. Loaded with a single, lightweight, longexcursion 19-inch SD19 Kevlar neodymium driver using Adamson’s Advanced Cone Architecture and Symmetrical Drive

It has an onboard amplifier and weighs 72.5kg, delivering a peak output of 139dB. The VGs includes analogue audio connectivity as well as redundant and daisychainable Milan AVB plus comprehensive DSP assigned and modified via Adamson’s ArrayIntelligence software. Critically tuned presets allow the VGs to be deployed in a multitude of often-used cardioid arrangements, including front-back, frontback-front and end fire. A turnkey upgrade kit will be available for any existing E119 users to quickly and easily convert their inventory. Using the ArrayIntelligence software allows the VGs to be combined with the VGt as well as Adamson’s CS-Series, while the Adamson Bridge provides integration with all legacy ground-amplified systems. Features include “effortless” control, enhanced monitoring capabilities and streamlined deployments in both mobile and installation environments.

The manufacturer has also released Lake Library V6.0, bringing improvements designed to elevate system performance and simplify user workflow. This latest release introduces unified phase matching across products, ensuring seamless integration and compatibility, alongside a range of other updates. These include the revision of all existing linear phase presets, new linear phase presets for all passive S-Series and IS-Series point sources, IS7c presets and a revised limiter in all NH4 high-frequency presets for an improved performance.

www.adamson.ai

QSC unveils “K Column”

QSC HAS announced an expansion to the K Series with the introduction of the “K Column” KC12 active 3-way column loudspeaker. Offering 3,000W of active power, the KC12 blends the visual aesthetic of a column loudspeaker while reportedly surpassing the acoustic performance of conventional designs. Available in black and white and easy to deploy, it’s suitable for a wide range of customers and applications from solo entertainers, musicians and bands, mobile entertainers and DJs to corporate AV, event production and static installations.

The KC12 utilises a 3-way design featuring QSC’s patented LEAF waveguide first introduced in L Class active line array loudspeakers, combined with a 1-inch compression driver, two 4-inch midrange drivers and a high-output 12-inch subwoofer. The system produces a full-range horizontal coverage of 145° and 35° of vertical coverage with “clean” sound at all output levels.

The system features three inputs: a Bluetooth input combined with a 3.5mm TRS stereo input, as well as two combo XLR inputs with independent, assignable factory presets for each XLR input, making the solution ideal for small events where two microphones are needed for different uses. The rear panel incorporates a multifunction digital display, offering control and selection of several loudspeaker functions, including Global Parametric EQ, Subwoofer level, Presets and Scenes, Bluetooth configuration, Delay (maximum of 200ms) or Reverb. Bluetooth functionality also provides True Wireless Stereo (TWS), which ensures low-latency pairing between the music source and both left and right loudspeakers simultaneously.

Additionally, the KC12 can be deployed with or without its lower column pole, making the system ideally suited for a floor, riser or raised

“The KC12 resolves the form-over-function compromise that has frustrated users of this category of products since they made their market introduction over 20 years ago,” stated David Fuller, VP product development at QSC Audio. “With the benefit of time, experience, extensive customer research and cutting-edge innovation, our design team has truly created something very different from the status quo –not simply a differentiated product, but an overall better solution for the customer.”

APG, A brand of Arbane Groupe, has released its Uniline Max line array system, designed for large-scale events and concerts. The system features the UM210 double 10-inch line array speaker and the UM121 single 21-inch subwoofer. With rear and side handles for easy transport and a flexible rigging system that supports both tension and compression configurations, the system has been designed for use in any stage environment.

The Uniline Max comes with the patentpending Sigma waveguide, which reportedly ensures optimal coupling between speakers and maintains precise sound quality across diverse environments. Sigma enables integrators to design a speaker setup in any shape, without sacrificing acoustic performance across a wide range of coupling angles between speakers. It also allows the design of long-throw line source speaker

setups with low coupling angles or a constant curvature system with limited throw but significant coupling angles.

The UM121 subwoofer features a bass-reflex configuration at

www.qscaudio.com

CREATED BY renowned loudspeaker designer Hugh Sarvis, the BL18S is a high-power, passive subwoofer from Blaze Audio that completes the company’s CBL series. Designed primarily for free-standing installations, it features an 18-inch bass driver housed in a reflex-loaded enclosure

and delivers low-frequency bandwidth down to 31Hz at –10dB, with maximum sound pressure levels reaching 136dB at 1m.

Blaze Audio says the subwoofer integrates seamlessly with the CBL523 and CBL528 constant beamwidth loudspeakers to provide a complete, full-range audio

enabling its use below or alongside UM210 speakers.

Arbane Groupe has also launched its Audio Modular user Interface (AMI), a single and scalable control software spanning across the entire Arbane Groupe range of products (APG and Active Audio). Available for PC, Mac and tablet users, AMI’s multi-platform interface features a digital console-style layout, and is also compliant with ergonomic standards, responsive and optimised for touchscreen.

www.arbane-groupe.com

system that enhances sound quality and performance for small and medium-sized venues. For optimal performance, the manufacturer says the BL18S should be driven solely by its PowerZone Connect amplifiers, starting at 3,000W, and with the appropriate speaker presets configured. Multiple BL18S subwoofers can be installed in arrays and configured via amplifier presets to deliver either omnidirectional or cardioid directivity characteristics.

www.blaze-audio.com

LEA expands Cinema Digital Series

LEA PROFESSIONAL has extended its Cinema Digital Series of IoT-enabled smart amplifiers with the 1504 model. Featuring intelligent IT solutions, DSP and smart power management, the 4-channel CDS1504 drives 1,500W per channel into 2Ω, 4Ω and 8Ω in addition to 70V and 100V RMS. With wattages ranging from 350–1,500W per channel, each Cinema Digital Series model supports two or four channels. All models include AES67 primary and secondary inputs, analogue backup inputs and the ability to accept

AES67 feeds directly from a Dolby Cinema Processor CP950 without additional hardware. Controlled and managed remotely via LEA Professional’s SharkWare amplifier control software loaded with over 3,000 speaker tuning presets, the smart amplifiers feature onboard 96kHz DSP, LEA Cloud connectivity, WebUI, third-party API control, real-time load monitoring, Smart Power Bridge technology, event and fault monitoring, and high-efficiency power design.

www.leaprofessional.com

JOINING THE DP-4035i within the Pro DP series, the DP-8015i delivers 8x 150W across low-impedance (2–8Ω) and high-impedance (70V/100V) systems, and supports Bridge mode for up to 4x 300W at 4–16Ω. The front panel of the 1U amplifier includes a 1.8-inch colour display for quick editing and monitoring, in addition to LEDs indicating signal, clipping and protection statuses. The removable front grille provides access for maintenance. GPIO functionality enables remote On/Off control and linking capabilities. Protection features include overload, short-circuit, overtemperature and under-voltage safeguards. Housed in a 2U steel chassis, the DR4800 and DR6000 amplifiers respectively deliver 2,500W and 3,150W per channel in 4Ω mode. Rear panel connectivity is distinguished by XLR inputs together with Links and speakON outputs. Input sensitivity is adjustable (0.775V, 1V or 35dB), and both amplifiers operate within a wide frequency range of 20Hz–20kHz. With advanced cooling systems and protection circuits against short circuits and overheating, both Class-D amplifiers feature removable front grilles.

Designed to be combined with Wharfedale Pro’s DP-F and DP-N amplifiers, the XC Series

of system management controllers deliver both protection and enhanced definition to loudspeaker systems. Equipped with an extensive loudspeaker preset library, FIR filters and dynamics protection, the 4-in/4-out controllers are available with two interface options. The XC-44F and XC-44N versions are equipped with Ethernet and Dante connectivity respectively.

The Tourus family of polypropylene loudspeakers has been extended with eight active and passive 8-, 10-, 12- and 15-inch configurations. Each active model within the Tourus+ Series features 2-way biamped Class-D amplification, Bluetooth/ TWS connectivity and built-in FIR presets for different environments (normal, live, DJ, speech), providing flexibility and control over output. Finally, the WDG Series includes the passive WDG-12 and WDG-15 together with active WDG-A12 and WDG-A15 variants. Featuring Wharfedale Pro coaxial drivers and a spherical waveguide delivering 70° nominal coverage, the 12- and 15-inch coaxial wedges can be deployed in 25° far-field or 60° nearfield applications.

www.wharfedalepro.com

RDL interfaces with Dante

RDL HAS released a line of five singlegang Dante interfaces. The D SeriesRN22 and D Series-RN2ML are 2x2 wall-mounted, bidirectional mic/line Dante interfaces, the D Series-RN12 is a 1x2 wall-mounted, bidirectional mic/line Dante interface and the D Series-RN02 is a 0x2 wall-mounted Dante interface. The fifth member – the D Series-BTN21 wallmounted Bluetooth Dante interface – will be released soon.

The models come with a variety of features that are said to help with installation and configuration, including network control of gain, attenuation, phantom power and channel summing, and additional rear-panel inputs and outputs on detachable wiring blocks. The units are available in multiple

FOLLOWING CUSTOMER feedback asking for an 8-channel iD audio interface, Audient has extended its iD desktop interface range with the iD48. The 24-in/32-out USB-C audio interface builds on the core feature set of its siblings but with “enough I/O to handle any session”. It has been designed with producers and

Preamp altogether for a direct conversion path for recording.

The eight ultra-low noise, low-distortion Audient Console Mic Preamps deliver 68dB gain. As with the entire iD range, the discrete, high-grade op-amp design has the same circuitry as the ASP8024-HE recording console. In addition, 32-bit ESS

converter technology as well as the new Switchable Analogue Insert technology, the interface is said to make integrating outboard fast and intuitive. Switchable routing allows users to select which source is feeding the ADC path and lets them choose the Audient Console Mic Preamp or a DAW output to send to the outboard on a per channel basis. Customers can also bypass the Audient Mic

results in 126.5dB of dynamic range on the DACs. The option to add up to 16 channels of external mic preamps with the iD48 means that it can be expanded if needed. Fully compatible with the iD Mixer, the iD48 can be used to set up ultra-low-latency direct monitoring, create stereo cue mixes or save layout presets, all from one app.

www.audient.com

finishes including black, white and stainless steel. Custom labels can be created and ordered online. All the units are PoE powered and available in multiple finishes with optional customised graphics. To support the Dante interfaces, the manufacturer has also added two network remote controls: the D-NMC1R and D-NLC1R. These single-gang wall-mounted controllers allow end users to control a wide range of parameters using a simple rotary knob, including volume, presets, muting and Bluetooth settings. Visual feedback is provided through LEDs on the D-NLC1R or an integrated full-colour LCD display on the D-NMC1R.

rdlnet.com

Micro machines

ITS SMALLEST, simplest and sleekest wireless microphone to date, the Wireless Micro from RØDE is a pocket-sized microphone system tailor-made for smartphone creators. Available in black or white and with versions for either USB-C or Lightning devices, the slimline receiver connects directly to a phone with no need for cables for a compact and tidy recording setup. Meanwhile, the splashproof Wireless Micro transmitter weighs just 12g and features two ultra-compact, ultra-lightweight

magnetic attachments make it easy to mount while remaining discreet. Its built-in microphones are housed in acoustic chambers with a patent-pending design, purpose-built to capture clear and intelligible audio while mitigating wind noise.

Meanwhile, RØDE’s Intelligent GainAssist technology automatically controls audio levels to deliver balanced sound and mitigates the risk of accidentally ruining a take with clipped or quiet recordings. RØDE says this feature

More channels, less hardware

BOASTING PATENTED technology, the MV7i smart microphone and interface from Shure enables users to connect an additional XLR mic or instrument directly for 2-channel recording, without requiring a separate audio interface. Designed to simplify the way creators record audio, the unit’s built-in interface lets users connect a second microphone or instrument directly into the MV7i, and then control both channels of audio either in Shure’s MOTIV apps through a computer or device, or with a DAW and app. With the same sound signature as Shure’s MV7+, its DSP engine ensures studio-quality sound on both channels, minimising production setup and enabling creators to adjust the DSP setting on each of the MV7i’s two channels independently.

Inspired by Shure’s SM7B, the MV7i’s design has a metal chassis and its built-in

SOUND DEVICES has launched the A20-HH digital wireless handheld microphone. It c omes with a 470–1,525MHz global tuning range and a reversible A20-HH CD1 capsule collar, which accepts multiple manufacturers’ capsules that use a Shure or Sennheiser thread, as well as Sound Devices’ own CD1 cardioid capsule. The A20-HH control ring is described as easy to swap out and gives the user optional external controls – one or three buttons or a slide switch – while the base unit has no controls on the outside to prevent accidental button pushes.

combo XLR and ¼-inch input enables users to connect a second microphone or instrument with 60dB gain and 48V phantom power, making it compatible with both dynamic and condenser mics.

