LIVE SOUND LIGHTING RECORDING INSTALLATION A/V BROADCAST POSTPRODUCTION November–December 2018
PINPOINT PRODUCTION Behind the scenes at Tomorrowland
UNDERGROUND SOUND DRY ICE ON THE CREEK Hidden A/V treats at SISD Singapore: MICA (P) 033/06/2018
NO COMPROMISE DIGITAL 6000
www.sennheiser.com/digital-6000
IBC 2018 REVIEWED FULL STREAM AHEAD
How OTT services are affecting traditional broadcast
YAMAHA MUSIC GULF FZE Jebel Ali Free Zone Dubai U.A.E. Tel : +971 4 8011500 http://mea.yamaha.com www.yamahaproaudio.com http://nexo-sa.com
CONTENTS
Volume 15 Issue Six November–December 2018
NEWS
NEWS RCF Group acquires EAW, PRG and VER merge for event production 4 EDUCATION Avolites Dubai Academy debuts, NMK hosts Robert Scovill
24
DISTRIBUTION APG appoints Venuetech, Provision takes on Chauvet
26
APPOINTMENTS Luca Gianni appoints Prolab, Thiago Terra joins Powersoft
28
NEW PRODUCTS The industry’s most comprehensive product news
31
FEATURES COVER: TYING TOGETHER TOMORROWLAND Synced AVL for EDM lovers 66 MUMBAI MEETS DUBAI IS7s debut again in Dubai
68
UNDERGROUND SOUND Pioneer XY-3Bs’ UAE launch at Industrial Avenue 70 DRY ICE ON THE CREEK Hidden A/V treats at SISD
72
FIRE SAFETY AT SANLAM Tackling a common problem in East Africa
74
RISING TO THE OCCASION Sennheiser takes on interference in Kuwait
76
BUSINESS COMPANY PROFILE Touring Adam Hall’s new Experience Centre
Editor’s note It was almost exactly a year ago when Crown Prince Mohammad bin Salman proclaimed Saudi Arabia was open for business – and what a transformation the country has witnessed in the 12 months since. Something that is immediately apparent while scrolling through the news pages of Pro AVL MEA and noting the influx of new developments taking place. From the emergence of the first cinema to be constructed in the Kingdom for three decades, to new stadiums being erected throughout the country and large-scale live events now frequently taking place. The Kingdom has been forging a new cultural element backed by US$500bn of investment that had been sadly missing from certain sectors in KSA for so long. This is all part of a long-term plan – dubbed Vision 2030. But with the political furore that’s unravelled in recent weeks, should our industry be worried about the longevity of these potential opportunities? I don’t think there should be much concern. There’s no escaping the fact that the KSA’s future prosperity relies on it unshackling its economy from a dependency on oil, and a shift towards increased leisure activities as regulation and rules are relaxed will always be a logical and persistent choice for future investment. It’s also a market for which there will always be a demand. Politics aside, however, I’d like to take this opportunity to introduce the newest member of the Blank Canvas team, Ledetta Asfa-Wossen. Joining as managing editor, Ledetta will be instrumental in helping us develop and refine new editorial ideas, as we place a closer emphasis on the regional business landscape driving the MEA.
78
LETTER FROM AMERICA Dan Daley on live sound mixing for comedians 80
Stay tuned.
Email: sluckhurst@proavl-mea.com
LETTER FROM EUROPE Phil Ward on the tech emerging from London’s East End 80 TECHNOLOGY How major events have developed immersive formats
82
SHOW REVIEW IBC 2018 highlights the changing role of broadcasters
84
SHOW REVIEW We hit the aisles at PL&SME 2018
88
SHOW REVIEW Gitex 2018 focuses on decision makers
90
R&D Solaro takes Xilica in a new and modular direction
92
ANALYSIS Phil Ward assesses the impact of OTT media services
94
CONTACTS Richard Lawn:
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@ProAVLMEAMagazine November–December 2018 PRO AVL MEA 3
NEWS
RCF Group acquires EAW WORLD: RCF Group has announced that it is acquiring Eastern Acoustic Works (EAW) from Loud Audio. EAW will join the Italian manufacturer’s existing loudspeaker brands, RCF and dBTechnologies, but will operate as an independent company. This marks the second time that EAW and RCF have stood below the same umbrella. RCF was purchased by the then Mackie Designs – now Loud Audio – in 1998, while EAW was added to the group portfolio in 2000. Mackie Designs became Loud Technologies in 2003 and divested the RCF brand that same year. ‘Since their early days, the two companies have been very close, with RCF supplying professional drivers to EAW,’ stated RCF Group CEO, Arturo Vicari. ‘Both brands successfully expanded around the world and their histories were often linked. Finally, we can look at a bright future together. Even though EAW will remain a totally independent company, being part of our group will provide EAW with the necessary investments and focus for a fast and solid growth. We are very proud to have EAW with us.’ ‘For those who love EAW it is difficult to imagine a better
scenario,’ added TJ Smith, president of EAW. ‘From the first moment this possibility started to materialise it has been clear that joining forces with RCF Group is a great opportunity for EAW. This transaction is a true recognition of what the brand represents, its potential, as well as the team we have built over recent years. With gratitude to the long list of those that built EAW over its 40-year history, we look forward to the exciting time in front of us.’ The Loud Audio brands were acquired in 2017 by Transom
Capital Group. Since that transaction, EAW is the third brand to be removed from the Loud portfolio, as Martin Audio is undergoing a management buyout and Ampeg has been sold to Yamaha. This, Loud Audio states, will be ‘the third and final divestiture by Transom aimed at allowing Loud to narrow its focus to the Mackie brand’. ‘Simplifying the Loud business to focus on high-quality audio delivery from consumers to professionals has always been the focus of our
Sound Stylists grows L-Acoustics inventory
industry want,’ explained Colin Loock, branch manager for Sound Stylists in Kyalami. ‘Our Arcs WiFo system works for both small and large events and, with regard to selling the product to the market, it’s a no-brainer. It’s a quick and easy system and the moment the client or artist sees the L-Acoustics logo, they know they’re in good hands.’ Combined with its existing stock, Sound Stylists now boasts a
4 PRO AVL MEA November–December 2018
complement of Arcs Wide with four subs and four tops, eight X15 HiQ monitors, Arcs Focus, LA12X amplified controllers and SB18 subwoofers – giving it eight Arcs WiFo over eight subs. ‘And we are in the process of acquiring a bit more on the monitor side,’ added Mr Loock. www.dwrdistribution.co.za www.l-acoustics.com www.soundstylists.co.za
www.eaw.com www.loudaudio.com www.rcf-group.it www.transomcap.com
Maestra launches scenic division UAE: Maestra has launched a new scenic department in Dubai that will operate from its own dedicated facility close to the company headquarters in Dubai Investment Park. The new department will be headed up by Jurgens Potgieter, who brings over 10 years of practical experience in the region working for several leading fabrication contractors. Maestra has been providing clients with creative scenic services for several years in both London and Dubai, so the
The Sound Stylists team with its new L-Acoustics additions SOUTH AFRICA: Having first invested in L-Acoustics equipment several years ago, Kyalami-based rental company Sound Stylists has been steadily bolstering its supplies ever since. Recently, the company has invested in Arcs Focus cabinets, LA12X amplified controllers and SB18 subwoofers through DWR Distribution. ‘L-Acoustics is a reputable brand and, from a business perspective, it’s what the client and the
thesis,’ confirmed Ty Schultz, managing partner at Transom Capital Group. ‘We are very happy to have found a great new owner for the EAW brand and wish everyone involved much success going forward.’ ‘While I have truly enjoyed working with all of the brands in the Loud legacy, it’s now time for us to turn the page and to be entirely focused on building the Mackie brand,’ said Mackie president Alex Nelson, reinforcing Transom’s intentions. ‘Our companies have long lived in a conglomeration of brands and I
believe going forward all the brands are going to benefit from new-found focus, alignment and investment. This last divestiture marks a particularly exciting time for Mackie employees worldwide who are now about to embark on a journey of re-invention.’ Mr Smith added: ‘Having grown up with the EAW and Mackie brands, I can truly say that this is an exciting moment. Both brands are now in a significantly stronger position to support their unique partners and customers. I look forward to the continued development of Mackie and EAW under new and more focused ownership.’ EAW will continue to work with Loud Audio during the following months to ensure a smooth transition for customers, dealers and distributors. CapM Advisors has served as the financial advisor to RCF Group during the transaction, while Studio Legale Chiomenti and Good Procter LLP served as its legal counsel. Latham & Watkins LLP served as the legal counsel to Loud and Transom Capital Group.
decision to bring everything in-house and create a dedicated division was a ‘totally logical step’, confirmed Maestra Dubai’s managing director Tom Clements. Mr Potgieter started his career in theatre while completing an N-Dip in Entertainment Technology, specialising in set design and construction. In the intervening 12 years he has acquired some skills in the construction of temporary and semi-permanent structures across all genres of the
NEWS
PRG and VER merge for total event production EMEA: PRG and VER have announced that the two companies are to merge into Production Resource Group in Europe and the Middle East. The two companies are both well established in concert touring for the aspects of lighting, video and media servers. Combining the two companies’ strengths will allow it to offer a complete suite of services for tours, festivals and events. Furthermore, PRG will look to enhance its work in television production and expand in the film industry as VER brings worldclass expertise in the video camera market, lighting, display and a robust suite of cameras. VER customers will benefit from PRG’s staging and automation expertise, vast lighting inventory and its position as the exclusive rental house for PRG’s proprietary lighting and video products. The entities will be commonly controlled by The Jordan Company, GSO Capital Partners and PRG Management. Jere Harris will serve as chairman and CEO of PRG and VER, and Stephan Paridaen will be president and COO. Both companies will offer the ability to share equipment, knowledge and personnel, as well as offering solutions, resources and expertise in ways neither
company says they could achieve independently. ‘For more than 20 years, PRG has been diligent in offering its clients the best production service and
equipment in the entertainment industry,’ said Mr Harris. ‘Growth across disciplines, markets and geographies has always been a key part of our strategy. Now,
our ability to support all types of entertainment productions globally will take on new meaning, raising an already high bar to an unprecedented level.’
‘We believe that this approach will bring about innovation, an exciting level of service and even more transformative collaboration with our partners,’ he added. ‘It feels historic, not only for PRG and VER, but for the entertainment industry.’ Jointly, the two companies will have approximately 70 locations across six continents, providing clients improved access to an array of equipment from all major manufacturers. www.prg.com
HIGH POWER-TO-SIZE RATIO
entertainment, production and special projects spectrums, in addition to also working on permanent installations. ‘I always strive hard to help create memorable events, productions and projects by combining my passion and knowledge of the highest international standards and safety regulations to deliver the vision and expectations of each individual client,’ said Mr Potgieter. ‘What Tom and the team have achieved at Maestra in such a short time says a lot about their enthusiasm and aptitude for the industry.’ A new warehouse has been designed and kitted out for Maestra Scenic. An initial investment in new tooling and machinery will assist with custom set and scenic requirements and there will also be a range of standard rental items available from stock.
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November–December 2018 PRO AVL MEA 5
NEWS
Flair and eclipse Installations Management buyout at Argosy depart eclipse Group
UAE: eclipse Group International has announced the departure of two companies from the group – Flair Event Services and eclipse Installations. ‘In a move designed to refocus the eclipse Group activities around our core business units of eclipse Staging Services, eclipse Venue Services, Stage FX and Laser FX, the decision was taken to divest our holdings in both Flair and eclipse Installations with immediate effect,’ explained
Simon Ransom, eclipse Group CEO. As part of the group’s efforts to reinvest and grow its market share in the Middle East, the decision was made for Flair Event Services to ‘branch out on its own’. The company will continue to be led by Sameer Rahman, Flair’s managing director since its creation in 2013, and will continue to provide equipment and event technology services to the local market under the Flair brand.
The eclipse Installations business, meanwhile, has been sold to the current management, and will undergo a rebrand as Echo 8. It will also continue to provide its consultancy and A/V design and installation services to the regional market under the leadership of David Fell. Echo 8 joins a portfolio of companies owned and managed by Mr Fell. ‘Since the passing of our founder, Mark Brown, in late 2016, a reorganisation has been on the cards and it has taken this long for us to finalise our strategic path moving forward,’ concluded Mr Ransom. ‘I wish both Sameer and David well in their new adventures and look forward to potentially collaborating with them on projects in the future.’
WORLD: Broadcast and A/V cable manufacturer Argosy has completed a management buyout from its previous parent company, IEWC Corp. Existing directors Chris Smeeton and Josh Simons have taken direct control of the company.
www.echo8.ae www.eclipsegroup.ae www.flair.ae
Argosy’s Chris Smeeton and Josh Simons
‘We have long had the ambition to take the reins of the business,’ said Mr Smeeton. ‘This gives us the commercial agility to respond dynamically to the market. Argosy will continue to grow, providing the ver y best in technology and ser vices across all areas of the broadcast market while pushing fur ther into the A/V industr y.’ ‘Pushing into new markets and new technologies is a critical par t of our growth plan for the future,’ added Mr Simons. ‘Now we control our own investment plans, we can quickly respond to the market and offer cutting-edge technologies as well as new ways of doing business.’ ‘We will also be improving the way we engage with our overseas par tners,’ Mr Smeeton fur thered. ‘We see this as an impor tant par t of our strategy going for ward, ensuring we can offer a rapid response from our UK facilities.’
www.argosycable.com
Box-T out with R-H CYPRUS: The Box-T Sports Bar and Café accommodates around 250 patrons for televised sports events and live entertainment including rock, jazz and funk music. To ensure audio coverage throughout the 200m2 main bar area and the surrounding outdoor spaces, Renkus-Heinz C Series speakers have been installed by V Hypersound & Light
in collaboration with HyperSat Services. ‘We decided that four RenkusHeinz CX62 full-range point-source loudspeakers would be perfect for the main bar area because of the C Series’ driver technology that delivers natural-sounding music and intelligible speech,’ explained Vassos Mouzouras, managing director of V Hypersound & Light.
Meanwhile, the more compact CX61 model was chosen for the outside spaces along with powered subwoofers for low-end support. Given the size of the venue and its various spaces, five
independent audio zones were set up: main area, entrance, side area, back area and first floor. ‘A 16-channel digital mixer, controlled wirelessly from an iPad, routes audio to the five zones,’ noted Mr Mouzouras. ‘The iPad enables the Box-T’s manager to remotely control each zone’s sound individually from anywhere in the space.
Ross Video enhances networking interoperability with Ravenna WORLD: Ross Video is the latest manufacturer to enroll its portfolio of broadly interoperable A/V networking products within the Ravenna community. Based in Canada, Ross Video provides a vast range of products and services for live broadcast productions including virtual studios, real-time motion graphics, cameras, production switchers and video servers. Having acquired Coveloz Technologies in 2016, Ross Video became a provider of networking modules, chips and software across a range of networking protocols including Ravenna/AES67. The partnership with Ross Video therefore builds on the
Outside Ross Video’s Ottawa laboratory foundations put into place by the original partnership with Coveloz, whose range has expanded under the Ross Video brand to include audio and video over IP networking
6 PRO AVL MEA November–December 2018
modules, chips and software that offer Ravenna, Livewire+, NMOS and Dante/SAP connectivity. AES67- and ST2110-compliant new products including BACH
Liberty, a drop-in replacement and pin-compatible module to the Dante Brooklyn II, now provide more connectivity options for enhanced interoperability. ‘Our live media networking technology is built on open standards like Ravenna,’ commented Ross Video VP of infrastructure, Nestor Amaya. ‘Standards-based open technologies allow competitive solutions from multiple vendors to best serve the market. Ravenna has pioneered the road to interoperability by first embracing AES67 and now ST2110.’ ‘We are delighted that Ross Video continues the Ravenna partnership first undertaken
‘Every type of music sounds natural and full, and spoken word is clear and intelligible, while the wide horizontal dispersion pattern provides excellent coverage throughout the space, including outdoors.’ www.hypersat.com.cy www.hypersound.com.cy www.renkus-heinz.com
by Coveloz,’ commented ALC NetworX Ravenna evangelist, Andreas Hildebrand. ‘Under Coveloz’s Ravenna engagement, we have witnessed several third-party companies building their Ravenna/AES67 product solutions based on the Coveloz BACH openModule series. I am confident that with the integration of the Coveloz team, we will soon see new Ravenna/AES67-capable products under the Ross Video label.’ Dolby Laboratories and Stage Tec have also enlisted to the Ravenna partnership, demonstrating the momentum that Ravenna technology continues to gain as a leading audio networking technology within the broadcast industry. www.ravenna-network.com/partners www.rossvideo.com
NEWS SOUNDBITES INDUSTRY TO HIT US$230 BILLION BY 2023 WORLD: Avixa has predicted that the professional audiovisual industry will grow from US$186 billion in 2018 to US$230 billion by 2023, according to updated forecasts in the new 2018 AV Industry Outlook and Trends Analysis (IOTA) Global Summary produced by the Audiovisual and Integrated Experience Association. The report examines the forces driving growth, from macroeconomic factors to technology trends to vertical market demands, on a global scale.
