Pro AVL MEA May–June 2023

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Editor’s Letter

With NAMM having taken place in mid-April (see pp46–47), tradeshow season’s now definitely upon us. Soon, I’ll be heading off to CABSAT (and the new Dubai Integrate show), Saudi’s SLS exhibition and InfoComm in the US. And while I won’t be there, we also have the inaugural edition of GITEX Africa. All in the space of a few weeks.

I’m particularly looking forward to the SLS show in Saudi, a country that has traditionally not always been that easy to enter. This is quickly changing – recently the Kingdom unveiled plans to launch a new national carrier, Riyadh Air, to rival the likes of Emirates and Qatar Airways, spending US$37 billion on a fleet of 72 Boeing Dreamliner jets. The new airline will connect more than 100 destinations around the world by 2030 from a revamped six-runway airport in the capital. Recognising that

airspace.

Saudi ruler Mohammed bin Salman has earmarked $1 trillion over the next decade to make the kingdom a global tourist destination, attracting tens of millions of visitors a year. But keen to retain its position as the current regional travel and business hub, Dubai keeps investing in new developments to entice more visitors. Following a lengthy construction period, Atlantis The Royal located on The Palm is one such trailblazer. I took a look inside the hotel on a recent visit and you can find out all about Meyer Sound’s extensive involvement there on pp36–38. Looking forward to seeing you at one of the tradeshows soon!

Richard Lawn General manager rlawn@proavl-mea.com

Caroline Moss Contributing editor cmoss@proavl-mea.com

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

Sue Su Guangzhou manager T: +86 13609001455 ssu@proavl-mea.com

Sue Gould Advertising director sgould@proavl-mea.com

Karen Wallace Editorial coordinator kwallace@proavl-mea.com

Chris Yardley Video editor cyardley@proavl-mea.com

Frank Shao Beijing manager T: +86 10 8652 5184 frank@proaudioasia.com.cn

Carolyn Valliere Sales associate cvalliere@proavl-mea.com

Libby Stonell Digital content editor lstonell@proavl-mea.com

Adrian Baker Production manager abaker@proavl-mea.com

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

90% of the riders, and this is why we have been working with NMK for many years to build our L-Acoustics arsenal of products.”

Following the success of Omar Khairat’s musical evening, the Al Lailak team was able to secure numerous other opportunities. “The concert was widely regarded as one of the most memorable events of the season, leading to enquiries from prominent event agencies seeking to engage us as the primary audio solutions provider for their events at The Arena Kuwait,” concluded Al Saedi.

L-Acoustics drives emotion at Omar Khairat show

Egyptian pianist and composer, Omar Khairat, and his full orchestra of 50 talented instrumentalists, made a return to Kuwait after a four-year absence. The concert, held at the end of last year at the nation’s premier multipurpose indoor hall, The Arena Kuwait, was an evening that captivated audiences with Khairat’s emotive musical compositions, amplified by an L-Acoustics Kara sound system that was delivered by the L-Acoustics Certified Provider in the Middle East, NMK Electronics Trading.

The audio system for the event was designed and supplied by Kuwaiti rental company, Al Lailak. The company’s cofounder, Yousef N Al Saedi, a seasoned sound engineer with over 15 years of experience, was contacted by the show organisers to create an audio system that

would meet the specifications outlined in the musician’s technical rider.

“One of the key requirements was to design a system that would offer evenly distributed sound throughout the entire venue, which can accommodate up to 5,800 people,” explained Al Saedi. “Another challenging aspect was addressing the reflections from the venue’s glass balconies.”

As a loyal customer of NMK for many years and having recently invested in an additional stock of 24 K2 systems with A10 and X8 loudspeakers, Syva systems, 5XT speakers, as well as X12 and X15 monitors, the Al Lailak team was confident that the L-Acoustics sound system would meet all of the client’s requirements.

By utilising L-Acoustics Soundvision 3D design and mapping software, the Al Lailak

team performed virtual placement of the cabinets, while viewing the coverage of each particular hang and matching time delay where needed. “This gave us a clear view of the audio coverage even before we entered the venue,” continued Al Saedi.

The final system comprised left and right arrays of 12 Kara each and left and right hangs of three Kara each. Stage monitoring was a mix of X8, X12 and X15, with stage fill catered for by single A10 cabinets positioned on tripod stands in a two at the front and two in the rear configuration. The entire system was powered by 29 LA8 amplified controllers with control via LA Network Manager. For the VIP area, seven X12 were mounted on a 40m truss.

Al Saedi said: “L-Acoustics is what the artists and the bands want based on over

“Since then, we have had the privilege of providing audio for renowned artists such as Angham, Elissa, Nabeel Shuail, Sherine, Tamer Hosny, Mai Farouq, Marwan Khoury and Amr Diab. This success would not have been possible without the outstanding sound quality of the L-Acoustics system used for Omar Khairat’s event.”

www.l-acoustics.com

Bose Professional is sold to Transom Capital

Bose Corporation has announced the sale of the Bose Professional Division to Transom Capital Group, an operationsfocused middle market private equity firm. With this deal, Transom will assume ownership of the Bose Professional commercial installation and conferencing businesses. Bose will retain its portable PA systems as part of its core consumer product business.

“We’re proud of what Bose Professional has accomplished – its legacy in the professional AV market and the diverse list of amazing installations it has completed all over the globe,” said Lila Snyder, CEO of Bose Corporation. “The sale to Transom will provide Bose Professional the additional attention it

needs to support the professional audio customer, and to continue to develop products and technologies that stand

out in the industry. It will also allow Bose to focus more deeply on our core business – creating amazing audio experiences for on-the-go, at home and in the car.”

“Bose Professional’s tenure in the professional audio business, its standout product portfolio and customers, as well as its team dedicated to researching, engineering and delivering new and innovative products, made it a compelling business for us to bring into our portfolio,” said Russ Roenick, founder and managing partner at Transom. “We are working closely with Bose to ensure business continuity for Bose Professional going forward, and we look forward to continued success

for the business as an independent company.”

“We’re excited about the new opportunities this will enable us to explore,” said Michael Bennett, CEO of Bose Professional. “Our customers are the key reason we develop systems that are easy to design, easy to install and easy to operate. As the pro AV industry continues to evolve, our focus is on ways to help our customers be more successful and clear the path to great sound.”

Progress Partners acted as Bose’s exclusive financial advisor in connection with the sale.

www.boseprofessional.com

www.transomcap.com

Omar Khairat performing

SSL acquires Harrison

Solid State Logic (SSL) has announced its acquisition of US-based pro audio console and music production software manufacturer, Harrison. Since 1975, Harrison has been one of the leading console brands for music recording/mixing, film and television sound postproduction, cloud-based broadcast sound and live sound reinforcement. It is credited with bringing the first in-line console to market, which was said to “revolutionise” studio production allowing engineers to combine the features of recording and mixing into a single mixer strip.

Nigel Beaumont, Solid State Logic MD, commented: “Having been on our own growth journey these past five years since the investment from Audiotonix, the announcement today is a proud moment for all our staff as we now welcome the Harrison team to our SSL family. It’s been clear from the outset that Gary [Thielman] and his colleagues have a passion for console design and their aspirations align with our own.”

Gary Thielman, Harrison president, stated: “Having been part of this business and the pro audio industry since the early

80s, it feels very apt that we would find our natural home with Solid State Logic and Audiotonix. This alliance provides

Harrison a strong future with access to further manufacturing, knowledge in engineering and expanding our access to new channels and partners which increases our potential to grow this wonderful business.”

James Gordon, Audiotonix CEO, added: “From an Audiotonix perspective, it’s a privilege to help bring this unique partnership together with these two legendary UK and US mixing console brands. With their very individual and identifiable sound, their future together is going be unbelievable. What’s great too is that Harrison and Solid State Logic share a similar culture where their teams are personally invested in this industry, so I’m excited to see what new innovations and products this super-group of technical talent can bring to market.”

www.harrisonconsoles.com

www.solidstatelogic.com

Sennheiser partners with Kramer WORLD

Sennheiser has partnered with Kramer, aiming to create an assured, flexible and easily deployed audio solution for optimised hybrid teleconferencing. The new solution combines Sennheiser TeamConnect Ceiling 2 (TCC 2) and TeamConnect Ceiling Medium (TCC M) ceiling microphones with Kramer’s AFMDSP20-AEC audio matrix switcher, intended for

Puppets rock with Robe

Contemporary multipurpose venue

Gray in Modiin, Israel, has had a Robe LED moving light rig installed to enhance the 900-capacity entertainment space. Managed and run by the municipality, it is said to be popular and successful in offering a wide range of live music and performance shows in a supper club format.

The lighting, LED screen, trussing –including two circles above the audience –and rigging were supplied and installed by Danor Theatre and Studio Systems, working in conjunction with consultant Dror Herrenson, with 12 Robe VIVA CMYs and 12 LEDWash 600 moving lights being specified.

The LEDWashes are positioned on the front truss for a full stage wash and the VIVAs are the main over-stage fixture, rigged on three raked trusses. Both fixture types were also chosen for their small size and because they worked well with the 6m x 3m (WxH) upstage LED screen.

Once installed, the lighting rig was slightly redesigned by Ziv Limor to optimise the venue’s character and space, changing up the trussing angles and modifying the shape of the side trusses.

Danor’s Erez Hadar said: “This is a greatlooking installation as well as a really practical and value-added moving light solution that provides excellent riderfriendly production values.”

Gray Modiin’s lighting is said to have been appreciated by many visiting artists and lighting people, including Meir Hayon, who operates lights for Israel’s own puppet rockers, Red Band, who were playing at the time of the Robe reporting team’s visit to the venue. Hayon has worked with Red Band for around nine months and is enjoying using the four MegaPointe specials. “They are an amazing fixture – they do everything I want,” he said.

www.robe.cz

also offers audio and room-wide control. It supports Audinate’s Dante and can be operable by Kramer Control, enabling automation of the microphones along with other room elements, such as screens, lights and shades. By removing the time and hassle required to manage a meeting space or classroom, participants can focus on productivity.

The components of the combined solution are available directly from the global sales networks of the two companies. Their worldwide support networks support the

solution, enabling end users to easily access any help or advice, if required.

Charlie Jones, global alliance and partnership manager, Business Communication, at Sennheiser said: “At Sennheiser, we’re proud to combine our renowned audio expertise with Kramer’s reliability and ease of use to bring this

heavyweights come together to create a solution that transcends our respective specialisms. This combined expertise will help to power creativity, collaboration and engagement within both meeting and education spaces worldwide – and with a wealth of innovations from both companies already shaping the audiovisual experiences of the future, we hope this is the first collaboration of many.”

www.kramerav.com

www.sennheiser.com

From top left: James Gordon, CEO, Audiotonix; Helen Culleton, COO, Audiotonix; Nigel Beaumont, managing director, SSL; Gary Thielman, Harrison president; Ben Loftis, Harrison product manager; and Enrique Perez, SSL CTO

ISRAEL

Red Band

ABRI goes higher with MNK Studios

the region to be mixed in this format. With its immersive sound, the Atmos mix allows listeners to experience a soundscape in binaural or 3D format, which is very different to conventional stereo mixes produced for the consumer market.

range. As the first homegrown soul artist from the UAE to have a song released in Atmos, he hopes to connect with his fans on a deeper level and bring them even closer to the emotions and energy of his music.

MNK Studios, a Dubai-based professional recording facility, has announced the release of the first Dolby Atmos mix for Emirati soul artist, Hamdan Al Abri, aka ABRI.

The Dolby Atmos mix produced by MNK Studios, which was created for the latest single release Higher (Breathe Easy) by ABRI, is the first for its genre (soul) in

“We are thrilled to be able to offer this innovative sound technology to our clients and to be at the forefront of the region’s music scene,” said Miltiadis Kyvernitis, owner and chief audio engineer at MNK Studios. “Dolby Atmos for music is the way forward and is a game-changer for music production, and we’re excited to have had the opportunity to work with the talented and renowned ABRI for our first release since enabling our studio facility with Dolby Atmos.” Hamdan Al Abri, who has been making music for nearly two decades, is known for his soulful sound and dynamic vocal

CTME invests in Elation Professional

Creative Technology Middle East

(CTME) has made an investment in Elation Professional’s Proteus series of automated IP65 lights, along with IP-rated KL Panel softlights. The purchase includes the Proteus Excalibur sky beam moving head as well as the Proteus Maximus LED moving head, both luminaires routinely used on large-scale productions and outdoors. Additionally, CTME has invested in Elation’s KL Panel XL IP for use in broadcast and film settings. CTME worked closely with Jean Pierre de Vernon from Venuetech, Elation’s exclusive distributor in the Middle East, to procure the new lighting gear.

Sam Connolly, head of lighting at CTME, commented: “Elation is a brand creating innovative and versatile products like the Proteus series and KL Panel XL IP. I am extremely excited to have these new fixtures

FBT speakers enhance Cracker Zac’s

SOUTH AFRICA

Cracker Zac’s, the latest addition to The Fun Company in Rosebank, Johannesburg, offers an entertainment experience for over 21s, featuring a boutique tenpin bowling alley, augmented reality darts and a retro arcade inside an upmarket bar. To complement this atmosphere, audio installation company, Get Connected, selected FBT speakers to create a versatile audio system.

Jonathan Isaacs, the owner and audio installation expert at Get Connected, was tasked with finding a speaker system that would look neat, be versatile enough to be used as a background music system by day and deliver a powerful audio experience by night. Isaacs chose FBT’s J8A Active Speakers, which he felt met all the requirements of his client. “We decided to go for lots of small speakers as

opposed to two or three massive speakers to keep things looking neat whilst evenly distributing the sound throughout the venue,” said Isaacs. “The FBT J8A Active Speaker has a proper compression driver with a high frequency but is still a really small speaker. While we did find one or two other products that did fit the bill, FBT also came in at the right price.”

To ensure a neat look and consistent audio experience across the venue, Isaacs used custom-made brackets to hang the speakers from the ceiling. The brackets allowed the speakers to be installed at just the right height, not too close to the ear but also not too far away. Additionally, Isaacs added FBT Subline 115SA Active Subs for enhanced bass, which were hung from the ceiling using custom-built brackets, keeping the floor area free from obstruction.

“It is an amazing experience,” said Al Abri. “The fact that you become immersed in the music is something that really triggered my interest, so that instead of just listening to the music, you are a part of the song and the experience of how the song was created. Hopefully we will be doing more of these with MNK Studios. I am very excited about the journey and hope to see Dolby Atmos becoming the standard of the music listening experience for all artists dedicated to the art of music.”

www.dolby.com

www.mnk-studios.com

added to our vast range of lighting stock. The investment we have made is exceptional for the Middle East, as we can now offer our clients first-class exclusive lighting packages for all their spectacular events across the GCC.”

Andy Reardon, CTME’s MD, added: “We pride ourselves on providing the very best fullservice solutions to our clients, which is why we continue to invest in event technology in the region. Having made this investment, we can continue to be a one-stop solution partner for our clients, ensuring high-quality products, a world-class bespoke service and an elite team. We are delighted to have expanded our lighting stock and thrilled that we can offer this service to meet small and large event requirements across the Middle East.”

www.ct-group.com

L–R: Jonas Stenvinkel (Elation), Sam Connolly (CT) and Andy Reardon (CT)

Let everyone — remote or in-person — share the same meeting experience. Move freely. Speak effortlessly. Feel seen and be understood clearly. Because when conversations flow, collaboration follows. Naturally.

Futuristic VR cube pushes players to reach their potential

Technology from BrightSign has been used to power a continuously rotating 4m2 digital glass cube at Pixoul Gaming, a new virtual reality (VR) and esports hub in Abu Dhabi. The structure, which was created by Dubai-based digital media studio and systems integrator DigiComm, is believed to be a world first because of its size, weight and kinetics. It incorporates 38 BrightSign XD234 media players powering synchronised content across 123 55-inch and 49-inch LG display units. As well as being fully encased in screens, the large cube houses a walk-in room that is also lined on all sides and above with digital displays. The whole installation weighs around four tonnes and can carry up to six people at a time.

by DigiComm after the customised media specialist won the project in a competitive tender. It dominates Pixoul’s colourfully lit entrance hall, providing a storytelling experience to gamers arriving at the venue. Because Pixoul is a VR attraction, it was important to create an impactful display that was representative of the games, which are themselves largely invisible. Abstract sci-fi content created by DigiComm using BrightAuthor is displayed on the cube’s exterior, setting the tone for the experience to follow. On entering its interior room, players watch a looped three-minute audio visual production created by Pixoul’s game designers Robocom VR. A virtual robot guide explains what to expect from a visit to the unique world of the Pixoul

face a different part of the space than when they entered.

Inside the cube, the location of the audio content is changed at different points on the timeline by the BrightSign players, so that it always comes from the robot figure, wherever it appears on screen, making people turn to look in the right direction.

BrightSign players were selected not only for their audio features but also for their ability to fit in a compact space between two screens without any ventilation and the ease with which they can be synchronised. They also enable all the content to be stored within the cube itself, avoiding the need to transport media off the rotating platform via slip rings to a separate server room, which would have been complex and costly.

The cost-effectiveness of the proposed solution and the fact that it could provide an end-to-end service, including design, hardware and content, clinched the project for DigiComm, who then delivered it in 45 days. The platform and the skeleton of the cube were manufactured in Dubai, while a sevenstrong DigiComm team handled the system integration and content creation in-house.

Ann Holland, VP marketing at BrightSign said: “Abdul Bakhrani and his team have really smashed the bar with this stellar project, which is as impressive technically as it is visually. Their imagination is truly amazing, and each project they deliver harnesses the capabilities of our players to their most powerful potential.”

Hamilton added: “DigiComm delivered exactly what we wanted with no changes at all. There were some seriously talented and forward-thinking people involved in pulling this together.”

www.brightsign.biz

Provision AVL illuminates Hesapsiz Meyhane

Provision AVL recently collaborated with Hesapsiz Meyhane to bring authentic Turkish cuisine to Dubai. Provision AVL utilised a range of products to set up the restaurant with audio, video and lighting solutions.

The FBT Muse speaker setup consists of eight Muse 210LND tops and four Muse 218SND subs. Provision AVL also deployed FBT X-Series and the Shadow Series outdoors and throughout the restaurant. INFiLED screens were used to provide visual displays, and Milos aluminium trussing was utilised to create a stable mounting system for the audio and visual equipment.

Hesapsiz Meyhane now offers a dining experience that the management feels perfectly complements its cuisine.

Provision AVL said it is “proud to have been a part of such an exciting project in Dubai”. www.provisionavl.com

Riedel Networks teams up with KCS for motorsports

Riedel Networks has partnered with Kalaam Carrier Solutions (KCS), the wholesale division of Kalaam Telecom Group, to fulfil its connectivity networking requirements for motorsport events across Bahrain, Saudi Arabia, Qatar and the UAE.

“We collaborated with Riedel to go beyond what was previously available to motorsport teams and deliver a solution that is robust, reliable and future-ready to meet growing demands,” said Veer Passi, group chief executive officer at Kalaam Telecom. “Our people, precision and performance are a great fit for Riedel and demonstrate the value of our global network to develop unique, customised connectivity solutions that meet customer needs in the MENA region.”

In collaboration with Riedel Networks and its strategic national partners, KCS provides multiservice connectivity from racetracks in the Middle East to partners in Europe and Asia. Riedel Networks uses KCS as a point of presence (POP) in the region, allowing the company to connect to its global POPs in Europe and Asia. The solution will primarily utilise the Kalaam Network Optical Transit (KNOT) cable system, a 1,400km terrestrial network that spans Kuwait, Bahrain, KSA, UAE and Qatar. This comprehensive network will enable racing teams to seamlessly share data from the cars and drivers while supporting social media platforms and broadcasters.

Riedel Networks and KCS signed the agreement in December 2022 and the POP went operational just a few weeks after, just in time for the start of the motorsports season.

Riedel Networks’ technology modernised the network nodes, which is said to have optimised round-trip delay between Europe and racetracks in the MENA region by more than 15%.

“Riedel Networks prides itself on delivering the highest quality of services to our clients,” said Michael Martens, CEO, Riedel Networks. “Thanks to Kalaam Carrier Solutions’ innovative thinking, robust connectivity and consistent experience across multiple markets in the Middle East, Riedel now benefits from a secure network with control over its design so that it can deliver the services our global customers have come to expect since we started serving the motorsports industry in 2006.”

www.kalaam-telecom.com

www.riedel-networks.net

L–R: Michael Martens and Veer Passi

Showgear relies on ADJ for The Voice Nigeria

A variety of ADJ fixtures were used to assist in the production of the fourth season of The Voice Nigeria. The fixtures were supplied by the manufacturer’s Nigerian dealer, Showgear Limited. It was the first time Showgear had been involved in the production, having established a relationship just months before when MD and lead engineer Christian Akinyemi worked with the programme’s music director, Wilson Okafor, on a live concert production.

Procom launches K-array demo space

Procom, distributor of K-array group products in the Middle East, recently inaugurated an interactive multi-room demo space at its headquarters in Dubai. Situated in Dubai Investment Park, Procom wanted to create an accessible space that would allow clients full access to a range of K-array, KGEAR and KSCAPE equipment in a setup that mimics realworld environments.

An extensive range of products from the K-array family was deployed across

multiple environments including a demo room, meeting room, reception area and training centre to showcase K-array solutions across applications as varied as live entertainment, corporate installations, hospitality and retail.

Upon entering the showroom, visitors can explore a choice of K-array group solutions in a dedicated display area featuring both K-array and KGEAR brands. Products in the showroom include K-array’s Vyper line array elements and 2-inch point source Tornado speakers plus a range of subwoofers, as well as KGEAR’s GCF wall-mounted ceiling speakers and GA amplifiers.

KSCAPE’s RAIL is installed in various forms across the Procom facility. At Procom, visitors can experience real-world examples of KSCAPE RAIL in action across the demo room, meeting room, reception area and training centre.

decisions from a place of knowledge,” concluded Rami Harfouch, general manager at Procom. “We’re proud of what we have created and are confident that our business – and our clients’ business – will benefit considerably as a result. Everyone wins.”

www.k-array.com

www.kgear.it

www.kscapemergingsenses.com

“That meeting opened up a conversation with Mr Okafor,” explained Showgear COO Adeola Akinyemi, “and Christian recommended ADJ Lighting for the upcoming series. He explained that ADJ could cover all the wide range of lighting fixtures that would be needed for the production at a price that would fit within the budget. From there we had various

discussions back and forth with the set and lighting designers. They requested fixture types and we advised on which ADJ models would do exactly what they wanted. This process went well, but it took a long time to get everything finalised, which meant when the order was confirmed we didn’t have long to deliver the equipment to the studio.”

Once the equipment was onsite, lighting engineer Godwin Emefe coordinated the setup together with Showgear’s technical

team. A key fixture on the rig was the new ADJ Focus Profile, the flagship model in the Focus series. On set, 10 of these fixtures were rigged to the studio grid at various positions above the stage. Another new fixture that featured heavily was the Focus Flex L7, which is capable of generating both wide washes and narrow beam effects thanks to its motorised zoom function. “The LEDs are very bright and are great for creating pixel effects,”

To create visual effects in the background of both the performance stage and the coach’s chair area, 16 Dotz Matrix wash panels were deployed. Also providing background colour effects and deployed on the same angled trusses as the Focus Flex L7s were numerous Ultra LB18 linear LED fixtures. To create gobo projections and mid-air beam effects, Emefe utilised Vizi CMY300 hybrid fixtures, while Vizi Beam RXONE dedicated beam fixtures were positioned behind the line of rotating coach’s chairs to create general aerial effects in the haze behind. Finally, multiple D4 Branch RM rackmountable DMX booster/splitter devices were used to facilitate the distribution of control signals throughout the studio.

www.adj.com

www.showgearonline.com

www.thevoicenigeria.com

KSCAPE RAIL in the training centre

The demo room

It’s time to Speak Up

SPEAK2

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Sennheiser brings EW-DX series to the Middle East

Sennheiser Middle East customers have participated in interactive training workshops demonstrating the recently launched EW-DX Evolution Wireless microphone series for the first time in the region.

The rental market, theatres, sound engineers, RF technicians and channel partners were engaged in presentations, tests and demos of the EW-DX and EW-D technology. Participants were offered hands-on experience with the new system and refresher training on its full range of capsules and microphone elements. At a separate workshop on the following day, IT/AV consultants, systems integrators,

technical application personnel and channel partners were educated on the integration and installation-based setup of the EW-DX, which offers low latency, spectrum-saving equidistant frequency spacing and a wide input dynamic range.

“We were pleased with the attendance, interest and level of interaction at both the workshops and are even more optimistic about the market potential of this innovative and versatile new microphone system,” Mig Cardamone, sales director, Sennheiser Middle East, commented.

www.sennheiser.com

THE PLATFORM WITH THE AMPLIFIER ON BOARD THE PLATFORM WITH THE AMPLIFIER ON BOARD

Unica is the next-generation cloud based amplifier platform designed to provide a safe and consistent user experience for any size application, whatever your installation requirements and efficiency goals might be.

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GSL Professional holds Genelec training sessions

GSL Professional recently organised two days of training sessions, held at the GSL training and experience centre in Dubai. The sessions were focused on expanding the knowledge and skills of AV and broadcast systems integrators, as well as music producers, on Genelec audio technology.

The first day was led by Eric Horstmann and Benjamin Koziczinski from Genelec, and covered the Genelec Smart IP and SAM Series. The training was specifically targeted towards AV systems integrators and provided attendees with an in-depth understanding of the features and capabilities of the products. The session was said to be engaging, and attendees were able to gain valuable insights from experts from Genelec.

On the second day, Clifford Pereira, sales and customer support engineer at Genelec, led the training, which was targeted towards broadcast systems integrators and music producers. The training covered a wide range of topics ranging from studio, broadcast, commercial install and home audio.

Attendees were provided with a comprehensive overview of the latest audio technologies and solutions, as well as hands-on experience with Genelec products.

Attendees from both sessions expressed their satisfaction with the quality of the training and the knowledge gained.

www.genelec.com

www.gslprofessional.com

3DB bolsters Prolyte inventory

Dubai-based events company 3DB has invested in new equipment from Prolyte through local distributor Provision AVL. The purchase sees 3DB buying an “impressive quantity” of LiteDeck in a wide range of sizes to add to the company’s existing stock for use both in Dubai and KSA. The purchases included 8x4, 8x2, 6x4 and 4x4 sizes capable of creating various configurations for events.

LiteDeck is a popular staging system for demanding touring productions or events and, according to the manufacturer, has been tried and tested extensively. Combined with

the hard birch plywood top, the deck reportedly offers durability, while the top plate can easily be removed for maintenance or repair and can be used on both sides.

“The additional stock will be split between our Dubai Office and the new KSA office to ensure that we can continue to support large-scale events across both regions,” commented Jason Booth, head of scenic for 3DB. “A big thanks to Paul Hadfield and his team at Provision AVL.”

www.3db-dxb.com

www.provisionavl.com

MongoDB chooses Neat for collaborative space

MongoDB, a software company that provides commercial support for the MongoDB database, partnered with systems integrator Vega Global to modernise its audiovisual solutions and digital workplace systems.

Vega Global chose to implement Neat to fulfil MongoDB’s requirement for technologically advanced, user-friendly audio and video quality.

The Neat Board 65-inch display was installed on the wall of a small meeting space, offering videoconferencing and whiteboarding capabilities. The large meeting room was equipped with the Neat Bar device with dual professional displays, built-in microphone, speaker and camera, along with the Neat Pad on the table for controlling the functional aspects of the space on a video call.

Jibin Mathew, global account manager from Vega Global, commented: “We create technology solutions that allow businesses of all sizes to present and communicate to their clients with impact. MongoDB have standardised this technology across their offices globally, which helped to optimise operations and improve workforce efficiency and productivity.”