The MV7i instantly detects input type and automatically selects and applies the appropriate DSP for the recording application.

they have in audio. A pocket-sized charging case delivers two full recharges for up to 21 hours of battery life, while keeping the system safe and

Meanwhile, the manufacturer has also unveiled the third generation of the Wireless GO microphone platform. It features 32-bit float onboard recording, intelligent GainAssist technology and a host of new features. For the first time in the history of the RØDE Wireless range, the Wireless GO is available in an expansive suite of limited-edition colours, as well as black and white. The Wireless GO (Gen 3) is a dual-channel compact wireless microphone system, utilising RØDE’s Series IV 2.4GHz digital transmission with 128-bit encryption for audio at ranges up to 260m (line of sight). It also boasts over 40 hours of 32-bit float onboard recording for the recovery of clipped or quiet audio files.

compatibility with Mac, Windows and select mobile devices, and it is MFicertified for iPhone and iPad use.

Additionally, the colourcustomisable LED touchpanel provides intuitive mute control and a dual-channel LED display to help simplify adjustments during recordings and livestreams. Additional features

with cameras, smartphones and computers, and, it terms of security, it includes locking lavalier connectors for peace of mind. The third-generation unit also leverages headphone monitoring with onboard level control and automatic plugin power detect for extended battery life. It can be set up on a smartphone or computer via RØDE Central and it is compatible with all RØDE Series IV devices, including RØDEcaster Pro II and Duo, RØDECaster Video, Wireless PRO and Interview PRO.

RØDE is also releasing a dedicated charging and travel case accessory – the Charge Case+. This is a compact case for the Wireless GO (Gen 3), designed to keep the entire system safe and secure when storing or taking it out on the road.

www.rode.com

Mode with SmartGate technology that automatically calibrates gain based on proximity, volume and room dynamics. Meanwhile, SmartGate dynamically reduces the volume of a channel when either of the two users falls silent, minimising crosstalk and guaranteeing that concurrent conversations do not disrupt the separate audio streams. A Real-Time Denoiser reduces ambient noise, while a Digital Popper Stopper removes plosive sounds without a physical pop screen.

Shure has also introduced the MOTIV Mix Desktop App, enabling users to customise the LED panel, provide access to up to five multitrack recording and routing channels, and fine-tune settings like sound signature and gain. Mixdown, Multi-Track and Stereo output configurations are all available from launch.

www.shure.com

microphone. It also includes an e-Paper display that shows mic and battery status, even in full sunlight and while powered down. The mic’s patented wideband RocketAntenna design means that users can grab the mic anywhere without losing signal. The A20-HH is water-resistant, can reportedly survive multiple drops and is powered by a standard XL-B18650 lithiumion battery that can run more than 10 hours when the microphone is set at 10mW output.

www.sounddevices.com

Wireless GO (Gen 3)

Wireless Micro

Dynamic to the CORE

DPA MICROPHONES’

is a patent-pending development that aims to set a new standard for distortionfree microphone sound by eliminating the non-linearities typically generated by the membrane and electronic components of a microphone. The CORE+ neutralises distortion across the entire dynamic range of the microphone, making any residual noise imperceptible and virtually unmeasurable in both recorded and amplified content. It also reduces the impact of unpredictable challenges in live sound environments, such as when the talent speaks or sings at louder volumes.

The implementation of the CORE+ requires a redesign of DPA microphones, which the company plans to accomplish with an updated roll-out across its portfolio. The first to be addressed are the 5mm omnidirectional headsets and lavaliers, including the 4060, 4061, 4071, 4661, 4066, 4266 and 4466. All DPA microphones incorporating CORE+ will retain the same microphone specifications, including dynamic range and noise level. To illustrate the advantages of the diminished distortion, DPA has implemented a new THD performance reference point – THD <0.5%. As all DPA microphones share the same sonic characteristics, current users will be able to mix the enhanced CORE+ solutions with their existing equipment.

The versatile MicroLock is a compact locking microphone connector which builds on the strengths of the company’s established MicroDot connector. Delivering a quick and secure connection, the MicroLock locking mechanism provides an extra layer of

Centralised control

improved electrical design offers enhanced stability and reliability of the signal. Compatible with a variety of wireless systems, DPA says the MicroLock makes it easier to switch to a new wireless system without having to replace microphones. The company hopes this versatility will be especially beneficial for AV rental companies as it allows them to rent out the same microphone fleet across a variety of wireless

DPA will introduce the MicroLock connector with its omnidirectional miniature microphones and passive adapters, followed by the cardioid variants. It is fully backwards compatible with existing MicroDot products.

HOLLYLAND HAS unveiled the 6th generation of its Lark Series.

The LARK M2S ultra-mini wireless microphone can be easily concealed into any outfit and comes with a 30-hour battery life and a 300m wireless transmission range, as well as Environmental Noise Cancellation (ENC) features. It has been designed for videographers, video content creators, filmmakers, vloggers, online livestreamers.

wireless microphones. Professional built-in audio DSP enhances the audio performance for both local and remote audio. The COMMIC-HUB is intended to provide a high-quality audio experience for users by combining with microphones and speakers.

The APO-DG-HDMI expands connectivity options by enabling the HDMI output of a laptop to work seamlessly with the manufacturer’s USB-C Casting Dongles (APO-DG1 and APO-DG2). This enhancement allows for greater device compatibility across both the Synergy and Apollo product lines. Supporting DisplayPort Alt Mode 1.2 and featuring a USB-A port, the APO-DG-HDMI facilitates the transmission of up to 4K resolution at 60Hz, as well as USB 2.0 data, to compatible devices.

clean, connected and productive. It

The NHD-120-RX-S is said to take the 100 series to a new level. This “S” model has been treated with Sealoc’s Weatherloc technology to resist the elements such as water, moisture, humidity, dust, saltfog, salt-air and acidic products. With 4K resolution, video transmissions use up to 6x less bandwidth. AV streams are fully secure over the network using AES128-bit encryption methods, ensuring any sensitive data cannot be maliciously accessed.

The built-in microphone measures 1.3cm x 0.63cm and weighs 7g. The transmitter has a titanium alloy clip, which holds it securely in place. Whether users are jumping, running or performing energetic movements, the mic has been designed to stay firmly in place. The titanium alloy construction reportedly provides strength and durability while remaining lightweight

Finally, the SYN-CTL-HUB protocol converter has been designed to integrate with the Touch10 control pad, enabling the conversion of IP protocols to RS-232, Relay and IR protocols over a wired LAN. It offers control capabilities for various AV and automation devices while providing contact input detection and remote-control options via a network connection. The converter features a contact input for sensor-triggered automation, enhancing integration flexibility.

In brief, v2 versions of the NHD-500-TX and NHD-500-RX are now available, bringing an additional Ethernet port that can be used on the Dante AV-A network or for getting the local device on the network.

The NHD-500-TX v2 comes with an HDMI loop-out for local

The LARK M2S boasts a sample rate of up to 24-bit/48kHz, a 70dB signal-to-noise ratio (SNR) and 2.4GHz transmission, capturing clear, articulate and natural human voices. The mic’s ENC minimises background noise, ensuring voices stay prominent. The new dial design in the Combo version makes it easy to access power, pairing, mute and volume controls, with options for high, medium and low levels. The LARK M2S is available in three versions: Combo (Duo), Mini Combo (Duo) and USB-C (Duo). With the LarkSound App, users can check audio settings, volume levels, noise reduction and battery life.

www.hollyland.com

protection against accidental disconnection

CORE+

MicroLock

Freedom to Roam

DEVELOPED ESPECIALLY for musicians working in live sound, the Galaxy Audio ASD-700 plug-and-play digital UHF wireless in-ear monitor system is small enough to fit in a pocket yet powerful enough to deliver a personal mix for a full touring band. Designed for live sound gigs, the ASD-700 allows musicians to move freely around the stage without the need for wires or the bulkiness of heavy monitors. The ultracompact wireless IEM system has 15 UHF channels and over 45m of operating range. It delivers 24-bit/48kHz resolution, has up

New drivers

please!

GERMAN AUDIO manufacturer beyerdynamic has updated two of its premium studio headphones with the adoption of its TESLA.45 driver. The closed-back DT 1770 PRO MKII and the open-backed DT 1990 PRO MKII are secondgeneration designs created for hours of use in the studio, and now incorporate a fontanelle recess to avoid potentially painsensitive areas on the head. Thanks to the closed-back design, beyerdynamic says the DT 1770 PRO MKII headphones are better suited for recording, monitoring and editing, with a deep bass, transparent mids and detailed highs. Meanwhile, the DT 1990 PRO MKII offers a more natural, spatial sound quality due to its open-back design, and is ideal for professional mixing, mastering and

its structurally optimised diaphragm delivers a noticeable improvement to the total harmonic distortion and the impulse behaviour, producing a clearer sound even at high volumes. Meanwhile, the diaphragm made of high-performance polymer PEEK ensures precise bass reproduction. The refined treblefrequency profile is achieved by a weightreduced voice coil made of aluminium-coated copper wire.

Compared to the previous models, beyerdynamic says the highs at around 8kHz have been reduced while retaining the detailed highs from 10kHz of their predecessors. With an impedance of 30W, both studio headphones deliver studio sound on different devices. They are supplied with a 3m

to eight hours of battery life and is USB-C rechargeable. The system also includes high-definition earbuds, an XLRM to ¼-inch adapter, a soft-shell hard case and is backed by Galaxy Audio’s three-year warranty. Options include the ASD-700-2 twin pack with two receivers and one transmitter, or the ASD-700-4 band pack system with four receivers and one transmitter, providing multiple performers a shared monitor mix. An unlimited number of receivers may be added at any time.

www.galaxyaudio.com

RF Venue sets the CP Stage for wireless IEMs

MARKING A shift from the traditional “paddle” antennas, RF Venue has introduced its IP-rated circularly polarised (CP) antenna for wireless IEM and microphone systems.

Building on the success of the manufacturer’s CP Beam helical and CP Architectural installation antenna, the CP Stage has been designed for wireless IEMs and, as a diversity pair, captures wireless microphone signals in varying environments. Engineered for durability in a low-profile enclosure, the solution efficiently mounts to microphone stands, making it ideal for touring bands and fly packs. Its IP-rated weather resistance also suits fixed outdoor installations when wall-mounted.

Turning a new page

THE TALK 8 is a digital desktop paging station designed for multi-zoned commercial audio systems that provides individual and multiple zone paging. With six instant message replay buttons, Optimal Audio’s cross platform WebApp for Zone series enables any content stored on its 4Gb of in-built memory to be assigned to playback buttons or scheduled for automatic playback as part of a time-of-day routine. The Talk 8 also integrates with the wider Optimal Audio ecosystem, including support for up to two digital paging stations working in tandem with Zone controllers. Supplied with a Mic 1 gooseneck microphone, the Talk 8 is

powered via a locking RJ45 connector from the Zone controller paging port and has a USB-C interface for loading audio files and firmware updates. It also features a backlit Talk button with latching and non-latching options, and an optional preannouncement chime.

The Mic 1 is a 12-inch gooseneck microphone for making clear announcements and communications. Included with the Talk 8, the Mic 1 can also be purchased separately if required. Weighing less than 250g, the 318mm-long cardioid gooseneck features a 3-pin XLR plug connection and operates within a 50Hz–18kHz frequency range.

Unlike the single-plane orientation of “paddle” or “fin” antennas, CP antennas transmit and receive signals in a 360° or “corkscrew”-like pattern, eliminating issues with the orientation of wireless IEM bodypack receiving antennas and handheld microphone transmitters, regardless of how a performer moves and changes position onstage. Featuring a 470–928MHz operating range, the CP Stage keeps performing across global frequencies in a compact 25cm x 30cm x 2.5cm footprint with a matte black finish.

The CP Stage antenna is individually available as well as bundled with relevant cabling and combiner hardware in multichannel upgrade packs.

The manufacturer has also extended its ecosystem with the ZonePad 8. Designed for simplicity of use, the dedicated wallmounted venue touchscreen serves as a source and zone control panel. Capable of being supplemented with ZonePad 1 or ZonePad 4 units, the ZonePad 8 can also be teamed with WebApp when access to the Optimal Audio system controls is required.

Designed to enhance the LF performance of the Optimal Audio loudspeaker range, the Sub 18 is a passive, 18-inch subwoofer. Housed in a plywood bass-reflex cabinet, it is fitted with an 18-inch driver that can attain a peak SPL of 136dB. Flexibility of use has been extended with integral M8 inserts for flying the compact cabinet.