‘There are many shifting pieces within the A/V industr y; it’s impor tant to pause and take the market’s temperature,’ said Sean Wargo, senior director of market intelligence at Avixa. ‘Based on our research, we’re expecting compound annual growth to be 4.3% from 2018 to 2023, which is in line with our previous estimates. Regions around the world are growing, with Asia poised to take the lead as the largest market, capturing 36% of the pro A/V market by 2023.’ The IOTA repor t was produced for Avixa by IHS Markit, an insights and intelligence firm. The research methodology was based on combining supply-side market sizing with demandside market requirements, which were then aligned with macroeconomic factors and inputs. The 2018 AV Industr y Outlook and Trends Analysis (IOTA) is published as a series of repor ts, including one global and three regional repor ts, plus a series of repor ts highlighting specific segments of the A/V industr y. The Global, Americas, AsiaPacific and Europe repor ts are available now to purchase, with discounts for Avixa members. www.avixa.org
Al Isteklal invests in Qatar’s first Axient Digital QATAR: A/V supplier Al Isteklal TC-IACQatar has invested in the first Shure Axient Digital wireless systems in Qatar, intending to use them for its most demanding shows where performance and RF drop-outs have traditionally been an issue. It was already seeking a new wireless system and opted for Axient because it gives the Doha-based rental company ‘more options in this shrinking RF domain and still delivers good digital sound’. An initial purchase of two Quad Shure Axient receivers with 10 AD2 handheld microphones with different capsules – SM58, Beta 58, Beta 87 and KSM8 – and eight AD1 bodypacks has been made through Edge Electronics Trading. ‘Shure is a trusted brand and equipment reliability in the live industry is an integral part to pulling off a successful event,’ commented Ndumiso Mkhize, head of sound at Al Isteklal TC-IACQatar.
‘Frequency coordination is also important and the availability of Shure Workbench will ensure that we are always ahead of any problems that might interfere with that coordination. We will soon place an order for another full system to serve our clients’ and market needs.’ ‘The system allows us to provide more solutions to clients’
WORLD: Green Hippo Ltd and Green Hippo Media Technology Inc have been acquired by Spitfire Creative Technologies. The purchase of Green Hippo
Green Hippo joins the tvONE and Magenta Research brands in Spitfire’s portfolio. These brands manufacture video processing and signal distribution products,
Spitfire Creative Technologies acquires Green Hippo
requests, from more dedicated and large-scale bandwidth and coverage, to increased reliability in connectivity due to mobile antennas and better range – also a good battery life, which is a plus for me,’ furthered sales and project manager, Elie Salameh. ‘We had the pleasure of using our Shure Axient Digital system for the first time just days after taking
delivery, at one of Qatar’s FIFA Fan parks, and it delivered to its expectation. ‘One of the best things about it is its ease of operation,’ he added. ‘I took it out of the box and it worked as expected with just a few modifications for the show. The sound quality is better than previous wireless systems we have used and we have much better coverage and range.’ ‘Having the first system in Qatar shows our commitment to making sure we give the best to our clients – every speech and concert using reliable and clear-sounding microphones from Shure,’ Mr Mkhize concluded. ‘It is always a pleasure working with Edge Electronics Trading, they go the extra mile to deliver excellent products to their client and back it up with good customer relations.’ www.edgeet.com www.iacqatar.com
HotFM becomes crystalClear extends Spitfire’s reach across the commercial integration, live events and video technology markets. ‘For 18 years, Green Hippo and Hippotizer have been part of live events around the world,’ said Emma Marlow, CEO of Green Hippo. ‘We have grown well and want to continue growing. Becoming a member of the Spitfire family allows Green Hippo to focus on growing further and faster. We look forward to their strong organisational support so we can do more to help our customers and users around the world deliver the best live video experiences.’
8 PRO AVL MEA November–December 2018
complementing Green Hippo’s range of media servers and digital display solutions. ‘Green Hippo and tvONE each have core competencies in technology and customer focus that, when combined, provide superior solutions for both fixed installation and live events customers,’ stated Denise Nemchev, president and CEO of tvONE. ‘Most important is the comprehensive value we bring our customers across the combined platform.’ www.green-hippo.com www.magenta-research.com www.spitfirect.com www.tvone.com
ZAMBIA: Based in Lusaka, HotFM began broadcasting in August. The radio station’s setup comprises a range of Lawo systems, including a crystalClear virtual mixing console and Relay, computer virtualisation software that enables broadcasters to mix, route and process AES67 audio streams and digital audio via standard WDM or ASIO interfaces. Commenting on Lawo’s crystalClear, HotFM owner Oscar Chavula noted: ‘Touchscreen mixing is a huge advantage because it’s so easy to learn and use. And in the field, a computer with Relay and a 4G telephone connection makes it
possible to originate high-quality remote broadcasts with much less equipment and very little set up time. We are the first in Zambia to do this.’ ‘HotFM is one of the most modern radio stations in Africa,’ said Meck Phiri from Lawo’s Zambian sales partner, Meck Media Consult. ‘That’s why they chose Lawo. Lawo radio products are AES67compliant, easy to use and future-proof. HotFM will also deploy visual radio shortly as Lawo’s standards-based AoIP infrastructure makes that possible.’ www.lawo.com
© 2 0 1 8 B o s c h B u i l d i n g Te c h n o l o g i e s , I n c .
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NEWS
Qvest Media and Carrosserie Akkermans partner for OB production MENA: Qvest Media has entered into an exclusive partnership for the Middle East and North Africa with Carrosserie Akkermans, a bodywork construction specialist for media vehicles, that will see the two companies pool their respective skills to create production and broadcast vehicles. The companies will focus on increased technical and structural standardisation and a modular vehicle concept with the aim of exploiting new production possibilities. In the past, Qvest Media and Carrosserie Akkermans have jointly
Ahmad Hadi Al Kayal
developed media vehicles for applications such as television, events, sports broadcasts or live reports. Building on this shared experience, cooperation will be extended to the MENA region. The new full IP-capable vehicles will play a central role to increasingly relocate production tasks to stationary production and broadcasting centres via remote connection. Networking with cloud services and resources will also simplify field production and relieve the local OB teams. ‘Based on digitisation and new production standards such as IP, 4K and HDR, we see a growing need for new flexible and cost-effective mobile production solutions,’ said Ahmad Hadi Al Kayal, sales manager at Qvest Media in Dubai. ‘Akkermans’ know-how in the construction of high-quality and sophisticated bodywork solutions helps us to implement our media technology concepts and workflow designs in the best possible way and to arrange customer-focused and cost-optimised turnkey solutions.’
HEC Pro gives Korek Telekom conferencing update Arjan Akkermans ‘We are pleased to further expand our partnership with Qvest Media,’ added Arjan Akkermans, CEO of Carrosserie Akkermans. ‘Qvest Media’s excellent positioning and regional presence offer us the opportunity to increasingly address the MENA region with our portfolio.’ The latest joint project between the two companies is the construction of two 4K/ UHD production vehicles for the international news agency Ruptly. Despite its compact dimensions, the OB fleet offers state-of-the-art equipment for versatile production.
IRAQ: Following the opening of its dedicated Erbil-based branch in Iraq under the name Professional Sound Technology, Turkish distributor and systems integrator HEC Pro has successfully completed another new administration building project, this time for Iraq’s biggest telecoms company, Korek Telekom. The latest project included the installation of all audio, visual presentation, automation, conference and video conference systems in Korek Telekom’s chairman of the board’s office, the board of directors meeting room and general manager’s office. The equipment of choice included
Shure microphones and FBT loudspeakers for capture and reinforcement, Albiral 15.6foot screens, NEC projectors and Kramer media distribution systems. Automation systems from Vantage and Control 4 and Polycom video conferencing systems were also installed. ‘Since we established our company, Professional Sound Technology, we are proud to have completed four successful projects, where each project has opened the door for another,’ stated HEC Pro project manager, Berk Ozan. www.hecpro.net
www.qvestmedia.com
Robe’s MegaPointe makes its OppiKoppi debut SOUTH AFRICA: Having been involved with the festival for several years, Pretoria-based rental company Stage Effects was responsible for the site-wide lighting and visuals for five production stages at OppiKoppi 2018. Stage Effects owner, Theo Papenfus, first worked as a technician on the remote, bushland event and, since 1999, Stage Effects has been a supplier. This year, the company supplied a selection of lighting equipment including Robe moving heads and MA lighting control. Production lighting for the main stage, the James Phillips Stage, was designed by Erik de Bruin, who reported being ‘delighted’ to be able to use Stage Effects’ new Robe MegaPointes. He also used 12 standard Pointes, plus some other fixtures including LED washes, LED battens and 4-cell blinders. OppiKoppi 2018 was only the second time Mr de Bruin had used MegaPointes – supplied to Stage Effects earlier in the year by Robe’s South African distributor, DWR. The first was a daylight show for rockers Seether in Johannesburg, where he was ‘impressed with the brightness which still registered in the sunshine, allowing beamwork and
Pretoria-based rental company Stage Effects was responsible for the sitewide lighting and visuals for five production stages at OppiKoppi 2018 some serious depth to be added to the artists onstage’. The James Phillips Stage is a permanent thatched structure on the OppiKoppi site with an apex roof, limited height, no flying facilities and a compact performance space. It’s been used as the main stage before but not in the event’s most recent years, so with it returning to its roots and hosting the largest headliners this year, Mr Papenfus decided to spec more lights than ever before. It’s also a tricky space to light with lots of wooden structural pillars carrying the roof that must be negotiated. The lighting angles
10 PRO AVL MEA November–December 2018
are narrow, so depth is scarce, and the stage structure by default is the starting point for any production design. Three trussing goalposts were installed to maximise the space. A larger one square-on upstage, flanked by two smaller and slightly angled ones left and right, to give side lighting positions. The MegaPointes were all rigged on the cross members of these goalposts, six along the back and three on each side. Eight Pointes were placed along the front lip of the stage and the other four were squeezed in upstage together with a small LED screen. Lighting control was via a grandMA2 console.
Mr de Bruin and eight crew from Stage Effects started work on site on Sunday to be ready for the event which opened the following Thursday. Everything ran on generator power and, being in the middle of the bush, the prep had to be meticulous. One visiting lighting designer who was pleased to see Robe on the James Phillips rig was Jonathan Bandli, from Bad Weather Productions, who rocked up with Cape Town-based indie rockers, Grassy Spark. Mr Bandli has used and specified
Robe extensively in his design work since he started Bad Weather, five-and-a-half years ago; however, this was also his first time using MegaPointes. ‘The optics and zoom range of this fixture is great,’ he said of the MegaPointes. ‘A bright and punchy unit with CMY colour mixing, what more do you need? I can’t wait to try them on one of the many EDM events we design.’ www.dwrdistribution.co.za www.stageeffects.co.za www.robe.cz
Stage Effects lit the James Phillips Stage with its new Robe MegaPointes
NEWS
Broadcasting prayers to the Dar Al Iman Intercontinental Hotel
SAUDI ARABIA: The Dar Al Iman Intercontinental Hotel in Medina is located in the cour tyard of the Prophet’s Mosque. The hotel, already equipped with a speaker system throughout, required a control ser ver to automatically broadcast prayers from the Prophet’s Mosque to the men’s and women’s prayer rooms on each floor, as well as the reception and galler y areas five times per day. To meet this need, a BXB WMP-2100 digital system was installed by Abu Moammar Company due to its ability to schedule eight broadcast groups across up to A BXB WMP-2100 system is facilitating prayers at Dar Al Iman 64 zones. Intercontinental
FBT adds to the luxury at Bab AlBahr Restaurant
Prayer music from the mosque can be scheduled according to the Muslim calendar at the beginning of each year. The WMP-2100 supports up to 10 remote broadcasting stations enabling the hotel to operate the system from reception, the admin room and prayer rooms via an internet connection, as well as from the control room. If required, the hotel can also use the system to provide PABX telephone broadcasting, emergency call, intercom and security functionality. Abu Moammar Company is a BXB dealer and its general manager, Malik Al Awaidi, oversaw the project. The WMP-2100 system is formed of a WMP-2100 PA control
unit with WSC-2100 graphical control software, a CTM-02 tabletop microphone, 14 WMP-60 remote decoders, a PAB-5400 amplifier and a PSC-A122 power control unit. ‘After installing the BXB WMP2100 PA system, we have been very satisfied with the functions, operational settings and programming options offered,’ said Hussein Elsheikh, the hotel project manager. ‘The next step of the project is to extend all cables and speakers in the hotel corridors and we will be addressing each individual room.’ www.bxb.tw
COMPACT SMARTER LIGHTER FASTER TWO NEW ENTRIES IN THE VIO FAMILY
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Bab Al-Bahr Restaurant is now home to an FBT sound system inside and out IRAN: Bab Al-Bahr Restaurant, a luxurious Lebanese restaurant inside Tehran’s Bam Land mall, has chosen Shidco Holding to design and install a new audio system. The venue is now home to an FBT sound system for audio reinforcement both inside and out. In recent years, there have been an increasing amount of cultural and entertainment centres rising up in the Iranian capital, such as Chitgar in the west of the city, boasting artificial lakes, forest parks and the Bam Land Shopping Centre. Bab Al-Bahr Restaurant, one of the most exclusive inside the shopping centre, offers diners a fantastic view of Lake Chitgar and was seeking a high-quality
sound system at a ‘reasonable’ price. Shidco suggested Shadow 105T speakers from FBT for their compact dimensions and ability to tackle both indoor and outdoor spaces. A total of 14 Shadow 105Ts were integrated in two interior and exterior halls, drawing power from Powersoft Quattrocanali 1204 amplifiers. Additionally, for the restaurant’s entrance, PL60 cabinets from RCF were deployed. The entire system is controlled via an RCF M18 digital mixer. ‘Small projects such as restaurants and cafés are on the rise, and we are planning them seriously,’ commented Mehdi Darab, CEO at Shidco Holding.
VIO L208
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November–December 2018 PRO AVL MEA 11
NEWS
Lectrosonics brings stories to life across Africa SUDAN: Nadus Films, a global film company that works with socially responsible companies on both scripted and non-scripted work, has been using Lectrosonics Digital Hybrid Wireless technology, including LT Series transmitters and LR receivers, for audio capture at several recent shoots across Africa and the Middle East. The film company was set up in 2005 after founder Coury Deeb heard a lecture by Dr Celestin Musekura, speaking about his work in southern Sudan, reconciling tribes and governments. Inspired, Mr Deeb approached Dr Musekura at the conclusion of his talk and offered to tell his story through film. Nadus Films represents Sudan spelled backwards. ‘We’ve travelled the world several times filming in India, Bangladesh, Tanzania, Kenya, Uganda, Ethiopia, Guatemala and Iraq,’ Mr Deeb explained. ‘When we film we don’t want a target on our back, particularly in certain countries, so we try to be as efficient as possible with equipment and time and, for safety reasons, we’re there no longer than four to five days.’
LT Series transmitters and LR receivers were used for audio capture at several recent shoots across Africa and the Middle East Nadus Films has an impressive portfolio of titles including Waterboys, working with Doug Pitt and Chris Long of the Philadelphia Eagles, documenting their mission to bring clean water to 1 million people in East African countries. The company also collaborates with the Jennifer Lawrence Foundation, whose mission is to bring needed resources to charitable organisations working with children and the arts.
For efficiency, the company uses the Lectrosonics LT Battery Eliminator. ‘When we build our rigs, we include the Lectro battery eliminator so we don’t have to juggle AA batteries along with all our other equipment,’ offered Drew Layman, second cameraman and assistant editor of Nadus Films. In Iraq, the company worked with ShaiFund, a non-profit organisation that provides humanitarian assistance and disaster relief, to
Electrovision equips Ghadir complex
Dynacord CMS-1000 sound mixer and beyerdynamic Classis GM 315 gooseneck mic enable audio presentations in the auditorium IRAN: Electrovision has installed the A/V solutions for the conference hall and a small auditorium at Bank Saderat Iran’s newly built Ghadir commercial-administrative complex. Dynacord sound systems were installed in both rooms, while the conference hall is equipped with a beyerdynamic Orbis conferencing system. ‘Our client, Bank Saderat Iran, needed a modern and reliable conferencing system for their conference hall,’ explained Majid Mahdavian, CEO of Electrovision. ‘So, we suggested the beyerdynamic Orbis conference system, which is definitely one of the best conference systems in the world in terms of quality and efficiency.’