“NMK were excellent partners throughout the process, ensuring a smooth and successful outcome for all parties involved,” added Abhijit Dutta, technical manager, MEA, Vega Global.

www.neat.no

www.nmkelectronics.com

www.vega-global.com

Abhijit Dutta, top right and Jibin Mathew, bottom right

Clear-Com keeps operations connected at Maraya

Distributed and supplied by NMK Electronics, the Clear-Com system comprises two FSIIBase-II base units and 35 full-duplex FSIIBP19-X4-EU 1.9GHz beltpacks. These can be paired with one of the 35 supplied CC-300-X4 single-ear headsets. Not only do these provide full-duplex, wireless convenience, but also increased security and privacy. To extend coverage throughout the large space, 10 FSII-TCVR-19-EU active transceiver antenna work with three FSIISPL antenna splitters. A separate Encore MS-702 two-channel main station was also provided, together with five Encore RS-702 two-channel dual monaural beltpacks and a further five CC-300-X4 single ear headsets. Seven AC60 battery chargers were also provided for the beltpacks. Best of all, the system can be scaled in the future as needs grow, with the addition of more bases, transceivers and beltpacks to accommodate even the largest, most elaborate events.

achieved under unexpected circumstances. While most venues of this kind spend countless hours striving to find a suitable location with good access that will assist in attracting guests through its doors, Maraya has bucked the trend completely by setting its roots down in the middle of the Saudi desert of Al-Ula.

At one point, simple two-way Motorola radios were the communication solution for staging events, but management knew they needed something better. They turned to Dubai-based Spectrum Entertainment Services LLC seeking a new intercom solution to better cater to inter-team communication. Having assessed the venue’s needs, which

Opera and the Oman Royal Opera, Spectrum suggested the same solution used by those entities: a FreeSpeak II digital wireless intercom from Clear-Com. In less than an hour – during their onsite client demo – they had a full wireless FreeSpeak II system providing fast, seamless and crystal-clear communication.

Claiming the accolade of the largest mirrored building in the world, the venue saw hundreds of people working around the clock to erect its 100m x 100m x 26m cuboid steel frame and clad it with 9,740m2 of mirrors that cover its exterior. The idea is that by being fully mirrored, the building reflects light back in all directions, making it an extension of the surrounding environment, ensuring that the

Caudan Arts Centre sees strong success with Yamaha

Having outfitted the Caudan Arts Centre (CAC) with all new audiovisual systems back in 2019, the technical team managing the venue has recently expanded its complement of Yamaha equipment further with the addition of DXS18XLF-D 18-inch and DXR12-D 12-inch subwoofers. These join the team’s Ya maha CL3 and CL1 mixing consoles powering the venue’s front-of-house audio needs.

First opened in December 2018, CAC was designed by Arup Venue Designers UK to offer an adaptable acoustic environment for a broad range of events like concerts, dance, opera, drama, conferencing and even movies. Since installing the AV equipment in 2019, CAC has grown from hosting approximately 50–60 events a year to more than 100 in 2023.

CAC technical manager Kooshal Dwarka credits this expansion in no small part to the venue’s extensive use of Yamaha gear. “I am primarily the head of sound engineering and FOH engineer and worked closely to assist with selecting the right gear for our installation in 2019,” Dwarka explained. “The nature and technical demands of events vary constantly. We needed a console that would deliver a completely hassle-free workflow, paired with outstanding sound quality. Our choice was Yamaha’s CL consoles and Rio racks, and this was the right choice. Our gear is in use for on average 300 days a year, while we don’t switch off the Rios at all. The Yamaha equipment scores a lot of marks for reliability.”

CAC houses a pair of Yamaha consoles inside its main auditorium – a CL3 at FOH and CL1 for monitoring. These work in combination with three Rio3224

Heritage Site won’t be overshadowed by the construction.

Inside, the main auditorium houses 500 seats, along with five boxes with space for up to 60 more guests. Behind the stage, an 800m2 retractable window can be opened to reveal craggy rock formations, which are illuminated at night and produce colourful reflections. Other facilities include a roof terrace, a conference centre, exhibition space (including an “infinity room” installation by Yayoi Kusama) and a restaurant. Overall, the venue is a mini exhibition complex in and of itself. During its inaugural season, the 500-seat space hosted leading international artists, including Egyptian musician Omar Khairat and Italian opera singer Andrea Bocelli.

“Spectrum approached us in search of a new solution to support the Maraya operations team during events,” commented NMK’s Clear-Com brand manager. “The FreeSpeak II system was perfect for their needs, operating on the licence-free 1.9GHz band and easily able to provide full coverage where needed. Crucially, the system is rocksolid. As always, Clear-Com technologies gave confidence and peace of mind knowing there would be no communication issues onsite. Furthermore, these systems seamlessly integrate with the digital wireless equipment of other suppliers and their transmission functionality ensures freedom from interference.”

racks, located stage left, stage right and at a patch rack running to facility panels throughout the building. The new DXS18XLF-D and DXR12-D subwoofers form part of a portable audio setup that can be rolled out into additional areas as required.

“The DXS18XLF-D and DXR12-D integrate into our Dante network, and we can use them anywhere in the main building to send either live audio feeds from the theatre (for

mostly corporate events), or for any smallformat live gigs happening in the lobby –Dante and AES67 make interconnectivity and routing of anything to anywhere very easy and quick,” noted Dwarka. “We also use some additional DXR-12s as monitor speakers in these cases.”

www.caudanartscentre.com

mea.yamaha.com

Kooshal Dwarka

INSPIRING EXPERIENCES, MEMORABLE MOMENTS

BeWunder, previously known as Neumann&Müller Middle East is the next phase of our growth! Carrying the legacy of Neumann&Müller and the foundation we have built in the region with our team & partners.

www.bewunder.com

NEW NAME, SAME TEAM, TWO STRONG UNITS

PRO LAB looks to Powersoft for Lumi Beach upgrade

rest of the system, enabling the customer to carry on using their existing speakers,” explained PRO LAB general manager, Jan Tarakji. “The amplifiers were placed in an outdoor rack in the DJ area, close to the dancefloor. Compared to the old system, the new setup is more user-friendly, easier to work with and gives a great atmosphere in the area because of the quality of the sound,” added

While the installation was a success, with the client also very happy with the high-quality audio offered by the new system, there were some teething problems. “The SI having not accounted for the sheer volume of salty sea air blowing into the amplifier rack from the Gulf, was one main challenge,” Tarakji explained. “Since the amplifiers were placed outside and onto the seafront, the rack got filled with salt-like particles, which damaged the amps. Luckily it was able to be repaired, and Powersoft provided the spare parts free of charge.”

The newly refurbished Lumi Beach beachfront property in Umm Al Quwain has been transformed through the installation of a Powersoft Dynamic Music Distribution (DMD) solution and Martin Audio loudspeaker system.

Umm Al Quwain is the UAE’s second smallest emirate and sits off the tourist trail compared to its big brothers, Dubai and Abu Dhabi. Home to sandy beaches and mangrove forests, it is often described as the hidden gem of the UAE. Located at Umm Al Quwain Beach Hotel and Resort, Lumi Beach is the emirate’s premier beach destination, providing seafront cocktails, gourmet food and local speciality shisha for travellers. Taking advantage of its year-round warm temperatures and sunshine, the venue also hosts DJ sets and sports competitions, as well as weddings and other private events.

Seeking to upgrade the beachfront DJ area, Lumi Beach employed Dubai-based PRO LAB to design a new house system that would

provide a high-quality audio backbone for both daily use and the club’s roster of live events. PRO LAB worked with dB Lumen as the project’s systems integrator.

To meet this brief, PRO LAB turned to Powersoft’s Duecanali and Quattrocanali amplifiers, which were combined with Martin Audio CDD8, CDD12 and CDD15 loudspeakers and SX118 subwoofers to create a “flexible and powerful system” in the acoustically challenging semi-outdoor space.

Utilising Duecanali in its 4804 (4,800W) format, and both 2404 and 8804 Quattrocanali, the project also took advantage of the Italian manufacturer’s DMD system, which offers systems integrators the ability to scale up to four independent zones using dynamic routing capabilities embedded in its amplifiers (two zones in the case of the Duecanali DSP+D).

“We recommended these models as they work perfectly with the previous setup and have various presets that match well with the

The new audio system will now be put through its paces during Lumi Beach’s regular weekly schedule, including Wednesday’s ladies’ day and family day on Friday, as well as upcoming one-off special events.

“At dB Lumen, we are proud to have partnered with Powersoft in contributing to the success of the Lumi Beach project,” added a spokesperson from dB Lumen. “Our team of experts worked closely with PRO LAB to ensure the installation of Powersoft’s innovative amplifiers and Martin Audio’s powerful loudspeakers met the client’s high standards for quality sound in the acoustically challenging outdoor environment. The outcome is an impressive sound system that enhances the beachfront experience for hotel guests and visitors. We look forward to more successful collaborations with our partners at Powersoft in the future.”

www.powersoft.com

www.prolabllc.com

Sounds Gr8 Audio sounds greater now

Paul Dos Santos, owner of Johannesburg-based Sounds Gr8 Audio, has invested in a DiGiCo S31 and S21 from DWR Distribution after experiencing an exceptionally busy 2022, and to accommodate upcoming festivals taking place this year.

Like most people in the live events industry, Covid-19 was hard on Dos Santos, with his company very nearly facing liquidation. Since the end of last year, however, he is said to have had more work than in his entire career. “It has been a blessing and hopefully we can grow the company again.”

Usually, when it comes to large corporate events or music shows, Dos Santos hires audio engineers to assist, who he said often suggest he invest in the DiGiCo platform. “I’ve always wanted something good that people can also hire from us, and that’s what made me look at DiGiCo,” Dos Santos

often specified on tech riders, and I see people hiring in these consoles more and more. I thought it was a good way to go.

makes work easier. It’s the right thing to do.”

Dos Santos has had a longstanding relationship with DWR’s Robert Izzett

and visited the offices, where he was shown around by Jaco Beukes. “Paul was interested in the DiGiCo consoles and had a good idea of what he wanted,” said Beukes. “While a bit cautious about moving over to the digital market, he is finding more and more work where customers want the S consoles, especially local acts who specify the units on their riders. It just made sense to go this route.”

Kyle Robson, audio technical representative at DWR, said: “I think this is certainly a step in the right direction, especially with more shows requesting DiGiCo. It’s definitely a growing series in the product range right across the globe. Paul has joined the DiGiCo family and we look forward to seeing his company grow.”

www.digico.biz

www.dwrdistribution.co.za

DSPK-4 (DIGITAL SPEAKER STATION)

Introducing the new member of the RTS Digital Partyline family

The DSPK-4 is an IP-based wired speaker station providing next-level versatility and functionality, including four channels of talk/listen via microphone and speaker or headset – all with high-quality digital audio and the use of standard Ethernet for easy integration into existing

VERSATILITY

Available in desktop, flush-mount and wall-mount versions, each with an unmatched variety of power options and headset connectors.

IT infrastructure. It adapts the unique hybrid IP/digital/ analog functionality, ergonomic design and intuitive UX of the best-selling DBP (Digital Beltpack) into a sleek new form factor that is available in compact desktop, flush-mount and wall-mount versions.

HYBRID FUNCTIONALITY

USER FRIENDLY

Operate DSPK-4 in partyline mode with OMS (OMNEO Main Station) or in portable keypanel mode with an RTS matrix (ODIN/ADAM) – one device covers it all.

Compact and ergonomic design with full-color icon-based menu navigation for quick setup and intuitive operation.

Helping climb the ladder

Pro AVL MEA took to the floor at ISE to ask female staff in prominent roles how more women could be attracted into the AV industry. This is what we learned

Kati Eismann,

global marketing director, Adam Hall:

“It’s a very technical business; it’s not a question of gender, it’s more what skills you bring. Specifically for women or for younger talent, we look at educational trade fairs, education events and conventions where we can search out specific talents.

“The AVIXA Women Council initiative puts women at the centre, with interesting interviews and portraits of women. That’s impressive because you rarely see women in the media world, you mostly see men. When I started in the music business 26 years ago, it was full of men. It has changed over the years, but it’s maybe a question of evolution. As girls, we don’t get a car to play with, we get a teddy bear or a doll. If

we want to change the mindset of people, we have to start very early. We should be empowering girls to get into technical areas, starting from kindergarten rather than only starting at secondary school.

“I was really lucky, I had two very good mentors, one was and still is a strong woman, still is in the business, who helped me to stand my ground and showed me that it doesn’t matter if you are a woman or man. I also had a brilliant male mentor, and I’m also grateful for that. In my leadership position, I try to use what I experienced myself and help young people, no matter if they are male or female or diverse. I try to help them to grow, to see what their passion is, because I believe that when you’ve found your passion, you’re going to be successful no matter what. So how can we encourage women to look at the AV business? Just look around at what we do – you just need to walk around a trade fair. I don’t know any other industry that brings so much magic onto stages and conferences or product presentations. Women should be brave enough to explore that and give it a try. It’s a magical business.”

Adele Gardner, product manager, Holoplot:

“I think one way that we could get more women into AV would be to show girls from a young age that this industry is for them and make them believe that they belong here. I work in the software development side of the AV pro audio industry; one of the initiatives we’re taking as a company to try and encourage more young women and girls into the industry is by hosting a ‘Girl’s Day’. This involves partnering with a local school and hosting a day where they can see what we do here, including all manufacturing and software. It’s really important that we can make them believe that this

Katharine Murphy, engineering director, Meyer Sound:

“We need to get to the heart of what I think is a potential solution for a better future for accessibility for women in this field: more mentoring and accessibility. We need people who are at the top of their game, at the top of companies who are willing and able to reach out to people underneath them and say: ‘I am here. I am ready to take up space and I am ready to help you guys take up space.’ Just look at Helen Meyer. She rose to the top of an incredible company at a time when not many women were doing that, and she’s been able to

Monika Smetona, president, Renkus-Heinz

“As a woman in this industry, I had no idea that there was such a bias towards men. But as I’ve grown in my role and in operations, I believe there is nothing that women can’t accomplish and can’t be. I’ve had great opportunities to be successful

industry is for them, that they can do it and they do belong there.”

lower the ladder so that other people at the company can climb up behind her. The hope is – for me at least – that once other companies start seeing that, it begins to start a model. If you get enough people at the top who this really matters to, then they’ll lower the ladder, and it will just go down, down and down until it’s at the ground floor and you reach girls at primary or secondary school who want to be a scientist or an engineer. If we can start to get outreach where people are going into secondary schools, explaining that audio engineering is an industry and there are women who are taking up space in it, that’s how we start to get this solved.”

amazing. Don’t limit yourself, women. Get out there, do what we need to do. We are strong and this industry needs us. We can bring a lot to the table.”

Isabelle Wear, director, Interfacio:

“Slowly but surely we’re making progress, but the mindset has to change; I don’t think we’re there yet. I’m encouraged by communication with clients where manufacturers are for women, for inclusivity, for a lot of things, but it seems that it’s taking a long time to really make it happen. There are women out there who are brilliant but maybe sometimes feel a little bit intimidated. We need to educate, emphasising that there are women at the top. There’s not a lot of them, admittedly, but there are some good ones and we need to attract more and more of them.”

To see the full video visit: www.youtube.com/@ProAVLCentral

Contacta meets growing demand with Prosound

PRO LAB scores a hat trick

PRO LAB has announced a strategic partnership with global stage lighting brand,

with the Dubai based distributor to expand the reach of our Dante solutions in this dynamic region and provide customers with the benefits of AV-over-IP and IT networking in the professional AV industry.”

Finally, Out Board has appointed PRO LAB as the exclusive distribution partner for TiMax SoundHub, TiMax Tracker D4 and the full range of TiMax solutions in the Middle East. The new distribution partnership addresses the “dramatic increase in demand” for TiMax immersive audio solutions in the region.

British manufacturer of assistive listening technologies, Contacta, has partnered with Prosound for distribution across South Africa. With a near 40-year history in the supply, design and integration of AV technology, Johannesburg-based Prosound will supply integrators, installers and venues across the country, and parts of central Africa, with Contacta’s hearing loops, RF, IR and window intercom systems.

Founded in 1973, Prosound has supplied AV equipment to some of the country’s biggest events, including Nelson Mandela’s homecoming and the 2010 World Cup. It is now focused solely on the installation of audio, AV, lighting and staging systems. Its distribution arm, ApexPro, will stock Contacta products and support sales to the channel throughout the region.

“We are excited to have established this partnership with Contacta,” commented Prosound technical director, Mark

Malherbe. “Assistive listening technology is a new market for us, and it was important that we enter it with a quality brand in terms of both product and support. Interest in assistive listening systems in this region is growing and this relationship gives us a real opportunity to spearhead accessibility for people with hearing loss.”

“The history and experience Mark and his team have behind them make Prosound the perfect choice for us,” added Contacta’s head of business development, Ran Meyrav.

“As companies, we are both focused on the experience for the end user and ensuring that installations give them the very best listening experience. Through ApexPro, we are hoping to gain ideal access into this market. We know the demand is there and will now be able to reach out to it.”

services and support.”

PRO LAB has also signed a distribution agreement with Audinate, specifically for the Audinate AVIO and Dante Domain Manager solutions, catering for the GCC region. Julian Carro, EMEA system solution account director, Audinate, said: “We look forward to working

forefront of immersive audio technology. With TiMax, we can offer our clients unparalleled versatility, creativity and engagement. Our partnership with TiMax is a testament to our commitment to providing our clients with the best solutions in the market.”

www.audinate.com

www.outboard.co.uk

www.portmanlights.com

www.prolabllc.com

Studiomaster joins forces with StageOne

Midrand-based StageOne has been appointed by Studiomaster as its new distribution partner in South Africa. The company, formerly known as TV Audio, received its first Studiomaster shipment in early January, which consisted of a handpicked range of digital and analogue audio mixing consoles including the Digilive 4C, Digilive 8C, Digilive 16, Digilive 16RS, Digilive16P-600, Digitrack18, C6XS-12, C6XS-16, Sessionmix 822, Sessionmix 1222, Sessionmix 1622 consoles and AC48II processors.

“I am particularly excited about taking on the Studiomaster brand as I believe that it’s a great product at a price point suitable for the South African market,” stated StageOne owner, Peter Berry.

“The mixing consoles in particular are the perfect fit for our existing range of FBT speakers which we also distribute in South Africa. FBT UK has also recently started the sub-distribution of Studiomaster analogue and digital consoles along with amplification products, which speaks volumes for the Studiomaster brand.”

Studiomaster’s director of global sales, Mike Bufton, added: “With StageOne having more than 40 years’ trading experience, and a perfect portfolio fit, the partnership is a very obvious choice for the Studiomaster brand in all sectors from musical instruments and install to pro audio. As StageOne are a highly respected distributor, Studiomaster is delighted to be partners with Peter Berry and we look forward to working alongside his StageOne team.”

www.stage-one.co.za

www.studiomaster.com

Technical duo partner for South Africa

SOUTH AFRICA

Hall Technologies has recently expanded its presence and supply chains with Cine AV, an African technical support and distribution provider for the industry.

Hall Technologies announced a strategic distribution agreement whereby the company will have full access to

Hall’s extensive range of products covering connectivity and UC.

“We’re excited to add such a broad line of class-leading products to our distribution portfolio,” stated the managing director of CineAV, Tyron Ackerman.

www.halltechav.com

SOUTH

SOUTH AFRICA

The Prosound team

L–R: Pavel Shemiakin and Dave Haydon, TiMax director

L–R: Rami Haber and Jochen Wainwright from Audinate

L–R: Patrick Almond, Peter Berry and Mike Bufton

ADJ expands into the Middle East with GSL

Global entertainment lighting, LED video and effects equipment manufacturer ADJ has unveiled a new distribution partnership with Dubai-based GSL Professional. Effective immediately, the company will become ADJ’s exclusive distributor for the UAE, Oman, Qatar, Bahrain and Kuwait.

ADJ’s fixtures have been installed in several venues over recent years and are stocked by many production companies in GCC countries.

“We are always eager to expand our business and are confident that it will be a game-changing decision to take on exclusive ADJ Lighting distribution in our region,” commented Abboud Aljuneidi, GSL Professional’s general manager.

“ADJ is a reputable brand in the professional lighting industry that has been in business for many years and has built a strong reputation for producing high-quality, reliable equipment. ADJ offers a wide range of products that are designed to meet the needs of our valuable clients. GSL will collaborate with ADJ to provide training and support to our customers, helping them to understand and use ADJ products effectively. This will help increase customer satisfaction and build longterm relationships. Therefore, we are confident that ADJ will increase its presence and business in the Middle East through partnership with GSL Professional.”

GSL Professional will support ADJ customers through holding stock in its extensive warehouse, providing demonstrations of the latest fixtures in its Dubai showroom and providing after-sales support and training from its dedicated Service Center.

“ADJ is already well-established in the Middle East with business growing year-on-year,” stated Jos Reulen, export manager for ADJ Europe. “With this growth set to continue exponentially, now is the right time for us to establish local distribution. GSL Professional is a solid company that is well-known and well-respected in the region, with a large network of local customers spanning all the markets served by ADJ’s product line. The company has extensive local infrastructure, including a big warehouse facility for holding stock, as well as a great and experienced team. I am confident that partnering with GSL will not only help the growth of ADJ in the Middle East but also allow us to better serve our existing customer base with improved stock availability and quicker order fulfilment, as well as local technical support and aftersales service.”

www.adj.com

www.gslprofessional.com

IP-A1AF IP Audio Interface

Are you ready to combine analogue audio devices with your existing IP network? The new TOA IP-A1AF IP Audio Interface integrates with analogue audio receiving devices such as conventional low impedance speakers or local PA systems. It can receive audio signals via multicast, enabling group announcement and up to 20 pre-recorded audio messages can be stored, prioritized and played back, as and when required.

Furthermore, you can control your broadcasts using the built-in timer function, control inputs or the provided remote API for convenience in everyday life.

ADJ and GSL Professional seal the deal

Allen & Heath appoints Tamas Vass for EMEA

Allen & Heath has selected Tamas Vass as its new sales director EMEA. Reporting to sales director Markus Sinsel, Vass will be based in central Europe and supporting EMEA distribution partners to develop sales opportunities across multiple market verticals.

“Tamas brings a wealth of sales experience and fresh ideas from his previous roles as well as a true passion for audio which makes him the perfect fit for this role,” commented Sinsel.

Vass concluded: “I am so pleased to be able to join Allen & Heath – a fantastic company with a talented team and awesome products. What else could I wish for?”

www.allen-heath.com

Mango’s the man for Provision AVL

Provision AVL has announced that Joe “Mango” Ogden has joined the company as its new technical sales manager. Ogden brings a wealth of experience in the audio industry, having worked in the studio and live scene for more than 10 years. He will be responsible for providing technical audio support to customers and managing product demonstrations, as well as working with the sales team to develop new business opportunities.

“I am very excited to be joining Provision as a technical sales manager with a focus on audio, especially when I get to work with and sell brands like PMC, SSL and FBT. The team have all been very welcoming and I am looking forward to a prosperous future together,” Ogden concluded.

Adamson appoints new management for next stage of growth Meyer Sound promotes Amy Luley

Adamson Systems Engineering has completed its strategic management initiative with five key new hires and the return of Brock Adamson as CEO.

“Returning as CEO is energising and exciting. In 2022, we asked ourselves, ‘what is the ideal management team to fuel our continued growth?’ We’ve created that team. When I walk into the office now, I find myself working with a breadth of leadership talent that can execute our mission daily,” said Adamson.

In the first quarter of 2023, Pieter van Hoogdalem accepted the new business development strategist position, focusing

experience, including his tenure with Signify.

These hires are in addition to Fred Schleicher as controller and Duane Logan as ERP specialist in 2022. Schleicher and Logan bring enterprise operations experience from the automotive and pharmaceutical industries.

“Our customers know we take incredible care and precision in creating speakers that perform beyond the highest expectations,” Adamson said. “We’re ready to increase that performance across the company.”

www.provisionavl.com

consultant Kevin Alexander has also joined the team. His previous experience with TC Group and numerous audio brands allows Adamson to launch strategic marketing initiatives to support its sales network and product introduction plans. Paulo

applications EMEA. He will lead teams of support staff responsible for sound design, product support and continuous improvement of operational processes.

www.adamsonsystems.com

Meyer Sound has promoted Amy Luley to the position of director of global sales operations. In her new role, Luley will assume responsibility for overseeing and coordinating operational activities of the Meyer Sound sales teams internationally. Luley was promoted from her prior position as director of US sales operations.

Senior vice president, John McMahon, said of Luley: “She has a unique ability to not only grasp the big picture of our global sales and marketing strategy but also to apply the focused mindset needed to manage the myriad of details and decisions that turn strategy into measurable results.”

www.meyersound.com

New hires at PRO LAB

Four new team members have joined PRO LAB including Érica Figueiredo Ferreira as PR and marketing manager and Pavel Shemiakin as head of the pro audio department, brand manager. His new role will see him building up and performing the strategy to strengthen the brand position and awareness in the region as well as conducting marketing and educational activities and training at PRO LAB’s Experience Centre.

Mohamad Haroun has been made category manager which will see him research trends and customer needs,

source relationships with vendors/suppliers and provide technical support to the sales team, customers and partners. Finally, Akram Abdelbaki comes on board as the new business development manager, with a focus on architectural lighting/ Architainment Solutions. Abdelbaki said of his appointment: “PRO LAB provides its employees with all the tools for success. It gives me joy to propose such vibrant solutions from dynamic lighting to sound systems and high-tech AV solutions.”

www.prolabllc.com

MIDDLE EAST

Tamas Vass

Amy Luley

Joe Ogden

L–R: Fred Schleicher, Pieter van Hoogdalem, Duane Logan and Paulo Guassi

New management for TOA in EMEA Riedel strengthens Product Division management team

With TOA Electronics Europe (TEE) announcing the appointment of Daisuke Imagawa as TEE managing director back in 2022, the manufacturer has now completed its new management trio with the appointment of Kosuke Tanaka as director and Volker Scheid as head of TEE headquarters in Hamburg. Tanaka replaces existing director Yuichiro Honjo, who moves back to the Japanese headquarters as general manager of TOA’s International Business Promotion department, while Scheid replaces Dr Thomas Schäfers, who has retired after several years in the position.

Imagawa sees TEE’s new management and its employees as a guarantee for the company’s healthy development:

“All in all, top management has been rejuvenated considerably and this lays the

foundation for TOA’s optimal success in the future – stable conditions are in place upon which further growth of the company can be built. TEE is growing steadily and sustainably.”

Tanaka worked at TEE for four years from 2009 in the Export Sales department and during this time established the current UAE office in Dubai. In his former position as general manager of the International Business Promotion department, he was responsible for the strategic promotion of TOA’s international business. Scheid started his career at TEE in 2007 as export sales manager implementing strategic sales concepts and developing international key accounts. He was appointed as director from 2019 until the end of 2021. He re-joined TOA in 2023.

www.toa.eu

Riedel Communications has strengthened its Product Division management team with the promotion of Jan Eveleens to chief operating officer and Daniel Url to chief commercial officer. As part of this move, Oliver Zimmermann will take on the role of executive director, digital

Url was head of global product management at Vizrt and chief product officer for Grass Valley. In his new role, he will be driving the company’s global commercial strategy. Zimmermann previously served as executive director of manufacturing operations at Riedel. He will lead the development and

the company navigate the global component shortage and supply chain disruption.

Url brings over 20 years of experience in sales and customer success to his new role as CCO, having worked on the broadcaster, systems integrator and manufacturer side. He previously served as managing director and CSO of Qvest. In the past couple of years,

CEO of Riedel. “With Jan and Oliver, two great appointments from our own ranks, and another industry heavyweight in Daniel, our Product Division under the leadership of our division CEO Rik Hoerée will remain as agile, modern and innovative as ever.”

www.riedel.net

L–R: Oliver Zimmerman, Daniel Url, Rik Hoerée and Jan Eveleens

L–R: Volker Scheid, Daisuke Imagawa and Kosuke Tanaka

Protec gets back to business in Dubai

ELECTRONIC MUSIC LOVERS WILL BE FAMILIAR WITH the elrow name. The company has been hosting music concerts and festivals across the globe for more than 30 years and has become famed for its highly decorative and artistic stage aesthetics. In recent years, it’s even had side spots at Glastonbury and Tomorrowland.