Talk 8 with Mic 1

Staying connected to the great outdoors

SPECIFICALLY DESIGNED to extend performance capabilities and safety in outdoor applications, Neutrik’s powerCON TRUE1 TOP (True Outdoor Protection) single phase power connector has a robust design created for use in a range of high-pressure outdoor environments. Featuring a latched fast locking mechanism that prevents the connector from being accidentally detached, the ability to plug in under load and Neutrik’s bushing and strain relief, the powerCON TRUE1 TOP cable connectors

with locking bushing and strain relief for cable diameters from 6–12mm and 10–16mm, respectively.

The manufacturer has also extended its etherCON TOP product offering to meet the demands of data networking in the field and address feedback from customers. The NE8MXR-B-TOP retractable RJ45 carrier cable connector delivers the environmental protection of etherCON TOP with the capability to mate with etherCON and standard RJ45 receptacles through a simple retraction of the shell,

Channel talk

STUDIO TECHNOLOGIES has unveiled the Model 352A and Model 354A talk

available in TRUE1-S and TRUE1-L variants,

www.neutrikgroup.com

THE DEMAND for products capable of integrating several services in a single cable has started to grow again, in particular combi products that are made up of one or more cables for digital audio and DMX protocol with power. This solution can be adopted in a variety of operational applications, including wiring active loudspeakers and managing moving heads.

as a standalone 2-channel IFB (talent cue) master station. The Model 354A can

of the two Dante receiver (input) channels on the Model 352A and one of the four Dante receiver (input) channels on the Model 354A to be routed as desired to a connected amplifier or amplified speaker. For theatre or event-space applications, the units can be located in a box office or manager’s office location. Two pre-recorded messages can be stored and played as required. For broadcast applications, the Model 352A can serve

associated with a pushbutton switch. This allows users to observe the on or off status of call signals that may be associated with intercom audio channels. In addition, this function can be used to display when a channel is active. This allows multiple units to be deployed in a single application, with each unit displaying the talk status of all the others.

www.studio-tech.com

Italian cable manufacturer Tasker offers a wide range of pre-made solutions, starting with the C283 soft series with a single 3x1.5mm² DMX power-integrated cable with Neutrik XLR NC3M/FXX-B and powerCON NAC3M/FX-W-TOP connections. The cable can be supplied in 1m, 2m and other custom lengths.

The C284 soft and C290 soft pre-made series both come with two DMX cables, the same Neutrik connectors as the C283 series and a power supply of 3x1.5mm 2 and 3x2.5mm² respectively. These models come with a soft PVC sheath but there are a variety of different types of outer sheaths available on request.

www.tasker.it

WARM AUDIO has introduced the WA76-D and WA76-D2 discrete FET compressors delivering classic “Rev D” clean gain compression, along with the WA76-A and WA76-A2 discrete FET compressors delivering the iconic “Blue Stripe” vintagevoiced compression. Consisting of custom transformers from CineMag USA and with added modern controls to achieve parallel compression, active and true bypass, selectable input impedance and sidechain flexibility, the WA76 series units have been developed for modern recording workflows that require vintage tone shaping.

The WA76-D and WA76-D2 are faithful recreations of the vintage 76 “Revision-Dstyle” FET studio compressor, with a true-tooriginal circuit design that delivers the lauded “D-style” compression known for its speed, lower noise and rich analogue tone. They use premium ceramic and electrolytic capacitors, metal film resistors and a revised preamp

stage, improving the linear response of the FET.

The WA76-A and WA76-A2 are faithful recreations of the vintage 76 “blue stripe”style FET studio compression known for its extra “grabby” fast attack and vintage analogue grit. They use premium poly film capacitors, premium resistors and a vintagevoiced preamp stage.

Each compressor features all the traditional controls such as attack, release, ratio, input, output and meter display. The models also feature stereo linking, dry/wet mix for parallel compression, external sidechain, selectable input impedance to match with classic analogue gear and modern interface connections, multiple active bypass options in addition to true bypass and a variable sidechain high-pass filter to tackle unruly bass that dominates the compressor’s attention.

www.warmaudio.com

Flexible routing and processing

NST AUDIO describes the DM88 as its most versatile, technically advanced system processor but with straightforward operation. It is equally suited to FOH duties as a versatile system manager and console switcher, or installed as the hub of a complex installation system. The DM88 incorporates what the manufacturer believes to be the best quality audio conversion and

EQ layers, FIR filtering and a new 2-way mode limiter, designed for use with passive 2-way speaker boxes. By allowing any source to be directly selected at any output, and incorporating a 3-level failover system, the DM88 can perform format conversion and break-in/break-out duties. This is in addition to the 16 channels of individual signal processing and routing.

In the dock

HDMI, two USB-C 3.2, three USB Type-A, one SD, one Micro SD, one Ethernet and one audio jack. It supports resolutions of up to 8K on a single monitor or TV, and 4K on dual screens, making it ideal for office professionals and content creators – such as video editors and music producers – who might also benefit from its SD card slot, high-speed USB transfers and HDMI output for multitasking.

Apple M1/M2/M3 chips and features a plugand-play design compatible with operating systems including Windows, macOS, iOS, iPadOS and Android. The UH3240 allows users to connect a USB-C host and dual 4K monitors, giving them the flexibility to master their workstation with enhanced functionality and streamlined workflows.

www.aten.com

Audinate adds to Dante catalogue

DANTE STUDIO v2.6 software and Dante AV-H v1.5 technology have been released by Audinate. Both updates, now available for download, support multichannel video with up to four video Rx channels, delivering enhanced control and functionality to meet the growing demand for versatile AV solutions.

Dante Studio v2.6 brings Dante video directly to PCs, eliminating the need for extra hardware like capture cards. This release allows operators, video producers and AV managers to receive and manage up to four Dante AV-H video streams, making it easier to capture multiple angles in events, meetings or presentations. Users can adjust video resolution between 720p, 1080p and 4K, tailoring video quality to meet specific project or customer needs, whether streaming in HD or delivering 4K content.

and eight AES inputs, all available to be matrixed to one of 16 processing channels, optimised for either general input processing or for more specialised output speaker processing. General input processing features multiple layers of parametric EQ with a library of selectable behaviours, three bands of dynamic EQ, compression, high-pass filter plus delay and phase reverse. Specialised output processing includes 48dB/Oct high- and low-pass filters, multiple

Mac and iPad is said to give users complete control over Ethernet and Wi-Fi. The latest release of D-Net incorporates advanced features that unlock the capabilities of the DM88. These include speaker module libraries for fast configuration, along with grouping and linking control to work with EQ layers, levels and delays across multiple devices on the network.

www.nstaudio.com

The Dante AV-H v1.5 release with four video Rx channels enables Dante AV-H to be built into new product categories like multichannel decoders, video switchers, vision mixers and multiviewers. This functionality enables seamless real-time video transitions, which are ideal for a variety of verticals within the pro AV industry. The firmware update is available to all Dante AV-H devices. Automated camera switching in conferencing and educational environments can be achieved by using positional data from Dante-enabled ceiling microphones, ensuring precise alignment with the active participant. Operators can switch smoothly between multiple video sources, such as cameras and computers, in real time, with support for multichannel viewers that allow simultaneous monitoring of all feeds for easy issue detection, switch timing and quality control.

www.audinate.com

Stage Precision announces SP Grid

STAGE PRECISION has launched SP Grid, a no-code or low-code platform aimed at streamlining workflows used in virtual production, live entertainment and AV installations. The solution transitions the company’s core offering from a standalone software product to a comprehensive application building, 3D data management, control hub, automation and interactive technologies integration platform.

SP Grid provides users of all skill levels with the tools to build AVLM projects of varying complexities and sizes. It scales to fit any project, from small-scale setups using LiDAR sensors and touch tablets to comprehensive full building system control. The platform has been designed to empower systems integrators, designers and developers to craft tailored solutions for spaces, studios and event environments.

Featuring a drag-and-drop interface, the platform enables users to visualise system interconnections, calibrate sensors and devices,

and establish workflow automation with ease. A key feature includes the ability to design and deploy custom user interfaces. A future expansion will bring import options from UI design tools such as Figma, offering an alternative to legacy AV control systems.

SP Grid’s open API and integration capabilities allow for connection with existing systems, while its support for Python scripting and custom plugin creation enables users to develop bespoke integrations. To enhance the platform even further, a new custom-designed 1U server and touchpanel will be available.

Ensuring accessibility, SP Grid Studio is available free of charge for small applications, with additional features and device connections available via a unique credit system for larger projects. As more devices are connected, users can purchase credits to scale their use of SP Grid as their project grows in complexity.

www.stageprecision.com

The object of One’s affection

VERSION 1.3 of Fulcrum Acoustic’s One software delivers enhancements for object-based mixing, active bass control and loudspeaker steering. Based on user feedback and the growing requirements of its customers, object-based mixing improvements include support for 2D and 3D speaker arrangements along with additional rendering controls to bring spatial audio systems into loudspeaker layouts and venues of all shapes and sizes. Users can accommodate unconventional loudspeaker designs or different sound sources in a cohesive

mixing environment, fine-tuning each element for optimal musicality.

One 1.3 also includes support for Fulcrum’s Active Bass Control, which uses dedicated “control” subwoofers paired with a Venueflex processor to minimise unwanted lowfrequency issues. Fulcrum’s automated calibration process can also be controlled through the One software, while the update also brings DSP loudspeaker optimisation, including steering capabilities for Fulcrum Acoustic’s AHS loudspeakers.

www.fulcrum-acoustic.com

Just Add Power AMP supports Luxul SW Series switches

JUST ADD Power has announced its Advanced Matrix Programmer (AMP) configuration software supports the full lineup of Luxul SW Series managed PoE+ AV switches. The AMP software platform provides configuration for systems using MaxColor 4K60 Series devices, as well as those from the company’s 3G Ultra and legacy 2G Omega product lines.

Designed for AV-over-IP (AVoIP) applications, the Luxul SW Series switch family introduces a refreshed user interface with a streamlined setup process. The SW Series includes eight managed switches that can manage any AVoIP infrastructure with enough PoE+ to power many network devices. All eight models feature powerful PoE+ budgets ranging from 130–740W and come in a variety of port counts, from eight up to 48 PoE+ ports, with rear and front port orientation options. Luxul SW Series managed PoE+ AV gigabit switches feature an updated UI that simplifies setup and offers improved support for AVoIP installations.

Just Add Power’s AMP consolidates and streamlines the process of setting up individual Just Add Power devices. By discovering them on the local network, the devices are presented in a list, where they can be named, with IP addresses configured and channels assigned to transmitters. With support for Luxul’s SW Series switch family, AMP sets up both the individual Just Add Power devices and the Luxul SW Series network switch. Once the Just Add Power system is configured, AMP also provides a user interface that can be used to control source switching. Meanwhile, the manufacturer has introduced the MC-USB, with two USB-C 2.0 ports on the front, one USB-C 2.0 on the back and two USB-A 2.0 on the front, all integrated into the system over 1Gb LAN. Compatible with Just Add Power’s MaxColor series, the MC-USB provides access to all computers on the system with built-in keyboard, video and mouse (KVM) support, including touchscreen and webcam interface.

www.justaddpower.com

Energy the smart way

WAVES AUDIO has released its IDX Intelligent Dynamics plugin. The smart, frequencydependent compressor has been designed to optimise a track’s energy and vitalise the mix, making it easier to achieve a polished sound. For optimal results, users should insert the IDX at the beginning of a plugin chain and/or across multiple tracks. This will set a solid foundation on which to build the rest of the mix as IDX can be effectively used on a master bus. Whether sounds feel flat or lack that extra punch, IDX intelligently optimises energy levels, applying precise processing where needed. Vocals come forward without compromising the crispness of drum transients, while basses become punchy and well-defined. IDX employs a smart algorithm that automatically identifies the busiest areas of the frequency range – those that consume energy without enhancing the tone of instruments or vocals. It then compresses them by using “progressive attenuation” (unlike a traditional compressor, which uniformly reduces the signal RMS above

FOLLOWING THE launch of 360° Link V1, Solid State Logic continues to update its SSL 360° platform with the SSL 360° Link Bus Compressor Plug-in and Link V1.1 update in the latest SSL 360° V1.8 software, which is available free of charge via the SSL website.

The 360° Link Bus compressor Plug-in allows users to map and control any third-party plugin directly from the Bus Compressor section of the UC1. In addition,

third-party plugins via the 360° Link Bus Compressor, extending the reach of the UC1 and the 360° Plug-in Mixer. The v1.8 update also improves general visibility on the UC1 – the top area of the screen now displays the name of the hosted third-party plugin when scrolling with the Channel encoder, helping to identify different plugins within the same track. Third-party plugin parameter labels are also visible in the Extended functions menu.

gain reduction metering from compatible third-party plugins can also be assigned to display on the UC1 Bus Compressor meter and Channel Strip gate/comp gain reduction metering (360° Link v1.1). SSL includes factory maps for popular third-party Bus Compressor-style plugins from Slate Digital, Brainworx, Waves and Universal Audio.