The Orbis system comprises an Orbis CU control unit, an Orbis MU 23 chairman unit, 50 MU 21 delegate microphones and cabling. A Dynacord CMS-600 mixing desk was also installed in the conference room along with a visual setup formed from five Datavideo PTC-120 HD PTZ cameras, an RMC-190 camera controller, an HDR-70 recorder, an SE-700 video switcher, monitor lifts and VSP panels. Meanwhile, the auditorium has been outfitted with a Dynacord CMS-1000 sound mixer and beyerdynamic Classis GM 315 gooseneck microphone for presentation audio. The visual
12 PRO AVL MEA November–December 2018
system comprises a Panasonic PT-RZ570 projector, which beams content received from Datavideo PTC-120 cameras via the RMC-190 controller, HDR-70 recorder and SE-700 switcher. In addition to the A/V systems, Electrovision was also responsible for the design and decoration of the conference hall, auditorium and the lobby, sourcing all decorative materials from Iranian companies. ‘It’s our approach to
The control room match the designs with the final executed decoration,’ concluded Mr Mahdavian. ‘Our architecture team put together an elegant 3D modelling for both halls and our decoration technicians made it a reality, per fectly matching the renders.’ www.electrovision.ir
tell the story of the first family to return to the city of Qaraqosh two years after 70,000 people fled overnight from ISIS. ‘We used the Lectro App in Iraq, which was incredibly helpful,’ said Mr Deeb. ’After the transmitters are carefully placed on people, I was able to adjust the settings wirelessly through the app. If we’re interviewing someone in one location and we need to jump in a car and take them to another location I can put the unit to sleep so the battery doesn’t run down. I can also turn it back on without having to take it off the person we’re filming and redo everything. It saves us time, which is what we need in a lot of the areas we film.’
‘We chose Lectrosonics because of the durability of the units,’ added the founder. ‘We’re always going, going, going, and jumping out of cars and off mountains. We put our equipment to the test and we need something that will last. Their equipment is built like a tank and, for the type of filming we do, that’s exactly what we need. The antennas on the L-Series are detachable, which is great because it means it’s less likely to break, which we need when we’re in some of these countries. It’s peace of mind knowing the equipment isn’t going to go down while we’re there.’ www.lectrosonics.com www.nadusfilms.com
The Nadus Films team in Sudan
Philips LEDs keep up the suspense
Collective Productions showcases the Philips Strand on-location lighting kit SOUTH AFRICA: A range of Philips Strand Lighting’s latest LED instruments were supplied by DWR Distribution (Signify’s Entertainment Lighting sales partner in South Africa) to Collective Productions for the filming of #LANDoftheBRAVEfilm, a crime thriller. The equipment included Studio Panel MkII, 150S and 300S Softlights, and LEDhead Daylight fixtures. During principal photography in July and August, gaffer Hein van Zijl and assistant Tangi Kamukwatange used the fixtures in a range of locations, including close interiors and challenging exterior settings, from riverbeds to roadsides. ‘The LEDhead unit is useful for interiors or for close-up exterior
photography. Its onboard dimmers are user-friendly and its three colour temperature options cover our most commonly used balances. It’s compact, with really good packaging for travel,’ said Mr van Zijl. ‘The 150S and the 300S both give a really good 5,600K light,’ he continued. ‘The 150S is useful as a soft-fill for indoor scenes or closer outdoor setups, while the bigger 300S is an excellent fill or key light for even the biggest setups, indoors or out, day or night.’ #LANDoftheBRAVEfilm, written and directed by Tim Huebschle and produced by David Benade, is due for release in 2019. www.signify.com www.strandlighting.com
NEWS
Pristine Moods Productions grows its inventory SOUTH AFRICA: Pristine Moods Productions has invested in a DiGiCo S31 audio console and MA Lighting dot2 lighting console from South African distributor DWR Distribution to manage growth. Alongside the new investments, the company has simultaneously appointed Thabang Makofane as an audio engineer and Gareth Chambers as lighting designer. ‘The game starts getting expensive, but your clients observe the difference,’ said Pristine Moods Productions owner, Lior Manelis. ‘Three years ago, to date, I had four moving heads, two stage decks, four truss pieces, a couple of homemade speakers and was working out of my double garage at home. I had two staff members, Cliff and Patrick. Today we are sitting in a 660m2 warehouse with a staff of 11. These
Lior Manelis from Pristine Moods (centre) with DWR’s Kyle Robson and Marlene Riley kinds of steps are daunting, but as your calibre of gear increases, so do your marketing capabilities, enabling you to work on bigger events.’ Mr Chambers will run the dot2. ‘The day we took delivery of the dot2, just before Gareth officially joined us, he sent me a WhatsApp
AVIXA announces Rack Building for Audiovisual Systems standard WORLD: The Audiovisual and Integrated Experience Association (AVIXA) has announced its newest industry standard: Rack Building for Audiovisual Systems (F502.01:2018). This outlines the process for consistent assembly, mounting and cable management when integrating A/V systems into racks. The document details the assembly of A/V equipment racks, the mounting and affixing of rack-mount and non-rack-mount equipment, cable management, including planning, lacing, location and separation of signal and power cables, as well as the finishing process comprising cleaning and labelling.
‘An improperly assembled A/V rack leads to negative consequences for the system’s performance, and the end users are the ones that suffer,’ said Ann Brigida, AVIXA’s senior director of standards. ‘This standard provides well-vetted guidance from experts around the globe that will improve the quality and consistency of A/V system racks. We’ve included several illustrations and diagrams within the published standard to make it easier for people to implement into their projects.’
message asking if he could come and play,’ explained Mr Manelis. ‘He sat here for four or five hours, training the crew. He is extremely positive and very excited.’ Mr Chambers was previously employed by DWR Distribution in the role of training and support,
and his expertise will enable him to operate the console and share his knowledge with his peers. The DiGiCo S31 will be in the hands of Thabang Makofane. ‘Thabang is extremely talented and influenced me in going down the DiGiCo route,’ added the Pristine Moods Productions owner. ‘We chose this specific console because of its capabilities and versatility. Being on most technical riders plays a huge part.’ ‘Both DiGiCo and MA Lighting are in the business of giving end users longevity with products that won’t be constantly upgraded or replaced,’ said Duncan Riley of DWR Distribution. ‘The biggest perk of DiGiCo is the capability of extending the possibilities of the desk by just a software update. DiGiCo offers clients features like
extra input and output channels, more effects units further expanding the DSPs and gaining new functions like dynamic EQs and multiband compressors. New software simply opens the taps as it were as the hardware has the processing built in for future expansion, thus guaranteeing the return on investment for the end user. MA is very similar, and users are guaranteed that they’ll have a functional and relevant console for many years to come. It’s not a matter of bringing out a new version after a new version of hardware like the mobile phone market faces.’ www.digico.biz www.dwrdistribution.co.za www.malighting.com www.pristinemoods.co.za
We OWn Bass! The neW
By D.a.s. auDiO
The new UX Series is bass like never before. This trio of subwoofers has been designed to provide killer low frequency reproduction. The latest in transducer technology, advanced power electronics, and solid cabinet design make the UX Series one of the world´s best.
UX-218A/UX-218 · 2 x D.A.S. 18UXN4 neodymium speakers · 2 x 3400 Wpeak Class D amp with Power Factor Correction · DASnetTM remote monitoring and control · “On-the-box” Cardioid presets and LPF selection · Front and rear connectors for neat cardioid cabling · Flyable versions for flown subwoofer arrays · Front loaded “cross-fire” configuration · UX-218 version for external amplification · Optional dolly platform and rigging hardware
UX-221A/UX-221
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· 2 x D.A.S. 21UXN neodymium speakers with 6” voice coils · 2 x 6800 Wpeak Class D amp with Power Factor Correction · DASnetTM remote monitoring and control · “On-the-box” Cardioid presets and LPF selection · Front and rear connectors for neat cardioid cabling · Front loaded “cross-fire” configuration · UX-221 version for external amplification · Optional stacking dolly platform
www.avixa.org/avrackbuilding
UX-30A · Single 30″ high density polyethylene cone · DASnetTM remote monitoring and control · 15,000 Wpeak ultra high power Class D amp · “On-the-box” Cardioid presets and LPF selection · Unique moving magnet linear motor design · Extremely high output in a compact cabinet design · Differential Pressure Control® active acoustic processing · Highly reinforced cabinet design for road use · Unmatched performance compared to conventional systems
www.dasaudio.com D.A.S. Audio, S.A. C/ Islas Baleares, 24 46988 Fuente del Jarro Valencia - Spain Tel. +34 961 340 860
D.A.S. Audio of America, Inc. 6900 NW 52nd Street Miami, FL 33166 - U.S.A. Toll Free: 1 888 DAS 4 USA
D.A.S. Audio Asia PTE. LTD. 3 Temasek Avenue, Centennial Tower #34-36 Singapore 039190 Tel. +65 6549 7760
November–December 2018 PRO AVL MEA 13
NEWS SOUNDBITES ZOO DIGITAL ARRIVES IN THE MIDDLE EAST UAE: Zoo Digital has opened a new, state-of-the-art facility in Dubai to offer local services in the Middle East and extend the localisation and digital distribution service provider’s reach in the region. The company offers dubbing, subtitling and media services via its cloudbased platforms. The new facility, launched in partnership with Zoo’s affiliate, Lime Green Media, is designed to CDSA and MPAA security requirements with fully equipped dubbing studios, transcriber and translator workstations, media editing and quality control bays with 5.1 audio and 4K video. It also includes management offices for clients and directors in the territory. The site is intended to allow studios to release titles to new audiences and capitalise on in-territory opportunities to distribute content worldwide by dubbing and subtitling content in Arabic languages. The 22 members of staff will work to ensure content remains secure and traceable in the cloud. ‘This facility is a first in the region for Arabic cloud dubbing and is an important in-territory ingest point for local language film and television,’ said Gordon Doran, president of Zoo Digital. ‘This comes as many of our clients seek to expand their media offerings in and from this part of the world. Arabic titles beginning here will take their first steps of a journey to worldwide media distribution on OTT platforms.’
M3Ds and M’Elodies blossom at Kirstenbosch National Botanical Gardens SOUTH AFRICA: Audio Engineering has been the sound service for Kirstenbosch National Botanical Gardens’ Summer Sunset Series of concerts since they started 20 years ago. The 2018/19 concert series began in October and runs until March. To reinforce the line-up of local and international artists, such as The Parlotones, Audio Engineering has deployed a Meyer Sound M3D and M’Elodie series PA setup, similar to recent years. The setup comprises 18 M3D cabinets flown in an L-R configuration with eight M3D Subs. Front- and out-fill is provided by 18 M’Elodie enclosures. A further nine M3Ds are flown across three delay towers. A pair of Galileo Callisto 616 array processors drive and align the system, while two DiGiCo SD8 consoles with Stealth Core 2 manage the mixes at FOH and monitoring with two DiGiRack 56:32 racks. The monitors themselves are Nexo PS15 speakers and Shure PSM900 IEMs.
Audio Engineering has deployed a Meyer Sound system once again for Kirstenbosch National Botanical Gardens’ Summer Sunset Series of concerts ‘The M3Ds are of a certain age now, but they are still so capable of delivering fantastic results that we wouldn’t hesitate investing in any Meyer Sound products for our
business,’ said Marcel Bezuidenhout from Audio Engineering. ‘We recently replaced a couple of drivers on the M3Ds and, as a testament to the longevity, the boxes sound identical. Our experience at Kirstenbosch specifically has been fantastic over the years. ‘The boxes are exposed to the harsh outdoor environment of Cape Town’s weather for four months and all that is required of us is to give them a good cleaning at the end of each season. The M3Ds and M’Elodies are able to cover
this idiosyncratic venue better than we expected and, with the use of MAPP XT prediction software and the Galileo System Processor, we are able to get results very quickly when on site. The acts that we see at Kirstenbosch really run the gambit of variety and the Meyer Sound system has been able to deliver on everything from hard rock to classical effortlessly.’ www.audioengineering.co.za www.meyersound.com www.prosound.co.za
Chimera Lighting acquires Dinkum Systems WORLD: Lighting manufacturer Chimera Lighting has announced the acquisition of Dinkum Systems and its principal assets. The acquisition includes the entire range of Dinkum Systems range of flexible arm, clamping shades, French flags and microphone holders.
Chimera plans to continue marketing and selling the entire Dinkum Systems product range, through the original Dinkum
www.zoodigital.com
Systems website and its established distributor/dealer network, as well as through the Chimera worldwide network. The first Dinkum Systems product was the clamping French flag (now sold as the CINE lens shade), a device developed by John Mans in the mid-1990s to solve the problem of lens flare on large film cameras without using matte boxes. Over the past decade, consistent demand for the CINE lens shade, positive reports from other professional
shooters using the products in the field and the high definition and digital SLR revolution saw the need for Mr Mans to expand the range. Additions to the line that followed were the more streamlined lens shade for smaller HD video cameras, followed by the trusty FlexiMount microphone mount for audio techs on the move. www.chimeralighting.com www.dinkumsystems.com
Blackmagic Design joins Netflix Post Technology Alliance WORLD: Blackmagic Design has joined the Netflix Post Technology Alliance, with its DaVinci Resolve postproduction software selected for three of the newly established alliance’s four technology categories: Colour Grading, Editorial, IMF and Media Encoding. The URSA Mini 4.6K and URSA Mini Pro have also been chosen for the alliance’s camera category. The Netflix Post Technology Alliance is a programme set up by the streaming giant for the manufacturers of products capable
of generating or managing sound or image data, or metadata throughout the production and postproduction processes. Manufacturers that produce products meeting this criteria, comply with Netflix delivery specifications and commit to further technical innovation and the timely resolution of any problems are able
14 PRO AVL MEA November–December 2018
to use the Post Technology Alliance certified logo. ‘At Netflix, empowering our creative partners is incredibly important, and the Post Technology Alliance will build a more seamless experience from production through postproduction,’ explained Chris Fetner, director of post partnerships
and integrations at Netflix. ‘Products that bear the logo are committed to better interoperability and faster innovation cycles, which will allow artists to focus their energy on what matters most – the storytelling.’ Products brandishing the Post Technology Alliance logo have undergone testing and evaluation to ensure they meet Netflix’s technical and workflow requirements. This aims to assure filmmakers of the quality of a product, as well as the service and support offered by the manufacturer.
‘Professionals creating films and episodic shows for Netflix have to focus on creativity, quality and being able to launch globally in multiple formats,’ said Grant Petty, CEO at Blackmagic Design. ‘Having a post process that is efficient, easy to use and always improving is essential. We are honoured Netflix sees that DaVinci Resolve brings that in each of the software categories of the Post Technology Alliance.’ www.blackmagicdesign.com pta.netflixstudios.com
NEWS
Monitoring the Heart of Sharjah UAE: Oasis Enterprises has equipped the Heart of Sharjah with a 24/7 HD surveillance system as well as PA and BGM solutions as part of the first phase of the cultural heritage site’s ongoing restoration work, due to be completed following five phases of work in 2025. Oasis worked with its client, Shurooq, to design, supply, install and commission the systems across the various historical buildings, markets, archaeological sites, children’s play areas, a boutique hotel, art galleries, shops, visitor centre and restaurants. Shurooq selected Oasis to carry out the works after the systems integrator highlighted its previous work at Souq Al Shanasiya as a point of reference. ‘The client was happy with the quality and performance of the CCTV system installed at Souq Al Shanasiya,’ said Oasis technical sales
Oasis installed CCTV and public address systems engineer, Muhammad Shafiq. ‘This made the job of convincing the client to go with our proposed system design easier.’ The Oasis team sought a costeffective day/night HD surveillance system offering state-of-the-art functionality while proving reliable for 24/7 operation. The project
brief also called for a centralised control solution with the ability to monitor remotely and equipped with full redundancy for key facilities located around the site. Installation was a careful process so as to not damage any of the heritage site. The CCTV setup includes Infinique 3PM outdoor
pole-mounted speakers. The new control room is found at the Sharjah Heritage Museum and is fully equipped with control systems featuring VMS software, CCTV monitors and a recording server. The CCTV and PA/BGM systems can be expanded as the restoration project continues. ‘The site is a UNESCO candidate, which means a lot in terms of preservation and heritage,’ said Basel Al Aref, general manager at Oasis Enterprises. ‘All in all, the system had to be robust and offer full redundancy for safety and protection. The cost-effective solution provided is user-friendly, and the software enables the facility’s in-house team to easily manage monitoring, playback and reporting. The voice alarm system enables safe evacuation in any emergency situation.’