When elrowXXL brought its legendary carnivalesque festival to Dubai in mid-February, Protec proudly supported its client Shiraz Baziko of the BE SO Group in bringing the colourful, two-day global phenomenon to life. Having delivered a more boutique elrow event previously, Protec was the first port of call when it came time to heavily scale-up operations for the XXL Dubai version.

It is always a clever idea to involve on-the-ground suppliers at the planning stage to draw on their local knowledge and expertise in this region. Although Protec’s team was commissioned to provide comprehensive technical solutions, it was also engaged in the planning early on and consulted on the location and site overlay.

“We encourage our clients to involve the team as early as possible to utilise their expertise from the conception stages. We offer full support and consultation on every aspect of their event from the earliest point,” explains Protec general manager, Matt Allen. “It was a pleasure to be able to collaborate on a suitable venue for elrowXXL and to help the client optimise the site overlay on top of providing comprehensive technical solutions. We can provide a lot of support in-house, from full technical to scenic, staging and fabrication and are happy to guide our clients from the very beginning of their event planning

process to ensure they navigate any pitfalls early and smoothly, and optimise their budget of course.”

The technical solutions offered by Protec for elrowXXL included comprehensive audio, video and lighting solutions, in addition to special effects.

Taking care of the video complement, Protec supplied three 31k Panasonic laser projectors which were used to deliver an impressive video mapping solution across the scenic set. The content and media servers were managed by elrow. Special effects are a big part of elrow’s multisensory show, and catering to this element Protec placed confetti cannons directly in front of the stage and at various points in the audience. These were complemented by inflatable props and performers to provide a more immersive experience.

Audio was delivered with an L-Acoustics K2 system. “We had a main audience area of 60m wide and 40m deep, so we decided to go with a very wide cardioid sub arch to cover the audience while eliminating disturbance at the DJ booth,” explains Protec HOD of audio, Evgenii Shparenkov. “We did not need to throw that far, so K1-SB subwoofers and K2 cabinets made the ideal solution to fit in the scenic design and cover the desired area with a decent amount of low-mid, which is important for this type of music.”

Protec used all in-house L-Acoustics equipment for the PA and deployed four K1-SB with 12 K2 per side as main hangs, 12 Kara as front fill and 30 SB28 subwoofers for the low end.

Hangs of eight K2 were selected as outfill and as fill for the VIP section. A further four 8XT provided coverage for the bars. The team also utilised Protec’s newly acquired L-Acoustics P1 AVB

processor and measurement platform to ensure each hang was aligned correctly.

“We used AVB distribution for all the PA signals across the LA12Xs with the help of Luminex Gigacore switches,” notes Shparenkov. “We also added analogue fallback to prevent any dropouts from the digital network and make smooth transitions

The Middle East events company delivered full technical support for the very first edition of elrowXXL in Dubai

Approximately 10,000 people gathered in downtown Dubai

for the concert

to spare lines.” Front of house was controlled from a DiGiCo S21 with a D-Rack and Shparenkov operated the show on both nights.

Additionally, Protec provided a DJ package made up of six Pioneer CDJ-3000, two DJM-900NXS2, a DJM-V10 and a pair of RMX-1000 making up two separate setups. “For monitors,

we used two SB18 and three Kara per side for the DJ booth to make sure that there was enough SPL for the DJs. We also used four channels of Shure’s Axient Digital system with handhelds for artists.”

According to Shparenkov, the main challenge on this event was the tight load-in schedule. “As the PA towers were built first, and are positioned inside the stage area, there was all the scenic set to consider of the elrow ship,” he explains. “It was important that the PA did not get in the way of the set build and went up promptly. We were involved early and had a lot of time to visualise the solutions. We worked closely with the elrow team to be sure that we met all necessary heights, coverage for the audience and dimensions for the PA system.”

One key element of the lighting brief was to support the video projection by avoiding lighting the video mapping area, according to Protec’s lighting designer, Gintas Valuntonis, who executed the lighting design and operation for the event. With guidance in the brief on the position of the lighting and the stage design provided in advance, it was up to Valuntonis to choose the best fixtures and programming for the event. As well as the stage, Protec was also called upon to provide area lighting solutions around the venue and bars.

The stage solution included 18 Clay Paky Xtylos, 12 Robe Spikie, four SGM Q-7, 14 SGM P-5, 20 Clay Paky SuperSharpy, 32 SGM P-10, 32 Nurilites LED PAR RGB and 10 Clay Paky Mythos 2. These were controlled by a grandMA3 full size (with a grandMA3 Lite on-hand as a backup). MA Lighting’s NPU system was the networking solution.

Regarding challenges, Valuntonis echoed his colleague’s views on the benefits of being involved at an early stage. “We did not have any specific challenges; we were incredibly happy with the show and the feedback was extremely positive,” he says. “The

production was stunning, the video mapping was awesome and the music was great. I had the benefit of using Protec’s new previsualisation studio to test out my lighting design which allowed me to make any adjustments before going onsite. Being involved early in the planning made an enormous difference in how efficiently the whole process went.”

Neil McCarthy, Protec’s project manager for elrowXXL, was full of praise for his team’s work. “elrowXXL was a visually stunning and fun event to be involved in,” McCarthy comments. “Everything went smoothly and the event was run very professionally by our client. We were happy to be trusted from the beginning and involved in the planning process, including the site overlay. Our close contact with elrow meant the planning was accurate and there were no surprises onsite. Our team delivered exactly what they had planned, promptly. Spirits were high as it was an enjoyable show to deliver. We look forward to working with the elrow team and Shiraz again on future projects.”

Baziko also thought the team did a great job in providing the technical support. “elrowXXL Dubai was a great success – Matt, Neil and the team delivered as promised,” he concludes. “Their team were creative, knowledgeable and professional onsite and at every step of the planning and delivery process. Their guidance on the venue, the layout and their invaluable insights made this inaugural event run smoothly. They delivered exactly what we had hoped for. The technical production was excellent, and the atmosphere was electric. Trusted suppliers like Protec make an enormous difference when planning a new event in this region – I would recommend them with confidence and look forward to planning our next event together.”

www.protecevents.com

Fixtures from Clay Paky, Robe and GLP delivered a complex light show

An L-Acoustics K2 and K1-SB sub combination handled the audio

Confetti cannons were placed in front of the stage and at various points in the audience area

Opening the gates of Babylon

Procom delivers a dual-purpose AV system to drive Babylon into the night

INSPIRED BY THE LEGENDARY MESOPOTAMIAN CITY

of the ancient world, Babylon has opened its doors as the latest night spot in Dubai’s DIFC district. Joining ADDMIND Hospitality’s portfolio of Clap, Iris, White and Sucre, Babylon is a fusion between theatrical stage entertainment and high-end nightlife and dining. Commissioned for several projects within the portfolio in recent years, professional AV and lighting distributor and supplier Procom was drafted in to execute what would become a highly dynamic yet complex fusion of entertainment technologies.

A fine line divides financial success and bankruptcy for such high-end entertainment outlets in the Emirate. As such, stakeholders and owners are working closer together than ever before to ensure their project maximises revenues each night of the week with full occupancies. Regarded as a trusted entertainment technology distributor, Procom’s relationship with this portfolio extends back to White Dubai and Iris. Extending this further, Procom was requested once again to deliver the audio, lighting, staging and effects solution.

“This has been an ongoing project for several years and it’s gone through multiple refinements during that time,” reflects Procom’s technical sales manager Anro Schroeder. “The concept of Babylon – to host a dinner show before the venue transforms into a nightlife destination – isn’t an entirely new idea; it is a trend that we’re seeing increasingly here in the Middle East. However, Babylon is an innovative approach to luxury dining, providing a completely unique culinary and nightlife experience, with the venue now extending beyond that of a club and a restaurant by also providing live entertainment. This perfect blend of an upscale culinary offering, opulent interiors and an extraordinary entertainment programme keeps Babylon fresh, ensuring a greater appeal to a wider audience and as such brings in greater crowds.”

With a fully integrated stage and an entire cast of worldclass performers, Babylon’s live entertainment plays the starring role during the first part of the evening. Dining hours seamlessly transition into a nightlife backdrop with neverbefore-seen live shows, set within Babylon’s exquisite interior. As such, “the entertainment programme dictated the design and implementation of the AV and lighting design,” furthers Schroeder. “We worked closely with the interior and production teams on the lighting design and the original layouts before the concept further evolved. Based on the final requirements of the venue, a lot of the design work, schematics and build was created in-house by the production team.”

As the evening progresses, several roaming acts perform on podiums further within the venue, including a small stage in the lounge adorned with a gold piano. To maintain a fresh appeal and to draw regular audiences, the shows within the venue are designed to change regularly. “Babylon is mixed-mode and multifunctional and as such the lighting and audio design has to reflect this,” insists Schroeder. “Procom’s goal was to maximise flexibility and allow the in-house production team to make changes to the format when required.”

A central 5m-diameter component known as The Gate is the main theme and focal point of Babylon. “With LED backing and projection mapping on the set, this is only one part of the entertainment package,” says Schroeder. “Located behind the stage, Eurotruss HD34 trussing incorporates an LED screen, visuals, lighting and effects. The live performances commence when the front cover curtains are drawn back at the start of the evening with projections accurately mapped onto The Gate. The rear LED screen is responsible for most of the content throughout the shows and acts as a live backdrop.

“There is a very strong theatrical element in this venue,” continues Schroeder. “The effects package played a critical

The upstairs VIP area is served by an IS7px and IS118 combination

role.” That package includes an Antari DNG-250 low fog machine together with CO2, dual Haze 1000s and dual Haze 500s creating atmospheric effects on the main stage, the club and the terrace. Cyclops CPX607LEDs include lasers whereby the rays and the balls create a cage effect around The Gate, which is built in behind the stage to support the performances. For the video distribution, mapping and blending, a Novastar MCTRL4K processor runs in-situ with two MCTRL660Pro LED controllers to feed the 4K signal output to the Visiotek P2.6 screen. A pair of Avolites Ai Anjunas support the video mapping onstage.

Like the installed effects and video technology, flexibility was crucial in the overall design of the lighting elements. “By maximising flexibility, key lighting areas can be quickly changed depending on where the performers are and which show is being staged,” adds Schroeder. “The creative brief for the lighting demanded something unique rather than simply placing moving heads into the ceiling.”

once the shell and core had been fitted out and prior to the furniture installation. In addition to USB, the lighting elements and designs are distributed over DMX512 and Ethernet networks by four Madrix Luna 16 units connected to SPR 328 DMX splitters.

The centrepiece is the mapped ceiling running above the audience area from the stage to the lounge. Integrating an RGB pixel-controlled ring front face and a single RGBW beam, the Cyclops Boomer6 was selected for this mainstay. Featuring a fast zoom of 5–45°, 280 of these compact fixtures provide all the house, club and entertainment lighting from pre-show and into the evening during the performances. Most of the work,

including the mounting and terminating of the 280 Boomer6 fixtures, was conducted onsite.

Following the build-up, MEP and civil works had to be accounted for in the design, with a lot of coordination required to make necessary adjustments during the execution phase. As such, the engineers had to demonstrate further flexibility and work around these changes.

Other key elements within the lighting design for the stage were Cyclops Lighting profiles, including PR 250T tuneable white LEDs and SparklyLED600P moving heads. Some of these are dedicated to pixel mapping around the edges of the scenery in addition to the stage design. The stage itself

An RGB pixel-controlled ring has been integrated into the front face of The Gate

includes several hydraulic systems and lifts, which are also illuminated. Cyclops LED moving heads include Sparkly Wash 800W zoom wash models together with Lede100B beams and Lede200S spots. Delivering medium-throw beam angles of 40°, a further 16 Flash48 LED wash lights have been added that can be shaped using the four-way barndoors.

Having recently relocated to Babylon from sister club White, experienced lighting programmer and operator, Bernard Awad, presides over the lighting controls for most evenings. “I only had to make a few refinements,” observes Awad. “The Boomer6 house lights are static, so I match the colour and change the intensity according to the performance and these have been saved as theatre scenes in the console. I can

operate from the control surface, but I prefer to operate from my iPad touchscreen as the production area does not have a clear view of the main stage. I can pre-program the scenes during rehearsals and save the settings to the console from the centre of the room using the wireless iPad. In addition, the pyrotechnics and haze effects are all triggered with cues during the performance from the lighting console. It’s a great setup.”

Following a full demonstration at Procom’s experience centre, the Babylon team approved an extensive Adamson loudspeaker system to be installed for the stage, monitoring, club and back-of-house areas. “Owing to the dynamic nature of current entertainment styles in Dubai, the design for the sound system went through multiple iterations and changes,” Schroeder elucidates. “As the concept changed, the layout also changed, and we ultimately chose the Installation Series from Adamson.” A combination of IS7px and IS10p units have been paired with IS119 subwoofers in both the main show and club areas of Babylon. To maintain consistency, the upstairs VIP area is served by an IS7px and IS118 combination and the terrace is fitted with Point 8P and IS118 subwoofers. The theme continues to both the peripheral areas of Babylon and bathrooms, elevators, secondary VIP section and reception where various Point Concentric models and IS5C cabinets deliver the right ambience.

“The audio profile and format had to be suitable for live theatre shows, including high-energy dancing and seductive performances, but also flexible enough to work within the rest of the club environment,” insists Schroeder. “To achieve this, we worked closely with the Adamson team and between us we have provided even coverage throughout the venue, but with an incredible punch. The IS10s and IS7s pair very well, while the IS7ps offer the ability to run full vocals and a live band

without any issues, in addition to having the punch and levels for the DJ.”

A selection of floor boxes with patches for audio, video, lighting and networking have been installed throughout Babylon. As such, a pair of Adamson M12a/P monitors can be patched into the main stage or various podiums as and when required. Powered by Lab Gruppen D80, D40, D120 and D200 series amplifiers, the audio signals are digitally processed through a Symetrix Prism 16 processor scaled up in connection to an X-Control expander. The 16x16 processor is the largest of the Prism series, providing 128 (64x64) Dante channels for multichannel audio networking over IP. Dante networking is preferred for controlling and maintaining the networked DSPs, including the Dante-enabled Adamson loudspeakers,

Lab Gruppen power amplifiers and the Midas M32 digital console. Microphone inputs are fed into Midas DL16 and DL32 stageboxes connected to the M32 console. The live performers rely on a Shure Axient digital microphone system. A choice of six handheld or headworn sets transmit to the six-channel receivers. In addition, six sets of Shure PSM900 IEMs maintain personal monitoring and a clean stage aesthetic.

“We worked very closely with Adamson’s technical support staff, both here in Dubai and Canada, to ensure that the design was executed according to their brand standards and to align with the needs of the venue and production team,” furthers Schroeder. “To maximise flexibility, everything in this venue is networked, including the lighting and video control together with the signal processing so it can be patched in and easily removed from the system when required. In addition, add-on elements can be quickly patched in with a network patch.”

Three equipment racks intricately installed in a small backof-house area each host Netgear ProAV switches. The network connections to the audio system are converted to the Dante network courtesy of Blustream DA11ADE and DA11AEN units that encode unbalanced or balanced analogue audio to Dante digital signals.

The audio design was also a challenge because of Babylon’s location in a high-rise building with a restaurant and offices above. A modern-day Tower of Babel scenario needed to be avoided. “The original space and core of this venue was never designed to host full-on club and theatre show productions,” explains Schroeder. “In addition to designing a loudspeaker system that met the needs of the production team of the venue, we also had to work very closely with the acoustic consultants to ensure it wasn’t disturbing neighbours on higher levels. A lot of isolation had to be added with padding in the venue and acoustic spray on the ceilings. With open ceilings without recesses, the technological detail had to look visually appealing and therefore had to be installed precisely, neatly and seamlessly.”

In achieving this goal alone, Procom has created an AV and lighting wonder within Babylon. Power was another key consideration that Procom had to factor in. “There is no guarantee to unlimited power being available,” adds Schroeder. “The design had to be scaled and models had to be changed to factor in the loads that were available in the venue.”

Such detailed preparation and analysis have contributed to a remarkable and a unique AV and lighting design being implemented within Babylon. The ability to flexibly modify the setups as tastes change in the highly dynamic Emirate, should ensure a consistent and loyal footfall of customers.

www.procom-me.com

A combination of Adamson IS7px and IS10p units are paired with IS119 subwoofers in both the main show and club areas

Cyclops CPX607LEDs include lasers whereby the rays and the balls create a cage effect around The Gate

The terrace is fitted with Point 8P and IS118 subwoofers

All 280 fixtures receive power, an input signal, a signal out and DMX by Madrix Luna 16 units

Key elements within the lighting design for the stage were Cyclops Lighting profiles

When London’s legendary RAK Studios responded to demand and went immersive, they wanted the most truthful monitors available. So they chose The Ones Smart Active Monitors, finding them unbeatable for neutrality, imaging, fatigue-free listening and consistent mix translation.

RAK now enjoys a flawlessly cohesive and scalable immersive system that’s also pinpoint accurate in level, distance and frequency response alignment, thanks to our GLM calibration software.

So, if you’re serious about going immersive – whatever your room size – explore our industry-leading solutions online. Visit www.genelec.com/immersive-hub

“Genelec have set the bar for immersive monitoring.”

Emma Townsend, RAK Studios

Presidential quality

“This stage is very important for the university and they simply needed to bring it up to modern standards.”

IN 2009, CAIRO UNIVERSITY MADE HISTORY WHEN IT

hosted then US President Barack Obama inside the Major Reception Hall at its Giza campus, fulfilling a promise made while campaigning to give a major address to Muslims from a Muslim capital during his first few months as president. Egypt was chosen because “it is a country that in many ways represents the heart of the Arab world”, White House press secretary Robert Gibbs noted at the time.

Ornamental domes littering the city are a prominent reminder of pre-modern Cairo. While not as intricately designed as some, at 15m-wide and constructed entirely from wood, the dome of the Major Reception Hall is the largest of them all and instantly catches the eye upon approach. Such is the profile of events that are laid on inside the hall, that the existing sound reinforcement and stage lighting systems – which had been in regular use ever since the building’s initial construction – were no longer fit for purpose and were long overdue a renovation.

The 3,100-seat main theatre saw Quality Egyptian Engineering Projects Co tasked with designing and integrating more modern

conferencing and interpretation systems, a line array-based audio solution, new LED stage lighting equipment and the associated rigging for the university’s complicated multi-scene backdrop system.

Having studied at the university’s engineering department long before joining his father’s systems integration business, the venue holds a special place in Quality managing director Mohammad Attia’s heart. “Cairo University is one of our biggest clients and this is the biggest hall of its kind in Egypt. We tendered for the project and as we’ve supported them many times over the years, have built up complete trust with them in our company. It was a full design and build project, using our own designs from A–Z. Prior to integrating the new Electro-Voice system, we modelled the space together with Bosch to get the acoustics and coverage just right. Because of the height and large dome, it was a very challenging space when it comes to sound distribution.”

“The old audio system was totally useless and used very old technology,” continues Quality project manager, Gamal El-Morsy.

While the existing speaker cabinets built into the lip of the first floor have been left in place to retain the hall’s original aesthetic, functionally they have been replaced by a new ElectroVoice line array comprising L-R hangs of 12 XLD281 three-way cabinets and four XCS312 3x12-inch cardioid subwoofers, along with a centre cluster of four XLD281s. Further low-end reinforcement is delivered from four groundstacked double 18-inch Xsub subwoofers positioned underneath the arrays towards the lip of the stage. Twelve TX1152FM monitors can then also be rolled out onstage as required for foldback. Providing additional fill in the cavernous space are a further 10 EVF-1122S 94 two-way cabinets and 12 Xi-1082 two-way speakers for under-balcony fill. On the very top level at the rear of the hall is the former women’s area. “Previously women were separated from men, so curtains were drawn here and they would sit behind. They could watch and see clearly, but people would not be able to see them,” explains the project manager. “We’ve positioned four speakers underneath the arch, purely for reinforcing these very top rear seats. The line above the speakers is where the curtain used to hang.”

Quality has installed an AV system befitting of the high-profile presentations that Cairo University frequently hosts

Quality’s Gamal El-Morsy demos the bespoke stage management solution

Four XCS312 cardioid subwoofers sit

The view from the FOH position

Power for the entire system is from a mix of 13 Dynacord DSA 8410 + RCM-810 multichannel Class-D 4x1,000W and four DSA 8805 + RCM-810 multichannel Class-D 8x500W amplifiers, while front of house control is from a Yamaha CL5 audio console that pairs with two RIO3224 stageboxes (32 inputs/24 outputs), two EV N8000 digital DSP matrix systems, a dbx 231S graphic equaliser and a Lexicon PCM-92 reverb and effects processor.

Inputs include either an extensive array of wired microphone choices such as four EV PC-DT 18 podium gooseneck condensers and Sennheiser e 945, e 865, e 902, e 609, e 904 and e 914 overhead instrument mics, or wireless options in the form of a pair of Sennheiser ew 335 G3-B handheld wireless systems and 10 ew 322 G3-B bodypacks. Other inputs include a Denon Dn-D4500 dual CD player and Tascam CD recorder.

An intercom solution from Spanish manufacturer Altair facilitates inter-team communications and consists of an Altair WBS202 wired and wireless intercom system base station, three ES-200 wired desk stations, two EM-201+ AM-100/2 beltpack wired stations and six WBP-200 + WAM-100/2 wireless beltpack stations. A Brähler solution for simultaneous interpretation covers four languages, with 400 receivers on-hand for audience members connecting with four infrared radiators positioned around the auditorium. “We’ve positioned two radiators on either side of the stage for the translation system which link to the dedicated, isolated booths for the interpreters at the side of the auditorium,” notes El-Morsy. The existing lighting solution inside the hall has also been entirely replaced by Quality, and now revolves around LED fixtures from the Robert Juliat and Philips brands. Positioned around the lip of the second-level balcony firing at the stage are Philips Selecon PLFRESNEL1 Fresnels, Selecon PLPROFILE1 zoom profiles, Philips SPX1535 and SPX2550 tungsten zoom profile spots, Robert Juliat 710SX2 and 714SX2 tungsten profile spotlights, ShowLine Punchlite 220 LED high-performance washlights and ShowLine SL BAR 640 LED cycloramas.

became quite the challenge,” recalls the project manager. “In the end, everything was hidden in conduits we created under the stage. The rigging system also presented quite a lot of challenges, with 26 bars in such a tight space. Creating an interpretation system covering four languages and more than 3,000 seats was also no mean feat.”

Taking just over a year from start to finish, the university is more than satisfied with the quality achieved by Attia’s team members, and has already made plans to re-engage the company again for follow-up work. “This is a historic building, so we were dealing not just with any space,” concludes Attia. “This meant that we couldn’t touch any of the walls, because there were very strict building codes. This made what should have been a straight-forward installation, really quite challenging. Given the many prominent events that have been hosted inside the hall, it was a crime that the original sound solution had been kept in use for so long. I’m glad to say that the space is now worthy of delivering a president’s important speech.”

www.qualityegypt.com

behind the main EV hangs

The Sennheiser ew 335 G3-B handheld wireless system located to the side of the stage

Shining the light on Saudi entrepreneurship

BIBAN GLOBAL HAS BECOME AN IMPORTANT FIXTURE on the calendar for small business owners in Saudi Arabia as the country continues its long march towards Vision 2030. Started as a means to promote local entrepreneurship initiatives in the kingdom, the forum went bigger and truly global this year with a five-day programme of speeches and presentations along with the promise of nearly US$14bn of financial support for the industry.

Saudi audiovisual systems integrator Eventtec has witnessed Biban Global’s prolific rise in recent years first-hand, having supported the conference with technical solutions for the last six editions. “Biban is a governmental event forming part of Vision 2030 that supports small and medium enterprises and entrepreneurs. It is one of the most important events of its kind held in the kingdom, with visitor numbers exceeding 100,000 every day. We’ve supported it for the last six years, but this year was by far the biggest,” explains Eventtec managing director Ahmad Badr El Dine. “The conference has now grown to become a huge event spread across a large area. In total, we had to cover more than 52,000m2 of exhibition space with professional lighting, sound and video screens.”

With the 2023 event running from 9–13 March, planning began in late December and went through several iterations before settling on the final design. “The original plans were modified over and over again,” recalls Badr. “This ultimately forced us to build an entirely new temporary venue for the opening ceremony. We also faced several challenges with the client but they were all dealt with quickly.” Eventtec provided technical solutions inside the newly erected opening ceremony

tent and at several peripheral presentation zones dotted around the exhibition site, in addition to outside the main entrance.

Organised by the Small and Medium Enterprises General Authority of the Kingdom of Saudi Arabia (Monsha’at), the event has set a new benchmark for partnerships, with a diverse range of collaborations and initiatives being launched to empower entrepreneurs locally. Biban 2023 also hosted the final round of this year’s Entrepreneurship World Cup: a start-up competition and support programme, co-hosted by the Global Entrepreneurship Network (GEN) and Monsha’at.

To support all of this, Eventtec was required to scale up operations alongside the event’s growth, deploying more than 1,300m2 of video screens dispersed throughout the exhibition space, the largest of which spanned 415m2 and was constructed in-the-round from Absen PH2.9 and Lianotronics PH3.9 LED panels. These were paired with a Barco UDX-W40 used to creatively project onto wooden boxes located at the edges of the opening ceremony stage to maximise impact.

Crucially for Eventtec, it gave the team its first chance to work with Martin’s MAC AURA XIP fixture, with the integrator purchasing 36 units from Martin Professional Middle East (MPME) in order to complement the visual setup in the main presentation area. Eventtec was given full rein to perform the opening ceremony stage design, in addition to creating the concept and content for its 3D mapping.

“Prior to this event, MPME came to Riyadh and made a presentation for the Martin XIP – the device really impressed me,” enthuses Badr. “After completing the lighting design for Biban, Martin’s Ultra Performance fixtures were also suggested

by MPME’s Ziyad Shamseddine, a person with much experience and whom I greatly trust. Having now completed the installation, I’m confident in saying that there are no better alternatives to the XIP for carrying out such tasks.”

Following discussions with Shamseddine, 36 MAC AURA XIPs and 10 MAC Ultra Performance moving heads were incorporated into the opening ceremony lighting rig. “Everything is different with Martin when compared to the previous fixtures we were using, in particular the colour uniformity and high performance during all our operations,” furthers Badr. “The stage lighting issues that we’ve faced in the past were also completely solved by the Ultra Performances.”

For audio, Eventtec called on a variety of Bose solutions, with more than 140 speakers deployed across presentation zones ranging from Bose ShowMatch, L1 and F1 cabinets. To complement the visual display in the opening ceremony tent, an L-Acoustics Kara setup was deployed with control from a Midas M32 digital console.

“The biggest challenge we faced overall was installing the lighting into the opening ceremony tent as there were absolutely no hanging points available,” notes Badr. “But where there is a will, there is always a way. Having now wrapped up the event, the feedback from everyone at the exhibition – the agency, directors and visitors – was amazing. We are proud of what we achieved at Biban Global 2023, everything was taken up to a new level compared to previous shows.”

www.eventtec.com

www.martinpro-me.com

Eventtec deployed its newly acquired luminaires to help take Saudi’s Biban Global 2023 to a new level

The main presentation area was treated to an impressive in-the-round visual accompaniment

The giant Absen LED wall erected outside Eventtec’s new MAC Ultra Performances being rigged inside the opening ceremony tent

THE NEXT BIG THING

Atlantis The Royal rises

Mediatech and Systech rise to the challenge of matching audio quality with the luxury of the new Atlantis The Royal resort in Dubai

ATLANTIS THE ROYAL GRABBED HEADLINES AROUND

the world when it was officially opened in star-studded style in early 2023 with a rare live performance from the one and only Beyoncé. Rising up from under the sand 43 storeys high on the crescent of the Palm Jumeirah – right next to Atlantis, The Palm –the new and more modern construction bills itself as “the most ultra-luxurious experiential resort in the world” and, as a result, commands certain expectations of quality.