In addition to the mapping and metering features, the v1.8 software also removes limitations on how many Bus Compressor instances may be used with UC1. Now, users can access and control up to 192 instances of Bus Compressor 2 or

In brief, the manufacturer has announced two enhancements to SSL 12. Users can now access a “polarity invert” feature that is now present on the analogue and ADAT input channels, and also mono sum compensation can be adjusted to any value between –3.0dB to –6.0dB. Finally, SSL Live V6 has added a new effects suite, Dante routing enhancements and remote control updates. The changes bring studio processing tools such as Fusion FX and Path Compressor Mix Control to the stage via SSL Live.

www.solidstatelogic.com

a threshold). As a result, frequency ranges that define the track’s key characteristics gain a distinct advantage and become more prominent.

Meanwhile, the Immersive Wrapper is a utility tool that transforms any Waves mono-compatible plugin into an immersive processor for multichannel and object-based mixing in Dolby Atmos or other immersive formats. It brings the benefits of dedicated bus processing to Atmos mixes, solving a challenge faced by immersive mixers who want to shape the overall sound and character of an immersive mix with bus compression, EQ or saturation just as they are accustomed to applying on a stereo master bus when mixing in 2-channel stereo.

In brief, X14 versions of the manufacturer’s Titan and Titan-R SoundGrid plugin servers are now available. These next-generation models bring enhanced DSP power for running plugins in real time to live mixing setups.

www.waves.com

360° Link Bus Compressor

Luxul SW Series

HOME for the holidays

AVAILABLE FOR all compatible mc² audio systems, Lawo’s 12.0.0 software update introduces a range of features designed to

busses. This expansion is free of charge and requires no additional licence. In addition, the upgrade delivers improvements regarding

not only improve user experience and system security, but also add native support for Lawo’s cloud-native HOME mc² DSP app. HOME mc² DSP is Lawo’s audio processing HOME app for mc² mixing console systems and is a CPU-based processor for production workflows based on Lawo’s unified HOME platform. It runs on generic CPU processors and provides familiar mc²-style signal processing architecture; it has support for mono, stereo, 5.1 and immersive formats; and it handles up to 2,048 input processing channels. It also boasts 256 aux busses, 96 groups, 96 sums, support for 32 automix groups, downmixing functionality and a co-mixer feature for monitoring and collaboration.

Version 12.0.0 also adds 128 processing channels to Lawo’s standalone mc²36 MkII console with onboard A__UHD Core technology, for a total of 384 channels with up to 256

channel assignments and management, Waves integration, a more intuitive user experience and increased security features in accordance with EBU R143 cybersecurity guidelines.

A new Strip Assign page streamlines channel management by enabling users to assign single or multiple channels in one step, and quickly reassign, duplicate or swap channels between strips. Meanwhile, integration between mc² consoles and Waves systems through the new ProLink protocol also makes the grade, replacing the older RFC protocol and enhancing communication between mc² consoles and Waves SuperRack 14 systems. Label synchronisation is now automatic, while access channel linking allows engineers to open a connected Waves Rack with a single button press on the console.

www.lawo.com

FOCUSING ON the efficient management of EN 54-certified public address and voice alarm systems, LDA Audio Tech has devised the EVAC Cloud platform. Offering real-time notifications and incident resolution, EVAC Cloud enables remote management of public address and voice alarm installations from anywhere with internet access. Designed for environments requiring reliability and regulatory compliance, the platform centralises critical notifications and simplifies system status communication, streamlining daily maintenance and management tasks. Fully compatible with

EN 54-certified systems, the cloud platform integrates cybersecurity guidelines based on international standards, including the Euralarm/CoESS framework and IEC 62443 directives.

Devised as a versatile option for PA/VA projects, the NEO+ is a public address and voice alarm system featuring AED67 level 3 digital technology. It incorporates a processor, redundant controller functionality and the ability to directly connect to 32 microphones or evacuation panels (ACSI v2).

www.lda-audiotech.com

SQUEEZING AUDIO network system information into a single screen and using a simple graphical format, Linea Research’s System Engineer 8 control software (SE8) adopts a workflow-based DSP and power management design to get audio systems set up in minutes. The SE8 identifies, connects and syncs to all Linea Research products on the network so that audio systems are ready for the engineer to start setup, in both touring and installation environments. Users can arrange device modules (an input and any number of outputs) in any arrangement, amplifier modules can be named for easy identification and all amplifier parameters can be altered either independently or simultaneously.

The SE8’s three-step workflow starts in Set Up view for amplifier configuration, enabling users to choose primary and secondary input sources and establish input and output routing, as well as network and power options. Preset View then gives access to loudspeaker preset libraries

that can be loaded onto one or more devices. Users can also create loudspeaker presets from scratch, export and share presets between users, and use manufacturer-approved presets from the Linea Research website. The last step routes the user into Tune View where audio is shaped and contoured, with smart features and workflow tweaks that embellish the performance of the amplifier to enhance the setup process.

The SE8’s EQ Toggle provides multiple EQ palettes on all inputs, all outputs and groups. Meanwhile, CTRL/Select functionality enables parameters on inputs, outputs or groups to be adjusted simultaneously, while a Copy/Paste function for EQ enables users to transfer EQ to another input or output. Versatile IP addressing eases the integration of amplification into large IT networks, while the SE8 also features an I/O matrix mixer/router and improved telemetry logging.

www.linea-research.co.uk

Theory Professional unveils DLC

THEORY PROFESSIONAL

a controller that provides PoE control of a single Theory DLC amplifier zone directly from the wall. Available in black or white and compatible with Theory DLC-250.4d, DLC-1500.4d and DLC-250.8 loudspeaker c ontrollers, the DLC Wall Mount Controller (DLC-CTRL) is described as simple to install, set up, configure and customise, and ideal for commercial installations such as bars and restaurants, retail stores, fitness centres, hotels, education institutions, corporate offices and houses of worship.

According to the manufacturer, the DLC-CTRL pairs easily to a network and allows for real-time device syncing. Users can connect up to eight DLC-CTRL units to a single DLC loudspeaker controller and can allocate

each DLC-CTRL to any single zone. Once connected to a DLC zone, users can change the source or manage the volume directly, as well as choose from preset minimum and maximum volume

For added security, the DLC-CTRL features PIN code protection with both basic and advanced access, including a system shutdown option. The form factor resembles modern lighting control with a touchfriendly matte finish, available in standard white RAL9003 and black RAL9005. The menu is said to be very intuitive, and users can adjust the UI screen brightness as well as choose from dark or light mode to suit the installation environment.

www.theoryprofessional.com

Audix elevates the low end

WITH THE release of the D6X, Audix has created a next-generation version of its most popular microphone. Extending the capabilities of the classic D6 kick drum, the D6X features a recessed, no-tools-required switch that selects between three frequency response profiles. Identical to the classic D6, “Deep” is a starting point, whereas “Balanced” provides more midrange and upper midrange, and “Natural” selects a more linear response, with an adjusted high-end roll off. This latter position suits experimentation on sources with a fuller range of frequency content, including Latin percussion or guitar amp cabinets. Providing natural, distortion-free sound capture, the VLM (very low mass) mic diaphragm handles high SPLs and is paired with a transformer-

less output circuit to minimise impedance and eliminate interference. Resembling the original D6, the enhanced design of the D6X features a black anodised aluminium housing with a textured matte finish and steel mesh grille. The US brand has also extended the PDX dynamic vocal series with the PDX520 studio microphone. Building on the PDX720 Signature Edition, the PDX520 captures a natural, warm feel for long-form content and intelligible broadcasts. Featuring a cardioid polar pattern for optimal sound isolation, the VLM dynamic capsule is engineered to deliver deep lows and precise transients. At the rear of the mic, a two-toggle switch includes a setting for a high-pass filter with a cut-off frequency of 80Hz with a 6dB per octave slope that eliminates

SQ-Rack goes compact

DELIVERING ALLEN & HEATH’s 96kHz SQ core in a compact, rack-mountable design, the SQ-Rack has been crafted to meet the demands of live sound, AV and installation environments. The solution has been engineered to offer users power, flexibility and intuitive control in one versatile solution.

The SQ-Rack is built on Allen & Heath’s 96kHz XCVI FPGA engine, delivering highresolution audio quality, low latency of less than 0.7ms and variable bit depths for optimised dynamic range. XCVI allows SQ to handle 48 input channels at 96kHz, with more mix headroom thanks to a 96-bit accumulator and the power to embed the manufacturer’s DEEP plugins into all 48 input channels and mixes.

It features 16 onboard mic preamps and three stereo line inputs, while the integrated SLink port simplifies the addition of more inputs and outputs. Up to 48 mic inputs can be added via Allen & Heath’s Everything I/O ecosystem. Users can also slot in one of A&H’s 64x64 audio networking cards for integration into Dante and Waves networks, digital FOH/monitor splits with SQ or for MADI connectivity with third-party equipment. With efficiency in mind, the SQ-Rack boasts a dedicated fader screen, customisable SQ-Control display and hands-on controls. The SQ-MixPad, SQ-4You and SQ-Control apps offer additional flexibility, allowing operators to take command from various locations.

www.allen-heath.com

Adorned with sound

EXPANDING ITS contractor series of ADORN ceiling, pendant and on-wall loudspeakers, Martin Audio’s compact ADORN A80T is a 2-way passive speaker designed for architectural environments such as retail outlets, bars and restaurants, corporate offices and convention centres.

Comprising an 8-inch LF driver and a 1-inch polymer dome HF compression driver on a 90° x 50° horn, it handles 200W AES, 800W peak and can produce 120dB peak output at 1m. It has a smooth frequency response and bass reproduction that extends down to 63Hz. With a nominal impedance of 8W,

multiple speakers can be driven in parallel from a single channel of a low-impedance amplifier, such as the Martin Audio VIA2502 or VIA5004. The A80T also incorporates a high-quality transformer for 70V/100V line operation, with transformer taps selected by a rotary switch, and can be powered by the VIA

The company says its Martin Audio signature sound characteristic also provides a seamless sonic transition within a multi-zoned complex using larger Martin Audio systems such as the CDD or BlacklineX.

www.martin-audio.com

possible rumble. The second switch adds a presence boost between 1kHz and 5kHz with a maximum increase of 3dB. Optimised for spoken word, the PDX520 is designed with plug-and-play gain and comes with an internal vibration dampener which eliminates the need for a separate shockmount. Packaged with a 5⁄8- to -inch adapter for easy mounting, the PDX520 also inherits the versatility of the PDX720 for applying on bass amplifier cabinets, outsidethe-head kick drum miking and horns.

www.audixusa.com

Amadeus Acoustics adds

AMADEUS ACOUSTICS has developed plugin integration with the Q-SYS platform. As a contributor to the Q-SYS ecosystem, the Austrian innovator collaborated with Q-SYS to create a control solution that integrates seamlessly into the cloud-manageable audio, video and control platform. Designed to enhance the immersive audio experience, the plugin can manage up to 100 acoustic presets, with the currently activated preset and status displayed. Up to 64 3D input source positions – including X, Y, Z coordinates, shape and pan algorithm – can be saved as snapshots within the plugin. In addition, volume levels can both be adjusted and muted. The Amadeus ART

platform communicates with the plugin to ensure real-time updates and functionality.

www.amadeus-acoustics.com

All hands to the thump

THE TRUVOX 1525 is a 15-inch bass and mid-bass driver from UK speaker specialist Celestion boasting continuous power handling of 800W and a rated efficiency of

96dB. Ideal for 2-way sound reinforcement systems and available as standard to manufacturers in OEM quantities, the Truvox 1525 is also available through retailers, making it suitable for DIY builders or as a drop-in replacement/upgrade to rejuvenate overworked PA setups. The 1525’s cone is reinforced with fibreglass to increase its durability, while a triple-roll surround keeps the cone moving stably under heavy use. A rigid pressed steel basket features front and rear mounting gaskets for maximum flexibility of installation. Its 8W impedance ensures the broadest possible compatibility with power amplifiers, whether outboard or built into an active cabinet design, and Celestion says a frequency response measuring 40Hz–4kHz makes the Truvox 1525 as capable of midrange clarity as it is of low-end “thump”. The company plans to expand the Truvox line to include 8-, 10and 12-inch diameter drivers.

PRO AUDIO SYSTEMS

With flexible built-in mixers, rugged build quality, and optimized voicing modes, the Thump Series is built to handle demanding environments, whether you're equipping bars, clubs, live music venues, or corporate events.