PTZ cameras, 6MP outdoor box cameras equipped with 100m IR illuminators for clear vision at night, a network video server, VMS software and network switches located indoors and out. The sound systems are formed from LDA Audiotech’s EN54certified Neo public address and voice alarm solution with a multichannel amplifier and approximately 100 Bose outdoor
www.oasisppd.com
Clair Brothers monitors Jazz at Carthage TUNISIA: Having long had a desire to upgrade the existing stage monitoring setup used at the Jazz at Carthage Jazz Festival, the organiser, Scoop Productions, this year chose to deploy 1AM and 1.5AM monitors from Clair Brothers. ‘Achieving this important vision for Tunisia and its music scene is something special and requires the best production to get there,’ explained Mourad Mathari from Scoop Productions. ‘With regards to the on-stage sound for the performers, we were all well aware of the global reputation for quality that Clair Brothers brings. So,
when we had the opportunity to implement the 1AM and 1.5AM monitors on both stages, we went for it without question. Everything worked perfectly.’ The festival theme this year revolved around the joy of celebrating springtime with music and enthusiastic artists – bolstered by the notion of bunking off school and pursuing the path of musical creation. The idea being that if jazz is the underpinning of all modern music, then Jazz at Carthage brings with it a breath of fresh air alongside familiar genres and current music like pop, soul, R&B and even swing – to crowds
of youthful Tunisian fans out to change the world. ‘The artists unanimously loved the sound, so much so that we plan to expand our use of Clair Brothers gear next year,’ added Sami Sidhom, founder of Pro Audio and Light, the manufacturer’s Tunisian distributor. ‘In addition to the 1AM and 1.5AM stage monitors, we plan to incorporate the Clair Brothers C8 loudspeaker system for FOH. It’s truly exciting how Jazz at Carthage just keeps getting better and better each year.’ 1AM and 1.5AM monitors were used for stage monitoring at the Jazz at Carthage Festival
www.clairbrothers.com www.jazzacarthage.com
SLS calls on new inventory for Jean-Michel in KSA SAUDI ARABIA: SLS Production handled the technical setup, including an L-Acoustics K1 sound system, the lighting rig and even the truss that formed the roof of the stage, for Jean-Michel Jarre’s Green Concert in Riyadh. The stage for the free-to-attend concert was the biggest to ever be set up in Saudi Arabia. ‘SLS have made some substantial investments in audio over the last few months and a lot of new kit was utilised on this event,’ said Dan Dignan, head of audio at SLS Production. The L-Acoustics setup comprised 40 K1 and 36 K2 cabinets with 14 Kara enclosures and 30 KS28
subs. The loudspeakers were powered by LA12X amplified controllers, while control and
16 PRO AVL MEA November–December 2018
distribution was taken care of by SLS Production’s inventory of Meyer Sound Galileo Galaxy
816 processors along with the company’s recently purchased Luminex GigaCore 10 Gigabit switch. The amplifiers received AVB signals in addition to an analogue backup for redundancy, while all control racks were supported by SLS’s new stock of Furmann F1500 UPS battery packs. SLS also supplied the wireless intercom system for the crew in the form of Clear-Com’s FreeSpeak II. ‘I’ve never ran an L-Acoustics system on AVB but, with the Galaxy processors and the amps all being LA12X, it seemed like the way to go. Running redundancy appeased my worry,
and it was solid,’ Mr Dignan noted. Away from the audio setup, the biggest challenges faced by the SLS team came in ensuring the equipment needed for the stage and lighting could be supplied. Kit was flown in from Dubai for the event. ‘This show was really tight from a logistical point of view,’ said Thomas Jacobsen, head of rigging. ‘It meant getting SLS’ full Slick roof system and all rigging infrastructure on the road before we had a final design to calculate our margins.’ www.slspro.net
NEWS SOUNDBITES SMPTE PUBLISHES IMMERSIVE AUDIO STANDARDS FOR CINEMA WORLD: SMPTE has announced a new set of standards for immersive audio under the umbrella of SMPTE ST 2098. The organisation has published ST 2098-1:2018, Immersive Audio Metadata; ST 20982:2018, Immersive Audio Bitstream Specification; and ST 2098-5:2018, D-Cinema Immersive Audio Channels and Soundfield Groups. ‘Immersive audio makes a significant impression on audiences and, because of the real value it adds, we’re seeing an increasing number of movies being mixed for the immersive environment,’ said Brian Vessa, founding chair of SMPTE’s Technology Committee on Cinema Sound Systems (TC-25CSS) and executive director of digital audio mastering at Sony Pictures Enter tainment. ‘By suppor ting deliver y of a standardised immersive audio bitstream within a single interoperable digital cinema package, the new SMPTE immersive audio standards simplify distribution while ensuring that cinemas can confidently play out immersive audio on their choice of compliant immersive sound systems.’ SMPTE ST 2098-1 establishes the metadata for use in creating immersive audio content for cinema. The standard defines the metadata items suppor ted in immersive audio content and, when appropriate, the range of values, value precisions and cardinal values. SMPTE ST 2098-2 defines a coded representation (bitstream) that carries the audio essence and metadata necessar y to reproduce a complete immersive audio programme. Finally, SMPTE ST 20985 defines names and abbreviations for immersive audio channels and soundfield groups associated with D-Cinema immersive audio presentation. This new standard also provides clear and comprehensive guidance on typical locations of cinema loudspeakers used for immersive audio reproduction. www.smpte.org
Procom Middle East flourishes at Silicon Oasis
Procom Middle East’s Anro Schroeder, Rami Harfouche and Wiam Boutine UAE: Dubai’s Silicon Oasis continues to attract notable A/V manufacturers and resellers including Ateis, Christie Digital, NMK Electronics and TOA. Procom Middle East enhanced its regional operations by establishing a warehouse and service centre there in 2016. Occupying three lots, its proximity to Sharjah, downtown Dubai, DIP and Al Quoz makes it an ideal location for hosting demonstrations and delivering
rigging, professional lighting and audio equipment. Two years on and Procom Middle East has opened an acoustic demonstration and training facility. Having established its Airport Road showroom 10 years ago, increased business led to growing pains including a lack of car parking spaces and congested office space. As new brands such as Eurotruss, Varilite, DAS Audio and K-array have been gradually added to the
portfolio, the existing low ceiling walls couldn’t accommodate further displays to promote products. The decision to relocate the service centre and delivery operations to Silicon Oasis significantly enhanced operations at the new facility and has now been complemented with the opening of the demonstration facility. ‘It’s been a work in progress for two years,’ commented general manager, Rami Harfouch. ‘We designed the space here to offer a compelling customer experience with a large demo space where customers can get their hands on a large portfolio of lighting fixtures, control surfaces, professional audio and rigging equipment. At the same time, we can combine our servicing, shipping and aftersales operations. For example, we are now hosting the Avolites Academy for a small fee. Students sign on to basic, intermediate and advanced foundations and training sessions that last between two and four days. We have others in the pipeline including Madrix training,
rigging, visualisation and lighting design workshops. Furthermore, the free zone status of Dubai Silicon Oasis and its custom-free stock keeping helps us to better support our customers outside the UAE.’ A number of loudspeakers including DAS Audio’s Event and Aero line array systems and K-array’s KH7, KH3 and KH2 systems are regularly demonstrated in the acoustically treated room. ‘It’s vital that potential customers listen to these products and understand their features. The acoustic treatment ensures there are no vibrations or reverberation effects,’ explained the GM. ‘As a result, the perception levels of these brands are enhanced. For example, many of K-array’s speakers such as Viper, Kobra, Tornado and Anakonda were easily dismissed until the power of these models were heard – we love seeing our future customers make a K-Face and sales normally follow.’ www.procom-me.com
Associate Events Mauritius makes Aspen Global MAURITIUS: Having only been established in September last year, Associate Events Mauritius has already done its fair share of business. Most recently, the company was tasked with providing the audio, video, lighting and stage equipment for a corporate event laid on by Aspen Global at the Swami Vivekananda International Convention Centre near Port Louis. The event included a 45-minute conference for 120 Aspen Global guests followed by a gala dinner. ‘We got involved with this event via RSVP Events, a local event company in charge of the décor,’ explained Dominique Hardy, general manager at Associate Events Mauritius. ‘Our strength is in sound, as we have one of the best sound techs on the island working with us. RSVP requested that we were its technical partner.’ To cater to the conference, Associate Events Mauritius deployed Electro-Voice ELX115 speakers with control from a Midas R32 and audio capture from Audio-Technica microphones. The dancefloor
18 PRO AVL MEA November–December 2018
An EV XLD line array provided reinforcement for the gala dinner area for the gala dinner was also reinforced with an ElectroVoice XLD line array system. For lighting, the team used SGM fixtures attached to Eurotruss trussing, while control for the lighting was from an MA Lighting grandMA2 on PC. ‘I was really satisfied with how this event went,’ said the GM. ‘It showed that we can do some really nice things with a small budget and with a very short set up time. The client was very happy with our services and will probably return to us again for its end-of-year party.’ Having only been in operation
in Mauritius for a year and with several more projects in the
pipeline, Mr Hardy is hoping that his partner’s vast experience in the events industry will make Associate Events Mauritius the preferred choice for African companies heading to Mauritius. ‘There are many African companies that come to Mauritius for their annual events and, with my partner’s 21 years of experience in event creation and my 19 years of experience in the A/V industry, I feel we have a winning combination.’ www.eventsmauritius.com www.rsvp-events.mu
Electro-Voice ELX115s with a Midas R32 controlled audio for the conference
All and nothing. Full bandwidth cardioid directivity control from the SL-Series means no sound where it shouldn’t be.
sl-series.com
More art. Less noise.
NEWS
Gearhouse brings together BRICS SOUTH AFRICA: The 10th BRICS Summit was held at the end of July to promote collaboration for ‘inclusive growth and shared prosperity in the fourth industrial revolution’. Taking place at the Sandton Convention Centre in Johannesburg, leaders of the world’s emerging economies (Brazil, Russia, India, China and South Africa (BRICS)) were in attendance, including heads of state, ministers and 2,500
‘Venue changes happened due to increased numbers of delegates/ guests attending Africa Outreach and due to the need for a secure and intimate press conference venue for the heads of states’ closed meeting,’ explained Eyal Yehezkely, who project managed the delivery via the various Gearhouse technical teams. ‘We were able to accommodate the necessary changes without any issues.’
Photo credit - Clint Seery
President Cyril Ramaphosa chairing BRICS Africa Outreach international attendees from various countries and international media houses. Inhouse Venue Technical Management (IVTM), the centre’s in-house supplier, was involved in the planning, logistics and delivery of the event under technical director Philip Beardwood, calling on Gearhouse to provide the lighting, audio, A/V, rigging, power, structures, sets and full network infrastructure. Overseeing client contact and delivery from an IVTM point of view was onsite venue technical manager, Lee Reynolds, who, together with the Department of International Relations and Cooperation (DIRCO)’s Marcel Henderson, adapted the brief based on the International BRICS event in China in 2017 to suit the Sandton Convention Centre venues. Mr Beardwood had worked with Mr Henderson on other international conferences, so there was already familiarity with the methodology required, but also a couple of ‘out of the ordinary’ challenges to resolve. The team also had to remain open to (and ready to effect) last-minute venue and programme changes without disrupting the schedules.
‘The discussions are very sensitive, so the utmost discretion was required by the technical team. During the closed sessions when no crew were allowed in the room, we were only able to monitor and operate that room’s technology via a remote control area,’ elaborated Mr Beardwood. ‘We also provided an extensive network of audio and video feeds from various meeting rooms distributed throughout the building, which included multiple interpreted language channels. Our integration with the SABC was comprehensive, both in terms of sharing video sources and language channels.’ A further unusual element was that the two main plenaries were required to be completely cable-free. To cater to this the team planned and pre-installed all cabling under two false floors that were built and carpeted specifically to keep all cabling out of sight. ‘This aspect was the real technical challenge of the meeting for us,’ said Mr Beardwood. ‘The multiple underfloor cabling requirements had to have full redundancy and the various systems needed to be fully integrated, which entailed linking the interpretation systems to the building-wide distribution network, and the video distribution and matrix of video/audio/language solutions provided. The use of Matrox video distribution and Dante audio over Ethernet was extensive and very useful.’ www.brics2018.org.za www.inhousevtm.com www.gearhouse.co.za
20 PRO AVL MEA November–December 2018
Loudspeaker System Showcase at 2019 NAMM WORLD: The 2019 NAMM Show will present the Loudspeaker System Showcase demonstrating line array and loudspeaker technologies. To be held from 24 to 27 January 2019 within the Anaheim Convention Center arena, the systems showcase will allow participants to demonstrate both their flown and portable systems in a real-world setting to a mix of industry professionals. ‘The Showcase presents a unique, controlled environment demonstration designed to provide side-by-side listening opportunities for evaluating leading loudspeaker systems from around the pro audio industry, in addition to getting further technical details and pricing information from qualified representatives of each company,’ commented LSI executive publisher, Kevin McPherson. In total, 13 participating companies will have the opportunity to display both their flown and portable systems as part of the showcase. Participating companies include Alcons Audio, BASSBOSS, Crest Audio, dbTechnologies, Martin Audio, RCF, TW Audio, Verity Audio and Void Acoustics.
VP of Martin Audio, Lee Stein, expressed that his decision to participate was underscored by market opportunity. ‘North America continues to be a strong and growing market for Martin Audio and we’ve seen the progress made by NAMM. We feel the show can bring a target market that may not be present and available at other shows and so gives us another important opportunity to showcase our products and brands.’ Furthering his comments, RCF USA’s VP of sales and marketing, Tarik Solangi, added: ‘Experiencing the evolution of NAMM last year with the integration of pro audio and live sound products, we saw
an exciting new dimension at the show. RCF is a prime example of a manufacturer that reaches both the retail and pro audio markets, so adding this showcase in 2019 offers us an excellent opportunity.’ The Loudspeaker System Showcase will run twice daily on all four days, for which a music track will be selected to play by a popular vote of participating companies and hosted by a neutral industry expert. NAMM Show attendees will be allowed to liaise with the companies in their respected spaces during the showcase in order to trial portable systems. www.namm.org
NWU School of Music upgrades with Philips
information can be saved to a USB memory device as a secure backup of the show. The equipment will be used to complement all concerts and music performances that the university hosts. The equipment is mostly operated by the university students’ technical crew. ‘The feedback from the technical crew is very positive, the equipment is fantastic, good quality with great features and is fairly easy to use,’ added Dr Brand. ‘Thank you DWR for the installation and the great service.’
North-West University (NWU) School of Music and Conservatory
www.dwrdistribution.co.za www.humanities.nwu.ac.za/music
SOUTH AFRICA: Philips Showline SL fixtures and a Strand 200 Plus console have been installed at the Conservatory Hall at the North-West University (NWU) School of Music and Conservatory in Potchefstroom by DWR Distribution as part of an equipment upgrade. ‘The new equipment is a huge upgrade and has greatly improved the lighting in the hall,’ said Dr Yvonne-Marié Brand, acting director
of the NWU School of Music and Conservatory. ‘More light, no noise. We are really impressed with it.’ The systems installed by Andi Rogers from DWR included three lighting bars on which 12 Philips SL Punchlite 200s were hung, with a Philips Strand 200 Plus console for control. The Philips Strand 200 Plus console features 12 effects playbacks with each effect having up to 48 steps, while all show
Lighting at the hall is now from Philips fixtures and consoles
NEWS
Bass Mechanics builds its L-Acoustics inventory SOUTH AFRICA: Bass Mechanics has invested in additional L-Acoustics systems to support its existing inventory. The company serves as technical supplier for the majority of the international Bollywood productions that take place in South Africa. Besides new LA8 and LA12X amplified controllers, Bass Mechanics has also purchased KS28, Arcs Wide and Arcs Focus cabinets from local distributor DWR Distribution. Bass Mechanics started off as a mobile disco company run by 16-year-old Sushil Patidar in 1997, and has grown as he has persistently invested back into his company to offer professional gear and service to the entertainment industry.
DWR’s Chris Pugh, Nikhil Magan from Bass Mechanics, Jaco Beukes and Richard Smith from DWR
Ross Video products merge with Aneman WORLD: Ross Video and Merging Technologies are collaborating to integrate the former’s products, such as the Bach Liberty, into the latter’s Aneman audio network management solution. Both manufacturers will create an open network control and monitoring framework based on the Aneman engine, which will be hosted on GitHub, allowing workflows to be developed by independent contributors. This will ultimately create a ‘full stack’ solution enabling manufacturers using the Dante Brooklyn II module to address new markets requiring full AES67 and
ST 2110 compliance by combining the Bach Liberty module and Aneman. ‘I believe that many markets have been thirsty for this integration of open technologies, and I expect that we can build on this project to ultimately create a platform that is to the live media networking world what Linux has been to the world of computing,’ said Nestor Amaya, VP of infrastructure at Ross Video. www.aneman.net www.merging.com www.rossvideo.com
The Bass Mechanics crew Today, Bass Mechanics does 90% of international Bollywood productions visiting South Africa – around four to eight shows a year. But while the productions are a huge affair, the budgets are typically more limited. ‘We make big investments into professional gear,’ Mr Patidar explained. ‘But it’s also the service you get, knowing there is the necessary backup when needed. We may not see our return as quickly as we want to, but know we’re getting a reliable product.’ Mr Patidar was introduced to L-Acoustics when buying a used Kudo System from Strike Productions when the company closed some years ago. ‘Ever since, although we stock other audio brands, L-Acoustics has become
something very different for us,’ said Mr Patidar. The latest purchase comprises an LA8 amplified controller, as well as four Arcs Wide and eight Arcs Focus speakers, LA12X amplified controllers and KS28 subwoofers. DWR first starting dealing with Bass Mechanics in 2008, selling Robe fixtures just prior to the World Cup. ‘It has been a good relationship since then,’ said Robert Izzett of DWR. ‘I’ve always said that Sushil is one of the best companies to do business with. He always does what he says and that’s rare.’