With the dust now settled on that inaugural performance, attention has turned to the audiovisual setup inside its four walls. So, when it came to designing the extensive setup powering many of the hotel’s fine-dining and common areas, audio quality was understandably the main concern for Mediatech consultant Ged King. “Mediatech was hired as technology consultants for the entire project back in 2017, working under the developer, Investment Corporation of Dubai,” King recalls. “The project was envisioned as the definitive hospitality benchmark for the region and the brief from the client was to utilise the very best available technologies in order to maximise the guest entertainment experience. The use of Meyer Sound speakers was a critical selection as we wanted to provide the ultimate sonic quality in the smallest physical form factor. The biggest challenge faced in the design was the coordination of speaker placements so that they were integrated into the interior design.”

Working to bring this intricate design to life, long-term Meyer Sound partner in the region, Systech Middle East, set about transforming King’s designs into workable solutions and collaborated with AV specialist GBM. “GBM was handling the operations on the ground, we were in charge of all the connections between the project and the manufacturer,” explains Systech Middle East general manager Malek Ghorayeb. “This meant dealing with pressures such as keeping the client happy throughout all stages of the project while also liaising with GBM on their hectic schedule. GBM was responsible for the entirety of the IT/AV backbone in the hotel, not just the installation of

the speakers, so it was important that we delivered the right equipment on time so as not to disrupt their other operations. Planning was absolutely critical throughout the project.”

Such was the importance of the luxury five-star hotel to the American audio manufacturer, that the decision was made to wheel Meyer Sound’s 4-inch UP-4XP active ultra-compact loudspeaker back out of early retirement in order to secure the project according to its original specification.

“We redesigned the UP-4XP, now called UP4-Slim, to give the same sonic performances in a smaller box, but this design was made before it came out,” explains Andrea Granata, Meyer Sound’s Middle East and Africa sales manager. “Therefore, thanks to the extraordinary agility of our factory, Meyer Sound produced a special batch of UP-4XP, most of them in custom colours, to keep the design untouched. This was not only to meet the specifications, but also because placing a slightly different speaker in some locations wouldn’t have been easy in terms of aesthetic and design.”

As a result of this VIP service, UP-4XPs are a mainstay in the majority of the venue’s restaurants, in addition to those common areas where audio quality is considered to be a high priority. This is the case at Resonance by Heston Blumenthal, a unique bar concept just off the grand lobby on the ground floor.

Mounted high up on the walls of the rectangular-shaped Resonance catering to foreground music are 12 UP-4XPs paired with four MM-10XP compact miniature 10-inch selfpowered subwoofers which have been discreetly hidden within the seating. Covering the outdoor terrace area are a further two wall-mounted UP-4XPs with a pair of MM-10XPs. All the loudspeakers are self-powered and connected to a rackmounted MPS-488HP IntelligentDC power supply, located in nearby rack rooms, that provide DC and audio signal over a single cable, simplifying the installations while maintaining the benefits of the self-powered solution.

The Meyer Sound cabinets have been hidden inside the plasterwork

“We’ve run this system at a constant 105dB with no distortion whatsoever, it’s lovely,” explains Richard Carter, director of facilities, Atlantis Dubai. “We’ve capped the volume below that due to permitted noise levels, but the space still offers a lively bar experience with a resident DJ every night.”

Immediately above Resonance is Dinner by Heston Blumenthal – a fine-dining restaurant operated by the prominent chef that demands quality and an intimate atmosphere beyond just high decibels. As a result, the space is covered with a distributed solution of 32 Meyer Sound MM-4XP 4-inch active cabinets installed in a tight grid across the ceiling. Low-end accompaniment comes again from four MM-10XP 10-inch subs integrated around the perimeter. “This is a very serene dining room,” notes Carter. “The music is not loud, it’s a bespoke soundtrack that plays over the course of the evening.” Coverage extends via the MM-4XPs into an adjacent glassfronted Wine Room. “The whole room is an experience,” furthers Carter. “The Wine Room even has its own dedicated playlist, its own music. If a guest purchases particular bottles of wine, there’s a whole presentation they do with its own musical accompaniment.”

“The rationale behind opting for the smaller 4-inch speakers in this space is that they’re very easy to hide while still sounding great,” adds Granata. “As not a lot of sound pressure was required, we provided a very even distribution in the environment and you can hardly notice there are speakers. Somehow the guests can have the sensation that the sound is part of the extraordinary architecture of the place.” Like Resonance below, the space is zoned internally and externally, along with a private dining room fitted with ceiling speakers that have their own QSC controller.

A similar approach has been taken at La Mar, a Peruvian restaurant by Chef Gastón Acurio located on the second floor. The 3m-high ceiling has been outfitted with 21 MM-4XP miniature speakers to provide audio distribution throughout, RAL colour matched with the décor in beige and white. Three

Picturall™ Mark II Media Servers

Picture © St. Louis Aquarium (USA) Grand Lobby created by DE-ZYN

Meyer Sound’s Andrea Granata and Systech Middle East’s Malek Ghorayeb

Dinner by Heston Blumenthal

The grand entrance lobby

MM-10XP subwoofers built into the point-of-sale system provide the necessary low end. Up on the third floor, Gastronomy is a food hall-style dining, 950-seat restaurant space, with two terraces and the audio individually zoned into 15 distinct areas. “We can individually control the sound over in the coffee area, the pizza area, or wherever, all separately via Q-SYS,” says Carter. “It gives us great flexibility.”

The extensive balcony area outside Gastronomy which overlooks the hotel’s SkyBlaze fountain is also healthily covered with UP4-XP and MM4-XPs. “When there’s a fountain show taking place, we mute the house system up here on the terrace and instead pump out the music from the show, all time-aligned to make everything sync up,” Carter explains. “This is again made possible by the site-wide Q-SYS control system.”

Given the unique dimensions of Gastronomy, tuning the audio coverage presented a big challenge. “It was not an easy area to work in, so we broke it up into many different sections to make everything more manageable,” notes Carter. “During commissioning, we spent a whole 12 hours in here, just tweaking the system and getting everything to sound consistent.”

Similar approaches to the audio have been taken in the hotel’s other 17 eating establishments. Ariana’s Persian Kitchen, an Iranian Restaurant, again uses UP4XPs; however, the speakers here have been recessed behind plasterwork leaving them completely invisible. “Jaleo, our Spanish restaurant by José Andrés, opted to

behind beading that forms the décor,” says Carter. “You can’t see them unless you really know where to look.”

Atlantis The Royal’s jewel in the crown from an audio perspective can be found in the Ballroom, a 1,000m2 space divisible three ways. In its split configuration, each one of the three areas benefits from a pair of Meyer Sound CAL32 vertically steerable loudspeakers embedded into the wall behind bespoke gold grilles with a pair of MM-10 subwoofers. “That is just for one of the ballrooms, onethird of the overall space,” says Carter. “There are six of these CALs built in and firing across the room for when the false walls are in place. It can also be orientated the other way into one giant ballroom – for that, there’s a pair of larger CAL64s firing across the three partitions.”

To accommodate lectures and presentations in the ballrooms, Christie 4K7-HS and 4K10-HS laser projectors can be lowered from the ceiling at the rear. Venue operators also have basic control of the ballroom AV systems via iPads mounted on the back wall of each three smaller divisions. These run on an Extron NAV Pro AV-over-IP backbone, which distributes and switches lossless video and audio via Ethernet over the hotel network.

“These ballrooms simply sound spectacular with the CALs now in place,” enthuses Granata. “It’s a big space but the audio distribution of the CALs is very compact and that meant it was easy to make everything sound nice.”

A trip to Atlantis The Royal wouldn’t be complete without a visit to the 22nd-floor rooftop infinity pool lounge, Cloud 22. With views that give the impression of having The Palm at your feet, audio in the central areas comes from a combination of 32 RAL colour-coded, column-mounted UP-4XPs and 10 MM-10XPs. A further 45 MM4-XPs and 23 MM-10XPs reinforce the private cabanas running along each side.

Peering down over the edge of the infinity pool towards the ground floor area at its base neatly illustrates the significant audio obstacles for teams to negotiate at Atlantis The Royal – namely that it is constructed from a cacophony of separate structures all intermingled and woven together. As such, audio control and limiting spill became a major priority in outdoor areas, and was yet another situation where the Q-SYS control system came into its own. Q-SYS grants staff total control over the audio facilities in all parts of the building.

“Beyond the close confines of the various restaurants and outlets, one of our challenges here is that the building is half residential and half hotel. It’s absolutely imperative that we do not annoy our neighbours. Every restaurant has been carefully zoned and has at least one or two touch panels for local control. The venues have overall control of their volume and manage it accordingly,” shares Carter. “We then have a set upper

limit for the outdoor areas as we have quite a lot of spaces in close proximity to each other and we’re trying to avoid too much spill. As you walk throughout the building, we aim to deliver about 62–65dB consistently, and you shouldn’t be able to notice much difference as you travel from one area to another.”

The extent of Meyer Sound’s presence within the hotel is so vast it’s tricky to appreciate. Thankfully the gargantuan scale isn’t an issue for Carter and his team when it comes to the day-to-day management. “It’s a massive place but, from the perspective of what I’m concentrating on, everything is relatively segregated. There is plenty of local control dotted around the necessary areas.” Should intervention by more qualified people be required, Carter has control of the whole venue’s audio capabilities via a QSC control app installed on his smartphone, which can be operated from anywhere on the hotel’s Wi-Fi network.

In terms of challenges, the supply of weatherproof paint for the UP-4s in external areas did introduce some unexpected delays to the installation process. “We had issues getting the right paint for the protected outdoor speakers,” explains Ghorayeb. “But when there is an unexpected delay on a project like this, the most important thing really is how you absorb that from the client’s perspective; how you coordinate everything subsequently. That was our priority.”

All-in-all over the course of approximately 18 months, the team at Systech Middle East facilitated the installation of upwards of 400 Meyer Sound loudspeakers, many of which were the original UP-4PX loudspeakers previously reproduced in a different s h ape. For its part, the American manufacturer went above and beyond to ensure that the necessary resources were brought quickly back into production to create the cabinet and make it available to Systech in record time. When everything was in, commissioning spanned less than three months in total.

“This project took place at a really critical moment and, overall, everything was finished on time for the grand opening,” concludes Granata. “The final result is superb, but couldn’t have been achieved without the hard work of all involved: Mediatech, Systech and GBM.”

“I couldn’t agree more,” concludes Carter. “Given that we have only been open for six weeks at this point, any problems that have arisen have been minimal. The programme is 98% written at this stage, we’re just modifying and tweaking some small things as we go.”

www.atlantis.com/atlantis-the-royal www.meyersound.com

Richard Carter demonstrates the Ballroom’s Extronbased control system

A Q-SYS control panel inside Resonance

The view over the The Palm from Cloud 22’s VIP infinity pool

The ballroom setup in its divisible configuration receives coverage from CAL32s embedded into the walls

A flair for live events

Technical director Marno Snyman and general manager Abizar Arsiwala reflect on what makes Flair Events Services unique in the Middle East events market

What are your roles and backgrounds at Flair?

MS: I’m the technical director. I’ve been in the UAE for seven years, starting at a few other companies in the industry before making my way to Flair. I joined the company in February, having been an old friend of our managing director Sameer Rahman. The company was growing too quickly for them to manifest their true potential, and I was brought on board to help manage the technical side – to help grow into the presence we are today.

AA: I had been managing operations for the last eight years at Flair, then when Covid hit I assumed the role of general manager. My job is to lead the team in executing Sameer’s vision. Being the operations manager, I knew most areas of the business in detail, and I’d also been with the company for quite a long time. This gave me a great understanding of the clients and the kind of work we do.

cables make Live events

Marno Snyman

Abizar Arsiwala

The team’s new INFiLED stock was first put to use on the BudX FIFA Fan Festival Dubai in 2022

they have a particular emphasis and love for this side of the business. As a result, the lighting department has many more toys than the other departments with the newer jewels being Robe’s Forte, Spiider (these are no longer that new but they’re still one of the best multifunction wash lights in my opinion), MegaPointe, LEDbeam 150 and the infamous touring favourites like the GLP Impression X4 Bar 20 and GLP JDC 1. We also have our fair share of Robe Pointes, Martin Mac Viper performances, Martin Mac Auras and a lot of LED PAR cans and large outdoor static architectural wash lights.

MS: We recently partnered with another company to develop our own branded LED fixtures. We can’t share too much at this stage, but we are happy to showcase them to anyone who wants to come and see them at our HQ in Dubai.

Flair recently helped the team from Coke Studio bring the format onto the live stage for the very first time

Pre-fabed

Leading the pack

Having founded Proaudio Africa, Pack quickly took on local distribution for prominent brands such Pioneer DJ and Music Tribe that same year. Since those early days, the company has expanded its offerings by regularly adding other top-tier brands –including HK Audio, Power Works, RCF, Audio-Technica, NORD, Sonance, KRK, Powersoft and Blackstar – to its portfolio. Today, it specialises in digital entertainment products that provide accompaniment to artists of all levels – from power amplifiers to loudspeakers and cabinets used in installed and live sound applications. Pack’s mission, however, has never wavered – to provide the local market with better access to quality music and DJ products. “If you’re looking for high-quality audio equipment in South Africa, Proaudio Africa is the ultimate destination for all your needs,” explains marketing manager Daniel Bungay.

the wider product landscape for South Africans, Proaudio Africa has been consistently evolving its digital footprint to better communicate its place in the market. The Proaudio team actively threw itself into the marketing space in 2021, establishing a monthly newsletter in 2022 that has taken the local industry by storm, growing to 5,000 subscribers since its initial mailout. A new website is also due to go live this year to more accurately reflect the sovereignty of the brands the company carries.

NAVIGATING THE TRIALS AND TRIBULATIONS OF THE South African market is not for all; no one knows this better than Proaudio Africa owner Joss Pack. “I used to say we’re about 30 years behind here in South Africa,” he explains. “However, this gap has closed considerably in recent years because of the evolution of information technology.”

This fast-paced technological change, however, creates as many problems as it does opportunities. With a flood of hightech new products now entering the market, a lack of proper knowledge to make use of it all can easily emerge. Proaudio Africa has been operating in South Africa for over 20 years, with a rich history that dates all the way back to 1978 when Pack became a director at distribution company Wild & Marr. In 1993, he then founded Audiosure, before selling it in 1999 to embark on another new venture that would ultimately become Proaudio Africa in 2001. Having witnessed the shift from analogue to digital, and then digital to networked AV, it’s safe to say that Pack has learnt a thing or two about introducing new audio technology to the market in a way that resonates with South Africans.

“Whether you’re a musician, producer, gamer, podcaster or simply looking to take your sound to the next level, we provide a wide range of products backed by recognised and reliable brands.”

To better serve customers, the team recently established an in-house service and repair centre at its head office in Linbro Business Park, Sandton. It also has three warehouses that hold a large volume of stock to ensure customers can always get orders on time. “We’re probably the strongest company of our kind in South Africa, yet our outward presence traditionally hasn’t reflected that as we’ve been a B2B company,” adds Bungay. “We’ve got over 1,000 distributors, and we carry the brand licences in South Africa and Africa for a lot of key international brands.”

Having enjoyed a raft of recent successes, the company claims it has now become the go-to choice for anyone in need of highquality audio equipment – an achievement that Bungay is proud to back up with physical statistics in the form of an increasingly expanding online readership. In an effort to raise awareness of

“Sonance is a good example of why the newsletter has gained so much traction,” says Bungay. “They make incredible products and we’ve got a lot of test cases that have really worked, but people here don’t even know that the brand exists, let alone what that brand offers. This is where the idea for the newsletter came from during downtime in the pandemic. Its readership has grown by 4,000% over the last year. It talks about what has just happened in the market and with our brands, what’s happening with DJs in South Africa and what’s happening in the global market. It’s minimal information from a professional audio perspective, but it’s very popular.”

“We’ve been in the market for more than 20 years and we’re grateful for the continued success,” Pack concludes. “What we really want to do is engage with musicians out there that don’t know that certain products exist and make them aware of how these products can enhance their skillset and even their careers in the music industry. For this reason, I’d encourage anyone and everyone with questions about audio gear to get in touch and let us help you out.”

www.proaudio.co.za

Connecting producers and musicians with the very best equipment has become a mission for Proaudio Africa

Joss Pack

The Proaudio team

TEAMCONNECT CEILING SOLUTIONS

Be heard in the roomeverywhere.

TeamConnect Ceiling Solutions benefit from Trusted Sennheiser Audio Quality to offer audibly superior ceiling microphones for modern hybrid conferencing and presentations. The solutions are part of the Sennheiser TeamConnect Family and are designed for meeting rooms and lecture or collaboration spaces that are either mid-sized (TeamConnect Ceiling Medium) or large (TeamConnect Ceiling 2).

A letter from America

Dan Daley on the rich culture of hip hop, which recently enjoyed a 50-year celebration

FEW OF MUSIC’S BROADER GENRES HAVE CLEAR-CUT starting points. Jazz is considered a product of New Orleans’ racialised gumbo, one that serendipitously elided much of the viciousness of America’s Jim Crow era of “separate but (not really) equal” apartheid in place from the 1860s to the 1960s. Nonetheless, the august Smithsonian Institute’s magazine awards a group of white musicians credit for having made the first jazz record: the Original Dixieland Jass [sic] Band’s rendition of Livery Stable Blues on 78rpm disc, in 1917. For better or worse, making the first recording is kind of like planting a flag, which is how Christopher Columbus managed to claim discovery of America despite showing up 500 years or so after Eric the Red.

Same goes for rock and roll, where the consensus is on Rocket 88 by Jackie Brenston and His Delta Cats, recorded in 1951. At least Brenston was Black. Unfortunately, cultural archeologists looking back centuries from now at Billboard charts from the 1950s would be forgiven for thinking that it was Pat Boone and The Kingsmen who were rock and roll’s true pioneers.

The picture is clearer for rap and its progeny hip-hop. It’s become canonical that the first time that genre was fixed in vinyl and tape was 1979’s Rappers Delight by the Sugar Hill

Gang. Yes, plenty of arguments are made for other pretenders to that gritty throne, going all the way back to a 1930’s US gospel-music group The Jubalaires. But by the time Eminem and the Beastie Boys came along, no one was confused about the genre’s racial etymology.

So it was satisfying to see the 50th Anniversary of Hip Hop, a rap free-for-all featuring 26 rappers and half again as many musicians celebrating rap’s half-century, be the hub of the recent Grammy Awards show (and set the faders on two FOH consoles flying). The segment, which featured Missy Elliott, Big Boi, Run-DMC, Queen Latifah, Public Enemy, Busta Rhymes and Grandmaster Flash and the Furious Five among others, and backed by a combination of tracks and the Roots playing live, was essentially a statement of ownership. In an entertainment industry in which cultural appropriation has been not only rampant but an actual business model, the 15-minute-long, Questlove-curated terpsichorean history lesson was as much an occupation of the Grammy stage as a celebration on it.

The Grammy Awards took place exactly a week before another event made a similar statement: Rihanna’s 13-minute-long strut on the Super Bowl’s half-time stage. It was the third such event produced by Jay-Z’s Roc Nation and, like the preceding ones which featured Dr Dre, Snoop Dogg, Eminem and others in

A letter from Europe

2022 and The Weeknd in 2021, it was a not-subtle declaration that Black music has a bigger seat at the table now.

Country music, long a bastion of whiteness, is trying to change its tune. The Academy of Country Music this year inaugurated “OnRamp”, an annual guaranteed-income programme for 20 young, Black members of the music community. Around the same time its larger but more staid counterpart, the Country Music Association, announced Country Proud as part of its annual event, billed as the first-ever LGBTQ+ Pride event at a country music festival.

Whether that takes hold or becomes mere window dressing remains to be seen, but it’s worth noting that it’s taken a lot less time for music to acknowledge the contributions of others who diverge from the hetero-Eurocentrism that’s been at the heart of the business for the last century than it did Black artists. Rappers in particular were targeted by societal gatekeepers during the genre’s early years – NWA’s F*** Tha Police was neither intended nor received as a term of endearment. But post George Floyd et al., the anger expressed in that era of rap is understandable. And even if the 50th Anniversary of Hip Hop had its sharper edges blunted a bit for a prime-time Sunday night television audience, the fact that it was there, in the middle of music’s most iconic institution, said everything they needed us to hear.

Phil Ward muses on technical malfunctions – non-AV, of course – to beset the annual BRIT awards show

SOME THINGS NEVER CHANGE. SIX YEARS AGO, UK full-service provider Britannia Row was in charge as usual for the technical marshalling of the BRIT Awards, London’s answer to the Grammys, the Japan Record Awards and the Korean Music Awards. It’s also London’s answer to the question: what happens when you spike the drinks with ego-juice at a banquet for pop stars? At the end of the evening, you do not pour the guests into taxis. You load their self-admiration into a fleet of articulated lorries. Britannia Row – Brit Row, to its friends – has plenty of such lorries. But they are reserved for the payload of kit that has stayed remarkably consistent over the years, notwithstanding the obvious hiatus caused by the pandemic. In 2017, DiGiCo SD7s were at FOH and monitors supported by what were then the new SD12s, set aside for the gushing blather that greets each award. This year, the SD7s were upgraded to Quantum 7s but the SD12s were there again for the same purpose, plus an SD11 for comms.

In 2017, L-Acoustics K1 was at the heart of the loudspeaker landscape, with KS28 subs and sundry infills, especially the lighter K2. This year, L-Acoustics K1 was again at the heart of the loudspeaker landscape, with KS28 subs

and sundry infills, especially the lighter K2. Same goes for Sennheiser’s Digital 9000 series, 2000 series and EK 2000 IEM. Plus ça change, and all that.

This is of course a victory for consistency of service, reliability of technology and fitness for purpose. It’s a pity the same can’t be said for several other aspects of the BRITs, to which the word “consistency” can only be applied to the evening’s propensity for calamitous bungles.

This year’s contribution came from the £500,000 set constructed for a duet between out-there crooner Sam Smith and German singer-songwriter Kim Petras, featuring the song Unholy. Minutes before the performance, something mechanical went wrong on the set, which included a lot of moving parts (some of them very human), featuring an array of dancers performing on cars in a garage setting. As a result, Stormzy’s performance was rushed forward, a backup video of Adele from last year was shown and the presenters ratcheted up the piffle quota by several degrees. This was all while pitstop-style maintenance was carried out behind the scenes, appropriately enough.

Smith nearly didn’t perform at all, partly as time ran out and partly following routine tantrums. History doesn’t record

the Richter scale of tantrums that ensued in 2015 when Madonna, no less, was dragged off the stage at the BRITs by her own Armani cape during a performance of Living for Love. The choreographers had apparently tied it very tightly around her neck to prevent it from falling off, so when it was supposed to be released with a well-timed tug, it didn’t. Anyway, the team was at least partially successful, so it wasn’t all bad.

Last year, English Rockabye chantreuse Anne-Marie fell down the stairs, twisting her ankle while performing Don’t Play with rapper KSI and producer/DJ Digital Farm Animals. In both cases, professionalism shone through and the song was completed, followed by a few teethclenched attempts at brushing the whole thing off. But that simply wasn’t possible during the greatest BRITs debacle of all: 1987’s presentation by totally untrained ingenues Mick Fleetwood and Sam Fox, complete with autocue failure, envelope errors and false entrances galore. They should have stuck to drumming and modelling, honestly. Although Sam Fox was a lousy drummer. You know what? They should just let Britannia Row handle the whole lot.

© Ralph Larmann

NAMM 2023

Lawn from Anaheim

SERVING AS A STEPPINGSTONE BEFORE RETURNING

to its traditional January slot, the 2023 NAMM Show reunited the MI, pro audio and entertainment technology communities following its last outing just nine months earlier. Held at the Anaheim Convention Center (ACC) from 13–15 April, the threeday event stimulated business opportunities and valuable reconnections as the industry continues its reboot in the postpandemic economy.

The transition in dates continued to leave its mark in the ACC North Hall’s pro audio-focused hub. It was a NAMM Show full of enthusiasm for most but, as in 2022, it wasn’t a typical NAMM. Rather than attempt to stage a show on the upper level, the exhibits were confined to the lower floor. However, eight audio demonstration rooms on that upper level drew avid listeners and potential buyers alike. Here, they could deduce the acoustic nuances and hardware features of DAS Audio’s SARA, LD Systems’ MAUI G3, Meyer Sound’s Milan-certified Ultra-X20, d&b Soundscape and Opera Reevo, EAW’s AC6 Adaptive column, QSC’s L Class and the Neumann immersive soundstage. Set against the backdrop of a food hall where exhibitors once showcased products, the demo rooms won critical praise from exhibitors and attendees alike.

Down in the music halls, the larger floorspace received visibly less foot traffic than previous editions despite the usual cacophony, which maintained high energy levels. Even though Yamaha had commandeered a large chunk of 3rd-level real estate to highlight 40 new products, big brands including Fender, Gibson and Paul Reed Smith were no shows.

Worryingly for all show organisers, there are fewer standout product launches taking place in these post-pandemic times. Exhibitors such as Shure and QSC elected to launch their GLX-D+ wireless and L Class intelligent loudspeaker systems respectively a full month before NAMM 2023. Having successfully unveiled new innovations during the pandemic, the trend set by manufacturers to bypass exhibitions as a launchpad continues.

With pandemic restrictions having been lifted throughout the world, this year’s NAMM drew an increasing number of international visitors from 120 countries. The mandatory photo ID, badge and bag search for gaining entry to the ACC had been preceded by visa applications and ongoing construction works at LAX airport. Together with a strong US dollar, the exhibition’s genuine efforts to draw greater overseas visitor numbers may be stunted owing to reasons

beyond its control. Having announced its 2024 show dates in advance of ISE, it appears incredulous that the ISE organiser has opted to stage its four-day event just one day later.

Despite the lower visitor numbers and scaled-down footprint, the exhibitors are determined for NAMM to succeed. The overwhelming assumption is that once NAMM returns to its usual January slot in 2024, there will be a return to some sort of normality. Whether exhibitors will return to display their wares on large-format booths is another matter as some clearly prefer the downsized networking format.

Adding to the out-of-sync feel to the 2023 edition, the Californian sun was also absent for the first two days of the show. In addition to the chilly weather, vacancy signs at the South Harbor Blvd lodgings and early closing restaurants do not bode well for the future. The accelerated decline of Prolight + Sound Frankfurt over the past 10 years serves as a warning to any exhibition organiser who fails to heed market trends or recognise problems. Having benefitted from the strong leadership of outgoing president Joe Lamond since 2001, NAMM continues under the new management of John Mlynczak.

QSC’s Christopher Brouelette demonstrates the L Class

13 – 15 April

2024 Dates: 25 – 28 January

Venue: Anaheim Convention Centre

Total exhibitors: 1,200

Attendance: 46,7119

Contact: www.namm.org

The NAMM Show was out of step again, but the clouds are scattering, reports Richard

The Yamaha Grand Plaza Stage drew sizeable crowds

Shure’s Kate Bressel debuts the GLX-D+ wireless platform

L–R: Adam Hall’s Kati Eismann, Markus Jahnel, Andreas Marx and Elisa Posteraro in the demonstration lounge

DAS Audio promoted its SARA and Altea Duo speaker systems

From the show floor

John Mlynczak, NAMM president and CEO:

“Exhibitor reservations for 2024 are already exceeding expectations, and we are hearing from countless industry partners that they can’t wait to return to the right place at the right time. The rhythm of our industry is back with the NAMM Show in January.”

“NAMM is an important show when it’s staged in January. However, many of our international partners were coming to NAMM this year, so Meyer Sound felt the need to be present. Driven by the vision of John and Helen Meyer, we launched the Panther large-format line array system towards the end of the pandemic. Designed initially for Ed Sheeran’s world tour, Panther has been transformational for us coming out of the pandemic. It’s an odd time of year to stage NAMM, and we were cautiously optimistic about the response, but all our demos turned out to be standing room only. Our top 10 products are exceptionally hot since we just launched the Leopard compact linear line array and companion 2100-LFC low-frequency control element last year. In addition to the Ultra-X40 compact and the LINA line array, we have been demonstrating the Spacemap Go spatial sound design and mixing tool, the Milan-certified Ultra-X20 loudspeaker and USW-112P subwoofer, with Milan inputs driving directly out of a MacBook Pro.”