Loudspeakers with Bluetooth

WITH THE PRX925 and PRX935 loudspeakers, JBL Professional has extended its PRX900 powered portable PA series to seven models. Integrating advanced acoustics, DSP and BLE control, the PRX925 is a 2-way, dual 15-inch enclosure designed for larger spaces that can utilise additional low-end support. As a 3-way, single 15-inch system, the PRX935 is engineered towards mid-frequency range performance and vocal clarity at full volume.

Providing full system control for up to 10 JBL app-enabled speakers, both PRX models are managed by the JBL Pro Connect App. The audio parameters can also be configured from an onboard colour LCD that includes a 12band parametric EQ. DriveRack technology

includes Automatic Feedback Suppression (AFS), system limiter and 180ms of speaker delay in 100μs intervals for precise time-aligned systems.

Housed in 18mm birch cabinets with optimised bracing, all PRX900 models are reinforced by a 7-year warranty. Powered by internal 1,000W RMS Class-D power amplifiers, the JBL 915H 15-inch ferrite magnet woofers together with the 2408H-1 and H-2 1.5-inch compression drivers provide detailed highfrequency response. I/Os include dual XLR balanced Combo jacks, a 3.5mm aux, dual XLR-M loop-throughs and an XLR-M mix out. Two integrated side handles, a 36mm pole socket and eight M10 suspension points extend a versatile feature set.

www.jblpro.com

Fourier Audio transforms again

FOURIER AUDIO has announced that its transform.engine now offers a companion software bundle, known as the transform.suite ’25, that brings together more than 70 p lugins from the world’s top studio processing developers. Available on an annual licence, the package includes a

curated selection of plugins from Baby Audio, Eventide, Harrison, oeksound, the Plugin Alliance, Slate Digital, Solid State Logic, sonible, tc electronic and Universal Audio.

Upon purchase, the plugins are immediately installed and licensed onto the user’s

LD Systems heads on a quest

WITH QUESTRA v1.3, LD Systems’ design and management software platform integrates third-party solutions for the control and automation of network-based installation solutions. Users can now configure and manage audio, lighting and video technology using a centralised software platform. This, as well as the use of nodes, is said to provide the basis for the much wider array of functions in Questra. The Logic Nodes enable modular programming and time-based automation, and they provide extended integration options

Long-range announcements

TOA ELECTRONICS Europe has released two speaker series designed for diverse applications. The long-range Horn Array (HA) Series has been engineered for outdoor mass notification and disaster prevention. The design focuses on delivering clear, intelligible voice announcements over long distances while minimising vertical sound dispersion and reducing noise interference. The horn configuration reportedly ensures precise sound direction with minimal spillover, making it suitable for critical scenarios where reliable communication is paramount.

Created for indoor and outdoor applications, the F-BOX Series of surface-mount box speakers comes in three sizes (3.5-inch full-range, 5-inch 2-way and 8-inch 2-way) as well as an 8-inch

transform.engine with a single button click, eliminating any worries about monthly subscription management or the complexities of navigating different plugin licensing platforms.

www.fourieraudio.com

subwoofer. The speakers are all available in black or white, as well as in an EN-54 certified version. Each model – including the subwoofer –is designed to be compatible with both low- and high-impedance sound systems.

In brief, the Japanese manufacturer has also released the VM-4000 compact voice alarm system, available in both wall-mount and rack-mount editions. Meanwhile, the CX-1000 Series bridges the gap between building access applications, internal communication, emergency communication and public address solutions. All elements in the series work in one harmonic ecosystem that is open to integrate SIP and ONVIF devices.

www.toa.eu

and management of integrated devices. The Calender Node, for example, is suitable for complex scheduling tasks, while the Network Command Node enables third-party control via TCP, UDP and HTTP.

In addition to the Questra software (Windows), a separate user interface has been developed for Questra panels to enable the most important commands to be selected quickly and easily, including scene and zone selection, starting and stopping scenes, dimmers and colour adjustments.

Meanwhile, the DQOR series is now complete with the introduction of its own subwoofer models. The DQOR SUB 8 is equipped with an 8-inch woofer and a 10-inch passive cone and is available in three versions for flexible use: as a passive model (DQOR SUB 8) for outdoor use, as an active model (DQOR SUB 8A) with integrated 250W power amplifier for indoor use and as an IP55-capable, active Dante solution (DQOR SUB 8D).

www.ld-systems.com

A NEW battery-powered addition to its ProFX line, Mackie has unveiled the ProFX10 GO analogue mixer. Featuring up to eight hours of battery life on a rechargeable and swappable battery, the ProFX10 GO has been designed for musicians to use on-the-go and in remote locations.

The 10-channel mixer is loaded with Mackie’s Onyx preamps and built-in GigFX+ digital effects, EQ and compression, and provides a USB-C interface and Bluetooth connectivity. It features a range of inputs required for a live setup, including mics, instruments, phones or tablets, in addition to outputs to connect to the manufacturer’s GO loudspeakers.

Housing a 2x4 USB-C audio interface operating at 24-bit/192kHz, the ProFX10 GO offers three USB recording modes: Standard (including FX), Loopback (including computer audio) and Interface (channels 1–2 dry). For software instruments and overdubbing, it features separate USB 3–4 return on channel 7/8. Additionally, it comes with Waveform OEM recording software.

It benefits from the analogue mixing essentials such as four Onyx mic preamps with up to 60dB of gain on channels 1–4, Hi-Z switches on channels 1 and 2 for direct connection of instruments, 100Hz low-cut filters, 3-band EQ on all channels and one-knob

compression on channels 1 and 2.

In terms of sound quality and performance, the solution offers up to 60dB of gain and 48V phantom power on all channels, along with analogue compression and 3-band tone shaping EQ. Furthermore, the GigFX+ digital effects engine enables users to edit and save over 24 different reverbs, delays and choruses.

With connectivity in mind, there is a dedicated Bluetooth channel which users can connect to from phones or tablets to send and receive audio wirelessly. Users can also play their Dj sets, perform to backing tracks or stream live. In addition, the ProFX10 GO allows events to be captured to Mac or PC devices at high-resolution sample rates up to 192kHz via high-speed USB-C connection. The mixer is housed in a rugged steel chassis.

www.mackie.com

Rhaon II steers forward with OmniBeam

THE 2.5.0 update for Renkus-Heinz’s Rhaon II system manager now includes the OmniBeam beam-shaping algorithm. Designed for simplicity, through a click of the “Snap to Audience” button, OmniBeam instantly generates custom-tailored audio coverage for any venue.

A comprehensive software suite for controlling and monitoring all Renkus-Heinz loudspeaker systems, the Rhaon II system manager has been designed to be easy to program and use, and is fully compatible with both Gen5 and legacy Renkus-Heinz products.

The latest version of Rhaon II has been completely redesigned from the ground up, using highly structured modular code for greater stability and expandability. The result is a new Rhaon technology that aims to be faster and more reliable, with a streamlined, intuitive workflow.

The system manager’s new network-agnostic interface has been structured to enable simplified implementation of new and emerging protocols, including Dante and AES67. The solution offers

support for multiple NICs and wireless operation, enabling Rhaon II to integrate into existing network infrastructure.

BeamWare III, the latest iteration in the manufacturer’s beam steering calculation and simulation program, has been incorporated directly into Rhaon II. BeamWare gathers basic room and mounting information from the user and uses new, enhanced algorithms to automatically calculate the optimal beam design, acoustic centres and level profiling. For designers who want to create a custom frequency response target curve, Rhaon II will automatically optimise and equalise the beams.

In brief, the manufacturer is now offering EN 54-24 certificates for all models in its UBX Series of passive column loudspeakers. This certification ensures that UBX loudspeakers can be used as part of a voice alarm system within an emergency communication system.

www.renkus-heinz.com

Third-gen R Series racks unveiled by Yamaha

COMPATIBLE WITH RIVAGE PM series and DM7 series digital mixing systems, as well as the manufacturer’s CL and QL series consoles, the third generation of Yamaha’s R Series I/O racks have been unveiled.

The first-generation Rio3224-D and Rio1608-D debuted with the launch of Yamaha’s CL series

sound, as well as the audio assigned to the last two Dante receive channels, and is suitable for building complex networks. An additional (third) network port on the rear panel enables control and monitoring to be handled separately from Dante, a benefit for fixed installations. In addition, each output port is now equipped with

maximum precision, while the mixing engineer at the console adds colour, the R Series I/O racks are said to deliver lower noise levels and a wider dynamic range.

A new addition is a headphone socket, which can be used for checking the input and output

Work Pro expands its Integra family

THE INTEGRA 4SA and Integra 8SA have been added to Work Pro’s Integra series, and are said to bring “advanced and versatile solutions” for audio management in professional installations. Both models integrate DSP matrix functionality and amplification into a single product, providing a compact all-in-one solution for audio management and amplification.

The Integra 4SA is a matrix with four inputs and four outputs, featuring a 4-channel amplifier with 150W per channel. This combination is suitable for applications where a simplified installation and reduced size are required, without sacrificing performance and flexibility. On the other hand, the Integra 8SA offers an 8-in/8-out matrix along with an 8-channel amplifier, each with 150W of power. These models not only manage audio but also provide amplification, significantly reducing complexity and installation time.

Meanwhile, the NEO Air is a wireless addition to the NEO range of installation

loudspeakers. It comes with an advanced built-in wireless digital audio transceiver which transforms NEO Air speakers into a seamless broadcast system where any unit can function as a master or receiver. In multispeaker installations, one speaker can act as the master to distribute audio to an unlimited number of receivers, creating synchronised and immersive audio environments.

The NEO Air master speaker supports both Bluetooth and wired line-in connections, allowing users to stream audio from smartphones, computers or other devices. The master speaker can broadcast audio to an unlimited number of NEO Air receiver units. With dip switch-controlled channel selectors, up to 16 independent audio channels can be assigned, enabling venues to deliver distinct audio ambiences across multiple zones.

www.workpro.es

DESIGNED TO projection screens in digital signage and multi-display applications, AV Stumpfl has expanded its Pixera ecosystem with the release of the Pixera zero. Combining a hardware configuration in three models, the compact zero media server provides up to four 4K video outputs, within a 210mm x 265mm x 89.3mm form factor.

peace of mind. Importantly, power consumption of the Rio3224-D3 and Rio1608-D3 is 16% lower than earlier units, delivering a more costefficient and environmentally friendly solution.

www.yamaha.com/2/proaudio

Hosting an Intel Xeon processor with six cores, 12 threads and up to 5GHz, together with 32GB of RAM, the Pixera zero provides playback of uncompressed 4K content. Supporting a constant read rate of up to 5GB/s, its NVMe storage technology promotes high-speed data transfer and added reliability for both fixed installations and live events. The Pixera

zero media servers offer video playback, with licensed video outputs supporting resolutions up to 4096x2160 pixels at 60Hz. Weighing 3.72kg, its power-efficient design and peak power consumption of just 300W reportedly ensure optimal energy use for sustainable deployments. The PXZ-0, PXZ-2 and PXZ-4 models each come with a server software licence.

www.avstumpfl.com

Further illuminations from Lightware

FOLLOWING THE introduction of the Taurus UCX matrix switcher in 2021, Lightware has developed its portfolio across the Taurus product line. Designed primarily for meeting rooms and collaboration environments, the

USB-C connectivity platform promotes the sharing of content, switching of hosts and control of functionality.

Combining docking with control, monitoring and room automation, the Taurus UCX-1x1-C40

Matrox adapts to High and Open Standards

synchronised video surface of any size and rectangular arrangement, Matrox has released the Mura DVW. The IP-based 4K

distributed videowall appliance combines multiple units in various arrangements including computing, networking, video decoding and graphical processing capabilities. The flexible and scalable Mura DVW distributed videowalls can have further appliances added at any time. Each Mura DVW appliance supports high-density and flexible decoding of

Black and white broadcasting

MARSHALL ELECTRONICS has introduced the CV630-BI (in black) and CV630-WI (in white) IP PTZ cameras. Both models feature 25X UHD (HEVC) IP capabilities, making them suitable for live broadcast, newscast, reality TV, concerts, corporate, government, courtroom, house of worship and education applications. At their core, both models are equipped with an 8-megapixel 1/2.5-inch sensor capturing up to Ultra-HD 3840x2160p video, with support for HD 1920x1080p, 1280x720p and 1920x1080i. They are also equipped with synchronous pan, tilt and zoom motors for smooth and silent camera movements. A 25x optical zoom block provides flexibility from 4.6–120.5mm, with a nearly 68° angle-of-view at their widest. Multiple simultaneous video streams are available over HDMI, 3G-SDI and triple-stream

IP (H.265/H.264) with stereo audio input embeddable on all available outputs. PoE+ is said to provide an economical and easy solution for integrators during installation. The CV630-BI and CV630-WI offer easy control over iris, shutter, white balance, focus and pan/tilt speeds, and are controllable by IR remote, networked video management software (VMS) or RS-232/RS-422 with support for Visca, Visca-over-IP, Pelco and Onvif platforms. Additionally, both models are compatible with the Marshall VS-PTC-300 PTZ camera controller, providing adjustment of pan/tilt/zoom, pan/tilt speeds and white balance, with one button dials and rocker control.

up to one 8K60, four 4K60, eight 4K30 or 16 1080p60 streams, in H.265 (HEVC) or H.264 (AVC).