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www.bassmechanics.co.za www.dwrdistribution.co.za www.l-acoustics.com
Sushil and Dimple Patidar
November–December 2018 PRO AVL MEA 21
COSMO The COSMO Mixed Array provides an asymmetrical throw pattern. Very wide in front of the stage, it is narrower at medium distances and focused at long distances. The C 6*, C 8 and C 10* units fit right on top of one another without additional adapter frames. and CC 10 10 units units will will ship ship in in 2019. 2019. *CC 66 and
C 10
C8 C6
COSMO / CONTOUR X /
ONE LIVE SOUND SYSTEM FOR ALL APPLICA T
C 10 60˚ C 8 80˚ C 6 100˚
Horizontally asymmetrical throw pattern
Long reach deep into the venue
The three COSMO top units are modular. Simply combine them to configure a horizontally asymmetrical array. Adapting a coverage pattern to suit the location‘s layout is as easy as that.
A narrow beam travels further—the tighter the throw pattern, the greater the COSMO top units‘ efficiency and max SPL. This gets the sonic energy where it needs to go, deep into the venue, compensating the air absorption at high frequencies for long throw applications.
CONTOUR X The CONTOUR X models‘ multifunctional housings are versatile indeed. FOH speakers, stage monitors and unobtrusive yet powerful front-fills they can do it all. They deliver high sound pressure levels paired with low distortions. The BEM-optimized horns ensure very uniform off-axis response. A rugged PU finish and steel front grilles treated with an anticorrosive coating keep them well-protected on the road.
C SUB
This series features CX 8, CX 12 and CX 15 models.
TIONS D C SUB C SUB series models are highly efficient bass units fine-tuned to deliver the best performance with COSMO and CONTOUR X series top units. Built to handle a lot of power, their unusually expansive dynamic headroom ranges down to the lowest frequencies. With four Speakon NL4 connectors–two in back, two up front– with pin selector switches they are very easy to connect in cardioid and other setups. This series features C SUB 118 and C SUB 218 models.
C 10
C6
C8
hkaudio.com *LAB.gruppen and Powersoft electronics excluded
EDUCATION Avolites Academy debuts in Dubai
UAE: Procom Middle East recently hosted the first edition of the Avolites Academy to be held outside of the UK, at its new training centre in Dubai Silicon Oasis. The Avolites foundation syllabus was covered over the course of two days, followed by the level two programme the following week.
Those who take part in the Avolites Academy become certified by the manufacturer and gain a listing as a ‘recommended programmer’ on the Avolites website. The foundation course teaches how to build a show file from scratch on the Titan range of consoles, including patching fixtures into the console, recording
playbacks, palettes and effects engines, as well as cue lists. On the second level, the ‘mastery’ course, more advanced programming options within Titan consoles are explored. In addition to networking and programming, this course also covers external triggering and working with timecode. With the Avolites Academy considered a success, Procom Middle East will be hosting sessions on a monthly basis for the foreseeable future. Each session is limited to just six participants to ensure each person gains sufficient hands-on experience. ‘We are now hosting the Avolites Academy for a small fee,’ Procom Middle East general manager Rami Harfouch told Pro AVL MEA. ‘Students sign on to basic, intermediate and advanced training sessions that last between two and four days. We have others in the pipeline including Madrix training, rigging, visualisation and lighting design workshops.’ www.avolites.com www.procom-me.com
Prolab gets to grips with Watchout UAE: Prolab is hosting two days of training for Dataton’s Watchout software at the Dubai Investment Park from 7 to 8 November. The training will start with the basics before moving onto more advanced topics, learning by using
necessary for a Watchout show with multiple displays, use basic features such as timelines and media, and understand the full potential of the product and how it may be applied in different contexts.
practical examples with hands-on programming and tasks. Following completion, the user will have achieved entry-level operator skills in Dataton Watchout software and will earn 8.0 CTS/CTS-D points. After the training, each student will be able to navigate and understand the Watchout inter face, understand the setup
The sessions will also explore virtual displays, tiers and control, and how to interact with external units such as DMX and perform rudimentary troubleshooting. Each attendee is required to bring a laptop PC with the latest Watchout version installed. www.dataton.com/training
Dante Certification Sound Creations partners comes to with Shure Audio Institute Johannesburg SOUTH AFRICA: Stage Audio Works recently hosted Audinate’s Dante Level 2 and Level 3 Certification training at its group headquarters in Johannesburg.
Attracting over 30 integrators from rental staging, house of worship and fixed install backgrounds, the sessions explored Dante and audio over IP technology, as well as advanced networking concepts and theories. ‘We’ve made a strategic decision to build our audio solutions portfolio with products that are interoperable with AoIP protocols,’ explained Nathan Ihlenfeldt, technical manager, Stage Audio Works. ‘The seminar provided a factual, non-biased view of the technology.’ Dante Level 2 provides an overview of audio networking
concepts, such as clocking, unicast and multicast, latency and redundancy. The Level 3 Certification expands on this to provide a deeper understanding
of setting up and managing large-scale Dante networks. The sessions were presented by Audinate’s EMEA application engineer, Kieran Walsh. ‘We believe that the future of live production and broadcast is based on IP networking technologies and we feel it’s important to empower our users with sound technical knowledge so they can have a holistic view of the bigger picture on how to design and implement these solutions now and in the future,’ concluded Mr Ihlenfeldt. www.stageaudioworks.com
24 PRO AVL MEA November–December 2018
KENYA: Sound Creations recently partnered with the Shure Audio Institute (SAI) to host a 2-day training seminar at the PrideInn Hotel in Nairobi. Approximately 60 pro audio engineers took part in the training, gaining an understanding of topics such as the importance of wireless, spectrum legislation, the principles of radio and antennas. Shure MEA technical trainer and support manager Andrea Granata led the seminar. Prior to
the event, he requested that the number of attendees be limited to no more than 70 people to ensure all participants could gain the best-possible understanding of the topics discussed. Among those who filled the classroom for presentations, demonstrations and Q&As were technicians and end users from rental companies, broadcasters, retailers and houses of worship, as well as a raft of freelancers.
Approximately 60 pro audio engineers took part in the training
www.soundcreationsltd.com
Mediacast explores composition UAE: MediaCast recently hosted a music composition workshop in partnership with Steinberg (Yamaha Music) at in5 media in Dubai Production City. The free-toattend session was presented by MediaCast audio specialist Gustave Miranda and Walter Mayor, product marketing at Steinberg, both of whom are musicians with more than 12 years of industry knowledge, and explored music composition for a variety of different purposes and applications. Around 40 people attended, learning the techniques for composing music for a specific scene, music video or commercial.
Topics discussed included setups, different types of film score with diegetic and non-diegetic sound, and how the mood of a scene impacts the music choice. The event ran for three hours and was covered by Dubai TV. Following the demonstrations, a Q&A session provided participants with the
opportunity to ask how to mix and master. ‘It is important to educate young musicians about our brands and products and sometimes we go beyond that by offering workshops that show the techniques behind a specific art,’ said Khadija Khalid, audio sales and marketing at MediaCast. ‘Special thanks goes to Mohammed from Behind the Scenes, UAE and in5 for supporting our workshop. This is just one of many more workshops to come.’ www.mediacastsys.com www.steinberg.net
NEWS: EDUCATION
Robert Scovill brings Masterclass to Dubai UAE: Live sound veteran Robert Scovill recently brought his Avid Live Mixing Masterclass to Dubai. The seminar was organised by Avid and its regional distributor NMK, and held at in5 Media in Dubai Production City while Behind The Scenes supported the event, which attracted 80 freelancers, engineers and rental house representatives. Also serving as a senior marketing specialist for Avid, Mr Scovill, who has 35 years of live sound experience, having worked with the likes of Rush, Def Leppard and Prince, detailed the flexibility
and capabilities of the S6L Unified Platform. Topics covered during the class included an introduction to the S6L Unified Platform, optimising gain structure for live sound and recording, techniques for manually delay compensating digital consoles and the genesis of the virtual soundcheck. ‘It was such a pleasure to meet Mr Scovill, or as he wanted us to call him, “Uncle Rob”,’ commented one attendee, Wissam Shaheen, senior audio engineer at eclipse Staging Services. ‘He shared his vast
knowledge and experience with an open heart and his approach to live audio is extremely refreshing. He’s indeed one of the industry’s all-time heroes.’ Mr Shaheen’s colleague, Tariq Al-Hassan, also commented: ‘The masterclass with Robert was extremely informative and questioned foundational mixing practices. The explanations were thorough, concise and very enjoyable.’ www.avid.com www.nmkelectronics.com
Barco opens SA training centre SOUTH AFRICA: Barco has opened its first wePresent training centre at the facilities of its distributor Alpha Technologies in South Africa. The new centre provides customers with tailor-made training sessions to get the most out of their wePresent
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technology. The sessions also aim to strengthen Alpha Technologies’ ties with its clients and improve productivity for all par ties involved. Those par ticipating in the classroom-style training courses get accredited as official Barco resellers. Joseph Milan, managing director at Alpha Technologies, comments: ‘We consider it an honour and a privilege to provide the facilities for the first Barco wePresent training centre. We ver y much look for ward to sharing our know-how of maximising the use of Barco’s collaboration technology with our resellers and dealers in the South African market, thus helping them grow their businesses.’
THIS
· As a standalone solution or integrated in digital matrix intercom systems · Up to 100 Beltpacks, 100 Antennas · 12 Partylines and unlimited point-to-point connections · Advanced DECT with seamless handover · Simple registration via OTA (Over The Air) and NFC (Near Field Communication) · Integrated web server for easy setup · Daisy chain or redundant ring antenna network · Redundant antenna power · Up to 300m CAT5 cable between Antennas · External 4-Wire and GPIO Interface box www.riedel.net
www.barco.com
November–December 2018 PRO AVL MEA 25
DISTRIBUTION Venuetech appointed APG distributor for ME MIDDLE EAST: French loudspeaker manufacturer APG took the opportunity of the recent Prolight + Sound Middle East show to announce its new distribution partner for the region as Venuetech UAE. ‘This partnership with Venuetech is a new step for us in our international development,’ explained Grégory Dapsanse, marketing and business development director at APG. ‘It follows our strategy we decided upon three years ago when we said we would re-think our business model and joint ventures and then start to
APG’s Régis Cazin, Grégory Dapsanse and Maxence Castelain with Elie Kheirallah from Venuetech
forge partnerships. We’re proud to introduce Venuetech as one of the first in this region.’ ‘We’ve been partnering with Active Audio for the last few years and we believe that APG will complement our range of professional audio,’ added Elie Kheirallah, technical director at Venuetech. ‘The most important element is the synergy that exists between APG and Active Audio and we are now able to provide a 1-stop solution.’ The distributor, which represents Atlona, Barco and Sennheiser in its portfolio among others, has already
Mega Audio to distribute Unika across EMEA Dylan Jones and Duncan Riley of DWR
DWR becomes Vectorworks distributor SOUTH AFRICA: DWR has been appointed an official distributor for Vectorworks Spotlight, Braceworks and Vision software in South Africa. DWR has sold Vectorworks solutions and offered training on the software for several years. ‘It was a natural progression to have them officially join the Vectorworks family as a distributor,’ said Tara Grant, director of channel operations at Vectorworks. ‘As the demand for our solutions grows, we are looking for strong distribution partners like DWR to provide local support in markets around the world.’
‘We believe that the close collaboration between MA Lighting and Vectorworks, to assist lighting designers on workflow, will be a game changer,’ said Duncan Riley, owner of DWR Distribution. ‘On DWR’s side, we have a passionate team supporting the brand. We see Vectorworks as a 360° entertainment design solution for the country, providing professionals and students with a tool that will make their lives easier.’ www.dwrdistribution.co.za www.vectorworks.net
EMEA: Having built a solid reputation in Asia, Taiwanese pro audio manufacturer Unika is looking to expand its reach further with the appointment of Germany-based Mega Audio GmbH as its exclusive distributor for Europe, the Middle East and Africa.
Mega Audio CEO Burkhard Elsner Following the appointment, the initial focus for Mega Audio in EMEA will be in promoting the manufacturer’s range of ‘high-quality, affordable’ Dantenetworked audio solutions,
been busy with APG speakers installed in the Sheikh Zayed Grand Mosque in Abu Dhabi and further projects in the pipeline. ‘One of the interesting things is that the APG team can give very tailored solutions for certain projects,’ continued Mr Kheirallah. ‘Very few manufacturers can do this. The installed market is growing for us, we need customised products for specific projects and we’re very excited to be working with APG.’ www.apg.audio www.venuetech.ae
Avonic appoints W&M
including the 16-channel NBB1616 breakout box and the 4-channel NBB-04R receiver and NBB-04T transmitter. ‘Unika’s Dante products have many unique features, including front panel controls, which I feel will make work easier for professionals, and the company has been very quick to respond to the special requirements of the EMEA market,’ explained Mega Audio CEO, Burkhard Elsner. ‘Unika is a manufacturer with a very long history, but new to EMEA, and all at Mega Audio look forward to being an important part of Unika’s future success.’ ‘Mega Audio has an excellent reputation for sales and support in the professional audio, live sound and broadcast markets,’ stated Unika marketing director, Simon Hsu. ‘This fits perfectly with Unika’s product plans and everyone at Unika is looking forward to working with Burkhard and his team.’
SOUTH AFRICA: Wild & Marr has announced a new partnership agreement with Avonic that will see it distribute the manufacturer’s PTZ camera and video conferencing products through South Africa from its Johannesburg and Cape Town offices. ‘We are very pleased to be partnering with Avonic in South Africa,’ commented Wild & Marr technical manager, Anton van Wyk. ‘Avonic’s product line offers solutions for a wide range of applications, ranging from fixed installation to video conferencing, and are a great combination with our audio solutions.’ ‘As we continue to broaden our presence, we are relying on key partners such as Wild & Marr to apply their technology expertise and local market knowledge to create new opportunities for our solutions,’ said Steven Cogels, sales director at Avonic. ‘We look forward to working with Wild & Marr, one of the biggest specialised and trusted distributors in the region, to expand our joint base of customers.’
www.unikapro.com
www.avonic.eu www.wildandmarr.co.za
NMK to distribute Furman Pro line throughout GCC GCC: Nicolas Kyvernitis Electronics (NMK) has added Furman’s Pro products to its portfolio of brands for rental, retail and install applications and will distribute the products throughout the GCC. The addition of power equipment to the distributor’s portfolio means that it now provides its customers with ‘complete pro A/V solutions under one roof’. Furthermore, it will look to build the Furman brand
footprint by offering it with other complementary brands from the NMK portfolio. ‘We are delighted to add another industry-standard brand to our portfolio. Many professionals in our market underestimate the importance of clean power. Our goal is to educate and demonstrate the importance of Furman power solutions in every project,’ stated Dino Drimakis, business
26 PRO AVL MEA November–December 2018
development manager at NMK Electronics. ‘We look forward to a great relationship with NMK, successfully building the Furman brand in the pro market throughout the GCC,’ added Jeff Costello, VP sales at Nortek Security and Control, owner of the Furman brand. www.furmanpower.com www.nmkelectronics.com
NEWS: DISTRIBUTION
Provision AVL takes on Chauvet UAE: Provision AVL used the recent PL+S ME 2018 trade show to announce that it has taken on distribution for Chauvet. The American lighting manufacturer joins the likes of Clair Brothers, Prolyte, Le Maitre and Admiral and Arthea Luce in the distributor’s portfolio of brands. ‘We’ve doubled the size of our stand here at the show, which tells you a little bit about our growth recently. We’ve been having really great exposure for the brands we represent in the UAE,’ Provision AVL general manager, Kevin Boujikian, told Pro AVL MEA from the show floor. ‘Chauvet is the latest addition to our portfolio. The Chauvet Professional, Chauvet DJ and Iluminarc brands will be covering three different industries
chauvetprofessional.com
Chauvet products were on display on the ProvisionAVL booth at PL+S ME
Avid and Hal Leonard partner WORLD: Avid has entered into a 5-year distribution agreement for its pro audio and video products with Hal Leonard, the world’s largest music print publisher and distributor of books, equipment, software and music technology. The multi-million dollar deal covers EMEA, Australia, New Zealand and the Americas, where Hal Leonard possesses a large network of resellers.