“Every aspect of our NAMM presence has been outstanding this year. With L Class, we knew we had a terrific product as we had previewed it for select customers some time ago and the response was overwhelmingly positive. On the heels of the official product launch on 3 April, we were anticipating that NAMM would bring a large audience to see and hear L Class in person. It did not disappoint: NAMM has done a tremendous job at bringing this show back. I feel badly for those who stayed away this year due to uncertainty about the show’s viability because they missed out on the energy, enthusiasm and optimism that the music-making community brought with them this week. I anticipate that come January, NAMM will not only be back to full strength but be even more vibrant than it was in 2020.”

“It feels good to be back with our US partner LSI and see our customers again. In addition to some of our renowned loudspeakers such as Mitus, Myra, Muse and Ventis, we’re showcasing the CLA203 and 204 column and active point source Canto speakers, together with the Miura multichannel amplifiers. We knew NAMM would be different this year, and we reduced the size of the booth, but we are very happy to support the

“NAMM is incredible for RCF because we consistently increase our presence in the United States and our brand grows with each successive appearance. For both our customers and the RCF family, we felt it necessary to have a strong presence at this year’s NAMM. When NAMM returns January 2024, it will be even better, but we are happy with the results of the 2023 show. Coming to this temple of music conveys great emotion for everybody. There has been a renaissance in the MI business, but our business is different as we must transfer the emotion that the artist is putting into the microphones, which basically means connecting the art with the technology.”

Shane Bailey, NAS Solutions (Australia):

“NAMM has been a great show as it has been almost four years since most of us last met. It’s an interesting show, but it’s still in transition as it returns to its original January date, when I believe it will bounce back. Although NAMM has grown a little since my last visit, I still think it’s got some way to go with the pro audio side of the business as there are fewer new products on offer compared to previous years. This is a passionate industry and, to be honest, that is the main reason why we come and meet people here.”

“The decision to exhibit at NAMM was simple because our biggest market is the United States. If we want to continue to grow this market, there is no other choice, as we need to be here to sell into the American market and service our customers. However, we have met a lot of international visitors from Latin America and Asia Pacific, who have not visited for quite some time, so that has made this NAMM even more successful. Our budget was limited to one booth, so we decided to exhibit in the MI halls rather than the professional audio section, because our guitar speakers are the biggest draw in the US market. However, we are also showcasing new compression and coaxial drivers together with the PowerPro 18-inch subwoofer. The professional audio community knows where we are, and customers meet us here.”

Anne Berggrein, DPA Microphones:

“For NAMM 2023, it was important for us to show the love and the passion that we have for the live segment following the pandemic. Following last year’s launch of the 4055 kick drum mic, we have followed up this year with the addition of the 2012 compact cardioid and a 2015 wide cardioid stereo pair. By adding three 4099 CORE instrument mics to these models, DPA has released its first drum microphone kit with the DDK4000. It’s had a great reception. We’ve had many people come here asking about the new mics and the kit, so NAMM has been a success for us.”

An excellent background

Operating reliably in the background, Stagetec’s Nexus modular routing, networking and DSP system isn’t an obvious entry into the professional audio hall of fame. Richard Lawn finds out more about this acclaimed industry standard

CELEBRATING

ITS 30TH ANNIVERSARY

THIS JULY, Stagetec has continued to listen to its customers and reinvest its resources, ensuring that its distributed router equipment remains at the cutting edge of technology. But when the Berlin-based manufacturer launched its first product just four months after inception, few of the engineers working on that pioneering project could have imagined that the digital audio interconnection and routing system would remain in production today.

The unveiling of Nexus as the first distributed audio router connected by fibre-optic cabling may have been somewhat muted at the outset. Combining an audio network, a router and an I/O matrix, its longevity is partly down to a modular structure. Based on the industry-standard 19-inch rack, the Nexus system consists of one or more base devices into which up to 21 plugin boards can be inserted on one level. Available in 1U, 3U, 6U, 9U, 12U and 15U versions, the mainframe base devices are suitable for mobile use and fixed installations, its flexible modular design accommodating I/O boards for analogue and digital audio, DSP boards for audio processing, custom routing boards for data or switching signals and fibre-optic interface boards for interconnecting base devices.

By adopting a proprietary protocol to transmit audio and control data, Nexus combines high reliability with low latencies. The network is created by connecting several base devices with XFOC cards, each offering four ports for fibre-optics. Available connections include point-to-point, daisy-chain, star- and meshshaped networks. Nexus also relays all the system’s control information via the fibres. Each XCPU board incorporates a word clock connector allowing Nexus to function as a master or to be synchronised to external sources. Video sync can be fed directly and, when working in an IP ST2110-based environment, Nexus switches to PTP ST 2059 system timing.

In parallel to the router, Stagetec’s team developed the Nexus network, with all its inputs, outputs and complex signal routing

Stagetec’s director of business development, Jean-Paul Moerman, at ISE 2023

Stagetec’s Berlin premises

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ability, as the basis for multiple digital mixing consoles, the first of which was Cantus in 1994, becoming the first digital console to be installed, a year later, at Bavarian public service broadcaster, Bayerischer Rundfunk. The same TDMA technology integrated within the DSP of the consoles has been transferred into the Nexus router. Without the burden of creating tie-lines between studios, engineers were provided with unrestricted access to all the resources within the network.

As demand grew for a switching node for large audio networks, the Stagetec designers launched the Nexus Star in 2000, with the ability to route 4,096 inputs to 4,096 outputs and network 31 Nexus base devices up to 100km. The 6U, 19-inch rackmounted unit comprises I/O boards for connection to Nexus base devices together with external MADI equipment, a wide range of synchronisation options and redundant power supply units.

“With Nexus Star, the concept remains the same,” explains Stagetec’s director of business development, Jean-Paul Moerman. “With each additional audio format that is brought to market, there is added demand for more resources whereby all the channel strips on the console need to be routed to the network. The Star is not limited to the whole network. If you have a 400-channel console, there is a multiplier of eight, which is the number of connections required to connect the console to the outside world.”

High hardware standards, including the development of compact, lightweight modules with low power consumption, has spawned intelligent, flexible products. Subsequent consoles have built on the proven Cantus concept with its unique I/O matrix and user interface. Cinetra, launched in 1997, was followed by Aurus, Auratus, Crescendo, On Air 24, Aurus platinum, Crescendo platinum and, most recently, Avatus. Continued innovations – including the patented 32-bit TrueMatch converter without analogue gain stage, resulting in a 158dB dynamic range – have contributed to Stagetec’s rising brand value. “If feeding a microphone signal directly without preamp stage into a 24-bit convertor, you would be using only 8–10 bits, making it unusable,” says Moerman. “The extra 8 bits of the 32-bit convertor push down the noise floor virtually by some 48dB. The gain is done after the AD-converter in the digital domain. As a result, there is no risk of clipping, no added distortion or spectrum change from an analogue preamp.”

From the outset, most software and hardware including circuits and PCB layouts has been designed by Stagetec’s inhouse development team. This has led to the availability of the Nexus Logic Control (2004), loudness metering (2011), Dante connectivity (2012) when integrating the Nexus XDIP interface card, Nexus XRT routing for more than 8,000 channels and Nexus XACI for complex control tasks (2015). A single Nexus configuration can be scaled up to 655,362 addressable I/Os, 72 million cross points, a maximum of 63 base devices or nodes, up to 2,048 audio channels of non-compressed PCM per fibre and 32 streams of 256 audio channels per AoIP port.

Nexus has been largely futureproofed with AVoIP capabilities. “Nexus has always adapted to current requirements, but it can also allow an engineer to connect to MADI and legacy audio formats,” says Moerman. “As technology increasingly operates over IP with AES67, Dante and ST2110 connectivity, Nexus has interfaced with these evolving networks, and that has renewed the life of the product. By replacing the fibre-optics with an IP stream, Stagetec has created a Nexus IP Link, which is essentially the same AES3-based 32-bit transparent mode format used in fibre TDM. The traditional fibre is 32-bit in AES3 transparency mode, which consists of 24-bit audio plus four users and four databits for communicating. An ST2110-31 audio stream is 32-bit format, which is also referred to as a transparent format, with space to add the Nexus UDP protocol. This allows the base devices to communicate to one another over the datacentre on a TCP/IP layer 3 broadcast backbone. The beauty is, it has become backwards compatible. Nexus has evolved to become a hybrid system and can operate with TCP/IP layer 3 or our traditional TDM fibre or mix TDM and IP. A customer with an existing system can gradually upgrade by replacing a couple of IP boards with fibre

boards. Those base devices become the edge- or endpoints in an IP workflow.”

IP connectivity can be expanded by adding more IP interfaces. “The transition can be made in one go or a full IP-based Nexus system can be acquired, so the most budget-friendly transition into IP fits perfectly in what Stagetec calls its intergeneration compatibility. Whatever format, on the router page the sources and destinations present themselves to the user in a uniform, uncluttered way. Just as the whole system can be connected over IP, consoles such as Avatus can also be connected over IP to a switch or a datacentre and finally to the core. “The console is connected to the core as simply as a laptop to the local network by assigning an IP address.”

The rack-mounted hardware has enjoyed limited penetration in remote production and recording studios, workstations with local audio sources and broadcast cameras with mounted microphones. Therefore, the compact TrueMatch was recently engineered in response to demands for a compact, IP-based, standalone system to interface with on-camera, eight-channel immersive microphone arrays. Offering a low channel count with basic audio processing as an extension to existing Nexus networks, the portable unit supports established protocols including EmBER+, NMOS IS-04/05 and SMPTE 2110/AES67/ Ravenna AoIP formats and can be equipped with a Dante interface.

Although TrueMatch dates from the 1990s, users continue to specify the technology on account of the wide dynamic range it offers. “The lack of clipping owing to the astronomical headroom is a huge benefit,” asserts Moerman. “The Nexus compact TrueMatch, which is scaled down to an internal 82 x 82 matrix, is a further evolution of the Nexus family. Designed as non-configurable, it is fixed with eight microphone inputs, eight analogue outputs and four AES3 in- and outputs plus GPIO. A 64-channel AoIP interface completes the Nexus compact and connects to the outside audio world. As it’s then connected over IP to other Nexus base devices, access to all the resources within the network is available from a console surface. There’s no difference in operation if the microphone is connected via analogue, digital or over IP. Phantom power and other functions are transmitted to the interface, an internal http GUI is available in any browser and Nexus compact is easily accessible via a tablet, even remotely.”

Singapore’s Star Performing Arts Centre benefits from a Nexus router

Nexus with the XDIP Dante audio-over-IP interface and XACI control board

The Nexus Star router

The Nexus Compact was launched in 2022

The concert hall of Singapore’s Esplanade – Theatres on the Bay is installed with a Nexus Star router

Having launched Nexus compact TrueMatch at Tonmeistertagung 2021, Stagetec is acquainting itself with new end users. “Some engineers have cited the PoE [power-over-Ethernet] function as a distinct benefit,” says Moerman. “In addition, the external microphone inputs and local GPIOs have been cited as desirable features for TV studios. With GPIO-configured source selection, producers can play content to guests during or after rehearsals by installing this compact node. Furthermore, with access to the network, the compact TrueMatch can be programmed as a commentary box, using the internal DSP to mix interviews and provide IFBs, leaving out latency issues. The Nexus compact can also be used as an extra to add a few resources to existing networks or record a few microphones on location.”

As well the broadcast market, Nexus also has a vast customer base in theatres, opera houses and public buildings across the globe. “The market share between broadcast and live sound varies from country to country,” adds Moerman “Globally it’s around 50/50, with a large intake from applications where audio is being transmitted from point A to point B with a third-party control system. The systems integrators and consultants we interface with at ISE in Barcelona are completely different from those broadcast devotees attending IBC in Amsterdam. Although Stagetec showcases console technology to catch the eye, there is increasing interest in the less visible network devices. For each installed console with a Nexus configuration, there are ±10 Nexus systems without a console in museums, parliaments, conference centres, motorsports, amusement parks, military buildings and even space agencies.”

However, Nexus wasn’t released with a development roadmap ahead of it. “Customer feedback played a significant role in its evolution, and the compact TrueMatch is a good example,” says Moerman. “In principle, the original Nexus from 15–20 years ago is still relevant – it has simply evolved from a TCP/IP layer 1 using the same SFPs as the IT industry, to using a TCP/IP layer 3 format which we call Nexus IP-link, streaming 24-bit audio plus control in the eight user and databits entirely over the network in a compatible SMPTE 2110-31 (32-bit transparent mode) format

layer 3, so anyone can have access to it. Sure, in an ST2110 environment, Nexus nodes are used as so-called edge- or endpoints, but the concept and purpose still stand.”

Nexus has been working reliably and consistently for up to 30 years in many applications, but Moerman admits that some engineers continue to be unaware of its existence. “I occasionally show these operators exactly what it is. Promoting the achievements of Nexus remains a challenge because it stays hidden, operating flawlessly backstage like an unsung hero.”

Reliability, connectivity, flexibility, portability and ultimately longevity – Nexus’s place in a less illuminated section of the hall of fame is assured.

www.stagetec.com

A Stagetec console in production

The Nexus system consists of one or more base devices

you’re constantly trying to fit work and family into seven days. Although, my role is pretty flexible – I live quite a long way from the office, so sometimes I’ll get up at 5.30am so I can miss the traffic, and I’ll also work from home to break things up.

How did you get into open water swimming?

I started doing triathlons in my 30s – I started with a lot of pool swimming, then a bit of competitive open water swimming. As work got busier and my kids came along, the triathlons slipped and with it the open water swimming, though I did swim in pools when I had time.

Then, like a lot of people, I had a bit of an open water rebirth during the pandemic. In the early part of 2020, I went to a lake not far from me called Redricks. It felt like ultimate freedom to be out in nature and able to do something fun with like-minded people in a safe, socially distanced way. I then found they were holding open water swimming classes into the winter, which is where I learnt the dos and don’ts. One of the main ones is to get changed really quickly when you get out, so after-drop doesn’t set in. After-drop is where the cold blood in your skin and outer tissue returns to your vital organs, which could lead to hypothermia. It’s a very personal choice whether you swim with or without a wetsuit (skins) but, for me, I really enjoy the adrenaline and endorphin rush of the very cold water when it first hits you.

How do you find the time to practise open water swimming in among your work life?

I try to ring fence the Saturday mornings while the rest of my family are asleep. There’s always a nice atmosphere at the lake, so I’m motivated to get along there come rain or shine. They light a fire and when we’ve done our swim, we stand around it to warm

up and have a cup of coffee and chat. I also try to swim in pools when I can, but it’s always harder to get there during the week.

Where is the most interesting place you’ve swam?

Luxborough Lake in Chigwell is my normal place, which I love and is closer to home than Redricks, but the most interesting place I’ve swum recently is in the Mediterranean in the dark, after a day at the ISE Show this February. That was quite exhilarating in its own way.

Tell me about a time when you felt open water swimming challenged you

Luxborough doesn’t usually reach below 5°C but Redricks is shallower and gets much colder. It froze over this winter, and they had a session where they broke the ice and we bobbed around

with the chunks of ice around us. I stayed in for 10–15 minutes

Do you have any plans for the future – any

I toyed with the idea of trying to do an ice mile (a mile swimming in a temperature that’s below 5°C). It’s a big challenge and I’m not having enough regular exposure to tackle it right now. So, for the moment, I’m enjoying having cold dips, but, if I can improve my fitness, I might do some swimming/running competitions round our local lake.

What advice would you give to someone wanting to start open water swimming?

I would look for a lake like Redricks or Luxborough where there are lifeguards and instructors, and you know there’s a degree of care. If that’s not possible, I would swim with a partner. Open water swimming, especially cold water swimming, isn’t to be taken lightly. But, with the right instruction, it can be safe and a lot of fun.

Why do you think it’s so valuable to have a hobby like this outside of work?

I think it’s healthy to have some kind of hobby that takes you away from what you do to earn a crust, particularly in this business where work and pleasure blur. It’s good to have something so you can switch off from what can otherwise be an all-consuming industry.

There’s something about cold water swimming that really does help me leave any worries or tensions I might have behind me. When you swim in very cold water, your sympathetic and parasympathetic nervous systems are focused on keeping you alive. Subconsciously and consciously, survival becomes your focus, so you can’t think of anything else. I call it a bodily hard reset, in the same way as you do when your computer isn’t working. It’s a great way of clearing your cache!

Rob Fowler

In an industry where work and pleasure often blur, Libby Stonell talks with Brompton Technology’s Rob Fowler about open water swimming and “clearing the cache”

Fowler in an icy lake

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Meyer Sound unveils 21-inch low-frequency element

Meyer Sound has reduced the weight and size of the 1100-LFC to create the 2100-LFC low-frequency control element

THE 2100-LFC low-frequency control element has been introduced by Meyer Sound, extending the technology of the Panther large-format linear line array loudspeaker down to the lowest limits of audibility. By pairing a Class-D amplifier with a single, new 21-inch driver with four voice coils, the 2100-LFC subwoofer is capable of producing a linear acoustic output suitable for demanding applications. With an extended frequency response from 30–125Hz, performance is achieved in a loudspeaker that is more than 30cm narrower and about 20% lighter than the 1100-LFC product.

For the new driver, the Meyer Sound engineering team built on the experience gained from the dual voice coil 18-inch driver in the 900-LFC, but stepped up to four voice coils. The amplifier is rated at 1,200W maximum continuous power, with peak power of 8,000W. The frequency and phase response of the 2100-LFC is tailored to complement not only Panther but the entirety of the manufacturer’s linear line array products, making it a fit for customers who already own 900-LFC or 750-LFC products and want to expand their inventory.

Reducing the weight and size of the cabinet is said to aid flexibility as productions are faster to rig and easier to fly in a wider range of venues. This flexibility also allows users to bring high levels of low-end performance to even the smallest venues, and do so with a product that could be touring into stadiums the next day.

A new integrated power supply and signal distribution unit for multichannel audio systems that utilises the company’s IntelligentDC technology has also been released. By delivering both balanced audio signals and 48V DC for loudspeakers powering over a single composite cable, the MPS-488X combines the sonic superiority of self-powered loudspeakers with the installation ease of low-voltage systems.

Each MPS-488X supplies eight channels of power and balanced audio signals.

The MPS-488X incorporates a network connection as standard, with telemetry and control data accessed via an RJ45 connector on the rear panel. Critical data such as load status, current draw, fan speed and temperature are reported for visual display and fault alerts in Nebra. Current

FXX Series

Neutrik’s New Speakon XX series 2 and 4 pole loudspeaker connectors features a refreshed ,ergonomic design with slip proof two component molded housings ,improved and easier assembly, and IEC 61984, UL1977 certifications. The Neutrik Speakon connectors are available for different cable diameter ranging from 6mm-16mm.

draw is reported for each output channel, enabling the operator to assess the status of connected loudspeakers. The Nebra platform also allows the operator to mute or solo individual channels of the MPS - 488X.

Unlike its predecessor, the MPS-488HP, network connectivity on the MPS-488X doesn’t require the use of an external RMServer device. However, for mixed system compatibility, both the MPS-488X and MPS-488HP with RMServer can report their status on the same Nebra interface.

Designed principally for installed sound applications, the MPS-488X utilises threepin Phoenix connectors for balanced audio input and five-pin Phoenix connectors for audio and DC power output. It also features a new two-way Wink mode, which allows for identification of the unit when multiple units are in a rack. Pressing a button on the unit identifies it in Nebra while clicking on it in Nebra winks an LED on the unit. In addition, a Safe Mode facilitates troubleshooting while a Restore option allows resetting to the original factory settings.

Kling & Freitag extends PIA with LFX

KLING & FREITAG has extended the line sources of the PIA family with the PIA LFX. Denoting “Low Frequency Extension”, the loudspeaker corresponds to a PIA M in dimensional size and shape but is equipped with six 4-inch woofers in a bass-reflex chamber that extend the low-frequency response of a PIA M to approximately 50Hz. The PIA LFX has a nominal power handling of 100W, a program power handling of 200W and a nominal impedance of 8Ω. The speaker comes with speakON NL4 (1+/1–) and Phoenix connectors.

The PIA LFX low-frequency extension can be mounted on an M20 thread using the latest accessories and is compatible with any M20 base plate or subwoofer. A connector enables a PIA M to be mounted on a PIA LFX in just a few simple steps. Long mixed line systems consisting of PIA M and PIA LFX can also be built. Sharing the same dimensions, existing PIA M accessories in addition to existing cases can also be applied. One channel of a K&F system power amplifier is required to operate the PIA LFX. The PIA LFX is compatible with K&F’s PLM+ and D-Series along with the IPX 1200 and IPX 2400. www.kling-freitag.com

Make SPACE for CODA

any ratio, size or custom orientation to create a modern, borderless panel that will enhance any environment. They can even be mounted on the ceiling.

The SPACE by CODA system consists of three ultra-flat immersive loudspeaker modules – the M1, M2 and M4 – which allow each screen to be built in 600mm increments. The M1 measures 600mm x 600mm x 70mm for distances up to 10m; the M2 is 1,200mm x 600mm x 70mm so double the size and double the SPL (+6dB) for distances up to 18m; and the M4 measures 1,200mm x 1,200mm x 70mm, so four times the size and four times the SPL (+12dB) for distances up to 25m.

SPACE BY CODA combines AV technology with art to create an audiovisual experience that is scalable and adaptable to any environment –and where the mechanics of what is a concertgrade audio experience are rendered completely invisible. The system can be used to create an environment of any type or nature or it can be integrated into existing environments, such as cultural spaces, high-end retail, education, highend residential, hospitality and nightclubs.

SPACE by CODA integrates immersive 3D audio, a 4K projector screen, ambient lighting and acoustical treatment with a choice of art or projection into a united system solution to transform spaces with audio. The result is the SPACE Panel. At just 70mm deep, SPACE Panels can reportedly offer sound quality and performance surpassing that of conventionally designed (cabinet) loudspeakers. This driverequipped canvas can transform spaces to feature invisible audio, enabling high-quality, full-range sound in previously limitative environments. “Instafit” magnetic waveguides native to the SPACE audio modules facilitate production of directable sound with the capability for immersive audio.

Sound diffusors and acoustic treatments may be interleaved between loudspeaker modules for better control over sound reverberation in

the room. Optional sensor-controlled sub-bass modules can be deployed to deliver even lower frequencies to concert sound proportions. Matching CODA LINUS DSP amplifiers complete the package. The addition of the SPACE Hub processor opens up the possibility for true 3D immersive audio.

The loudspeaker modules and diffusor/ acoustic panels are arranged and connected like building blocks – and then completely hidden behind an acoustically transparent 4K projector screen – or a SPACE Art high-resolution digital canvas print. SPACE Panels can be arranged in

All loudspeaker modules include 10-inch passive radiators for LF, 6.5-inch MF drivers and 1.75-inch HF drivers with “instafit” interchangeable waveguides for optimum directivity control. Each module achieves a frequency response range from 45Hz–21kHz, with a maximum SPL of 121dB (A weighted) for the M1 module and up to 137dB SPL (A weighted) for the M4. The MF/HF sections are rotatable to enable both horizontal and vertical plane steering.

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Pioneer DJ introduces XPRS2 Series

FOLLOWING IN the footsteps of the original XPRS Series, Pioneer DJ has added two active speakers and two active subwoofers suitable for mobile DJs, live sound, houses of worship, and rental and fixed installations. The XPRS102 and XPRS122 full-range speakers feature Class-D 2,000W amplification, while the XPRS1152S and XPRS1182S subwoofers offer Class-D 4,000W amplification. Enclosed in black, protective plywood cabinets and suitable for harsh outdoor and indoor environments, the models come with a durable handle to support system portability and handling during setup and tear down.

The XPRS2 Series also features rubber feet to create separation and shock absorption between surfaces.

The XPRS102 and XPRS122 contain four different DSP preset modes – Live, Music, Speech and Floor Monitor – to address the needs of different listening environments. Each full-range speaker also includes 16 custom user DSP modes – which can be saved with different names – so that EQ settings can be maximised for every scenario.

The XPRS102 pairs a 10-inch woofer and

2.5-inch voice coil with a 1-inch exit compression driver and 1.75-inch voice coil. It has a maximum SPL of 129dB and a frequency response of 50Hz–20kHz. The XPRS122 is the larger counterpart. Featuring a 12-inch woofer and 3-inch voice coil with a 1-inch exit compression driver and 1.75-inch voice coil, the XPRS122 boasts a frequency response of 48Hz–20kHz and a maximum SPL of 131dB.

The XPRS1152S and XPRS1182S contain three different DSP preset modes – Boost, Extended LF and Normal – to suit different listening environments. The XPRS1152S employs a 15-inch ferrite woofer with a 3-inch voice coil with long excursion, while the larger XPRS1182S relies on an 18-inch ferrite woofer with a 3-inch voice coil with long excursion to produce accurate low frequencies. The XPRS1152S provides a frequency response of 45–120Hz and a maximum SPL of 129dB, while the XPRS1182S offers a 40–120Hz frequency response and 130dB maximum SPL.

www.pioneerdj.com

XPRS102

The world’s a stage with Yamaha STAGEPAS 200

WITH SUPPORT for Bluetooth audio streaming and remote control, the STAGEPAS 200 is a flexible 30cm x 30cm x 30cm portable PA from Yamaha designed for a wide range of applications, from street performances to events, parties and speeches. The unit has a 1.4-inch HF and 8-inch LF high-quality coaxial

Martin Audio adds to TORUS

high-capacity, rechargeable, lithium-ion battery pack. Delivering up to 10 hours of continuous operation between charges, the BTR-STP200 battery is also available separately.

Yamaha has also redeveloped its ProVisionaire suite of system design, control and management software, which allows fully customisable configuration and operation of

solution.

STAGEPAS

compression driver powered by a 180W Class-D amplifier, plus an onboard fivechannel (three mono mic/line and one stereo line) digital mixing section. Each input channel is equipped with Yamaha’s proprietary 1-knob EQ/preset and 1-knob Effect controls; together with the “Mode” compressor on the main outputs, Yamaha claims users can easily and intuitively create the sound they want.

complex audio systems. It is being launched alongside the DME7 digital signal processor. ProVisionaire has been redeveloped with three core applications to support the user’s entire workflow: ProVisionaire Design for system design, ProVisionaire Control for system operation and ProVisionaire Cloud for system management. The parameters of systems created in ProVisionaire Design are assigned to the ProVisionaire Control application, which provides unified remote control and monitoring

The T820 provides a defined 100° x 20° coverage pattern from a compact enclosure that weighs 14kg. Its small size and portability are said to extend its range of applications from live sound and permanent installations to corporate events, gigging musicians and DJs. A phase plug is mounted in front of an 8-inch neodymium driver to increase mid-band sensitivity, while two 1-inch exit, 1.4-inch voice coil high-temperature polymer dome neodymium compression drivers reportedly ensure sonic performance is not compromised, even when driven at higher SPLs up to 130dB.

The TORUS 8 comes in a plywood cabinet, finished in hardwearing PU paint and incorporates two pocket handles for easy installation and deployment, as well as fixings

LOUDSPEAKER MANUFACTURER Funktion-

One has introduced a new generation of Compact Range speakers. Enhancements in high-frequency driver technology and porting techniques have led to a new collection of loudspeakers – the F5.2, F81.2, F101.2 and F1201.2 mid/high speakers, plus the self-powered SB8A and SB10A compact

configurations. It can also be teamed with the SXCF115 cardioid subwoofer, which features a forward-facing 15-inch driver and a 12-inch rearfacing driver capable of 137dB peak. The TORUS 8 features two NL4 connectors with passive configuration using pins 1+/1– or 2+/2–, selected via a rear-mounted switch, and the systems are powered by Martin Audio iKON amplifiers, which support VU-NET control software and Dante integration. The TORUS 8 also features an LED indicator that can be illuminated via VU-NET software to identify its location on the network. Systems can be modelled in 3D with optimising filters to deliver consistent and defined coverage, using DISPLAY 3 software.

www.martin-audio.com

The F5.2 is the smallest speaker in the range with a 5-inch driver. It has a 150Hz–13kHz frequency range and a nominal impedance of 16Ω. The F81.2 comes with 8-inch and 1-inch drivers, a 110Hz–20kHz operating band and a nominal impedance of 8Ω. The F101.2 has 10-inch and 1-inch

The 1-knob EQ/preset for input channels two and three also feature a built-in microphone simulator, allowing the sound for acoustic guitars to be set with a single control. A priority ducker reduces the volume of other sources when a microphone or specific source is in use, while a smart feedback suppressor automatically eliminates unwanted feedback.