Eliminating the need for a separate server, the Mura DVW comes with MuraConfig web-based installation and configuration tools, which install and configure videowalls on any device from any location. Automatically discovering devices, MuraConfig configures the wall and bezels, and checks the PTP status and configuration.

An update to the Matrox ConvertIP DSH transmitter/receiver now enables IP-to-IP bridging for converting between uncompressed and

compressed formats including ST 2110-20, ST 2110-22 and IPMX. With features including wide asynchronous receivers and packet-paced narrow senders, the DSX LE5 and LE6 ST 2110 NICs offer universal compatibility and scalable interoperability within streamlined IP workflows. Supporting ST 2110 and IPMX inputs, the ConvertIP SDM is an Intel smart display module. Delivering 4K, zero-latency video streams over IP, the ConvertIP SDM bridges gaps between HDMI, HDBaseT and SDI networks.

www.matrox.com

Lumens launches 4K decoder for hybrid meetings

LUMENS HAS introduced its OIP-N60D Dante AV-H, a mini decoder that integrates Dante audio and video sources into hybrid communications. Designed as a user-friendly system, Lumens claims that the OIP-N60D Dante AV-H is the first all-in-one audio and video Dante decoder that connects to a user’s laptop with a single USB cable.

The unit supports low-latency 4K decoding with output to HDMI and USB simultaneously. This enables the decoder to connect to professional IP cameras with high-quality optical zoom lenses and comes with features such as voice tracking, motion tracking and auto-framing.

It has two channels of Dante audio and can connect to in-room microphones, sound bars and digital signal processors for enhanced audio during online meetings.

The decoder is powered by a PoE-enabled network switch or by USB. Thanks to Dante Controller, AV teams can select any Dante audio or video source available in the room without the need for system

RGBlink supports gamers within a blink

THE MSP 331U Gen2 marks RGBlink’s most powerful USB capture card to date. Designed for a new generation of gamers, it offers a fast and ultra-lowlatency game capture experience, supporting high resolution, a high refresh rate (up to 240Hz) and highdefinition video quality. Enhancing the overall desktop ambience, the four-colour indicator provides clear visibility of the device’s status.

Equipped with an adaptive power regulation algorithm, the MSP 331U Gen2 enables 7x24 hours of uninterrupted operation without a fan, ensuring a completely silent

The plug-and-play design eliminates the need for complicated setup, providing users with a simplified and intuitive experience. The USB card supports features including HDCP 2.3, HDR and analogue audio

reconfiguration or proprietary control software. The OIP-N60D Dante AV-H also supports Dante Domain Manager and Dante Director for LAN and cloud-based control, security management, monitoring and alerts.

www.mylumens.com

input mixing, which are especially suitable for game streaming and film production voiceovers. Supporting RGB 4:4:4, 4K at 60Hz and lower standard signals, the MSP 331U Gen2 is compatible with HDMI output. Supporting sampling rates of up to 3840x2160@60fps, the USB-C 3.2 port provides data transfer rates up to 5Gbps.

www.rgblink.com

Visionary provides an insight into the D5000 decoder

WITH THE introduction of the D5000 decoder, Californian manufacturer Visionary has added a compact AV-over-IP decoder to its 5-Series lineup. Designed for projects requiring streamlined functionality, the D5000 features a simplified I/O set, a single HDMI output, a single PoE Ethernet port and RS-232. Providing the core performance capabilities of Visionary’s D5100 in a more economical format, including native AES67 audio support, the D5000 is suited to AV-over-IP installations not requiring advanced decoder features.

In addition, Visionary has introduced significant upgrades to its PackeTV IPTV platform. The

signage system has been updated to provide enhanced functionality, a more efficient workflow and extended control. To create and distribute unlimited playout designs without additional licensing, improvements include a new template-based workflow. Every aspect of the IPTV ecosystem can be managed from the revamped Admin Portal. The interface enhances usability across all core functionalities, including live channel management, TV gateways, encoder management, recording, signage and virtual matrix control.

As part of the enhancements, the Scheduling Engine has been redesigned to

Green Hippo unveils Hippotizer MX Series

OFFERING FIVE customisable, dependable and futureproofed media server solutions that enhance workflow efficiency, the Hippotizer MX Series from Green Hippo provides 10-bit video playback for accurate colour reproduction, supporting SMPTE 2110 and IPMX workflows, as well as easy system customisation. Created for designers, touring professionals and integrators, the units come with rear-chassis illumination, upgradeable and swappable media drives, customisable output configurations and an OLED display.

The manufacturer has also released Hippotizer software version 4.8.4. Key improvements include an update to PixelMapper, which no longer adjusts two characters when using Del/Backspace/Arrow keys; Moving Presets no longer breaks Bank Slot readout in TimelinePlus, rest API errors have been fixed when using Preset and Timeline Modules and improved behaviour of TimelinePlus starting with the engine. PixelMapper UI should now work as intended in Windows 11 and Auto Sync to MediaManager now correctly works

scheduling and playlist management. Additionally, PackeTV IPTV features analytics its existing support for virtual machines, PackeTV broadens deployment flexibility for

accommodate for certain Datapath capture cards – fans will now ramp up if capture card temps are detected at an unstable level. Finally, HippoLauncher on Nevis no longer has EDID

than 1200 fiber optic solutions for broadcast, audio, video & network

users need to take the same steps listed for AMD systems.

www.green-hippo.com

Dragonfly SMPTE

LEMO SMPTE

SmartBeam DUO SmartBeam QUAD SmartBeam OCTO SmartBeam DODEKA

CHRISTIE HAS added two models to its Jazz Series, a family of 1DLP laser projectors. The 4K1600-JS and 4K2100-JS 4K UHD+ projectors join the WUXGA models and feature 16,600 and 21,350 lumens, respectively. They use Texas Instruments’ 0.8-inch HEP (High Efficiency Pixel) DMD for improved colour and contrast and a more efficient cooling system design. Jazz Series projectors deliver high brightness and resolution in a compact chassis, weighing only 29.4kg. With their quiet operation, built-in warping and blending capabilities, and a full suite of compatible lenses, including UST, the Jazz Series has been designed for concerts and theme park attractions as well as museum exhibits and projection mapping. The models come with optional Mystique automated camera-based alignment and are compatible

with Christie Intelligent Camera to trigger autofocus, automatically calibrate projector colour and optimise colour uniformity. The manufacturer has also unveiled the Spyder-S Series and Mastering Gateway. The former features five variants for multiscreen windowing processing for live events, broadcast and sports venues, while the latter has been designed for HD, 4K and 8K video distribution over IP networks for postproduction, live events and broadcast.

Expanding Christie’s Spyder platform, the Spyder-S Series supports HD, 4K and 8K resolutions at ultra-low latency for synchronised picture quality for critical applications. Key features include a modular and distributed architecture that allows multiple Spyder-S nodes to be combined to share source, monitoring and

Wireless sharing

EXTRON HAS unveiled the ShareLink Pro 2500 4K dual screen wireless presentation system, designed to allow users to present content from computers, tablets or smartphones on up to two displays. It supports simultaneous content display from up to four devices, including an HDMI-connected source such as a signage player. The included ConferenceShare enhancement enables wireless content sharing from in-room USB devices to UC platforms like Teams or Zoom. The ShareLink Pro 2500 features collaboration and moderator modes to facilitate both open and controlled environments, while dual Ethernet ports support more secure environments. When used with Extron GVE (GlobalViewer Enterprise) software for centralised management, IT staff can support multiple devices across an enterprise or campus. The ShareLink Pro 2500 enhances

numbers of displays by allowing any output to act as a multiviewer in canvas processing environments. With support for standards including HDMI 2.1, DP 1.4 and SDI-12G, the Spyder-S can manage up to 64 inputs and layers on one or more pixelspace(s), each

collaborative spaces with wireless integration of AV and mobile devices.

The manufacturer has also announced that its WC Pro 150 OCS and WC Pro 160 workspace automation controllers are now shipping. The solutions have been designed to add easy, secure display control and automation to workspaces of various sizes.

ARRI adds to Alexa range

ARRI HAS introduced the Alexa 265, a 65mm camera developed following feedback from users of the manufacturer’s larger Alexa 65. It is said to deliver a higher image quality through 15 stops of dynamic range and enhanced lowlight performance. The Alexa 265 features the

The Alexa 265 camera body is based on the compact Alexa 35 and despite containing a sensor three times as large, is only 4mm longer and 11mm wider. This means that the

Alexa 265 is less than one-third the Alexa 65’s weight and takes advantage of ARRI’s latest cooling and power management technologies. While the camera’s small size and weight allow it to be used in space-constrained locations, it also works faster on-set. Boot-up time and power draw have been improved, and compatibility with the Alexa 35 accessory set delivers more rigging options.

Filmmakers wanted to retain the 6.5K resolution and large pixel pitch, but were interested in higher dynamic range and improved low-light performance. A comprehensive revision of the 65mm sensor was developed for the Alexa 265, increasing the dynamic range from 14 to 15 stops and the sensitivity from 3,200 to 6,400 Exposure Index (ISO/ASA), with crisper blacks, greater contrast and a lower noise floor.

In brief, the manufacturer has also released the lightweight Artemis Live 2, optimised for live productions, events and sports. Designed to provide an accessible entry point into the ARRI CSS ecosystem, the Artemis 2 Live is modular and upgradeable to allow users to adapt to different production demands, including the ability to utilise whatever batteries are available at a particular shooting location.

www.arri.com

Depending on the model chosen, users can have automatic display control via an occupancy sensor – either built into the workspace controller or integrated as part of a room automation system. Right out of the box, these automation controllers will automatically power on a display via CEC when a person enters a room and turn it off at the end of the meeting when no motion

all with zero frames of latency. It is compatible with ST 2110-20, -30 and -40 standards for transmitting uncompressed content over IP networks.

www.christiedigital.com

is detected. Through the built-in web page, users can configure automatic display control over Ethernet, RS-232 or IR. Furthermore, both models support PoE for added convenience. To expand control capabilities to multiple displays and devices, users can add a LinkLicense for WC Pro Control Processor and configure these automation controllers with Global Configurator Plus or Professional. This LinkLicense will also provide access to Extron’s line of TouchLink Pro touchpanels and network button panels if a user interface is needed. Once LinkLicense for WC Pro Control Processor has been activated, LinkLicense for user interfaces can also be applied. This aims to offer a simpler way for users to operate their mobile devices or computers as primary control interfaces.

www.extron.com

a modular indoor videowall system with a thin profile that not only simplifies direct wall mounting, but also offers easy front installation and servicing of its universal magnetic LED modules. With high-performance LED drivers delivering a 3,840Hz refresh rate for camerafriendly operation in high-demand applications, the company says that combining NovaStar A10s Pro receiver cards, MX series processors and COEX VMP software delivers a wide DCI-P3 colour gamut and low-latency signal processing.

COEX VMP platform and MX-series processors/ senders. Its magnetic LED modules make replacement and servicing simple, while linking hardware is integrated into frames to make building bigger screens much faster. Designed for wall mounting and front service applications, its ultra-slim design allows for cabinets to be mounted very close to walls to reduce side profile.

www.chauvetprofessional.com

Alexa 265

Easy on the IP

THE EASYIP Tx/Rx HDMI encoder or decoder is the latest addition to Vaddio’s EasyIP ecosystem. The two-in-one device allows third-party cameras or HDMI content sources such as laptops to play in the EasyIP ecosystem. It can be set to either transmit or receive mode. In transmit mode, the EasyIP Tx/Rx converts HDMI signals and analogue audio inputs to EasyIP and Dante streams. In receive mode, the Tx/Rx converts EasyIP and Dante signals and delivers them as 1080p HDMI and analogue audio outputs for local viewing and listening. With support for Dante, analogue and EasyIP audio routing options, the EasyIP Tx/Rx is suitable for video distribution in

any number of destinations. This feature reportedly simplifies content distribution across rooms or displays without the need for costly cabling or distribution amplifiers. The multicast capability will be available through a firmware update for all existing EasyIP devices.