Hal Leonard has previously distributed a smaller range of Avid solutions. However, the new agreement adds the likes of the Media Composer video editing software, Pro Tools digital audio software, Sibelius music notation software and the range of pro mixing and integrated solutions for live sound to the Hal Leonard catalogue. ‘As an experienced distributor of Avid products, we believe this agreement gives us a lot of growth potential that will allow us to tap into new markets,’ noted Larry Morton, Hal Leonard’s president. ‘Our goal is to bring an
– professional, venues and permanent installs. We have high expectations for the brand and we’re looking forward to growing the name in the market. We’ll be pushing hard to bring Chauvet up to the level that we want it to be at.’ ‘We are very pleased to partner with Provision AVL in the UAE as we have aggressive plans to grow our business in the region,’ said Chauvet international sales director, Stéphane Gressier. ‘Our partnership not only recognises the experience that Kevin and his team bring to the table, but we share the same passion, drive and values.’
expanded product mix to a wider dealer base and, with Avid, we can offer them the industry’s best and most widely used solutions. We’ve succeeded in the recording category with Pro Tools, and now we’re pursuing video and other areas that present an opportunity for us to diversify and use our strengths in distributing products seamlessly while giving great service to retailers.’ ‘Avid is excited to become even more thoroughly represented through Hal Leonard to get our creative software tools and solutions into the hands of more musicians, composers, producers, engineers and others to help them achieve their best work in the studio and on stage,’ commented Jeff Rosica, CEO and president of Avid. ‘Our companies have enjoyed a longstanding collaboration, with Avid’s popular products for the creative community being perfectly complemented by Hal Leonard’s global reach and prominence. While this expanded relationship opens up new opportunities for both companies, in particular for Avid, this new long-term agreement largely underscores the opportunity with our creative software suite and subscription offerings, which will contribute to further growth of Avid’s recurring revenue stream beginning in the third quarter of 2018.’
provisionavl.com
eASY to configure
eASY to manage...
eASY to pilot!
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eMIMO1616 Digital Matrix - It does not need an external or an additional software. - You can configure it from your PC/Tablet/Smartphone. - Minimal, intuitive and elegant layout. - You can manage it remotely from different locations.
www.avid.com www.halleonard.com
www.ecler.com
November–December 2018 PRO AVL MEA 27
APPOINTMENTS Luca Gianni joins Prolab as head of audio division UAE: Luca Gianni has joined Prolab as head of its audio division. Mr Gianni joins the distributor having most recently served as applications engineer manager for Italian amplifier manufacturer Powersoft, where he was responsible for worldwide training and technical support, both remotely and in the field. In his new role, Mr Gianni will be managing the company’s technical support function, its portfolio of audio brands and its training and development programmes. ‘Joining Prolab is a great opportunity for me because it allows me to bring my technical hands-on experience in audio and my experience in training
Luca Gianni others within a great sales team,’ explained Mr Gianni. ‘I will maintain direct relationships with all the distributed audio brands in order to push sales in new directions, to plan new
marketing strategies for each and every region and to increase the amount of training that Prolab will be organising throughout the year. Working directly with consultants on big projects will be a major focus, as well as assisting our clients operating in live events when it comes to increasing or renewing their inventory.’ ‘We’ve been working with Luca for a long time and we are very happy to have him joining us,’ commented Prolab managing director, Rami Haber. ‘We are positive his experience and hard work will be very beneficial to the company.’
Riedel to expand video networking WORLD: Riedel has announced the appointment of Jan Eveleens as director of business development for video networking solutions. Mr Eveleens will help drive the manufacturer’s IP and video networking business efforts supporting product management, sales and marketing, with a particular focus on expanding
opportunities for MediorNet. Mr Eveleens joins the German manufacturer after almost a decade serving as CEO of Axon. Prior to that, he held general manager positions in the Netherlands over a 20-year period for leading video technology companies, first with Philips Electronics and then with Grass Valley. ‘Jan is an outstanding addition to our team,’ said Thomas Riedel. ‘His broad and deep experience and expertise in video and broadcast technology and international business will be a great asset. Plus, his leadership roles in organisations such as the IABM have earned him wide respect throughout the industry.’
www.prolabllc.com www.riedel.net
Adam Hall international sales shake-up
Bodo Falkenried WORLD: Pro audio industry veteran Bodo Falkenried is retiring from his global business development post at Adam Hall Group. As a result, COO and managing director Markus Jahnel will assume responsibility for the company’s international business development with immediate effect. During his five years at Adam Hall, Mr Falkenried created and expanded the group’s regional business unit, Adam Hall Asia Pte Ltd.
‘We would like to thank Bodo for his great work and wish him all the best for the new chapter in his life,’ said Mr Jahnel. ‘He was a valued employee who was greatly appreciated by the entire team. ‘The long-term development of new business areas and partnerships and the development and personal maintenance of our global networks are important priorities for the immediate future.
I am looking forward to being even closer to our marketplace expansion.’ In addition, Marcel Mieger has taken on the role of sales director for Europe at the German manufacturer, while Gabriel Medrano takes on the role of COO at Adam Hall North America, a subsidiary that was established at the start of 2018. www.adamhall.com
Gabriel Medrano, Markus Jahnel and Marcel Mieger
Tom Van de Sande inherits the throne WORLD: Tom Van de Sande has succeeded his father, Patrick Van de Sande, as CEO of PVS. The senior Van de Sande founded the company, which includes the Audac, Procab and Caymon brands, 35 years
ago. Patrick Van de Sande will remain at the company in a technical director role, serving as CTO. In this capacity, he will be able to support Tom as he begins his new position. ‘We have just invested €12 million
28 PRO AVL MEA November–December 2018
Ravisankar Nadiyam makes Waves MIDDLE EAST: Waves Audio has appointed Ravisankar Nadiyam as its regional sales manager for the Middle East, as well as South East Asia and South Korea. He will manage the company’s sales channel for studio and live applications in these territories. Mr Nadiyam’s pro audio career began in 1998 as a product specialist and product manager with Avid Digidesign’s distributor in India at the time. He went on to join Avid Digidesign as South East Asia product specialist in 2002 and, since then, he has been application specialists manager and audio sales manager for Avid, covering the live, studio and broadcast markets. In that role, he worked from Avid’s Dubai office covering the Middle East, Africa, Russia, Ukraine, Turkey and the Indian sub-continent. Following this, he ran an Avid training facility in Bengaluru and more recently led sales at Overtone Audio in Mumbai.
‘I have been associated one way or the other with Waves since my days with Digidesign,’ said Mr Nadiyam. ‘It is a great pleasure
to join this global leader and to manage sales in territories that I have had a long and fruitful relationship with.’ www.waves.com
in our new logistics centre, complete with new testing facilities and R&D site,’ said Tom Van de Sande. ‘By 2025, we will move ever ything to our logistics centre. At our new facilities there is plenty of space available to ensure we can keep expanding by offering innovative solutions to the A/V market.’ Tom and Patrick Van de Sande
www.pvs.global
NEWS: APPOINTMENTS
Thiago Terra joins Powersoft VP promotions at Shure WORLD: Powersoft has appointed Thiago Terra as application engineer for rack amps. Joining the Italian manufacturer to support its recent business growth, Mr Terra will serve as a bridge between Powersoft’s product development unit and the pro audio industry, travelling the globe to conduct training seminars and provide support to engineers, as well as visiting distributors, end users and trade shows. He will also work with Powersoft’s R&D team to drive improvements to both hardware and software solutions. Mr Terra has mixed, mastered and toured as an FOH and systems engineer for a range of notable artists and renowned events. He also owns a mastering and mix studio, WoC Studios, and is the production team leader at Sabaoth Church.
Thiago Terra ‘Thiago brings more than a decade of experience in sound engineering and lots of new ideas thanks to his interesting background with exposure to so many sides of the professional A/V scene,’ said Fabrizio Romano Bolzoni, sales manager for rack
AEQ appoints new CEO
WORLD: Iván Olmeda, who joined AEQ in 2014 to lead business development, has been named as the broadcast audio console manufacturer’s new CEO. Previous CEO Rogelio de la Fuente will remain with the company as an advisor to the new CEO and the board until the end of the year. Mr Olmeda came aboard AEQ as part of the company’s merger through absorption of Kroma Telecom, where he had been managing director. ‘It is an honour to be in charge of this company, a true point of reference in the broadcast market and at international sporting
amps at Powersoft. ‘With him on board, our customers stand to gain excellent support for their day-to-day activities, in addition to exceptional coaching for their internal staff and end users, plus the opportunity to share their feedback with him to enhance our future product line.’ ‘I’m so excited to join Powersoft,’ Mr Terra declared. ‘With a stellar reputation in the professional A/V market, the products are well-known to me having spent 15 years using them first-hand in my work as a sound engineer. I’m looking forward to bringing my experience in the field, together with my professionalism and passion for sound to the role – and extending Powersoft’s reach further still as part of this fantastic team.’ www.powersoft-audio.com
WORLD: Shure has announced promotions for several key sales executives. Peter James has been named vice president of global sales, pro audio. Mr James has been in the audio industry for 30 years, with more than 20 of them at Shure. He has been managing director of Shure Distribution UK since 2009 and, since 2015, has chaired the Global Integrated Systems Board. Jim Schanz has been named vice president of global sales, integrated systems. Mr Schanz joined Shure in 1998 and has effectively served in a number of sales roles. In 2011, he took over leadership of Shure’s market development function. ‘I want to express my congratulations to Peter and Jim on these well-deserved promotions,’ said Mark Humrichouser, Shure’s vice president of global sales.
Peter James ‘Their combined sales expertise and accomplishments have been instrumental to Shure’s success in growing our global business. We are fortunate to have these impressive leaders on the Shure sales team.’ www.shure.com
Road experience for Coda
Iván Olmeda events,’ said Mr Olmeda. ‘After four years as part of this company, it is clear to me that AEQ is built on great human and technological potential.’
WORLD: George Puttock has joined Coda Audio as product manager for software support and training. With more than 10 years of experience as a systems engineer and having gained a strong understanding of pro audio applications and loudspeakers, Mr Puttock has spent the past six years on the road with artists such as Ellie Goulding, Placebo, The Script, Enter Shikari and several classical symphonic concerts, many of which rely on Coda Audio solutions. ‘I’ve spent at least half of my professional life on the road using Coda Audio systems,’ Mr Puttock
on the road, so that gives some idea of just how many hours and days I’ve spent designing, measuring, rigging, listening to and thinking about what I consider to be the best audio systems in the world. When you’re that close to something, you take account of the minutiae of everything. ‘I’ve used Coda systems in a whole variety of applications and that led to a conversation with the company based around that “real-world” experience and how it could impact on Coda’s future development.’
George Puttock confirmed. ‘In the last few years, I’ve spent the majority of my time
www.codaaudio.com
www.aeq.eu
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November–December 2018 PRO AVL MEA 29
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NEWPRODUCTS
INSTALLATION • A/V • LIVE SOUND • BROADCAST • POSTPRODUCTION • RECORDING • LIGHTING A-ZCONTENTS
Audionamix gets smart about dialogue Audionamix is focusing on dialogue with its latest audio clean-up tool AUDIO SOURCE separation specialist Audionamix has added a new tool to its armoury for tidying up dialogue. The IDC: Instant Dialogue Cleaner plug-in is a real-time, cloudless solution that uses Deep Neural Network (DNN) artificial intelligence to automatically clean up speech. This is achieved through an ‘intuitive inter face’ where users can clear up dialogue with the turn of a single knob. ‘Instant Dialogue Cleaner is unique because, unlike traditional denoisers that learn and remove noise, it works by separating and preserving speech, regardless of the inter ference,’ says Maciej Zielinski, CEO of Audionamix. ‘This plug-in offers immediate dialogue clean up with the turn of a knob and addresses common audio issues such as complex variable noise inter ference including weather, traffic, music and room ambience.’ The plug-in is reportedly capable of automatically detecting and separating speech regardless of the surrounding content and is therefore capable of addressing complex audio issues including wind, birds or insects, car and plane inter ference, or troubleshooting distant, roomy recordings. This makes it ideally suited for cleaning up dialogue from production audio, field recordings, news and sports recordings, making it the per fect tool for audio post professionals, dialogue editors, re-recording mixers and broadcast engineers. The feature set includes ±24dB independent gain control over separated background and speech elements, allowing users to remove unwanted background content and preserve separated speech. The separation strength parameter controls the amount
of separated background to avoid artefacts. IDC is available in VST2, VST3, AU and AAX Native formats, requiring host software to run, and AudioSuite formats for both Mac and Windows systems. The plug-in supports sample rates from
UE OR R T DO TION T OU TEC O P R etherC ON® T
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on® TR
44.1kHz to 192kHz, bit depths between 16- and 32-bits, and features fully automatable plug-in settings. System requirements include at least an i5 processor and 8Gb RAM. www.audionamix.com
U E 1 TO P
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1/4 PAGE NMK Electronics Enterprises T: +971 4 266 5244 F: +971 4 262 6682 E: info@nmkelectronics.com W: www.nmkelectronics.com
ADB Stagelight Lexpert AJA Kumo 3232-12G/Kumo 1616-12G Allen & Heath SLink option card Amate Nítid N12W AMX CT (Connectivity and Transport) Series Atlona AT-HDR-M2C-Quad/JunoX 451 HDBT Audinate Dante Adapter Modules Audio-Technica ATUC-50 V1.6.1 Audionamix IDC (Instant Dialogue Cleaner) Avid MediaCentral update/Nexis E5 NL Aviom Boom-1 Ayrton Bora-TC Barco OverView KVD5521B Bittree 12G Video Distribution Amplifiers Blackmagic Design eGPU Bose Business Music System Designer (BMSD) Calrec H2-IP Gateway/Modular I/O Controller CEDAR Audio CEDAR Studio 8 Celestion CKT-TF1525e/CKT-TF1225/CKT-TF1020 ChamSys QuickQ Chauvet Ovation H-605FC Christie CP2315-RGB/CP2320-RGB Clair Brothers kiTCurve-TrueFit Landscape and Portrait Claypaky Axcor Profile 600 and 400 Cloud Electronics CV-Digital Series Countryman H7 headset mic Crest Audio C1 series/PB-32 Crestron TSS-7/TSS-10/Pyng OS 2 Crown DCi DA Series/Dante 4.0 update Digital Projection Titan Laser 37000 WU and 33000 DirectOut EXBOX.BLDS hardware update/MADI.SRC update DPA Subminiature microphones/MMA-A Dynacord TGX series Ecler ARQISSB6T/IC3/eIC51-F/EclerNet Manager update Elation Cuepix 16 IP/eCast app Epson LightScene EV-100 and EV-105 Fane International Imperium 18XL FBT Vertus CLA 406.2A/CLA 206A/CLA 803/CLA 403 Fiilex Matrix II RGBW/Matrix II Tunable White Fulcrum Acoustic FH15 series (FH1565, FH1596)/FW15 360 Systems Maxx 2400 Genelec S360/7382 Jünger Audio flexAI/D*AP8 v3.0 Just Add Power 3G Ultra HD over IP series update Kevic Dante Network System Klotz DX10 L-Acoustics/Avid AAX DSP version of L-ISA for Avid Venue S6L Lectrosonics RPS4/SPDR Mackie DL16S/DL32S/FreePlay Series Martin Audio Adorn series (Adorn 40, Adorn 55)/SX110 Martin Professional Rush Batten Hex 1/Rush Blinder 1 WW Middle Atlantic Wider SR Series/Proximity Series/VDM Series Neutrik NA2-IO-DLINE/True Outdoor Protection series Novacoustic Kira Series NST Audio D48S/VR1 Panasonic AW-UE150/ AW-RP150/SQ1 Series Philips Vari-Lite VL2600 PR Lighting Arc LED 60/XLED 6019/Hybrid/Merlin QSC Q-Sys Designer Asset Manager RCF HDL 26-A/HDL 28-A/HDL 38-AS Renkus-Heinz ICL-XS/ICL-118S/DC12/2/IC12/3 RME M-32 AD Pro/M-32 DA Pro Robert Juliat Charles 960SX/Dalis Access 863 and 864 Roe Visual Europe Sapphire/Black Marble Rosco Opti-Sculpt Ross Video Furio S2 Lift/Tria News Rushworks A-List Streamster Sennheiser Memory Mic/TeamConnect Ceiling 2/IE 40 Pro Shure P9RA+/P10R+ Sommer Cable Cardinal DVM-HDBT/Cat.6 Pur Superflex Sony HDCU-4300/HDCU-3100/PXW-Z190/PXW-Z280 Stage Tec Yamaha consoles to access Nexus system Studio Technologies Model 5512/Model 5518 Symetrix SymVue TASCAM Model 24 Tasker Sheaths for different applications TSL Products MPA1-Mix-8/MPA1-Solo-8 Unity Audio Boulder MK-III Vaddio RoboShot IW Verity Audio AC12.3P Work Pro SoundNut SN8
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Neutrik True Outdoor Protection (TOP) series of products encompasses the powerCON TRUE1, etherCON and XLR product groups. These TOP series products are IP65 rated and UV-light resistant. They are designed to provide maximum performance under the challenging conditions created by moisture, particulate pollution and sunlight. In addition to utilizing high-impact, UV-resistant materials per UL, TOP serie products are certified to connector standards IEC 61076-2-103, IEC 60320, UL 1977 and UL 498, as well as UL 50E.