Meanwhile, Yamaha’s iOS/Android STAGEPAS Controller app provides real-time remote control of volume, EQ and effects – including reverb, compression, microphone simulator, ducker and feedback suppressor – and all settings can be saved and recalled.

Alongside the standard STAGEPAS 200, Yamaha is also offering the STAGEPAS 200BT, the first Yamaha pro audio product to include a

through custom-designed panels. ProVisionaire Cloud will initially manage additional functionality licences for Yamaha audio equipment, with activation and deactivation of licences reportedly allowing for an efficient management of assets.

The DME7 provides 64 channels of Dante I/O and matrix mixer as standard, with further channels added via three additional 64-channel licences, activated through ProVisionaire Cloud. These offer the ability for 128x128, 192x192 or 256x256 channels of Dante I/O and matrix mixer to be handled by a single DME7. Additional licences can be activated on a permanent or temporary basis.

www.yamaha.com/proaudio

Peavey introduces Aquarius AQ Series

TWO MODELS have made their debut in Peavey Electronics’ Aquarius AQ Series – the AQ 12 and AQ 15, the key difference being a heavy-duty 12-inch woofer versus a 15-inch woofer. The woofer is described as having a warm, punchy sound made possible by a built-in dynamic bass boost function that is said to provide the maximum amount of bass in a small package. The DX 14 compression driver tweeter, with 1.4-inch titanium diaphragm, is coupled to a 110° x 80° coverage Quadratic Throat Waveguide. The design reportedly provides a smooth, even response, as well as low distortion and good high-frequency dispersion.

Each fan-cooled unit features a biamped power section that provides a total 1,000W of peak available dynamic power with signal compression to prevent audible overload. There is 670W peak available for the woofer and 330W peak for the tweeter. Both amplifiers are said to feature sophisticated signal compression with

the aim of eliminating power amplifier clipping. A low-noise fan provides cooling for operation under any conditions.

Both AQ Series speakers have advanced DSP, providing a crossover function, driver limiting, as well as the driver EQ to enable the speaker system to provide an accurate and neutral sound for any type of music. The DSP processing uses 56-bit doubleprecision for accurate and transparent sound processing, and the input/output sections use a 48kHz sample rate at 24-bit for maximum fidelity. According to the manufacturer, low-jitter clocking and professional-grade components ensure superb sound quality.

On each speaker’s back panel, six EQ presets are accessed via a one-knob rotary selector switch. The six presets are Live Music, Club/DJ, Stream/Playback, Monitor, Acoustic and Voice. There’s a balanced TRS ¼-inch input, which can connect to a mixer or an output from a media player, as well as a balanced XLR

1 SOUND completes its Cannon Series

1 SOUND has launched the Cannon C8, a full-range, high-fidelity coaxial loudspeaker that rounds off the Cannon Series. The Cannons are described by the manufacturer as unique point sources that boast an impressive extended low frequency for their size. The C8 uses an 8-inch coaxial driver with a proprietary high-frequency element and has a 7-inch rear-facing passive radiator.

It has a bandwidth of 55Hz–18kHz and a maximum SPL of 120dB. The C8 measures 260mm x 260mm (HxW) and comes with two speakON connectors and a two-circuit switch, allowing for a

Cannon products along with all 1 SOUND loudspeakers are IP55-rated for indoor/ outdoor use and can be used in salt water

The manufacturer has also added an installation version of its wall subwoofer. The WSUB45i is described as an ultra-compact, slim and powerful lightweight subwoofer with four 5-inch low-frequency drivers and one 10-inch passive radiator. It comes with two French cleats in the back of the cabinet for flush-mounting to a wall either horizontally or vertically and measures 167mm deep. The wall subwoofer can be paired with any of the loudspeakers in the Cannon Series.

The WSUB45i is IP55-rated and available in

AQ

input, which allows for linking of additional speaker systems or feed of the signal to a powered subwoofer. A dynamic microphone can be connected directly via the XLR input and accessed via the mic/line switch. Alternatively, a Bluetooth signal can be streamed in, with a separate control for signal level adjustment. Combined, these features make the AQ Series suitable for sound reinforcement, public address, side fill system, karaoke or musical playback.

Both the AQ 12 and AQ 15 have light yet durable injection-moulded plastic enclosures, with a 1⅜ -inch moulded-in pole mount for live music or PA sound. The trapezoidal cabinet has three handles, while two extra angled sections on either side allow for use as a floor monitor. A full-length black powder-coated perforated steel grille provides system protection and a professional appearance. www.peaveyelectronics.com

NEXT Audiocom’s FLEXI15 promises fast and flexible setup

PORTUGUESE MANUFACTURER

NEXT Audiocom has unveiled the FLEXI15, a 2,000W active 2.1 compact PA system with an integrated DSP processing engine that forms a matched, compact system that DJs and musicians can deploy for both portable use or permanent installation.

The FLEXI15 houses a 15-inch reflexloaded subwoofer that is said to provide a “powerful, accurate bass sound”, along with the satellites featuring 8-inch mid drivers and 1-inch HF. To expand the system, it is possible to link two or more FLEXI15 via an XLR cable (solid line).

The system’s presets are selected by rotating the encoder, which optimises the

for additional hardware, software and, most importantly, time.

The FLEXI15 active PA system features sturdy plywood cabinets, protection circuits, XLR/jack combo, speakONcompatible connectors and ergonomically shaped, recessed handles. A scratchresistant polyurea surface, steel grille and flanged edges complete the design. The package includes the subwoofer with a pole mount for the satellite speaker, plus four castors, two with locking brakes and two speaker cables. Speaker protective covers, matching speaker stands, spacer tubes and wall mount brackets are also available

Cannon C8 WSUB45i

Precision craft from Lavoce Renkus-Heinz embarks on a passive drive

TRANSDUCER MANUFACTURER Lavoce has introduced a 6.5-inch ferrite common HF/LF magnet coaxial. The CSF061.71K incorporates a precision crafted common HF/LF motor which has been carefully optimised by the Italian R&D team and complements the CSF082.00K, an 8-inch version launched in 2021. Both models form the beginning of a wider range of steel basket common motor coaxials with 10-, 12- and 15-inch sizes coming later in 2023.

The CSF061.71K has a 150W AES power handling and 96dB sensitivity for the LF, and a 35W AES power handling and 103.5dB sensitivity for the HF. The LF woofer uses a 1.7-inch edgewound copperclad aluminium voice coil and the HF uses a 1.4-inch copper-clad aluminium voice coil on a one-piece polyimide diaphragm and surround. The addition of double demodulating rings helps minimise distortion. Together with a 75Hz–20kHz frequency range and 100° nominal coverage, the CSF061.71K is suitable for high-performance point source applications or ceiling speaker projects.

The Italian company has also announced the launch of its first 1-inch exit annular diaphragm design compression drivers. The DN10.143 and

DF10.143 are said to deliver a higher sensitivity and extended low-frequency performance than typical dome diaphragm designs. This also presents a lower distortion characteristic across the whole operating frequency range, which is further enhanced by the first breakup modes of the annular diaphragm exhibiting at a higher frequency. Both models specify a 1.8kHz recommended crossover

The DN10.143 has a neodymium magnet motor structure and offers 35W AES power rating with 110dB sensitivity and a frequency range of 1.2–20kHz. The driver uses a 1.4-inch edgewound copperclad aluminium voice coil and one-piece high temperature polymer annular diaphragm and surround. The DF10.143 has a ferrite magnet motor structure and offers 35W AES power rating with 107.5dB sensitivity. It uses the same 1.4-inch edgewound copper-clad aluminium voice coil and one-piece high temperature polymer annular diaphragm and surround. The DF10.143 has been designed for pushing the operating HF bandwidth limits for more costconscious line array projects.

www.lavocespeakers.com

WITH THE UBX Series, Renkus-Heinz beamsteering technology can now be obtained in passive column arrays. Unique for the UBX Series, Passive UniBeam Technology addresses each transducer with all-pass filter networks and gain sharing. Reportedly delivering consistent front-to-back coverage with minimal side-lobe artefacts, the inclusion of additional frequency filtering generates an asymmetrical vertical dispersion with constant directivity.

Neodymium 3-inch full-range drivers contribute to the compact 111mm x 121mm (WxD) dimensions of all three models. Weighing between 4.4kg and 13.6kg, the UBX4, UBX8 and UBX12 columns comprise four, eight and 12 3-inch drivers respectively. Registering a horizontal dispersion of 120° below 5kHz, vertical coverage varies between 15° and 30° asymmetrical.

Available in black or white, the aluminium cabinet can be plumb surface-mounted with the included W-Wall UBX bracket. In addition to the inclusion of audio transformers for 70V/100V constant voltage operation in large, distributed audio systems, all UBX Series models are weather resistant to an IP64 rating with a gland nut protected input cover.

www.renkus-heinz.com

4K TRACKING CAMERA

SMOOTH AND PRECISE PEOPLE TRACKING

The brand new tracking camera series by Datavideo offer reliable and cost effective tracking features to an already high quality camera line up.

The PTC-285 is a very cost effective 4K PTZ camera with tracking features. Easily isolate a certain person in a multi-person shot, choose wide, medium or close shot or isolate a region of interest to keep certain objects in view.

PTC-285 can also be controlled by Visca-over-IP and is compatible with ONVIF.

This camera features 12x optical zoom levels, HDMI and 3G SDI output and streaming.

For more information, check out www.datavideo.com

CSF061.71K

ic audio unveils voice alarm options

SEVERAL ADDITIONS to ic audio’s portfolio have been unveiled by the EN54 specialist, including a two-way coaxial horn speaker, a two-way speaker that can form a four-element line array for voice alarm applications and an ultra-slim wall speaker, all of which are tailored for voice alarm applications and come with the required EN54 certification.

The PRO 250-300/T plus black-EN54 is a coaxial horn speaker engineered for outdoor applications and capable of providing foreground sound reinforcement. According to the manufacturer, it delivers a powerful beam-type sound for a large range of venues, such as airports, megastores and stadiums. The 250W powered cabinet is equipped with a twoway bass-reflex system consisting of a 12-inch woofer and high-performance HF driver crossed over at 2.5kHz. It offers three different 100V power tappings, while low-impedance operation is also possible. The cabinet is constructed from a sturdy ABS housing in white, with a

metal hexagon-shaped aluminium grille offering IP66-rated protection. Connection is via a screw terminal at the rear of the speaker, protected by a cover plate with two PG11 cable glands. A metal mounting bracket with adjustable inclination assists installation.

Compact Cyris gives more

The DS 100/T plus-EN54 is described as the compact powerhouse of the manufacturer’s PRO series, which integrates specially developed waveguide technology. The unit promises a “club-like experience”

cabinet can also be deployed as a line array in order to cover even bigger areas. The compact array consists of four pre-assembled DS 100/T plus-EN54 modules in a steel bracket, each of which can be adjusted in three vertical steps of 0°, 15° and 30°. Lastly is the WA-S 06-100/T-EN54, an ultra-slim wall speaker for unobtrusive installation where space is limited. The 6W 100mm unit provides a full-range output in an impact-resistant and UV-resistant ABS housing. To aid reliability, ceramic terminal blocks are provided, while an IP21 rating

cardioid design allows it to be positioned close to walls or corners without reflection problems, while a flared vent manages low-frequency www.audiofocus.eu

AtlasIED tackles all weathers

THE FS12T-66 arena horn from AtlasIED is a two-way, full-range loudspeaker system engineered to provide voice and music reproduction in applications requiring weather resistance. It has been designed to withstand exposure to environmental conditions and provide long-lasting reliability. It incorporates a 12-inch LF driver and 1-inch exit HF compression

driver concentrically mounted to a highdirectivity waveguide. It provides 60° x 60° coverage and is tuned for optimal source reproduction. The unit is constructed using moulded linear low-density polyethylene (LLDPE) and includes a stainless-steel U-bracket and fly-points for easy mounting. The EN54-24-certified FAP42TEN’s 130° dispersion angle reduces the number of loudspeakers necessary to achieve

magnetic snap on/off grille provides a minimalist aesthetic. For applications that require invisible audio, the KZ1R I and KZ14R I versions have been designed for flush mounting into walls and ceilings. A wide range of colours and metallic finishes ensure that all Lyzard models blend into any décor. Offering the same functionality as its larger siblings, K-array’s minimalist Azimut systems have been updated with the latest version

and indoor installations, with a marine version for challenging environments. Designed for boutique and home cinema applications, the Thunder-KSC12P infra-subwoofer offers versatility for smaller spaces. Both Rumble and Thunder are now Dolby ATMOS certified and feature in the DARDT Dolby ATMOS Room Design Tool.

www.k-array.com

coverage in distributed systems with low ceilings. The loudspeaker component matches the performance of AtlasIED’s Strategy FA Series. The 4-inch coaxial cone-type driver includes a 1-inch voice coil and polypropylene cone with a butyl rubber surround. The 19mm coaxially mounted tweeter is constructed of PEI.

www.atlasied.com

DS 100/T plus-EN54

PRO 250-300/T plus black-EN54

FS12T-66

Lyzard-KZ1 I

Genelec adds in-ceiling and pendant models to its Smart IP family

JOINING THE existing 4410, 4420 and 4430 on-wall Smart IP speakers to provide a wider range of IP solutions, Genelec has announced the release of the 4435A in-ceiling and 4436A pendant models. All speakers in the series can be freely combined on a network, and are compatible with both Dante and AES67 streams, deriving power via PoE or PoE+ formats. As well as receiving both power and audioover-IP, the 4435A and 4436A feature a rearpanel RJ45 connector which allows access to Genelec’s Smart IP Manager – a downloadable software tool that allows installers to configure an “almost unlimited” number of rooms, zones, loudspeakers and audio channels, and includes device discovery, a versatile room equalisation tool set, system organisation and

status monitoring. A public API command set is said to allow easy integration with third-party automation systems or, for less complex Smart IP systems, Genelec’s Smart IP Controller mobile app can be used to provide the end user with basic control of key loudspeaker functions.

Both models share identical acoustic and electronic specifications, and feature proprietary internal power supply technology that stores power in order to produce 104dB of short-term SPL whenever needed. With support for uncompressed low-latency audio with loudspeaker synchronisation to submicrosecond level for solid acoustic imaging, both models deliver a frequency response of 55Hz–39kHz via two independent internal 50W Class-D amplification stages – which

HH Electronics doubles up for TNi-WPRO

PURPOSE-DESIGNED FOR

small and medium-sized applications, UKbased HH Electronics has launched two versions of its TNiWPRO installation loudspeakers.

The TNi-W12PRO features a 12-inch high-power, lowfrequency driver with a 2.5-inch voice coil and a 1.4-inch Celestion CDX1-1445 highfrequency driver. Meanwhile, the smaller TNi-W8PRO features an 8-inch high-power, lowfrequency driver with a 2-inch voice coil and a 1-inch Celestion CDX1-1070 high-frequency driver. Designed for a range of environments such as bars, clubs, houses of worship,

TNi-W12PRO

ballrooms, conference halls, education and live music, both models have rotatable waveguides horizontal dispersion coverage to enable precise control of the TNi-WPRO speakers feature all-wood enclosures with input connection options via either M4 barrier strip or Euroblock. Mounting options include seven M10 Penn-Elcom fly points and four M8 mounting points for optional mounting with a TNI-BRK30 bracket.

Both models are available in black or

www.hhelectronics.com

KGEAR extends its GF family

WITH THE addition of two compact column loudspeakers and the GM44 analogue audio matrix, KGEAR by K-array has reinforced its GF family. Despite featuring 2-inch drivers that are common to the existing GF22 and GF82 models, the GF42 and GF162 column enclosures vary in terms of throw and dispersion angle options. Featuring a built-in amplifier with auto On/Off with the added ability to drive a passive speaker, KGEAR has released active versions – the GF22A, GF42A and GF82A – of the three existing models. In addition, 70V/100V versions – the GF42T, GF82T and GF162T – are also available for large-scale loudspeaker deployments.

GF42

installation and a cleaner aesthetic, the GF series comes with a totally re-designed bracket

this active design provides both optimum audio performance and removes the need for bulky racks of external amplifiers and their associated cabling. Alongside the support for IP audio streams, analogue connectivity is also supported via a Euroblock connector, which can be used either as a failsafe backup or to enable IP control of an analogue source.

well-established AIC25 analogue-only in-ceiling model. Both models can be ordered in a variety of finishes: black or white for the 4436A, while the 4435A can be ordered with circular or square magnetic grilles, which come with a choice of black or white colour schemes.

www.genelec.com

NEXO expands ePS installation speaker range

NEXO HAS added the ePS12 and eLS18 sub to its ePS Series launched in 2021. The ePS12 combines a 12-inch neodymium longexcursion LF driver with a 1.7-inch diaphragm

HF compression driver and NEXO’s

Both cabinets are fitted with a hard-wired strip for connection, offering two 7mm pitch in/out screws connectors. The IP cover protects the connectors from moisture. On each side of the cabinet, two M6 with 80mm pitch and one M10

eLS18

trademark rotatable horn design offering dispersion options to the user, a peak SPL at 1m of 133dB and a frequency response at –6dB of 60Hz–20kHz. The ePS12 can be stacked or flown with the eLS18 18-inch sub which shares the same design aesthetic and extends the LF response down to 32Hz. Dedicated accessories allow ePS cabinets to be flown beneath the subwoofer, creating small-footprint wideband systems that are described as visually pleasing.

fitting allow connection to a U-bracket, bumper or eye bolts. The back is fitted with three M6 with 70mm pitch for wall mount in both horizontal and vertical positions. The eLS18 features two 7mm pitch in/out screws connectors and M10 rigging points. The units are finished in black structural paint (white and all other RAL colours are available to order), with a UV-resistant acoustic fabric stretched over the front grille.

www.nexo.sa.com

The GM44L is a four-zone analogue audio matrix featuring four stereo line inputs with gain control, four stereo line outputs with treble and bass adjustment, four zone input selectors and one auxiliary input that can be independently assigned to each zone output and mixed to the selected input channel. Five link outputs correspond to each one of the inputs (including aux-in) allowing several GM44L units to be interconnected. Up to four GA201s can be mounted in a 1U frame with the G-RACKMINI2 accessory and all signal connections incorporate 3.5mm stereo jacks.

accessories, promoting their use for outdoor applications.

www.kgear.it

The 4435A and 4436A

NEXT-proaudio focuses on speed and simplicity

NEXT-PROAUDIO HAS unveiled the LA210x, a medium-format, three-way, coaxial, active line array element designed to support a wide range

loading encoder, can be remotely monitored and controlled via a PC through Ethernet. The accompanying PC software automatically

RCF adds two stage monitors

THE NX

coverage down to 300Hz, as well as accurate transient reproduction. Custom-made European transducers and an optimised acoustic design are said to provide excellent sound fidelity at very high SPL levels.

The onboard 96kHz/40-bit SHARC DSP engine, monitored by a built-in LCD screen with a preset

with the LA210x elements easily connected via two front links. A rear centre link allows the user to define relative splay angles from 1° to 10°. The system will automatically lock to the predefined angles when lifting the array.

www.nextaudiogroup.com

RCF are stage monitors designed for musicians, bands and DJs. The combination of a 1.75-inch compression driver, 15-inch woofer (12-inch for the NX 912-SMA), twochannel 2,100W amplifier and the TRW waveguide is said to produce coherent 100° x 70° coverage for the listening area with up to 131dB SPL (130dB for the NX 912-SMA) of distortion-free sound. It can be used as a stage monitor, standalone speaker system or satellite paired with a subwoofer. The NX 915-SMA combines the manufacturer’s proprietary FiRPHASE and Bass Motion Control DSP processing to deliver “absolute clarity and deep, powerful bass response”. The tour-ready, rugged, all-wood cabinet is described as easy to carry and set up onstage or on a pole.

RCF has released its DMA 504 four-channel Class-D matrix amplifier. Equipped with what the company describes as a powerful DSP platform, the DMA 504 manages inputs

Bosch connects Integrus with Dicentis

BOSCH HAS added the Integrus OMNEO transmitter to its Integrus Wireless Language Distribution System, which

to the built-in OMNEO IP architecture, the Integrus OMNEO transmitter can seamlessly interconnect with Bosch’s fully IP-based

Dicentis conference devices. This allows all existing Dicentis users – building owners, rental companies and system integrators specifying the Dicentis conference system –to integrate Integrus systems in a timesaving and futureproof manner. By becoming part of a complete IP workflow, open industry standards and protocols such as Dante and

A complete set of processing functions is available, including RCF speaker presets, proprietary bass enhancer algorithm, FIR filters and environmental equalisation. Thanks to its installation flexibility, accurate design and robustness, the amplifier is suitable for a wide range of business music and installed sound applications.

The manufacturer has also released GLL (Generic Loudspeaker Library) data for its ART 9 Series speakers. The files allow users to accurately model and visualise the performance of RCF speakers in various configurations and environments. This data is described as an essential tool for audio professionals, helping them to make informed decisions about system design and optimisation concerning loudspeaker placement, EQ settings and other critical aspects.

www.rcf.it

Staying with Dicentis, the manufacturer has added new modules and connectivity options to its Dicentis flush range. A voting panel incorporates standard parliamentary-style voting options

on identification, voting access for each participant can be controlled to ensure fraud prevention. By using the new ID card holder, the card is placed inside a clip holder, making logging on and off to meetings as easy as possible. Once the card is extracted out of the holder, the participant is automatically logged off the meeting.

www.boschsecurity.com

NX 915-SMA

THE POWER OF THE SYSTEM

> New XPS Amplifiers - up to 16,000 Watts Continuous Power

> Massive power headroom and ultra-low distortion

> Presets for RCF Speakers and Subwoofers

> Dante Network and Digital AES-EBU I/O

> 96-kHz / 40-bit floating-point DSP

> Suitable for Small to Arena Sized Audio Systems

> Vast Catalog of Speakers for Fixed and Touring Applications

> Excellent Signal-to-Noise Ratio and Dynamic Range

> Durable and Reliable Tour-Worthy Solutions

> Remote Management via RDNet Software

> FiRPHASE Zero Degrees Phase Response

> Bass Motion Control and BASS Shaper

*RCF Sound System example featuring an HL 6 Line Array system and HL 35-S Subwoofers powered by one 4-channel XPS 16KD DSP Amplifier with Dante Onboard.

Dynacord reveals first member of

new amplifier series

DYNACORD HAS created its V600:4 multichannel power amplifier for small and mid-sized installations, such as education, hospitality, retail and houses of worship. It has a total power of 600W and a compact 1U form factor, along with multiple power drive options using Dynacord’s patented VLD (Variable Load Drive) technology. It allows the amplifier channels to be driven in 4Ω, 8Ω, 70V or 100V, without compromising the available output power. The newly developed Dynacord powerTANK technology is said to add even more installation flexibility, working like a power reservoir for the amplifier. With direct access to the 600W of power, the V600:4 can deliver asymmetric power across all channels (up to 300W per single channel)

as needed. There is reportedly no waste of energy, which promotes greater flexibility –especially when driving multiple audio zones with different power requirements. A single V600:4 can simultaneously serve as a system drive for the compact loudspeakers in a small zone such as a kitchen area as well as for larger loudspeakers with up to 300W such as in an auditorium.

Overall power consumption can be significantly reduced thanks to ecoRAIL. This technology delivers almost a standby level of power consumption, while simultaneously delivering high-quality background music. APD (Auto Power Down) contributes to further optimise efficiency, reducing energy consumption by automatically powering down the amplifier when no audio signal is present.

fully operational.

The V600:4 also incorporates Dynacord’s new dualCOOL technology. Designed as a convection-cooled power amplifier, the device operates silently, making the V600:4 also suitable for installations in quiet environments. Thanks to dualCOOL, a built-in

from limiting while maintaining full operation, even at temperatures of up to 45°C. Power Factor Correction (PFC) for the power supply has also been added for unstable power conditions with large voltage swings.

www.dynacord.com

Powersoft launches cloud-based amplifier platform

UNICA IS Powersoft’s third-generation fixedinstall amplifier platform. In Italian, UNICA means both Unique and Single, and this is what the manufacturer hopes the platform will bring to the audio industry: a unique and single new-generation amplifier series that is versatile enough to cover a wide range of applications, while at the same time delivering high-quality audio, reliability and efficiency. The platform has also been designed to deliver consistency across the entire family range of Powersoft amplifiers. The UNICA range comprises three fourchannel (UNICA 9K4, 12K4 and 16K4, with 9,000W, 12,000W and 16,000W respectively) and three eight-channel models (UNICA 2K8, 4K8 and 8K8, with 2,000W, 4,000W and 8,000W). In conjunction with Universo, Powersoft’s cloud-based platform, UNICA offers cloud-native connectivity and remote monitoring functions without the need for specific product registration or configuration. Cloud integration allows for the storing and sharing of projects online, keeping the amplifier’s firmware up to date, or simple integration in third-party systems through APIs.

UNICA’s power supply section has been designed to result in less power dispersed

through wasted heat. The latest generation of single-stage power factor correction (PFC) and system-on-chip technology processing grant low power consumption and thermal dissipation, while Powersoft’s Smart Rails

RAM Audio to tour with DALIM

PRIMARILY DESIGNED for touring applications, the DALIM Series of four-channel, high-power amplifiers have been introduced by Valencia-based manufacturer RAM Audio.

The 5Q, (5,000W), 10Q (10,000W), 14Q (14,000W) and 20Q (20,000W) models are all equipped with an FIR-EQ section and 96kHz DSP processing. The IIR EQ section includes crossover, gain, delay and 12 EQ filters, while the FIR EQ section comes with linear phase crossover/EQ filters and phase shaping filters. The input EQ section includes eight filters and a library for storing 20 preset memories.

The DSP settings can be configured using the RAM_OCS software or the large IPS display with a capacitive touchpanel user interface. In

addition, power sharing between the channels allows just one channel to receive maximum power should it be required. User functionalities include an analogue input routing matrix together with optional Dante AES67 and AES3 connectivity options. Weighing 7.5kg, the 2U

Management (SRM) allows the supply rails to adapt in real time to the required output voltage to maximise efficiency and reduce idle losses. An Eco Mode reduces consumption when engaged, resulting in

cooler racks and reductions in long-time running costs.

UNICA’s architecture allows high-quality amplification through newly designed input and output sections, reportedly boasting the highest signal-to-noise ratio on any Powersoft amplifier. Based on the latest system-on-chip technology, the DSP section is operable even when only PoE+ power is available, simplifying deployment and pre-configuration operations.

In addition, because each UNICA amplifier is able to automatically archive backups on a flash memory drive situated on the rear panel, users can easily replace a faulty unit with a new one in a matter of minutes, without any configuration or product knowledge. Networking is achieved through three Ethernet ports, allowing both AoIP and control redundancy and splitting control vs AoIP traffic. Thanks to a firmware-level protocol, audio-over-IP is managed through both Dante and AES67. Compared to existing Powersoft products, UNICA also benefits from enhanced Power Sharing developed for the output section, with each output channel capable of delivering up to twice the power when loaded asymmetrically. www.powersoft.com

chassis incorporates two Ethernet ports and a USB port for DSP control.

The high-efficiency Class-D models are capable of driving both low impedance and 100V, 70V, 50V and 35V high-impedance loads directly. Equipped with Neutrik XLR and

speakON connectors and a powerCON mains connector, the temperature-controlled upsidedown design and foam filters reduce fan dust accumulation.

www.ramaudio.com

MediaMatrix adds smart power amplifiers

THE sPOWER Series multichannel smart power amplifiers from MediaMatrix have been designed for applications that require a large quantity of constant voltage output channels. Seven 2U rackmount models are available: the four-channel 754 and eightchannel 758 offering 75W per channel, the four-channel 1504 and eight-channel 1508 offering 150W per channel, the four-channel 3004 and eight-channel 3008 offering 300W

per channel, and the high-power four-channel 6004 offering 600W per channel.