The manufacturer has also launched the DocCAM 4K HDBT document camera, designed for enhanced image clarity, easy installation and versatile streaming capabilities. The solution is aimed at educational settings, corporate training rooms and meeting spaces where highresolution overhead imaging is required. The ceiling-mounted document camera features 30x optical zoom and a 70.2° horizontal

design mean it can be installed behind displays, under tables or in AV racks. It can also be configured as a content distribution system, sending digital signage content from one source to many displays in a building or space. The unit can be reset and configured to either Tx or Rx at any time.

With the introduction of EasyIP Tx/Rx, EasyIP systems now support multicasting, allowing a single source to be received at

space, providing presenters with clutterfree space and allowing it to be integrated into various environments. Equipped with Vaddio’s OneLINK HDBaseT port, the DocCAM 4K HDBT easily connects to Vaddio OneLINK extension systems or other HDBaseT-compatible devices to reduce cabling and extend video, power and control up to an installation distance of 100m.

www.legrandav.com

Panasonic releases software for media processors

ET-FMP50 Series

multi-projection experiences, Panasonic Connect has released a dedicated integrated software for its media processors. The ET-FMP50 Series has been designed for all three media processors in the FMP50 Series to simplify and streamline the whole workflow process, from advanced setup to content management. The FMP50 Series includes two box-type devices (ET-FMP50/ FMP20) and an Intel SDM specification slotcompatible function board (ET-SBFMP10).

The software provides seamless control of large-scale, multiple projector immersive experiences and integrates screen adjustment capabilities, including precise geometry correction, with comprehensive content management functions. Immersive visual effects can be accurately created using auto screen adjustment, while multiple pixel-by-pixel alterations can create a smoother, more refined finish. Functionality includes geometry correction, content splitting, edge blending, black level adjustment, colour matching and masking. Providing everything required for automating content playback from multiple media, the content management functionality

monthly or even yearly timetables.

Offering AVoIP connectivity, high-quality visuals and an ease of installation, the TL-110AD12AW is a 110-inch all-in-one LED display featuring brightness of 700cd/m2 and a pixel pitch of 1.27mm. Delivering high-quality images with no colour deviation, the 110-inch model features multiple Intel SDM slots, for seamless AVoIP integration with various proprietary or third-party function boards. Panasonic’s LED display controls brightness and power to suit the installation environment, enabling it to operate continuously while reducing power consumption. Burn-in prevention and correction technology address issues that can occur when images are displayed for long periods.

In brief, the manufacturer has also released the VMZ7ST Series of short-throw LCD projectors. Based on the VMZ82 Series, the PT-VMZ7ST (7,000 lumens) and PT-VMZ6ST (6,200 lumens) are said to be Panasonic’s most powerful fixed, short-throw LCD laser projectors to date.

eu.connect.panasonic.com

AVAILABLE IN 24- and 31-inch variants, AEQ has announced the availability of the Kroma LM9000 4K monitors. In addition to HDR technology colour reproduction that enhances image contrast and realism perception, the LM9000 4K series enables detailed analysis of any video and embedded audio signal. Advanced Waveform/Vectorscope, VU meters and unique features including Peaking Colour, allow out-of-range signal levels and values to be detected. With an ability to display up to 10-bits for each of the red, green and blue primary colours, different colour gamuts can be displayed in HD-BT.709, 4K-DCI and BT.2020.

With a high brightness of up to 1,000cd/m2, the LM9000 monitors accurately reproduce every HDR video standard including HLG, ST2084 or PQ (Perceptual Quantizer) and S-Log curves. With the calibration specifically designed for 4K resolutions, it is possible to adjust each monitor individually and to user preferences. Setting different colour spaces standardised by various international organisations is also possible.

The input video signal can be analysed for both luminance and chrominance levels in YCbCr or RGB format. Pixel values above or below those recommended by ITU and SMPTE standards can also be detected at full frame level or individually for each of the lines that make up the image. The VU meters allow a correct detection and evaluation of the audio level of all channels of the video signal. The rear panel incorporates four SDI input and outputs for pairing with signal presence LEDs. Dual 12G-SDI switchable inputs are also included together with four 3G-SDI inputs for 4K Quad-Link inputs, a corresponding Quad-Link follower output and a Digital Components Input (DCI) connector supporting resolutions up to 2160p60. An RS-232C serial port, USB connector, RJ45 connector for GPI and a pair of RS-422 input and follower connectors come as standard.

www.aeqbroadcast.com

Silent Light

BALANCING SILENT

the same feature set of ETC’s flagship Halcyon family, the fanless Halcyon Silent from High End Systems is aiming to find the peace in noise-sensitive venues like concert halls and opera houses. Fully tested by acoustics specialist Müller-BBM, the Halcyon Silent measures 13dBa at full intensity and with background noise removed; for context sound pressure levels less than 20dBa are considered inaudible.

Convection-cooled to eliminate distracting sounds, the luminaire brings 18,400 lumens as well as a 5.5 range, and boasts a patented colour-mixing system using 12 flags. The company says these colour sets deliver brighter, more consistent pastels as well as deeper saturation, and can be controlled via combined or individual flag control modes. The Halcyon Silent includes a host of gobos on two rotating gobo wheels, full curtain framing along with the Trifusion system for diffusion control from sharp projections to heavy washes and control

of the angular position of animations via the Halcyon Silent’s continuously variable rotating animation wheel.

Martin unveils VDO Sceptron XB

MARTIN PROFESSIONAL has added to its LED pixel-batten family with the VDO Sceptron XB, designed for both lighting and creative video applications. The fixture inherits all the VDO Sceptron family’s features such as user-friendly mapping, simplified diffuser and lens exchange and a range of available rigging accessories. The manufacturer has also released Companion Mobile, the app-based version of Martin’s Companion fixture management, firmware upload and standalone programming tool.

The VDO Sceptron XB has been engineered with a boosted lumen output, enhanced cabling freedom and the ability to be controlled as a lighting fixture via Art-Net and sACN and as a video fixture via Martin P3, or both simultaneously. The fixture also features more than double the white light output and up to five times as much saturated colour output compared to its predecessor, the VDO Sceptron 10. It uses RGBW LEDs for an enhanced spectrum (CRI, TM-30, TLCI), making it suitable for illumination of people, set décor and other focus areas. The enhanced control options also aim to make this fixture easy to deploy, with or without a P3 System Controller. The batten features Extended Gamut calibration for enhanced performance on whites, offering colour temperature and tint control. The P3 Mix channel enables transitions between video and light control.

Additional features include built-in effects macros, a standalone mode for applications without a controller and a full suite of optical and rigging accessories. It also boats an IP65 rating for indoor and temporary outdoor

The lighting manufacturer has also introduced its latest automated lighting solution, the Zeo. This multifunctional

moving light can serve as a blinder, strobe,

with customisable colours. For additional versatility, each cell can be individually controlled, allowing for pixel mapping and other effects.

www.etcconnect.com

The architecture of lighting

extended its DURA Series of outdoor architectural lighting. All IP67 fixtures in the range are suitable for accentuating buildings, façades and art objects. The DURA SPOT RGBW comes in four different light outputs, while the DURA LINE RGBW linear fixtures

as accessories, providing versatility in lighting design and allowing users to customise the lighting to fit any application. Control is via DMX or RDM, with external control remote available via Cameo’s UNICON (CLIREMOTE). The units boast a minimum LED lifetime of 50,000

The app synchronises with Martin’s library over the internet, eliminating the need for manual downloads. Additionally, it automatically synchronises with the Martin-made GDTF files on the GDTF share. This provides access to all fixture details such as DMX Modes, DMX Channel Listings and Gobo Loadouts. GDTF files can be exported directly from Companion for use with any GDTF-compatible software.

www.martin.com

(50cm/100cm). The units can be used by architectural and lighting designers or for building owners who want to showcase their properties in a professional manner.

The DURA SPOT 60, 100, 200 and 400 are all equipped with an efficient 20W RGBW LED and calibrated for “excellent colour consistency”. The 6° beam angle and anti-glare shield included with each lamp help to minimise light spill and create a focused effect. Various filters for different beam angles are available

The DURA LINE 50 and 100 both come with various filters for different beam angles as accessories. The filters are designed so there is no need to break the IP67 protection by opening the fixture to switch between the filters. Both units can also be connected to each other thanks to the original Amphenol LTW connectors which combine power and data transfer in one cable.

www.cameolight.com

Halcyon Silent Zeo

A paragon of lighting from Elation

DESCRIBING IT as the next frontier in precision intelligent lighting, Elation’s Paragon series boasts TruTone variable CRI technology and a weatherproof IP54 rating, enabling designers to achieve intelligent adaptability with exact control over colour fidelity in both indoor and outdoor environments.

Designed for applications requiring superior output, powerful beams, ultra-quiet operation and precise gobos, colours and framing cuts, the Paragon series is built around a customdesigned white LED engine. TruTone allows seamless adjustment from CRI 70 to CRI 93, offering a true variable colour fidelity that enhances mixed colour tones and enables precise white spectrum adjustments.

This level of control is said to allow designers to customise and adjust the lighting with perfect accuracy to match any scene or artistic requirement.

The series is available in two high-performance models designed for various professional lighting applications. The Paragon S features a 550W white LED engine

fixture output and offers a fast zoom range from 5–50° to cover tight beam to wide wash applications. Its effects package includes seven rotating glass gobos, nine fixed metal gobos, a full animation wheel, overlapping dual prisms, dual frost and a high-speed iris. The animation wheel’s interchangeable design allows for custom wheels or the option to use a 7-fixedgobo disc. The indexable framing system allows precise beam shaping with full-blackout shutter cuts, while the 7-position colour wheel, including a UV filter, provides more creative

The Paragon M has a more powerful 900W white LED engine delivering 37,000 lumens, making it a midsize fixture built to make an impact across a broad spectrum of venues. With a fast zoom range from 5–52°, the Paragon M’s indexable framing with enhanced 45° blade angles allows full-blackout shutter cuts for

Sōl II and Sōl IV

A 6-position colour wheel, including a UV filter, offers designers a greater variety of shades. The lighting manufacturer has also added to its Sōl Blinder series with the Sōl II and Sōl IV. Both are equipped with the same RGBLAW LED engine and accept the same front lens accessories as the Sōl I Blinder. With ultrabright 2- and 4-cell configurations, the Sōl II

LED engines with 93+ CRI and an IP65 rating. The Sōl II’s two 350W LED engines radiate a combined 30,750 lumens of output, while the Sōl IV comes with four 350W engines delivering 59,830 lumens. They can be used as standalone units or integrated into larger lighting designs.

Four at 30

GLP IS celebrating 30 years in lighting with the launch of four products. With one eye on festival use, GLP says the IP65-rated Mad Maxx is the first real LED fat beam light, boasting a 750mm beam diameter that can be used as a SkyBeam as well as a fat bam onstage. Compared to alternative 3kW or 7kW Xenon fixtures, the Mad Maxx is compact and doesn’t need high ampere power infrastructure; with only 2,500W, the fixture can easily be connected to the normal power distribution network.

The Fusion EXO Hybrid 40 is the latest member of GLP’s Exo Series and is a beamspot LED fixture with a 380W white light LED, a 135mm front lens and a zoom range of 3.8–46°. Suited to small and medium-sized stages, as well as for outdoor use at festivals, it has an extensive functional package for spot, beam or wash applications, including a CMY colour mixing system, a colour wheel with 12 fixed colours and additional fourcolour correction filters, two gobo wheels, an animation wheel, a frost system and two combinable prisms.

In brief, the GLP impression S500 Series boasts a 500W LED engine and comprises two spotlights and a washlight, while the JDC Burst 1 is an outdoor LED tiltable strobe and wash light with a powerful white strobe line, two RGBW LED plates for clean white punch and 12 4-RGBW segments.

www.glp.de

Vari-Lite goes fully digital with VLHive

PROCLAIMING TO be the world’s first alldigital entertainment lighting fixture, Vari-Lite has debuted the VLHive 151 Digital FX. Manufactured at the company’s Dallas factory in Texas, the fixture includes a digital light engine with 45,000 lumens of output and pixellevel control. The VLHive’s 151-emitter LED array can

multichromatic animations. Users can create their own shapes and animations using the HiveCreator software tool, while patented technology gives designers a range of unique effects, including effect smoothing, polar positioning, transition effects and gobo keystoning – all of which can be controlled on the fly by standard DMX. The large 12-inch front lens can also be changed to a frosted projection surface at the press of a button, switching seamlessly from mid-air effects to direct-view animations on the fixture’s face.