NMKElectronics
nmkelectronics
nmkelectronics
November–December 2018 PRO AVL MEA 31
PRODUCTS
Amate shines bright DERIVED FROM the Latin words to shine and bright, Amate Audio has enhanced its Nítid loudspeaker series with the addition of a new 12-inch subwoofer. Weighing 26.2kg, the N12W is designed to provide precise low-end per formance with portable plugand-play systems and comprises a single 12-inch woofer with a 3-inch voice coil loaded in a band-pass tuned enclosure with laminar ports. Capable of reproducing a linear frequency response
starting from 38Hz (–10dB), the active system integrates an 800W Class-D switch mode power supply amplifier capable of producing 90% efficiency. A dedicated 48-bit DSP unit includes parameters such as crossovers, a 5-band EQ, limiters, delay up to 40m, gain control, mute and polarity in addition to several presets, including cardioid presets. Configuration and monitoring can be made via the on-screen output display and the front backlight
The N12W subwoofer using the Nítid software. Inclined to prevent rain or moisture penetration, the rear connection panel includes a double PowerCon input and link, together with an LCD screen that
displays various settings, presets, volume and user adjustments. A responsive SensitiveTouch capacitive sensor keypad provides further protection under humidity and extreme weather conditions.
The multilayer birch plywood cabinet is finished with a resistant polyurea coating and a 1.5mm speaker grille with black mesh that has been designed with an optimum per foration gradient. Ergonomic handles together with an M20 plate socket on the top side enhance the subwoofer’s flexibility in terms of portability along with full-range enclosure coupling. www.amateaudio.com
Celestion extends its appeal to DIY enthusiasts
Celestion blueprints CELESTION HAS established driver-specific cabinet designs for DIY builders by following the company’s CKT-TF1525e, CKT-TF1225 and CKT-TF1020 speaker designs. The three blueprints feature a Celestion bass/midrange driver, an HF compression driver and
accompanying horn plus a recommended crossover. Downloadable as PDF files, complete plans simplify the build of ported enclosures using recommended 15mm birch plywood or 18mm MDF. The plans also provide a detailed listing of crossover components
as well as a suggested layout, together with a guide to finding the assembled cabinet’s balance point for adding a stand-mount socket. The CKT-TF1525e is based around the 15-inch midrange driver and comes with a CDX1747 polyimide diaphragm HF compression driver loaded onto Celestion’s H1-9040 horn providing 90° (horizontal) by 40° (vertical) dispersion. The 12-inch CKT-TF1225 system combines the CDX-1745 driver with the same horn. The CKT-TF1020 floor monitor pairs the 10-inch Celestion TF-1020 midrange driver with the CDX1-1445 compression driver loaded onto the H1-7050 horn. The 70x50 horn provides both the horizontal and vertical dispersion for upright or lateral deployment as a floor monitor. www.celestion.com
Clearly Cloud CLOUD ELECTRONICS has introduced a new range of energy-efficient amplifiers with the introduction of its new CV-Series digital multichannel 70V/100V amplifiers. All models in the CVDigital series offer a total power output capability of 1KW shared across the amplifier channels. This flexible approach allows a single, multichannel amplifier to drive loudspeaker systems differing in load size, in different areas of a building or venue, while optimising overall power output capability. Designed to be Energy Star compliant, the CV-Digital Series models come with Automatic Power Down. This trigger mechanism is activated should an input signal not be detected within 30 minutes, reducing power consumption to just
CV2500 2.5W for which remote control of the power down state is available via an external contact closure. A full suite of user configurable DSP functionality is on board including input routing, multi-band parametric room and speaker optimisation EQ, output level control and limiting, together with 1.5s of assignable delay. Amplifiers can be easily set up for multichannel or parallel channel operation and bi-amping with full control of crossover parameters. Providing the same DSP power as the normal amplifier channels, the
32 PRO AVL MEA November–December 2018
auxiliary outputs can be configured as traditional slave outputs, or used as independent signal processing and routing channels. Compatible with standard Cloud RL Series remote level control plates, DSP parameters are accessible via RS-232 and Ethernet for interfacing to third-party control systems including Crestron, AMX and Control4. A 3-way GPIO port can be configured for external master mute and fault condition signalisation. www.cloud.co.uk
Kira8
Compact and discreet THE KIRA series of coaxial speakers from Nova is a discreet PA solution that offers a compact design, smooth coverage for off-axis audiences, no minimum listening distance and high feedback rejection, according to the German manufacturer. The Kira5, Kira8, Kira10 and Kira12 are coaxial 2-way, highperformance loudspeakers for fixed installations and mobile use. They are constructed from 15mm birch plywood and covered with a black texture finish. All four speakers offer a coverage of 90° x 90° (HxV). Two speakON connectors are mounted at the rear side of the chassis for signal input and signal link. The speaker fronts are protected by stable front grills with acoustic foam backing. Each model includes a U-bracket as standard to enable ceiling or wall installations. Kira5 is equipped with a 1-inch HF driver (1.35-inch voice coil), which is mounted coaxially onto the 5-inch transducer; Kira8, Kira10 and Kira12 all come with a 1-inch HF driver (1.75-inch voice coil), which is mounted coaxially onto the 8-inch, 10-inch and 12-inch transducer, respectively. Kira5 has a power rating of 150W (RMS) and an impedance of 16Ω; for Kira8 these figures are 250W and 8Ω; for Kira10 they are 350W and 8Ω; and for Kira12 they
are 450W and 8Ω. Kira12S is described as an ultra-compact subwoofer for fixed installations. The cabinet is fixed with one 12-inch transducer, while the integrated flying system includes two mounting points for the installation of the U-bracket. It has a power rating of 400W and an impedance of 8Ω. Finally, Kira18SC is a subwoofer with a triangular design for installation in corners. It has an 18-inch transducer and a 4-inch voice coil, making it suitable for low frequencies. The metal frame has integrated rubber pads, which provide an acoustic decoupling of walls and ceilings. It has a power rating of 1,000W and an impedance of 8Ω. www.novacoustic.com
Nova’s Kira18SC
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PRODUCTS
Fulcrum reduces radiation CURRENTLY COMPRISING of the FH1565 (60° x 45°) and FH1596 (90° x 60°) models, Fulcrum Acoustic is shipping its FH15 series 2-way coaxial horn system. Incorporating a 15-inch horn-loaded woofer and a 4-inch diaphragm compression driver, the FH15 series provides precise pattern control to below 400Hz, LF extension to 54Hz and a high output that only requires a single amplifier channel. According to the US manufacturer, the FH15 utilises Temporal Equalisation (TQ) DSP techniques to eliminate mid-range colourations and HF harshness while producing a smooth coverage pattern through the crossover range.
Characterised by their unique, vertically trapezoidal enclosures, the cabinets integrate yoke bracket mounting and other options. A 15-inch coaxial cardioid stage monitor has also been made available. The FW15 incorporates Fulcrum Acoustic’s patented Passive Cardioid Technology to enable low-profile FW15 stage monitors to attenuate rear LF radiation that normally interferes with the audience, stage microphones and front-fills. The coaxial transducer and 75° x 75° horn provide optimal coverage for monitoring applications, while the 3-inch compression driver and 15-inch woofer incorporating
FW15 a 3.5-inch voice coil are said to provide ample headroom. The monitor’s pattern control, coupled with TQ DSP processing, provides consistency and gain-beforefeedback both on- and off-axis.
DCi 8|300DA tunings, network control and monitoring functionality and the ability to drive 2Ω, 4Ω, 8Ω or 16Ω, as well as 70V and 100V speaker loads from each channel without the need for an additional transformer. In other news, several products from Crown and its sister Harman brand, BSS, have received the Dante 4.0 firmware update, which
www.fulcrum-acoustic.com
Power in a nutshell
Crown continues to network with Dante THE CROWN DriveCore Install (DCi) DA Series has expanded with the Crown DCi 8|300DA (an 8-channel power amplifier with 300W per channel), the DCi 4|300DA (four channels with 300W per channel) and the DCi 4|600DA (four 660W channels). All three new models are designed to support Dante and AES67 networked audio at a lower wattage than previous DA Series amplifiers. In addition to being able to send and receive Dante and AES67 networked audio, the DCi DA Series amplifiers are built with a DSP featuring JBL speaker
According to the manufacturer, the clarity and source separation of the FW15 allow performers to clearly distinguish their own voice among others. The FW15’s multifaceted enclosure includes 40°
and 55° angles for downstage and upstage distances, respectively. The cabinets incorporate a double grille construction and four input options positioned close to the stage to reduce the visual impact of connected cables. The FW15’s cardioid behaviour is produced by an acoustical circuit that balances the position of the coaxial driver/ horn assembly, the enclosure depth and volume, together with specially constructed side ports towards the back of the cabinet. The sub-cardioid LF control produces 3dB to 4dB of 90° off-axis rear rejection over its operating range.
adds support for Dante Domain Manager. In addition to the three new DCi amplifiers listed earlier, the update is available for the Crown DCi 4|1250DA and DCi 8|600DA models and the BSS Soundweb London Blu-806DA and Blu-326DA cards, as well as the Blu-DA bridge. www.crownaudio.com
WORK PRO Audio has introduced the first member of a new series of pendant speakers for installation applications. Like all forthcoming members of the SoundNut range, the SN8 is a 2-way 400W coaxial pendant speaker with an 8-inch bass driver and has been designed to reproduce audio with a flat frequency response from 98Hz to 19kHz and uniform acoustic coverage across a 90° area. The speaker features a frameless and screwless magnetic grille that can be detached for easy access to the drivers. The speaker weighs 8kg, measures 290mm in
diameter x 365mm tall and the housing can be custom-coloured to blend into any environment. www.workpro.es
Crest Audio powers commercial installs
Crest Audio’s C1 86k DSP power amp CREST AUDIO has designed a new range of contracting and installation Class-D amplifiers integrating DSP, Dante protocol networking and USB/Ethernet connectivity for monitoring and control. The contractor-friendly C1 Series is equipped with Euro connector inputs and barrier strip outputs in addition to fault relays and CV (control voltage) inputs. All four models incorporate a switch mode power supply with full bandwidth PWM modulators
for low distortion, high efficiency and superior circuit protection. Protections include a clip/limiter function for output monitoring preventing speaker damage and gentle gain reduction at clip threshold together with efficient heat dissipation and overheat protection. The C1 86k is an 8-channel amplifier offering 750W/channel into 4Ω, while the C1 48k is a 4-channel model providing 2,000W/channel into 4Ω. The C1 44k and C1 25k
34 PRO AVL MEA November–December 2018
are 4-channel 1,000Wx4 and 2-channel 2,500Wx2 versions, respectively. The internal DSP engine comes with sampling rates of 96kHz/24-bit and 24-bit AD/DA converters, and provides access to IIR HP/LP crossover filters, RMS compressor, parametric EQ, alignment delays, white/ pink noise and other parameters. Input sources can be selected and presets loaded via the front panel LCD touchscreen.
Rear panel connections
Alternatively, a Dante network module enables primary and redundant connectivity to a digital audio network with external monitoring and control of the amplifier. Loaded with Peavey’s MediaMatrix hardware and NWare software, the C1 Series power amps can also be integrated with other DSP/control platforms that support Dante audio networking. Meanwhile, the PB-32 SoundGridto-Dante network bridge has been launched to provide the
connection between Crest Audio’s flagship Tactus digital mixing system and its powered Versarray Pro line array system. The PB-32 will enable the audio signal to remain in the digital domain from the desk to the Dante-enabled Versarray Pro PA system. Housed in a 1U ½-rack chassis, the PB-32 provides up to 16 channels of bidirectional audio to be transmitted and received by each network (SoundGrid and Dante) via interchangeable 16x16 networking modules. The unit is shipped with one Dante and one SoundGrid module as standard but may be loaded with two Dante cards to link separate Dante systems with different clock sources. www.peaveycommercialaudio.com
PRODUCTS
FBT flexes its columns ITALIAN MANUFACTURER FBT has added new versions of the Vertus CLA 60A active column line array with the launch of the CLA 406.2A and CLA 206A active columns. Now designed for mobile sound reinforcement applications, both the CLA 406.2A and more compact CLA 206A come with a fly-bar for suspension for which a clamp can be added for tubular coupling. A foldable floor stand can then angle the array between 0° and 10°, while a bracket for coupling two enclosures can further angle
and waterproof in character. Full EN54-24 certification ensures both columns are equipped with a ceramic terminal block and the thermal fuse can be used for emergency and evacuation purposes. Both the CLA 803 and CLA 403 further integrate a passive directivity control system to deliver a consistent frequency-based vertical dispersion with a choice of narrow (110°H x 15°V) and wide (110°H x 40°V) angles. Each fully modular Vertus CLA enclosure can be linked to others to enhance low-
frequency control, high-frequency dispersion and overall SPL. Other features include a 100V line transformer with switchable power levels. Accessories include a fly-bar with optional clamp, a foldable floor stand, a bracket with two diffusers offering a 0° to 15° swivel range (in 5° steps), a fixed 0° bracket for assembling straight arrays, a tilting wall bracket for mounting at up to 20° (V) and 90° (H) and a fixed wall support for near-flush mounting. Vertus CLA 206A
www.fbt.it
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Vertus CLA 406.2A between 0° and 20° (in 5° steps). M6 rear suspension points and M10 screws are available for fixed installations, while optional quick release pins can be used in mobile applications. The active CLA 406.2A is a Class-D 600W + 300W system equipped with four 6.5-inch woofers and a 1.4-inch HF compression driver with a 2.5-inch voice coil. A choice of eight presets come with the onboard DSP, while the enclosure’s large-format waveguide provides 100° x 25° (HxV) dispersion. Incorporating the same waveguide, the CLA 206A is equipped with two 6.5-inch woofers. Suited to both interior and outdoor use, the Vertus CLA column line arrays comprising the CLA 803 and CLA 403 models incorporate eight and four 3-inch full-range woofers, respectively. Housed in powder-coated aluminium cabinets with a special hydrophobic fabric grille, both models are dustproof
Vertus CLA 803
SPEAKERS
for any application
Whether music, alarm or announcement – our wide variety of loudspeakers offer the right solution for every requirement and every location. From ceiling to wall speakers and from design to horn speakers, water resistant or EN certified – doesn’t matter which one suits for your application. In any case you can expect excellent sound quality! Check our website and discover high flexibility with a great choice of speakers. We supply sound, not equipment. www.toa.com.sg I www.toa.eu I
TOAasiapacific TOAeurope
November–December 2018 PRO AVL MEA 35
PRODUCTS
Dynacord powers live production DYNACORD HAS designed its TGX power amplifiers to be the ‘ultimate amplification solution’ for medium- and large-scale live performance applications. The series features two models: the TGX10 (4x2,500W at 4Ω) and the TGX20 (4x5,000W at 4Ω). The amps are also equipped with Dante networking capabilities as well as AES and analogue inputs.
Each amp features 96kHz DSP with FIR Drive Technology and a signal-to-noise ratio of up to 118dB. Included in the amps are a number of patent-pending technologies designed to offer a ‘reliable and stable system per formance’. According to Dynacord, the advanced protection package monitors
more than 200 parameters to ensure that the amps continue to perform in challenging conditions. Even with fluctuating mains power supplies, TGX amps will reportedly remain stable. Dual network ports and automatic fall-back are said to provide an extra level of redundancy and system reliability. The TGX system rack is a modular system designed by
Dynacord’s TGX20 amp touring professionals. The single 10 rack unit TGX system rack is pre-configured with three TGX20s plus two independent network switches. The racks offer integrated sliding doors, customisable I/O options and a reversible mounting for the
power distribution. The racks can be vertically stacked and locked together to give up to 180kW of output power in the same footprint as a conventional amp rack. www.dynacord.com
Ecler unveils architectural cabinet
Martin Audio’s Adorn series and SX110
Martin Audio Adorns on-wall solutions THE NEW Adorn series of on-wall loudspeakers from Martin Audio is designed for commercial installations, such as in retail spaces and boardrooms. The series aims to handle distributed sound applications while remaining ‘visually discreet’. The ultra-compact enclosures are said to provide a ‘seamless sonic transition’ within multizoned setups that include larger Martin Audio systems, such as CDD solutions. There are initially two members of the Adorn family: Adorn 40 and Adorn 55, which feature 4- and 5.5-inch drivers, respectively. Both are 2-way cabinets that are available in black or white as standard, or can be custom painted to match an interior. Their nominal impedance of 16Ω enables four or more of the speakers to be driven in parallel by a
single amplifier channel. ‘T’ variants of each model are also available, each fitted with an internal 70V/100V multi-tap line transformer with a switch for selecting the output level. The SX110 subwoofer has been launched alongside the Adorn range to extend their bandwidth, intended particularly for foreground music applications that facilitate a need for increased impact and low-frequency performance. The SX110 is built for concealment beneath banquette seating or for discreet placement elsewhere within a venue. Its ultra-compact enclosure features a 10-inch driver and ‘generous’ bassreflex porting for the reduction of air noise. The unit can also be suspended thanks to its M8 threaded inserts. www.martin-audio.com
36 PRO AVL MEA November–December 2018
ECLER HAS added to its ARQIS series with ARQISSB6T, a wooden wall-mount subwoofer reinforcement cabinet with a slim and compact format. It features a 6.5-inch driver and a passive 6.5-inch radiator, 120 WRMS power at 8Ω and an integrated 70V/100V line transformer with 60W and 120W taps. With a frequency response of 60Hz to 1.5kHz and measuring 250mm x 390mm x 150mm (WxHxD), the ARQISSB6T also comes with an installation U-bracket and is available in a black or white finish. Ecler has also announced the release of two in-ceiling installation loudspeakers. First, the IC3 has a compact design in the shape of a halogen light.