The units come with optional 70V RMS (true 100V peak) or 100V (true 140V peak) output amplifier channels. They also offer Class-D output topology for maximum efficiency and minimal heat dissipation, reportedly resulting in product longevity while not requiring forced air cooling and typical service demands. Instead, the units are cooled with a low-volume internal

air-exchange system. Further helping to control power efficiency, a Switch Mode Power Supply (SMPS) regulates power supply rails, delivering full specified power regardless of A/C power conditions operating anywhere between 85–250V (43–63Hz at 2,400W). Each unit has a 110Hz high-pass filter with 12dB per octave per selectable channel.

The serial RS-485 control port, in conjunction with the MediaMatrix nWare 3.0

ControlManager software suite, allows for amplifier monitoring and control. Additionally, loudspeaker loads as low as 5W-rated output can be monitored. All sPower amplifiers are designed to enable the use of intelligent load limiting on the amplifier output stage, preventing over-drive and designed with protections against short circuits, overheating, over-currents and DC over-voltage. An automated high-power change-over relay per output channel provides an N/O connection, allowing any of the internal amplifier channels to act as a backup in case the primary amplifier channel fails. Alternatively, an additional external amplifier channel to back up the primary amplifier channel can be used for a true “n+1 redundancy” at the same output port without the need to physically change the speaker cable circuit.

www.peaveycommercialaudio.com

Beyma adds Deplocex and VPEQ technologies into next-gen compression drivers

ENCOMPASSING TWO throat sizes, four voice coil diameters, three diaphragm materials and two magnet types, Beyma has introduced a next-generation series of compression drivers in both neodymium and ferrite variants. A total of 12 drivers are available with 3- and 2.5-inch voice coil diameters for 1.4-inch output diameters, and 1.75- and 1.5-inch voice coil diameters for a 1-inch output. The diaphragm materials of titanium, high-temperature polymer and advanced polyester offer different nuances and characteristics.

The current drivers include VPEQ and Deplocex technologies to minimise resonances and power compression losses, while extending the SPL output, adding linearity and providing an improved transient response. Other features include a copper shorting cap that extends and linearises the frequency response, kapton former and copper clad aluminium coils, Beyma-optimised diaphragms, phase plugs and a higher power-to-size ratio.

The CD-151Fe/PK 1-inch exit compression driver features a 1.5-inch copper clad

aluminium voice coil with kapton former. Rated at 140W program power above 1.8kHz and with a sensitivity of 110dB (1W/1m), the driver incorporates a high-temperature polymer annular ring optimised with FEM for linear and extended response with minimised

resonances. Operating within a frequency range of 0.8–20kHz and weighing 1.3kg, the Spanish manufacturer recommends a crossover of 1.8kHz or higher (12dB/oct min.) for mounting onto a TD-164 horn on M5 threaded holes. Comprising a 1.75-inch copper

TOA extends its emergency credentials over IP

CAPABLE OF decoding IP audio streams into analogue audio signals, TOA has added a PoE-powered audio interface to its catalogue. The IP-A1AF is equipped with an integrated 15W amplifier to drive low-impedance speakers and internal memory, capable of storing up to 20 audio files, although an external amplifier can also be connected to the analogue audio and control outputs.

Capable of receiving broadcasts from Video Management Systems via ONVIF backchannel, device control is accessed through remote API (HTTP) or local control inputs. The PoE-powered Gateway Unit integrates multiple IP audio devices by converting the SIP voice or ONVIF backchannel audio into multicast audio streaming and the IP-A1AF can also transmit built-in sound sources or input audio as multicast audio streaming.

Equipped with a built-in 8W amplifier and internal data storage for up to 20 audio files,

the IP-A1PC238 and IP-A1PC580R are PoEpowered ceiling speakers. Both models support the SIP protocol for integrations with VoIP devices and come with 20 available multicast ports for group paging operations. Boasting the same features, the IP-A1PC580S is a PoEpowered surface-mount speaker.

Connection to the VMS network via a single LAN cable and assigned an IP address, the IP-A1SC15 can combine both video and audio systems. Live announcements or pre-recorded messages can be prioritised for broadcast during emergency situations with one of four different audio broadcasting modes (SIP Direct Call, Multicast Streaming, VMS Broadcast and Remote API).

An IP Setting Tool can assign IP addresses to all IP horn speakers during setup. Once network and host ID has been established on one speaker, all others are automatically assigned

IP addresses for the remaining devices. Each

clad aluminium voice coil, the CD-171Fe/PK model offers 160W program power above 1 4kHz and a sensitivity of 109dB (1W/1m).

Featuring a 3-inch voice coil with a 1.4-inch exit throat, the CD-314 Nd/Ti compression driver measures 260W p r ogram power above 1.2kHz with a sensitivity rating of 110dB (1W/1m). Other characteristics include a titanium dome and a metal alloy phase plug with an FEM-optimised neodymium magnetic circuit. Measuring 4.3 inches in diameter, the 1.8kg titanium and neodymium model couples to a TD-385 horn.

The CD-2514 consists of a 2.5-inch voice coil with a 1.4-inch exit compression driver. The ferrite and neodymium model is rated at 200W program power above 1.2kHz with a sensitivity of 108.5dB (1W/1m). Operating with a frequency range between 0.6–20kHz, the manufacturer recommends a crossover of 0.8kHz or higher (12dB/oct min.)

www.beyma.com

The IP-A1 range

CD-151Fe/PK

for Microsoft Teams Rooms

Q-SYS HAS announced support for spatial audio capabilities for Microsoft Teams Rooms, including Signature Teams Rooms. For systems using certified Q-SYS audio, video and control processing in Teams Rooms environments, users can now experience spatial audio allowing the audio of the remote participants to come from the direction of where the specific person talking is located on the screen, creating a more immersive and natural experience for in-room participants. Furthermore, the spatial audio feature with Teams Rooms can be supported at the software level via Q-SYS Designer Software, eliminating the need for additional hardware. The manufacturer has also released a major firmware v3.0 update to its TouchMix-30 Pro digital mixer, providing the platform with the addition of Scenes, Snapshots, Cue List management and offline editing functionalities. Scenes provide the user with the ability to store and recall the entire mixer configuration, while Snapshots allow the user to save and recall selected settings for designated channels without affecting other mixer settings. Cue Lists select and arrange Scenes, Snapshots

Xilica and Sennheiser add room kits for TCC M

XILICA AND Sennheiser have announced the launch of an IT-centric audio bundle that allows users to span the full breadth of collaboration space with the introduction of the Xilica x Sennheiser Small Room Kit. Following on from the Xilica x Sennheiser Medium Room Kit and Large Room Kit, both featuring Xilica audio systems with a Sennheiser TeamConnect Ceiling 2 (TCC 2) beamforming microphone array, the latest addition includes the newly released Sennheiser TeamConnect Ceiling Medium (TCC M).

Comprising a Sennheiser TCC M, a Xilica Solaro QR1-UC PoE-powered digital signal processor, two Xilica Sonia C5 Categorycable-based in-ceiling speakers and a Xilica Sonia Amp PoE++ amplifier with integrated network switch, the Small Room Kit requires only a single network cable to the ceiling for the full in-room audio system. Using existing network infrastructure, the Xilica Sonia Amp supplies power to the TCC M and relays audio over the Dante protocol back to the system’s

and audio files into a predetermined sequence for recall during a show, while offline editing provides the ability to create and edit mixer configurations without the mixer being connected to Wi-Fi.

Previous TouchMix-30 Pro firmware updates added features such as two independent 24-channel, gain-sharing Automatic Microphone Mixers, Custom Fader Banks and the capability to interface with certain third-party external motorised fader control surfaces.

The TouchMix-30 Pro features 32 mixing channels (24 mic/line, six line, stereo USB) and 16 outputs. It features Class-A microphone preamplifiers, Anti-Feedback and Room Tuning Wizards, two real-time analysers, a patch matrix, 32-channel direct-to-external-drive recording and DAW interface with macOS and Windows computers. The v3.0 firmware release is also supported by an updated TouchMix Control app for iOS and Android devices, providing further enhancements to the remote control experience.

www.qsys.com

The Small Room Kit provides the most suitable, pre-designed room audio system for smaller spaces: meeting rooms, classrooms and collaboration spaces that don’t require the sizeable coverage of a TCC 2, but still demand flexibility and freedom when presenting, reconfiguring room layout or involving

Keeping networking in the family

AUDAC HAS launched what it describes as “the biggest project in the brand’s long history”. The new family focuses on four major pillars: the Luna series audio matrix processors, the NCP series networked control panels, the NWP series networked wall panels and the NPM series networked paging microphones. At the heart of the system is the manufacturer’s control platform, Audac Touch. The Luna F and Luna U matrix processors provide 32-bit ADC and DAC (@48kHz sample rate) and a scalable mixture of analogue and network channels. Features include AudioBridge for Dante/AES67 audio transfer

TAIDEN HAS released its HyCon System, a hybrid conferencing solution for both onsite and remote attendees. It creates a seamless, collaborative and immersive conferencing experience for the remote participants by solving the frequent challenges of hybrid setups, such as creating a seamless engagement of onsite and remote participants, poor audio quality, complexity in deployment and use, and insufficient compatibility.

for all inputs and outputs, compatibility with all Dante/AES67 paging/in and output devices and scalability from medium-sized and large enterprise solutions.

The NCP105 universal network/PoE wall panel controller comes with a 360° LED light bar, a transparent window, four programmable touch buttons, a rotary encoder and is compatible with most TCP-IP-supported AV equipment. The NWP222 is a networked audio in- and output panel with two XLR inputs and

This combination of local and virtual venues brings an immersive experience of HD video communication. The aim of the HyCon System is to create an experience that is as close to the real-world experience as possible, leveraging in-room microphones for virtual participants so that they get a comprehensive, intelligible experience on-par with other attendees and gain access to remote features.

www.taiden.com

laboratories to ensure compatibility with Microsoft Teams Zoom and Webex by Cisco. All kits include voice-based camera tracking via Xilica technology with any common PTZ camera, integrated mute and status sync for popular UC platforms, and pre-built modules to promote easy setup while leveraging Xilica HearClear acoustic echo cancellation technology.

Shure announces GLX-D+ Dual Band wireless system

WITH MORE than double the bandwidth compared to the first generation, the GLX-D+ Dual Band has been designed for guitarists, bassists, vocalists and presenters looking for improved wireless performance without complexity. The system’s dualband wireless technology can operate in 2.4GHz and now 5.8GHz, providing “reliable and consistent signal” by automatically scanning for and selecting the cleanest available frequencies.

The GLX-D+ avoids interference and dropouts, enabling users to focus on performing. It is available in rackmount, tabletop and guitar pedal receiver options with a wide selection of lavalier, headset and handheld microphone choices, including the SM58.

Featuring improved battery life over the previous generation, the GLX-D+ offers up to 12 hours of runtime. The system’s quick charge capability provides 1.5 hours of use from a 15-minute charge. It also features multiple smart rechargeability options. The lithium-ion SB904 battery can be charged directly on the tabletop and half-rack receivers or through a USB-C connector on the transmitter.

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The system provides improved RF performance, antenna distribution and automatic frequency management for up to 11 half-rack systems in typical environments (16 under optimal conditions). Separately available Frequency Manager (GLXD+FM) and directional antenna

The tabletop and rackmountable GLX-D+ systems are available with three handheld wireless microphone options, including the SM58, Beta 58A and Beta 87A. Since all GLX-D+ dual-band wireless systems operate in a licence-free frequency range, users won’t have to worry about technical hurdles while travelling.

Updating its Microflex system, the manufacturer has released the A900-CM ceiling mount which allows ure ceiling array microphones to be mounted to a drywall/joist, plywood/joist or concrete ceiling, or a 4-inch octagon junction box. The ceiling adaptor plate attaches to the top of the microphone. The two plates then slide together and are secured by a hex screw. The A900-CM is compatible with MXA910 and square and round MXA920 ceiling array microphones.

Photo: NantStudios Australia

Premier choice LED products for Virtual Sets

GLX-D+ Dual Band

RØDE doubles up on innovation with 5th-gen mic

10 audio outputs, including the headphone and monitor outputs, the Bluetooth channel, onboard recording mix and the three USB outputs. This is described as particularly useful for streamers who need to create custom sub-mixes for different audio destinations, such as stream and chat applications and their headphone mix. In addition to the advanced sub-mixing feature, firmware 1.1.1 introduces a number of system optimisations and workflow improvements, including the routing of

RF Venue extends its appeal through diversity

WITH THE creation of the Diversity Fin Antenna, RF Venue has bypassed traditional “shark fin” directional antenna technology with a cross-polarisation approach. Designed to ensure a constant wireless signal is attained by the microphone signal receivers, one log-periodic dipole array (LPDA) captures vertically polarised signals and one dipole antenna in an orthogonal (right angle) configuration receives horizontally polarised signals.

Offering the core capabilities of the Diversity Fin Antenna in a slim-profile footprint, the remote antenna line includes the Diversity Architectural Antenna. For indoor multizone projects, or outdoor large areas, the RF Venue Diversity Omni Antenna provides omnidirectional reception. Most frequently used with IEMs, the RF Venue CP Beam Antenna is a circularly polarised antenna that ensures a consistent signal. The RF Spotlight floor pad antenna enables wireless mics to function reliably in applications where open channels are limited and multiple wireless systems must inter-operate. The low-profile antenna can be placed under carpets or beneath wooden stages. Operating range varies according to transmitter power, coaxial cable type, cable length and nearby obstructions, although a typical range at 10mW is a 30m diameter and 100m at 30mW.

Compatible with all of RF Venue’s antenna distribution systems and multi-zone antenna combiners including DISTRO4, DISTRO9HDR and 4Zone, the true diversity solution is compatible with the RF Venue band pass filters. With the OPTIX Series 3 fibre-optic remote antenna distribution system from RF Venue, users can locate an antenna up to 5km away. High-grade, low-loss coaxial cable has always been the traditional solution for antenna runs over 45m. The manufacturer has designed the OPTIX Series 3 so that systems will work better by moving the antenna closer to where it matters the most, but also saving the project budget from expensive and less effective runs of copper cabling. It can be used with both wireless microphone and IEM systems from any brand and is described as easy to integrate into buildings with existing fibre runs. The OPTIX1-S3 includes one transmitter and one receiver for a single antenna connection. The OPTIX1-S3 includes two transmitters and two receivers for Diversity Antenna systems.

In brief, D-Tools users can now natively include RF Venue wireless audio essentials in D-Tools software-generated project documentation, from quotes to purchasing to system wiring and layout.

www.rfvenue.com

allowing users to capture these effects while maintaining the flexibility in postproduction that multitrack recording offers.

The RØDECaster Pro II’s companion software RØDE Central has also been updated to mirror all of the configuration options now available on the RØDECaster Pro II itself, including setting up the advanced APHEX audio processing, SMART pads and custom sub-mixes.

www.rode.com

Neutrik expands on three fronts

NEUTRIK’S SPEAKON series has been expanded further with the introduction of the NL4FXX and NL2FXX four-pole and twopole cable connectors. Featuring a locking boot that protects against unintended opening and a strain relief chuck snapping

a standard D-shape cut-out for simple integration, a push/pull locking mechanism, an automatic sealing shutter and an anti-kink boot. Compatibility with Neutrik’s FOCD-STC and FOCD-STM cleaning devices promote ease of maintenance.

to the insert, the latest additions are housed in a two-compound casing. Conforming to relevant device standards, the powerCON NAC3FXXA and NAC3FXXB connectors are colour coded blue for power in and grey for power out.

The single mode opticalCON MTP16 and the multimode MTP48 offer 16 and 48 data channels respectively in a single cable. Designed to offer high data capacity, reliability, speedy setup, instant playback and cost optimisation per single fibre/data channel, the MTP16 and MTP48 can operate in harsh conditions. Housed in a compact, lightweight chassis, other features include

Promoting onsite maintenance and repair with a replacement chassis to board connections clipped in place with manual connection of common LC patch cords, the Fibrefox HMA fibre-optic system converts a standardised LC patch cable into an expanded beam solution. Terminated with LC patch connectors, the Fibrefox range includes briDge connectors and pre-assembled cables, a weather-proofed Adaptor Box with several connectivity variants and the foxBRID multimode hermaphroditic connector module and Fibrefox rotary joint.

www.neutrik.com

The NAC3FXXA and NAC3FXXB

4Zone antenna combiner

RØDECaster Pro II

punQtum provides digital solutions on a single wire

PUNQTUM BY Riedel offers a plug-andplay digital intercom system with a variety of communication channels on a single wire. Described as easy to install, easy to use and reliable, punQtum solutions include standalone beltpacks, headsets and speaker stations. The products can be integrated with existing systems via an IP switch, giving venues the flexibility to extend and customise existing systems on a budget.

punQtum supports multiple communication channels along a single wire, which makes

KLOTZ adds APC connectors to FiberLink series

with four channels of communication, programmable buttons and the ability to trigger logic outputs. All functionality is designed to be instantly accessible thanks to ergonomically designed buttons and an easyto-read colour display. The feature set also allows for any missed comms to be replayed in a “voice-mail”-style setup. In terms of scalability, the Q110 reportedly suits systems of any size, ranging from small events requiring just two beltpacks to however many are required for large, complex systems.

THE KLOTZ FiberLink series, which includes the FiberFlex Ultra cable in single-mode, is now available not only with the standard FC, SC or ST connectors with PC/UPC polish but also with E2000-APC, FC-APC, LC-APC connectors and SC-APC polish.

APC is short for Angled Physical Contact; on these connectors, the ferrule surface is polished with an angle of 8°. As a result, the connector is said to offer improved return loss compared to other PC/UPC polished connectors. Connectors with APC polish must not be paired with connectors with PC/UPC polish – this could lead to very high insertion losses and damage to the

To avoid faulty connections, all KLOTZ APC connectors are available in the typical green colour. PC/UPC connectors are usually blue,

The compact E2000 connector features an automatically closing protective cap. This shields the connector from contamination and also prevents the human eye from being exposed to the laser. The FC connector is characterised by its ceramic ferrules as well as its alignment accuracy and is preferably used for precise and securely lockable connections. Green LC and SC-APC connectors are comparable in handling and size to the conventional blue PC/UPC connectors. The cable manufacturer has also released the OT234H-D high-quality digital cable for long distances with an FRNC jacket. Based on the OT234H digital cable, the OT234H-D cable fulfils the CPR class Dca – s1, d1, a1 according to EN50575 for the installation sector. It has a particularly low signal attenuation as a result of its 0.34mm² (AWG 22/7) conductor cross-section and low capacitance. This is said to make the cable suitable for extremely long distances and transmits both analogue microphone and line audio signals, as well as digital signals such as AES/EBU and DMX control commands. Two shields protect against noise, while a tinned copper braid facilitates assembly with connectors. The FRNC jacket with an outer diameter of 5.8mm is suitable for a temperature range of –30°C to +70°C. With a minimum bend radius of only 35mm, the OT234H-D is said to be suitable for all installations.

www.klotz-ais.com

same way that polyethylene (PE) provides users with a high resistance to water and chemicals to keep installation costs low.

to its high resistance to cutting, abrasion and trampling, UV rays, water, chemical and atmospheric agents and also for being flame retardant and halogen free. It is also suitable for continuous winding and unwinding in operating temperatures of –40°C to +80°C. These features make PUR recommended for both indoor and outdoor applications, in the

In the public sector, the manufacturer recommends the use of a Low Smoke Zero Halogen (LSZH) sheath, even when CPR homologation is mandatory. For medical applications, silicone is suggested because it guarantees most of the features available with PE products but with an operating temperature of –60°C to +180°C.

For underground installations, Tasker recommends a metallic braided armour which covers the entire cable sheath and provides protection against damage from rodents.

www.tasker.it

Q110 beltpacks

OT234H-D

Sennheiser talks back with MobileConnect

SENNHEISER HAS added a talkback feature to its MobileConnect assistive listening solution. Named Audience Mic, the feature transforms any smartphone into a microphone, allowing MobileConnect users the ability to communicate the way they want. Audience Mic takes MobileConnect from an assistive and personal listening solution to a bidirectional communication tool. The speaker simply talks into their smartphone to have their voice brought directly to other participants’ phones in the room, over the room’s loudspeaker and to those who may be participating remotely.

The manufacturer has also announced a ceiling microphone for mid-sized meeting rooms and lecture or collaboration spaces. The TeamConnect Ceiling Medium (TCC M) brings across all the features from the TeamConnect Ceiling 2 (TCC 2) but with a coverage area of up to 40m². Unlike the TCC 2, the TCC M is round, but does offer the same ceiling installation

choices – surface-mounted, suspended or flush-mounted. These options allow for cable-free tables and flexible furniture arrangement.

are added to the product portfolio, Sennheiser will develop additional versions of the tool.

In other news, the company has

Sennheiser is collaborating with Lumens for the integration of its TCC 2 microphone with Lumens’ USB PTZ cameras. As a result, Lumens’ CamConnect software will synchronise with the TCC2’s patented automatic dynamic beamforming technology to enable the in-room PTZ camera to track the position of the live presenter. This means that remote delegates can immediately identify and engage with the speaker, rather than watch a wide-angle view of the entire room.

helps customers find the most suitable Sennheiser solution for their specific meeting room environment. Users will be able to identify the most appropriate solution and the optimal placement for it based on factors such as room size and speaker positioning. As further customer feedback is considered and new solutions

Tencent Meeting. With this certification, TCC 2 also officially becomes a member of Tencent Meeting’s hardware certification ecosystem. The certified Sennheiser and Tencent Meeting communications system solutions include the TCC 2, Q-SYS Core 110f, an SPA Series amplifier and an AcousticDesign Series loudspeaker.

Finally, a solution combining the TCC 2 and TCC M with Kramer’s AFM-DSP20-AEC audio matrix switcher has been created to provide an “engaging and inclusive” audiovisual experience in any medium or large space. This partnership will reportedly expand both companies’ ecosystem, offering ultra-immersive user experiences in hybrid meeting and learning spaces and expanded flexibility for customers and partners.

www.sennheiser.com

Audio-Technica launches Engineered Sound Wireless

The ESW-T4101 bodypack transmitter combines a built-in microphone, a transmitter neck strap, sweat-resistant cH-type connectors and two built-in antennas. Compatible with a wide array of interchangeable Audio-Technica wireless capsules, the ESW-T4102/C510 handheld is equipped with a cardioid dynamic capsule and a slide-to-mute switch. Equipped with a two-state RGB LED mute status indicator and a USB-C connection, the ESW-T4106

The AT8175 microphone pop filter has been designed for up-close use to assist in reducing excessive pressures on the microphone’s element. The AT8175 is described as sleeker than standard pop filters and custom-designed to clip onto the front of 20 Series side-address mics. Created for recording, podcasting or streaming applications, the AT8175 provides added protection against plosive consonants, without any compromise to the audio quality.

In response to customer feedback, Audio-

A roaming function also allows transmitters to connect to multiple receivers for wideranging coverage in larger venues. Ease-ofinstallation features include a PoE power supply for the receiver, Dante audio output capabilities and a single Cat5e cable connection to a PoE-compatible switching hub. Detailed settings can be configured to meet multiple requirements via AudioTechnica’s Wireless Manager software, which can manage multiple wireless systems, including UHF wireless systems from a single screen. In addition, AES256 encryption support comes as standard, providing superior security.

unidirectional polar patterns, even while charging. Finally, the ESW-T4107 desk stand transmitter is compatible with the ES925 gooseneck series and features a two-state RGB LED mute status indicator and a selectable mute operation.

The four transmitters incorporate lithiumion batteries for all-day operation on a single charge. Two charging options are available: the ESW-CHG4 two-bay bodypack and handheld charging station together with the ESW-CHG5 four-bay desk stand and boundary charging station. The charge stations provide full power recharge in two hours and the stations are connected by an AC adaptor and Cat5e cable.

Digital SmartMixer with a range of new features to improve its performance for online and live meetings. The ATDM-0604a offers improved echo and noise-cancellation performance; LED-based remote control of Audio-Technica’s ES954 hanging microphone array; cascade connectivity for up to eight mixers sharing audio busses; and mic/line level support for input channels 1–6.

In brief, the manufacturer has announced that its ATND1061DAN ceiling array is now certified for Microsoft Teams Rooms as part of a Q-SYS system.

ATDM-0604a

TCC M

Tascam unveils the Portacapture X6

TASCAM HAS released its Portacapture X6 32-bit float portable audio recorder, d esigned for videographers, podcast/ YouTube creators, sound designers and musicians in search of high-quality stereo mix recordings for smaller-scale production projects. The user-friendly GUI is tailored to the launcher screen and offers multiple recording modes for different scenarios. These recording modes include Field recording, Voice, Music, Podcast and ASMR in addition to Manual, which allows access to all setup parameters manually. The compact size makes it suitable for dialogue recording and interviews with or without a camera and high-quality stereo music recording. As a multi-track recorder, the unit provides six simultaneous tracks (four tracks plus two mix) of recording with support for upwards of 96kHz/32-bit float recording resolution.

The recorder is equipped with two XLR input terminals with support for both mic and line level (maximum input level: +24dBu), aux-in/camera in and line out/camera out connections. Additionally, the two XLR inputs are compatible with phantom power (24V/48V) to support recordings with multiple mic/line inputs. It also provides dual built-in microphones with switchable AB/true XY microphone patterns for recording flexibility on location.

The onboard processing functions include Low cut and Noise gate for reducing background noise and frequencies, a Limiter and Compressor for signal level management, plus four-band EQ for defining the character and tone of the recording. This four-band EQ also offers presets for several common scenarios in addition to full manual setup with the GUI. To eliminate wind noise and plosives even more, the manufacturer has developed the WS-86 Wind Screen, which is a custom form fit design made for the Portacapture X6, Portacapture X8, DR-40X and other largeformat portable audio recorders. The Portacapture X6 also has a USB interface function without the need for any additional drivers. As a result, the unit can be used as a compact mixer with built-in microphones for livestreaming via OBS or similar platforms. It also offers direct recording of narration and dialogue directly to a DAW and editing software. The system can stream the total mix via the USB Type-C connector. By adding the optional AK-BT1 Bluetooth adapter, users can gain remote control functionality by using Tascam’s Portacapture Control app on their phone or tablet, which is available for both iOS and Android. The app can be downloaded free of charge via the Apple store or Google Play.

www.tascam.com

Audinate releases Dante Studio 2.0

AUDINATE HAS released a Dante Studio 2.0 software update and new subscription pricing. Dante Studio is a suite of software tools comprised of Dante RX, Dante TX and Dante Video Viewer that brings Dante AV video directly into a PC from Dante AV Ultra or Dante AV-H cameras, encoders or other computers running Dante Studio on the network with no additional hardware needed.

Dante Studio is part of the Dante AV family of AV-over-IP solutions and shares the Dante control and management platform. Dante Controller handles all device routing, naming and configuration for audio and video devices, allowing operators to control the entire AV network via a single interface. With Dante Domain Manager, all audio and video endpoints can be secured with user access control, actively monitored and remotely accessed to simplify system maintenance and support.

Features in Dante Studio 2.0 include added Dante AV-H (H.264/AVC codec) support in Dante Video RX and Dante Video Viewer; Dante Video TX support for sending video flows to Dante AV Ultra devices; Dante Domain Manager support; and the ability to purchase Dante Studio on a monthly subscription.

www.audinate.com

Portacapture X6

PRODUCTS

FOLLOWING THE debut of the X1 matrix array, Holoplot has released the Beta version of its Holoplot Plan design and simulation software in addition to the newly designed X1 rigging system. The X1 rigging system provides further system flexibility. Scalable arrays can be deployed vertically or horizontally for use in the fixed installation and rental market sectors.