The company has also launched the VL600 Acclaim+ Series of theatrical luminaires, which include a Fresnel and an ellipsoidal profile light engine offering the same core capabilities as the original VL600 Acclaim Series line, but with more output and features for larger venues. Both the VL600 Acclaim Fresnel+ and the VL600 Acclaim PLE+ share the same RGBL colour mixing system as the existing Acclaim Series fixtures, but with a 305W LED engine for over 15,000 lumens of output. The fixtures also include onboard etherCON connectivity for direct control via sACN or Art-Net without a separate

The voice for more choice

AIMING TO give lighting professionals more control over their workflows, ChamSys has unveiled three products specifically engineered to give users more choices. The MagicQ Compact Wing is a compact expansion wing that provides physical access to more faders and more playbacks, opening up more creative opportunities. Styled to match the MQ50/70 Compact Consoles, the portable MagicQ Compact Wing offers 10 fader and 10 executor playbacks, all of which feature a large full-colour display with legends located directly above each one. All 10 playback faders feature Flash, Go and Select (via its touch display), while the 10 space-saving Executor playbacks employ a Select and Execute button for each one. Suitable for live events, ChamSys says this adaptable product can also be used in any application where additional playbacks are wanted for extended control.

Giving its customers greater choice, the company has also released the GeNetix TouchScene series. Designed for the installation market, the GeNetix TouchScene and the GeNetix TouchScene MINI are wall-mounted touchpanel displays that enable remote scene activations at the press of a button. With cues provided through a ChamSys control system, the TouchScene family provides precise remote control of the system across various levels of operation. The larger TouchScene features an 8-inch display, while the Touch MINI has a 4-inch screen. Both integrate with MagicQ, QuickQ and GeNetix Nodes for cue activation, and both have customisable UI layout designs when connected to MagicQ Quick Q Systems. With the ability to display button functions directly on the display, the TouchScene display can be customised for flexibility, can show faders instead of buttons or a combination of both.

www.chamsyslighting.com

WITH FOUR fresh-to-market products, Italian lighting expert Claypaky has been busy. The Ultimo Hybrid combines an IP66 rating and extended lamp life in a compact, lightweight fixture. Powered by a 550W short-arc lamp, it delivers a 19,000-lumen output and a lifespan of up to 4,000 hours, while its motorised linear zoom delivers precise coverage in both projection modes from tightly focused beams to evenly collimated spots. Despite its compact size, the fixture boasts a 160mm front lens, an advanced four-focal plane shutter system, a complete colour mixing system, and a rich package of gobos and effects. The Ultimo Hybrid also features Claypaky’s proprietary Absolute Position Innovation, a system that remembers the fixture’s exact position in real time without requiring a reset, even after power interruptions. The company has also introduced the Tambora Rays, a blend of volumetric effects and single pixel mapping with 9x3 rows of high-power RGBWW LEDs. With pixel-to-pixel control, a total of 27 single LEDs can be managed to create a variety of lighting effects. The Tambora Stormy is a pixel-mappable strobe light in

www.claypaky.it

a compact size, while the Mini-B Sparky Aqua is an IP66-rated fixture featuring highoutput RGBW SMD LEDs arranged in 10 individually controllable concentric circles.

Mad Maxx

VL600 Acclaim+ Series

VLHive 151 Digital FX

Tambora Rays

Rays of light

MagicQ Compact Wing

ADJ’s expanding catalogue

LIGHTING MANUFACTURER ADJ has expanded several existing product lines, as well as released new additions to its catalogue. The Ultra Beam Bar 12CW features 12 20W 6,200K (cool white) LEDs which each output a distinct beam of light with a concise 5° beam angle. Smooth dimming control allows each LED pixel to be controlled separately, either via DMX or using the fixture’s 13 built-in chase programmes. A “pixel flip” mode is also included, which inverts chase patterns to run in the same direction regardless of the orientation of the unit.

The Hydro Flex L19 and Hydro Flex L7 are LED wash-zoom fixtures featuring 19 and seven RGBL colour mixing LEDs, respectively. They can output anything between a 5° beam and a broad 38° wash. They come with individual pixel control, Aria X2 wireless management and a host

of control options, including virtual CMY and foreground/background colour wheel control.

The UV Par 100IP features a 100W COB (Chip On Board) LED source, which has an average operational life span of 30,000 hours. It outputs ultraviolet light in the 390–399nm range, which generates a visible purple light as well as fluorescence effects that cause white and UV-active décor and materials to glow vividly. The fixture has a

wide beam angle of 120°, allowing a single unit to cover a wide area of a stage or crowd space. It also offers 0–100% dimming, variable speed strobing and an adjustable refresh rate.

Other new additions include the 40 HEX Panel IP LED wash panel fixture with 40 20W RGBAL+UV colour mixing LEDs, the Encore DBX IP65-rated full colour twin cell audience blinder/strobe, the Vintage X and Vintage Bar which have been designed to provide a focal point within a lighting rig and the PC415X power distribution centre.

www.adj.com

Quik on the uptake

AIMING TO combine ease of use, accurate performance and rapid setup, the QuikSpot is a flexible battery-powered LED lighting fixture by Astera designed to meet the demands of fast-paced environments in big events and media productions. The QuikSpot is an IP65-rated, zoomable, single-source spotlight that aims to bridge the gap between lighting applications and maximise ROI. Weighing just 3.5kg, the QuikSpot is Astera’s brightest luminaire under 60W and produces up to 3,000 lux at 3m (13°). A new OutputGain feature allows users to choose between maximum output and deep colour saturates, or higher CRI with perfect skin tones. Meanwhile, its QuikTurn zoom mechanism offers a 13 60° zoom range and achieves wider beam angles free from colour shifting and multiple

shadows. The beam can be further shaped via elliptical rotatable filters and the SafetyLink-ready

FOLLOWING IN the footsteps of Cobra, Ayrton has unveiled Mamba. Described as a versatile lighting concept equipped with a laser source twice as powerful as Cobra, Mamba can deliver a multitude of new psychedelic effects said by the company to be “nothing short of spectacular”.

The first laser-sourced IP65 fixture in Ayrton’s 6 Series, Mamba features 18 motors dedicated solely to effects creation, as well as a selection of 92 fixed and rotating metal gobos across two wheels, specifically designed to sculpt light in “beam” mode. An endlessly rotating ovoid animation wheel adds to its arsenal.

The gobos can be paired with an initial level of two palettes, each containing four individually rotating, indexable prisms that can be combined. These can then be linked to a second level of four combinable prisms situated at the front of the fixture, enabling the creation of complex volumetric effects. Completing its graphics toolkit are two frost filters.

Another advantage is in its front diameter, as all existing AX5 front attachments such as filters, domes and snoots will also fit the QuikSpot. But unlike the AX5, the QuikSpot uses Astera’s proprietary Titan LED Engine colour mixing system with OutputGain, providing rich, deep colours alongside in-camera advantages and a sleek aesthetic. The QuikSpot offers both wired and wireless operation, with a maximum battery run time of 4.5 hours at full power with OutputGain activated, and up to 20 hours in energy-saving mode. When used wirelessly, the QuikSpot’s in-built batteries can be charged directly in the case and through electrical contacts. Meanwhile, rigging options include a removable yoke, TrackPin Compact for minimal height when hung and a 3⁄8-inch BabyPin thread in the back for added flexibility.

www.astera-led.com

The fixture introduces a new colour section, including a high-definition gradient CMY mixing system and an instant-access, multi-position wheel equipped with 15 complementary colour filters, two multicolour filters, two CTP correctors, a progressive CTO and three multicolour animation sections – RGB, CMY and RGB+CMY –spread over two concentric circles. Fitted with a 250mm front lens, Mamba’s proprietary 13-lens optical system offers a 21x zoom range and an operating span from 0.7–15°. With continuous pan and tilt rotation, this fixture becomes a universal tool.

ADVATEK HAS announced the launch of its PixLite R1F-S receiver and PixLite T16X-S transmitter. The receiver, with its smaller form factor, has been specifically designed for installations in tight spaces. Supporting up to 1,020 RGB pixels per data run, the R1F-S offers advanced mounting options, seamless integration and reliable signal performance, even in the most challenging environments. It comes with a 5–48V input range to provide compatibility with more pixels.

The IP65-rated Mamba operates both outdoors and indoors – even in saline environments – while maintaining full accessibility. Weighing 41kg, it is equipped with a sun protection system and an integrated heating system that withstands temperatures as low as –20°C. www.ayrton.eu

The transmitter is engineered for longrange performance, offering 16 outputs that each support up to 1,020 RGB pixels. Designed to reduce control costs, the T16-S enables data transmission distances of up to 300m, making it suitable for largescale projects. Both have been designed with advanced mounting options for easy installation.

www.advateklighting.com

Ultra Beam Bar 12CW

UV Par 100IP

The Maiden voyage

Having

STEPPING INTO THE ROLE OF MIDDLE EAST GENERAL

manager at the end of 2024, Brad Maiden has been laying the groundwork for d&b audiotechnik’s new regional subsidiary since joining the German loudspeaker manufacturer as VP of business development 18 months prior. But his roots with the brand actually go back much further, all the way to Australia more than 15 years ago, where he first grew familiar with the J-Series system that once powered the Sydney Opera House’s famous Concert Hall.

“I’m fortunate to have worked as a musician, FOH engineer and technical producer in many different venues and projects, so my background is an advantage when it comes to understanding aspirations,” explains Maiden. “In later years, I’ve worked on the client side of business, the technical/practical side, the consultant side and now on the manufacturing side. I think that makes me well-versed in all aspects of the company and, therefore, make it that much easier to help put the right message out to the market.”

Maiden’s diverse experience not only using the brand but also championing other growth aspects of the business makes him perfectly positioned to extol the virtues of d&b to areas of the world, and segments, where the brand is perhaps less wellknown.

“The Middle East market has been in the background for d&b for a while,” he furthers. “But it got to the point where we could see what the market was doing; we can see the entertainment, sports and hospitality sectors in particular, along with themed attraction sectors all booming. So, having a local presence was a strategic move. I think the type of projects that we have in the Middle East, whether they’re events or big construction projects, are some of the most exciting projects in the world.

“I’ve set up companies in different territories in previous roles, so have experience with market development, making quick

snapshots of what the local business environment is like and what relationships need to be created,” Maiden explains. “Our primary focus recently has been on the sales partner network, looking at growth partnerships that we could create before setting out our longer-term strategy.”

The establishment of a local outpost on the ground isn’t intended to take away from the company’s partner’s responsibilities, quite the opposite. Maiden has laid the groundwork here too by forming several new relationships covering different segments of the business. These include new sales relationships with Avientek and Provision AVL in Dubai and Technology KAR in Egypt, in addition to multiple integration/ rental partners such as AVI-SPL, Creative Technology and Egypt’s Quality AV. AVI-SPL recently opened The Cave Soundscape experience in Dubai, while Provision AVL and Avientek also plan to open Saudi experience centres later this year.

“It’s essential to have a good partner network and d&b is a partner-centric company,” says the GM. “We take responsibility for education, ensuring great designs which maintain our benchmark for quality, and then do as much as we can to help the partners take this further. They’re an essential part of the network for not only sales, but also education, training, service and commissioning.”

While partners are no doubt essential, they are no substitute for a committed local team. Maiden has been working on this element too with the addition of Kassim Salim as sales manager and Richard Fenton – who Maiden worked with in Sydney at the Opera House – handling education and application support. “The plan is to increase the team corresponding to the amount of service that we need to provide to the market,” notes Maiden.

With the help of Fenton, on-the-ground comprehensive local education is another key priority for the team. “We’ve already started rolling out our education programme with the idea being

that every month at least there’ll be official d&b training in either Dubai, Riyadh or Cairo,” Maiden explains. “Then for all our clients and customers we also do onsite training. We’re excited to announce that we’re going to be doing quarterly training at Beast House in Riyadh through an initiative we’ve been working on with MDLBeast to help train local Saudi engineers. We’re a fast-moving industry, and there are many different ways of working.”

Pro AVL MEA would argue that the hard work must now be done; however, Maiden disagrees. “I feel like I’m just getting started,” he says. “We’ve spent 18 months putting in place structures and defining the strategy. Now the work really begins, which is the penetration of d&b into the regional market as the world-leading audio provider of choice. My job is to develop greater brand awareness.”

Having recently powered Green Day and Coldplay concerts, the Abu Dhabi F1 entertainment and MDLBeast, d&b’s plan is already bearing fruit. With the launch of CCL, its new compact cardioid line array, Maiden feels energised to bring the company’s latest solutions to new users.

“I think it’s fair to say that globally we’re really excited about CCL,” he says. “But in the Middle East, I’m especially excited because I think it’s a great system for corporate, performing arts and rental companies that are looking for an introduction to d&b with the cardioid performance of the SL-Series, in a smaller more efficient package. I think it will be huge here. Our partners are investing, which is great, and we’re looking to take CCL ‘on the road’ for a series of demo and listening sessions later in the year. I come from a theatre background, so we’ll try and do something for CCL that is a little different. You’ll have to wait and see!”

www.dbaudio.com

L–R: Brad Maiden, Richard Fenton and Kassim Salim