The incorporation of 3D audiobeamforming and wavefield synthesis technologies vertically and horizontally steer the audio directly to the listener’s precise location. Consisting of the X1 Modul 96 full-range speaker and the X1 Modul 80-S loudspeaker with built-in subwoofer, the X1 series is a fully in te grated system which combines software and IoT capabilities.

The X1 rigging system

d&b launches HeadroomCalc

To simplify the designing, simulating and setting up of a Holoplot sound system, the Berlin-based manufacturer has developed Holoplot Plan. Using Plan’s 3D graphical interface, matrix arrays of different configurations can be designed and soundfields based on 3D audio-beamforming and wavefield synthesis technologies can be created.

Providing a realistic prediction of the audio coverage in the venue, Holoplot Plan simulates and visualises direct SPLs. For further analysis and advanced simulations, projects can be exported to EASE. The company is inviting users to sign up to the Early Access Program, try out the Beta version of Holoplot Plan and share feedback.

www.holoplot.com

Taking control of DSP

HK AUDIO’S DSP Control is described as a comprehensive and easy-to-use software for Mac and PC for precise sound tuning, firmware updates and remote control of the DSP parameters of all network-enabled HK Audio speakers from the Elements D, Linear 5 MK II, Linear 7 and Linear 9 series. On the new DSP Control product page, users can find a detailed overview of the range of functions, the newly designed operating instructions and the current software version for all supported operating systems.

The software gives users sound optimisation and performance tools as well as practical and fast setup configurations. It also provides access to the most important parameters

such as EQ, limiter, delay and grouping so that users can control the network-enabled HK Audio speakers via Ethernet plug-andplay connection. Other benefits include easy installation of firmware updates on speakers to increase performance; futureproof integration to control the most important parameters of non-networked speakers via DSP out; and control of different groups such as main stage, stage monitors, outdoor or bar floor, as well as the preparation of groups, even without existing speakers through Virtual Units. Users can lock the loudspeakers with individual passwords to protect against unauthorised access.

www.hkaudio.com

CONTINUING ITS commitment to support sound engineers, system planners and consultants during each phase of their audio journey, d&b has introduced HeadroomCalc. Available in ArrayCalc V11, the patentpending HeadroomCalc technology predicts the reaction of a d&b system to a specific audio signal, providing a more precise SPL and headroom calculation.

processing any user-defined audio file through a simulation of the configured audio system in the following three separate steps. 1. The input signal – often a pre-recorded alarm message or a recording of the band – is fed into the simulated loudspeaker processing of the selected d&b system amplifiers in the time domain. The intermediate results are output voltage and gain reduction signals for every

Accurate prediction of a system’s performance is required for a number of reasons: to choose the right system and/or system amplifier, both of which influence the budget needed for a project; to comply with health and safety regulations at live events that specify the limits regarding onsite sound exposure levels; and to prove that prerecorded alarm messages can be reproduced with a certain SPL to satisfy tenders or legal requirements.

HeadroomCalc predicts the reaction of a d&b system to specific audio signals, providing a more precise SPL calculation by

amplifier channel within the system over time. 2. The output voltages are combined with the simulated impulse responses of the connected loudspeakers. This yields the sound pressure signals for every loudspeaker at up to five individual definable receiver points. 3. The total sound pressure signal is created for all receiver points, which is the sum of all sound pressure signals at each point. This is then used to derive the SPL metrics in the same manner a portable SPL meter would operate at each defined measurement point.

www.dbaudio.com

Adamson updates Fletcher Machine

ADAMSON SYSTEMS

Engineering has announced two Fletcher Machine software products. The first is the Virtual Adamson Fletcher Machine (vAFM) which connects with the Adamson Fletcher Machine (AFM) Remote software, giving users the Fletcher Machine experience without the requirement of a dedicated hardware engine (Stage or Traveler). Instead, the user employs the audio I/O available on the computer the vAFM is installed on. While being able to use much of what the AFM Remote software offers in terms of features such as Object Trajectories and general mixing functions, the vAFM is limited to a maximum of 24 inputs and 12 outputs, has only two layers, no auxiliary sends and an extended latency, compared to the hardware models. The vAFM is intended to acquaint users with the performance and ease-of-use of the AFM technology and can be used in educational applications or as a demonstration tool that whets the appetite for further exploration

Suitable for any DAW that employs VST plugins, the Adamson Fletcher Machine VST Control connects the user’s DAW to an AFM via the Remote software. The connected AFM could be any one of a Stage Unit, a Traveler Model or the new vAFM. The AFM VST Control allows users to directly control certain object parameters such as positioning and layer selection from within their DAW. Multiple instances of the AFM VST Control can be activated within the DAW, giving the user additional objects to control, limited only by their number of objects and the AFM in use.

www.adamsonsystems.com

OUR RELIABILI

IN ALL WEATHERS

has been announced, bringing support for 32+2 faders via dual Waves FIT controllers, more plugin DSP power via multi-server support and tactile control of plugins via the Waves FIT Controller for the eMotion LV1.

Users can connect to up to four Waves SoundGrid servers, plus four more for redundancy, so that they can mix with high plugin counts and high sample rates without worrying about processing power limitations. Two Waves FIT Controllers can be combined with the same LV1 mixer. The two FITs can work in tandem, for 32+2 faders and encoders per mix layer, or independently, where each FIT controls a mix layer of the user’s choice. Plugin parameters are now auto-mapped to the FIT control surface, allowing users to mix with plugins hands-on, with zero manual setup.

KLANG’s KOS 5.3 heads offline

KLANG’S LATEST software version 5.3 introduces a flexible offline editor and simulator. This enables users to prepare a show remotely without requiring access to KLANG processor hardware. Built into the KLANG:app, the offline editor emulates any existing KLANG processor from the smallest :vier to the flagship :konductor, including network communication for DiGiCo SD and Quantum console integration, as well as to connect other KLANG:apps or the personal mixer :kontroller on a local network. The offline editor also offers full compatibility with DiGiCo consoles’ offline editor, making it possible to set up the console remotely without having a console and KLANG processor on hand.

KOS 5.3 also offers improved Remote Management, adding an extra layer of security to the KLANG system. Administrators are now able to fully restrict access to the system with password protection, and help

musicians to connect and configure their :apps remotely. In addition, musicians can be locked to their mix to prevent them from changing another mix. Users can also hide and protect certain channels – such as a talkback channel – that should be audible in the musician’s mix, but only be controlled by an engineer. Hiding channels also helps to maintain a clean channel list for all musicians, for example when working with the :kontroller interface.

Another feature of the update includes the ability to sort and search through all KLANG devices found on the network and indicate which devices need attention. Also, the workflow to collect Logs has also been improved. The KLANG:app now collects all Logs from all devices, and even other :apps on the network, to get a detailed overview of the system with just one push of a button.

www.klang.com

(with updated layout), a newly designed highvisibility patchbay, eight additional user keys and bug fixes for MyFOH, the MyMon personal monitor mixing app and the mRecall audio scene and snapshot app. Updates in MyFOH include band type control for eMo Q4, added control over Aux-Q when flipped and added channel colours as set in the eMotion LV1.

Modelled on the circuit behaviour of carefully selected vintage valve tube hardware, Waves Audio’s Magma series has been expanded with the addition of the Magma Tube Channel Strip, which uses the same True Valve Modeling technology that was utilised to create Waves’ BB Tubes plugin. The plugin is focused on speed, with control knobs for drive/saturation; EQ lows, mids and highs; compression; and expansion/gating. It can be used on any vocal, instrument or bus.

www.waves.com

Allen & Heath updates its Custom Control

CUSTOM CONTROL V1.3 has been released by Allen & Heath and described as a major update to its customisable, crossplatform app for control over AHM, dLive and Avantis installed audio systems. Features include the ability to control multiple AHM, Avantis and dLive units from a single

LD Systems debuts QUESTRA

ADAM HALL Integrated Systems has unveiled QUESTRA, the newest design and management software for networked LD Systems installation solutions. QUESTRA enables access to the full DSP capabilities of all LD Systems’ audio installation devices, allowing users to configure audio networks of any size and manage and control every device from a single application. The software also includes an editor to create custom user panels for remote control that can be operated from Windows computers or any Android or iOS portable device. Administrators can create users, assign specific roles and limit access to certain functions, ensuring that critical network settings cannot be modified.

Device presets to match different user applications can be created and managed in QUESTRA, and triggered via the individual user panels. Also, with remote access to the audio network, monitoring and support can be provided from anywhere, at any time.

According to Adam Hall, QUESTRA has been designed to give full control of projects before, during and after commissioning. Customers can plan their projects and prepare system configurations before they even get to site and start installing any hardware. They can create the user panels and demonstrate them to clients in advance. The intuitive, user-

Custom Control user interface; a range of new widgets including date and time, and horizontal faders and meters; control of LED bars on the CC-7 and CC-10 touch panels; TCP/UDP messages for control of third-party equipment; and new resource packs with custom images for GUI design.

Several styling and graphic handling improvements have also been added, including custom colour palettes; object grouping; and options to lock the aspect ratio, position and dimensions of control widgets.

www.allen-heath.com

friendly interface with clearly structured menus reportedly makes it easy to build and configure the network. Once onsite, all users need to do is upload the offline

configurations to the online devices present on the network and fine-tune the settings.

www.ld-systems.com

Analog Way updates LivePremier

TO ADDRESS the need for a larger number of Full HD sources and their possible backups, Analog Way has designed a new input card equipped with eight full-size HDMI 1.4 connectors. Each port can receive audio/video signals up to 2560x1600@60Hz or up to 4K@30Hz and is compatible with HDCP and advanced EDID management. The 8-HDMI input card can be freely combined with any other input cards,

AMX delivers cost-effective encoders and decoders

WITH THE addition of the SVSI N2600 4:4:4 encoders and decoders, AMX has strengthened its 4K60 Series portfolio. Designed for higher education, corporate, casinos, hospitality, government and streaming applications, the N2600 models feature a low-latency 4K60 4:4:4 MWC codec for transmitting both live video and detailed content. They also feature transport of full-bandwidth USB 2.0 signals between encoders and decoders, video preview images viewable from the built-in web interface or touch panel and enhanced support for high-security networks.

Available in wall plate form factors in both US and UK/EU styles, the N2600 wall plate encoders include both an HDMI input and a

allowing up to 32 inputs on a 4U chassis and up to 48 inputs on a 5U chassis. With such a high density of concurrent inputs, the manufacturer states that all switching and routing needs will be covered without requiring external matrix routers.

Analog Way has also launched a hybrid input card for LivePremier, equipped with one 2.5G Ethernet port and four 12G-SDI inputs. The card, which can be freely combined with any other input cards, has four input streams that can be individually configured as either NDI Full Bandwidth or 12G-SDI as needed. Operators can easily use the Web RCS control interface to search through a list of available NDI sources on the network and select the ones they want to route and decode to the IP-SDI input card.

To meet the needs for large events and fixed installations, the manufacturer has added a LINK feature for the LivePremier platform. The LINK feature allows users to interconnect up to four units, no matter their type and size. The resulting system reportedly acts as a unique larger device controlled by one single Web RCS. Whatever the size of the displays and the origin of the outputs, they can all be entirely displayed on the multiviewer. The LINK function allows up to 16 inputs to be shared between linked units. If needed, a second LINK card can optionally be added to each Aquilon. The LINK card accepts various types of cabling covering all distances up to 2km.

www.analogway.com

the “S” designation further support a lowbandwidth 1080p H.264 stream. Compatible with third-party devices and networks, these encoder models can simultaneously encode both MWC and H.264 streams and decode

PPDS’s Tableaux takes the power back

BY BRINGING a version of the e-ink technology that made the Kindle famous into the world of digital signage, PPDS has unveiled the industry’s first “zero

Tableaux is an advanced colour ePaper (ACeP) device capable of 24/7 operation while running entirely unplugged. Power

With sustainability highlighted as a major focus for the company moving forward, the Tableaux is intended for use as digital signage for sectors looking to digitise their paper-based signage. Ideal applications include delivering messaging such as store opening hours, timetables and menus, or promotions and offers.

Available in 25-inch 16:9 and 28-inch 32:9 stretched variants, the Tableaux is capable of displaying 60,000 colours. Furthermore, the screens are reportedly light enough to be moved around easily when required. Content updates can be managed manually, or remotely using PPDS’s in-house or third-party professional display control and management platforms. The Tableaux Series will be compatible with PPDS’s Wave cloud-based fleet management platform.

www.ppds.com

Brompton unveils futureproof Tessera G1

BROMPTON TECHNOLOGY has announced the release of what it believes to be a revolutionary receiver card in the form of the Tessera G1. The G1 is the first receiver card to support 10GB fibre connections direct to the panel and is also capable of supporting a 1 million pixel capacity for a new generation of ultra-fine pixel pitch panels, or up to 1,000fps. The G1 also has a 20x increase in computing power compared to the Tessera R2+ receiver card.

With the G1 receiver card, Brompton hopes users can experience a new level of realistic visual performance, especially suited to content creators in the future. “One of the most useful colours we anticipate panel manufacturers wanting to incorporate is white,” said Cesar Caceres, Brompton’s product lead.

“When the colours red, green and blue are used to represent ‘white’, the light spectrum they produce may not always look natural and align with the viewer’s expectations. Adding a white channel provides an improved spectral output for the panels. And the G1 has the power to cope with the complex algorithms

necessary to maintain colour-accurate calibration and control with extra emitters.”

The G1 receiver card can also support a 10GB connection, providing tenfold the bandwidth of the current R2+ card. When it comes to in-camera visual effects, LED panels often contribute to lighting the scene, so Brompton hopes that having additional light emitters in

the LED panel will represent a significant leap in colour-rendering accuracy on skin tones and foreground elements blending with virtual environments. The ultra-fine pixel pitch panels the card can support make it suitable for use in 360° simulators, or even research centres.

www.bromptontech.com

FENIX takes to the stage Flexible control from NewTek

FLES – ALSO known as FENIX LED Support – has been introduced by lifting towers, trusses and stage platforms specialist FENIX Stage. It is a universal modular support for LED displays which has been designed to take into account all the needs and functionalities of an event. It’s described as easy to assemble and stabilise and is compatible with all types of LED screens. Users can create curved profiles of LED screens by adding a joint hinge accessory. The design of the FLES has been focused on safety, ease of assembly and professional-looking durability thanks to its textured black finish.

The PACQ-1000 is a speaker tower for lifting heavy weights of up to 1,000kg up to a height of 8m. It has been designed to fly sound like a PA tower but in a safer way. The same engine can lift the structure and the load; the manufacturer believes this provides a safe, compact and unitary system that will avoid the loss of parts and save assembly time.

www.fenixstage.com

NEWTEK HAS strengthened its line of control panels with Flex, designed so that operators can take direct control of PTZ devices, audio connections, audio and video mixing and talkback, all connected with NDI. No other NewTek control panel offers audio and video mixing, PTZ control and talkback in one unit. With these controls built directly into the panel, it is said to significantly reduce the margin for error. With the addition of audio I/O, Flex expands the onboard I/O of any TriCaster with the option to add external sources directly to the NDI ecosystem.

For years, operators have been physically tethered to video switchers with fixed cable runs and complex setups without the ability to change location. Flex is the only NewTek control panel to connect to a network with NDI and have control of any video switcher on that network, giving operators more freedom in their productions. Not only can the panel connect to any switcher on a network by using NDI, Flex also offers operators all they need for distributed productions by working with all current TriCaster models.

www.newtek.com

FLES

Absen debuts flagship virtual production LED platform

ABSEN HAS unveiled several new solutions to its display catalogue, leading with the PR2.5, its new flagship virtual production (VP) LED solution. The series comes in response to VP becoming increasingly popular across filmmaking, broadcast, video production and gaming. The solution is designed as an all-in-one platform for both a VP backdrop and ceiling.

Offering a high contrast ratio, the PR Series is described as delivering a wide colour gamut, fast heat dissipation and reportedly provides a 16% reduction in power consumption compared with comparative solutions. The panels are fitted with a customised lock system that allows users to quickly complete installations, including hanging, stacking and other layouts.

The PR2.5 is built of carbon composite and has an achievable weight as low as 22kg/m². The 2.5 version is the first in the series, with 3.9 and 5.2 pixel pitch versions also being developed.

In addition to the launch of the PR Series, the company has also released an addition to

its DOOH portfolio, the AW1.9. Furthermore, Absen is partnering with the DOOH Click complete management platform to support

disguise unlocks custom real-time production

both the AW1.9 and AW2.5 versions of this range of outdoor LED solutions.

The CL1.2 Micro LED solution has also joined the Data Visualisation Clear Cobalt Series. With black coating technology and Absen’s black calibration technology, the device not only has a non-reflective surface, but is also stated to produce vivid colours for true-to-nature images, with high reliability, wide colour gamut and full flip-chip technology. For rental, staging and XR stages, the PL2.5 Pro V2 is described as a thin and lightweight panel for easy operation. Offered in multiple pixel pitches ranging from 1.9–4.8mm, it also supports High Dynamic Range and has a grayscale up to 16-bit. The PL Series is a high-performance, broadcast-grade, highdefinition display recommended for all live

Lastly, the NX Series is a slim display available in four pixel pitches – 1.5mm, 1.8mm, 2.5mm and 3.7mm. The NX series can create various shapes such as curves, right angles and cubes, and can be widely

used in commercial display scenarios such as corporate and retail stores.

www.absen.com

Christie extends its HS laser projector series

DISGUISE HAS released the latest version of Designer, its software for testing, editing and controlling real-time graphics. Whether it’s for an LED virtual production stage or a projection-mapped building, Designer’s new APIs will let developers build custom solutions for everything from camera calibration to colour control, enabling simplified workflows for complex visuals on the disguise platform. Users can leverage the APIs to build on the disguise platform, discover new integrations tailored to their specific workflow requirements and create tailor-made, value-added solutions for their projects.

With show control, users can tailor show control for non-disguise experts with an API that simplifies the development of targeted workflows. Camera calibration on the go allows customers to set up camera calibration from any device, anywhere. This API enables remote calibration control, allowing operators to calibrate while standing with a camera on xR or VP stages. The API aims to save time with less back-and-forth between applications and a simplified workflow so that users can control disguise projects and RenderStream workloads through simplified administration operations such as start, stop and restart. Status support permits customers to view disguise system health and status in off-theshelf monitoring tools or build bespoke status UIs. This API enables the monitoring of machines with methods to provide an overall health status as well as specifics such as genlock and notifications. Greater colour capabilities have been added to provide colour control in disguise from specialist colour applications including Pomfort’s colour-grading tool Livegrade Studio.

www.disguise.one

OUTPUTTING 22,500 lumens, the Christie 4K22-HS sets a brightness standard in 4K UHD 1DLP projection. Narrowing the gap between 1DLP and 3DLP projection, the 4K22-HS incorporates Christie BoldColor+ technology that reportedly delivers natural and realistic colours, deeper blacks and enhanced colour uniformity. For applications that require multiple projectors, the latest model features onboard Christie Twist for warping and blending, and a simplified setup and alignment of multiple displays. Compatible with Christie Mystique, the automated camera-based alignment and

Panasonic signals the latest Kairos advance

DESIGNED AS a next-generation IT/IPcentric platform in broadcast and media applications, Panasonic has advanced its Kairos live production platform. With the addition of the KC200 and KC2000 mainframes in addition to software enhancements, the Kairos platform’s scalability has been increased to support larger and more complex productions.

To maximise video processing capacity and utilisation with just one frame processing delay, the live production platform is developed with CPU/GPU architecture. Deployed across a variety of productions, ranging from broadcast studios to remote production and streaming of live sports and concert events, Kairos

recalibration software tool saves time when installing, aligning, calibrating and maintaining multi-projector systems. In addition to several time-saving features, the Christie Intelligent Camera can be used to trigger projector autofocus, automatically calibrate projector colour to optimise colour uniformity and automate colour and brightness matching across multi-projector arrays. Compatible with all WUXGA HS Series lenses, the 4K22-HS features active and passive polarised 3D functionality output frame rates at 60Hz in 4K UHD and 240Hz at 1080p.

www.christiedigital.com

virtualises traditional switcher functions and adopts the multi-format Agile I/O.

Compared to existing Cores, the KC2000 doubles the input and output capacity and adds more video processing power courtesy of a larger 900GB internal clip player. When connected to two 100Gb ST 2110 networks, the latest 4U Cores support 2022-7 network redundancy and create significantly reduced noise levels. By natively supporting ST 2110 IP, connections to Panasonic’s ST 2110-compatible AW-UE160 PTZ and AK-PLV100 Cinelive studio cameras has been streamlined and simplified.

www.panasonic.com/global/business

PL Series PR

Elation shines more light in more locations

SHINING A light on a wider range of locations, the full-colour-spectrum soft light of Elation’s KL Panel XL is now available in an IP65 version. The weatherproof design allows it to function in harsh environments and adverse conditions, eliminating the need for frequent cleaning and maintenance and saving both time and cost.

Elation says the 840mm x 366mm KL Panel XL IP offers precise control over

KSCAPE is on track with a RAIL extension

LAUNCHED IN 2019 as the world’s first integrated audio and light technology, RAIL by KSCAPE has successfully been solving noise pollution issues in larger offices by providing sound and illumination in videoconferencing rooms, museums, training facilities and residential projects. The latest plug-and-play RAIL addition operates via Casambi Smart Lighting control. Based on wireless Bluetooth Low Energy technology, the optimal solution provides a mesh network where all system intelligence is replicated in every node with minimal additional hardware. With RAIL, lighting control can be made through Casambi’s app with a smart user interface or with Dali. Casambi can be connected into the internal smart building automation system such as Crestron, Lutron or Control 4 via a remote gateway. The plug-and-play operation is

made possible when combined with the K-array KA-04 150W four-channel amplifier at 4Ω, or the KA14 or the KA28 via cloud technology.

Enabling designers to improve interior environments, RAIL offers tuneable white. Light can be automated to follow the natural circadian patterns of daylight with dynamic LEDs that can illuminate from 2,700–5,000K by rising in the morning, gradually brightening to a midday peak and dipping down to a warm glow in the evening. Programming light levels can bolster employee attentiveness, productivity and physical wellbeing. Tuneable white enables companies to demonstrate their commitment to creating a better workplace while avoiding time-consuming retrofits.

www.kscapemergingsenses.com

Lighting to the CORE

EQUIPSON BRAND LightShark has unveiled its LS CORE iO lighting console which offers a web-based interface accessible from smart devices such as phones, tablets and computers that supports most protocols (DMX512, ArtNet, sACN, MIDI, UDP, OSC and HTTP). The console is compatible with integration systems such as Crestron, AMX or Control 4, incorporates GPIO ports and implements RS-232 and RS-485 protocols. It also features a dedicated alarm port which offers the possibility of prioritising a specific state over the scenes playing at that time and incorporates a real-time clock that maintains time accuracy for up to five years.

The LS W1 remote control completes the system – a wall-mount touch device with eight programmable buttons to control scenes and trigger any other action from the console. With the LS W1, users doesn’t have to access the

interface with other pieces of equipment. The upgrade also includes improvements to Autosave, Go To Cue/Preload Cue and Channel/Fixture Parking features, as well as being able to assign custom icons to palettes.

colour temperature and full-spectrum colour rendering for an even wash coverage. Optimised for the white light requirements of broadcasting, it is designed to provide highly variable lighting for key, fill and backlight.

It uses a 570W RGBW, lime and cyan LED array and can produce soft white or full-colour washes up to 40,000 field lumens at a 100° half-peak angle. Colour reproduction is accurate with a CRI of 95, while colour temperature is adjustable

from 2,000–10,000K for a wide range of variable colour or white shade projections. Additional colour tuning is possible through a green-shift adjustment and virtual gel library to precisely match the white balance for the camera.

The array is equipped with multi-zone control to enable dynamic colour access

LS-1 hardware console, the LS-Core, the LS-Wing Open Sound Control (OSC) hardware controller and three multiprotocol DMX streaming devices collectively referred to as LS-NODE. Upgrades mean that LightShark can now send out OSC and UDP messages at the

adjustment for flicker-free operation. The KL Panel XL IP can be powered remotely through its integrated four-pin XLR 24–36 VDC battery input and consumes 681W at maximum power. Control options include DMX/RDM, Art-Net and sACN. www.elationlighting.com

same time as playing different cues, giving users the opportunity to control other equipment directly from LightShark. It includes the devices’ personalities already developed for the LS-Wing controller, which the company says makes LightShark the first lighting controller that has OSC and UDP control personalities for other devices such as audio controllers and media servers.

The software also adds OSC messages including TAP button command of a Playback and adjustment of its tempo, commands to reset aspects of the speed master and the Chase speed master and messages to give users fine control of the Go To Cue button including the ability to preload it. It is also now possible to send OSC commands from a Cue and to deploy a keyboard to control LightShark using a variety of shortcuts.

www.lightshark.es

The move to AV-over-IP

Roland Hemming reflects on evolution discovered through RH Consulting’s industry networking report

IN 2008, I WAS FIRST SHOWN A PREVIEW OF AUDIO

Video Bridging (AVB). It was a new and exciting technology and a number of major pro AV manufacturers then went on to back it. Over the next few years, any article or conversation about AV-over-IP would have to include AVB. When we were first given that demo, we immediately had some important questions. We weren’t being critical, just wanting some specific information. However, our enquiries weren’t taken well at all. The meeting went so badly that the person demonstrating it didn’t return after the coffee break.

By 2013, we were seeing a steady rise in use of Dante, Ravenna had been invented and AES67 was a thing. Yet all people were talking about was AVB. It was then that I wanted to apply some data to this. I did something obvious: I just counted how many manufacturers had announced that they were committing to use one or other of the available audio-over-IP (AoIP) protocols. Not long after I just counted the number of available products for each protocol.

There was an almighty fuss about my findings, all of which was publicly available information. The data showed that AVB wasn’t delivering on the hype.

One manufacturer devoted a web page to refuting what I said. In a follow-up piece for a magazine, one organisation asked for and got permission to make comments in between paragraphs within my article. To quote Queen Gertrude: “thou dost protest too much”.

This article isn’t intended to bash AVB; I’ve done plenty of that over the years. I’ve never criticised the technology, but just about every other element of its development and promotion has been confused and inept and this shows in

the benchmark for tracking the industry. We see our numbers being used by investors, product managers and marketeers. Our research isn’t perfect and it doesn’t tell us how many products

The result is Dante by a long way, followed by Ravenna. All the others are frankly inconsequential.

In 2022, we added video-over-IP products for the first time and we have improved this research for this year. Networked video is a mess. It is just like where audio was 15 years ago. There is no obvious market leader and no interoperability between protocols. There is also a lot of hype. For example, SDVoE claims over 700 compatible products but we count around half that. Even a cursory look at their website shows items like cables being listed. This sort of behaviour weakens the message, which is a shame.

The progression of networked video is going to be a bloodier battle than what has happened with audio. In the early years Dante had little competition, so while it deserves its market-leading position, it was also lucky that there was little investment by others.

In video-over-IP, there are currently six industry-wide initiatives with plenty of adopters, deep pockets for investment or both. There are also quite a number of proprietary single manufacturer solutions preventing some from adopting one of the “standards”.

The stakes are high. To be the leader in video-over-IP technology will probably define the direction of AV and broadcast for at least a decade. It will also possibly force the audio industry to follow the audio element of any video standard.

There are important differences between audio- and videoover-IP. Video still hasn’t reached “perfect quality”; we still don’t have the IT technology to deliver sufficient bandwidth and there is a mixed of compressed and uncompressed media. None of these are considerations for audio.

It’s too early to predict who will be the “winner”. When we released our first video figures last year, I was asked what advice I would give any of the promoters of protocols that would help them succeed: we would ask them to be honest, as open as possible and friendly.

One important pointer for video is the number of “true” video products there are. At present, there are a lot of networked AV encoders and decoders. These just get another form of video on and off the network. This is a sign of immaturity in the market. A truly mature protocol would be adopted directly into products. We did some specific research on this and can already see which protocols are more integrated into products.

IP adoption is all about ecosystems and, as more companies adopt it, it becomes a virtuous circle. For video, there is still a very long journey to go on before we see the same maturity in networking as we have with audio.

www.rhconsulting.uk

Roland Hemming

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