Ecler’s ARQISSB6T architectural loudspeaker cabinet It features a 3-inch driver, 10 WRMS at 8Ω nominal power and a 70V/100V line transformer with 1.5W, 3W and 6W power connections. It is a 1-way ABS loudspeaker and has an aluminium front grill. The speaker
has a frequency response of 200Hz to 20kHz and is available in a black or white finish. Second, the eIC51-F features a 5-inch woofer and a 70V/100V line transformer with 3W and 6W power options. It is also a 1-way ABS loudspeaker that has a frequency response of 90Hz to 16kHz and a sensitivity of 89dB. Meanwhile, the latest version of EclerNet Manager is now available, including the latest firmware updates for a range of devices, including DN44BOB, Duo-Net, Mimo88, Mimo88SG, Mimo1212SG, MPage16, NPA, NXA, NZA, WPmScreen and WPTouch. www.ecler.com
R-H meets its match RENKUS-HEINZ HAS added matching ICL-XS and ICL-118S subwoofers to its IC-Live X Series, with the ICL-XS becoming the first dedicated column subwoofer for the family. Featuring four 8-inch woofers, the ICL-XS is intended for integration beneath ICL-X and ICL-XL arrays, resulting in one discreet array that offers full-range per formance, consistent coverage and minimal aesthetic intrusion. The ICL-118S, meanwhile, is a high-output subwoofer designed for largescale events or venues with high LF SPL requirements. It offers a single, high-excursion 18-inch woofer in an optimised bass-reflex cabinet, powered by a RenkusHeinz SA-2000 amplifier for nearly endless power. In addition to the two matching subwoofers, the manufacturer has introduced the DC Series Directivity Control vertical column
speakers. The first product to join the series is the DC12/2 self-powered column speaker, which houses 12 2-inch, full-range drivers, 12 DSP channels and selectable presets that adjust the directivity and coverage patterns. For ease of set up, the presets can be selected using a smartphone. The DC12/2 is intended to be used in standalone applications, including as main speakers in small venues such as boardrooms and small gymnasiums, as fill speakers for transepts or balconies, or as overflow room-fill speakers. Finally, the manufacturer has introduced what it describes as ‘a full-blown Iconyx speaker in a smaller, high-value package’. The IC12/3 incorporates all the features typical to the Iconyx line, including Rhaon control, beamware integration, Dante or AES input options, RJ45 or fibre
IC12/3 optic network connections. The speakers house 12 3-inch, fullrange drivers with broad horizontal coverage and 12 amplifier/DSP channels to deliver high granularity for steering. www.renkus-heinz.com
OWN THE ROOM www.digico.biz DiGiCo UK Ltd. Unit 10 Silverglade Business Park, Leatherhead Road Chessington, Surrey KT9 2QL. Tel: +44 (0) 1372 845600
PRODUCTS
RDNet processing from RCF
HDL 26-A RCF HAS added three loudspeaker models together with complementary flyable subwoofers to its HDL series of composite line array enclosures. Sharing the same design footprint as other HDL cabinets, the new models differentiate themselves with the incorporation of RDNet processing. Furthering on from the development of the HDL 6-A, the HDL 26-A comprises dual 6-inch woofers with a 3-inch compression driver and a 1,000W RMS Class-D amplifier for use with the HDL 35-AS subwoofer.
Comprising dual 8-inch woofers with 2.5-inch voice coils and a 550W RMS amplifier, the HDL 28-A has been designed to be partnered with the HDL 36-AS 15-inch subwoofer. Finally, the
HDL 30-A can now be paired with the HDL 38-AS subwoofer. Equipped with a 1,600W RMS Class-D amplifier, the single 18-inch model is capable of extending the LF range to 30Hz and integrates RDNet loudspeaker management control. The adoption of RDNet 3.2 recognises and connects all the cabinets in a network upon powering them on. While the Bass Shaper function allows adjustment to the low frequencies, the Air Compensation function corrects the system response in realtime. www.rcf.it
HDL 28-A
Verity controls dispersion VERITY AUDIO has released the AC12.3P active, arrayable, steerable column speaker with a built-in DSP that allows the vertical acoustic beam dispersion angle to be adjusted via external management software, instead of through manual methods. The column speaker is 1m in height and features 12 3-inch drivers arranged in four groups of three. Each group is powered by its own Class-D amplifier and configured with an independent digital signal processor. The 3-inch drivers are custommade for the AC12.3P, allowing it to operate within a 100Hz to 16kHz frequency bandwidth. Verity Audio notes that when eight AC12.3P units are vertically linked together to create a ‘super long’ 8m line source, effective control of the sound beam is facilitated for frequencies as low as 100Hz, placing the transition point between the near and far field further afield than in other solutions. For near field
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applications, the SPL attenuation is 3dB each time the distance is doubled, while in the far field it’s 6dB. This means that for an 8m-long AC12.3P system, a maximum SPL of up to 99dB can be achieved at 100m. In addition, with the AC12.3P sound beam control algorithm, the SPL for frequencies over 400Hz keeps uniformity at distances between 25m and 100m, dropping only to 2.5dB at 150m. www.verityaudio.fr
PRODUCTS
Extended detail from the Boulder MK-III THE NEW MK-III version of Unity Audio’s Boulder active 3-way monitor claims to deliver a ‘fast, more accurate sound and extended bass response with a greater SPL’ than its predecessor. This per formance increase comes in addition to a new German Crystal Membrane enclosure sur face that stiffens the aluminium dome, reportedly diminishing resonances and minimising colourisation, while improving power handling and dynamics. The voice coil design of the bass drivers also results in an expanded range by nearly an octave, down to 36Hz at –3dB. Meanwhile, the centrally mounted compact coaxial X-JET 5-inch midrange driver and 50kHz folded ribbon tweeter are said to assure true point source phase accuracy across its entire frequency spectrum from 694Hz to 50kHz. The Boulder MK-III is now fitted with dual 300W Class-D amplifiers with its own separate power supply specifically for the two Crystal Membrane
woofers, while retaining its two original discrete custom Class A/B amplifiers with their own dedicated power supply for the Coaxial X-Jet mid-range/ribbon tweeter. www.unityaudio.co.uk
Loud and clear WITH THE aim of offering audio solutions for all room sizes and applications, Genelec has announced the release of two high-SPL SAM monitors: the 2-way S360 and the 7382 subwoofer. Suited for large postproduction setups as much as EDM playback, the speakers are housed in a compact, lowdiffraction enclosure. The S360 features a 10-inch high-efficiency and minimal distortion woofer based on the company’s Master Series and an integrated extended directivity control waveguide DCW supporting the 1.7-inch titanium diaphragm compression tweeter. It has a short-term SPL capability of 118dB and a long-throw capability that can reportedly provide referencequality accuracy at distances of over 10m. Other features include an uncoloured 95° (H) to 75° (V) dispersion and in-wall and on-wall mounting options. The 7382 is described as the company’s most power ful subwoofer to date. It delivers
Genelec’s S360 low-frequency extension down to 15Hz and houses three 15-inch, long-throw woofers. Each woofer is said to benefit from the vibrationfree environment of a heavily braced fibreboard enclosure, with laminar flow bass reflex porting extending along the rear
wall for a ‘low distortion and compression-free per formance’. The 7382 works with GLM software to control bass management or solve issues of subwoofer placement in unpredictable rooms. www.genelec.com
Boulder MK-III
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November–December 2018 PRO AVL MEA 39
PRODUCTS
Fane International extends Imperium range FANE INTERNATIONAL has designed a new 18-inch woofer incorporating an optimised fibre-loaded cone assembly controlled by a fully optimised multi-roll surround. Joining the 18NDXL in the Imperium range, the 18XL is
a 1,300W-rated (AES) driver that exhibits ‘smooth tonal character combined with a fast response time’, according to the UK manufacturer. The unit’s dual spaced suspension configuration provides control during large excursions, while a motor structure built around an Y35
magnet ensures maximum flux yield from a compact design to generate minimal flux modulation. The venting built into both the cast aluminium chassis base and motor minimises power compression. Weighing 13kg, the 18XL features a ferrite magnet and a 5-inch copper voice coil,
and is capable of operating down to 30Hz (–6dB). Suitable for bassreflex or horn-loaded designs, the woofer offers a sensitivity (1W/1m) ratio of 96dB and a peak-to-peak maximum excursion of 52mm. www.fane-international.com
Mackie expands DL Series line-up MACKIE HAS added to its DL Series of digital mixers with the 16-channel DL16S and the 32-channel DL32S with built-in Wi-Fi networking and multi-platform support on the company’s Master Fader control app. With Onyx+ mic preamps, fully loaded DSP on each input and output plus four FX processors, DL16S and DL32S provide a new suite of FX such as
chorus, flanger, rotary and autofilter. The redesigned interface is said to allow more freedom for choosing the FX and seeing what is currently selected. They also feature full multi-track recording via USB. Meanwhile, the manufacturer has announced the FreePlay Series consisting of FreePlay Live, FreePlay Home and FreePlay Go.
FreePlay Live can run on either AC or battery power, with the built-in rechargeable battery offering up to 15 hours of sound. It incorporates inputs for a microphone, guitar, keyboard or playback device. Users can also stream music wirelessly from any Bluetooth-enabled device. FreePlay Home and FreePlay Go are portable Bluetooth speakers that also feature an in-built
The DL16S and DL32S rechargeable battery and can be used as a power bank to recharge USB devices. They can be connected to a second FreePlay
Series speaker via the FreePlay Connect app. www.mackie.com
A&H expands SQ capabilities ALLEN & HEATH has opened up the potential for digital FOH/monitor splits, broadcast feeds and recording with the addition of an SLink option card for the SQ digital mixer series. The option card has the same functionality as the built-in SLink port, provides a further 128 inputs and 128 outputs of digital audio, and runs independently. The manufacturer claims that
with two SLink ports, it’s now possible to combine an array of Allen & Heath products with SQ, including any ME personal monitoring system, DX and dSnake expanders. The SLink card also allows for direct connections from any SQ console to another Qu, SQ or dLive system and/or to 48kHz or 96kHz expanders. www.allen-heath.com
The Allen & Heath SLink
The H2-IP Gateway
Calrec opens an IP gateway CALREC’S H2-IP Gateway has been created to provide an interface between a Hydra2 network and an AoIP network. It is SMPTE 2110/AES67-compatible and builds on the British manufacturer’s Impulse core native IP technology for use with the Apollo and Artemis mixing consoles. In addition, H2-IP Gateway delivers an additional control level that allows audio labels to be sent back and forth between Hydra2 and AoIP networks with control data. This enables Hydra2 users
to control the gain of Calrec AoIP mic inputs, while AoIP users can manage the gain of Hydra2 mic inputs. The 1U system can pass 256 or 512 channels of audio in each direction and multiple gateways can be used to increase capacity and connect to multiple networks. Additional units can also be employed as backups. Calrec has also launched the Modular I/O Controller card, which operates in either Hydra2 or AoIP mode and is also SMPTE 2110/AES67-compatible while drawing on an Impulse core. A
simple switch on the dual-purpose card selects the mode, allowing it to be used on either network. It supplies two redundant pairs of 1G SFPs, allowing 512 audio channels to pass without draining the bandwidth in AoIP mode. In other news, Brio audio consoles have been given a boost in channel count with new expansion packs that increase the Brio12 DSP count from 48 to 64 input channels and the Brio36 from 64 to 96 input channels. www.calrec.com
Audinate adapts to Dante AUDINATE HAS announced the availability of its Dante Adapter Modules, designed for the production of cost-effective, compact, manufacturer-branded Dante audio adapters and low-channel count audio devices. Dante Adapter Modules are pre-programmed and integrated into larger host devices to provide Dante network support without the need for PCB design and manufacturing, component procurement and programming.
The family contains six models: single and dual-channel analogue input, single and dual-channel analogue output, 2-in/2-out AES3 and 2-in/2-out USB. These modules can be used to create custom-featured adapters or incorporated directly into lowchannel count endpoint products such as powered speakers and direct boxes. The modules feature sample rates up to 96kHz (except USB), user-configurable signal
40 PRO AVL MEA November–December 2018
levels (for the analogue models), power over Ethernet and support for AES67 RTP audio transport. In other news, Audinate has updated its Dante Domain Manager. The new version reportedly provides advances in diagnostics and usability, extended auto discovery for legacy devices and increased support for larger networks. The automatic device discovery service has been extended to
legacy (pre-v4.0) devices. This makes it easier for products with and without the 4.0 firmware to co-exist in Dante Domain Manager. The Network Diagnostics Report provides visibility of basic network configuration via connectivity, DHCP, DNS and internet reachability tests. Users can now rename Dante domains without having to delete and recreate them. Dante Adapter Modules
www.audinate.com
MICROFLEX COMPLETE WIRELESS ÂŽ
DIGITAL CONFERENCE SYSTEM
Shure Microflex Complete integrated audio system for conferences and meetings. Available in wired and wireless configurations, and with advanced meeting productivity tools, it delivers natural, intelligible audio for both in-room participants and remote attendees.
NMK Electronics Enterprises T: +971 4 266 5244 F: +971 4 262 6682 E: info@nmkelectronics.com W: www.nmkelectronics.com NMKElectronics
nmkelectronics
NMK Middle East FZCO T: +971 4 266 5244 F: +971 4 262 6682 E: info@nmkelectronics.com W: www.nmkelectronics.com nmkelectronics
PRODUCTS
Studio Technologies supports SMPTE ST 2110 STUDIO TECHNOLOGIES has introduced two audio interfaces for applications that use the SMPTE ST 2110 suite of standards to implement audio over Ethernet (AoE) network connectivity: Model 5512 Audio Interface and Model 5518 Mic/Line Interface. Model
Model 5512’s analogue inputs and outputs use 25-pin D-subminiature connectors for interfacing with balanced and unbalanced sources and destinations. Model 5518’s eight mic/line audio inputs are located on the front panel and use standard
Model 206 and Model 208. All offer combinations of analogue and digital audio resources to create on-air talent hubs that deliver audio in both Dante AoE and traditional analogue audio environments. The units’ audio resources and small size enable
Model 5512 5518 allows users to connect eight analogue microphone or line-level sources, and then output in the digital domain by way of an AoE interface. Model 5512 offers similar digital conversion of line-level analogue sources and is available in two versions – one with eight input and eight output channels, and the other with 16 input and 16 output channels. Both models support redundant stream performance following the ST 2022-7 standard.
3-pin female XLR connectors. These analogue audio input signals are converted to 24-bit PCM digital and then transported via the AoE network interfaces. Each unit is housed in a compact, lightweight enclosure, while power can be provided by 100V to 240V, 50/60Hz or 12V DC with redundant operation supported. Further new additions from Studio Technologies include three announcer’s consoles: Model 205,
the creation of on-air positions where space is at a premium, reportedly making them ideal for sports and entertainment TV, and radio events as well as streaming broadcasts. Model 205 and Model 206 are specifically designed for table-top use, while Model 208 is optimised to allow easy mounting to the top or bottom surface of a broadcast set or talent location. www.studio-tech.com
TSL extends connectivity JOINING TSL’S MPA1 range of audio monitors are the new MPA1-Solo-8 and MPA1-Mix-8, which are said to provide all of the workflow and ease-of-use benefits as their MPA1 siblings,
With MPA1-Solo-8, users can browse through analogue and AES audio sources using the scroll to listen function ‘as easily as tuning a car radio’. The front panel display provides high-quality audio level metering, audio
Up to 16 mixes can be created and recalled from the front panel using the scroll to listen functionality. As with all MPA1 products, both MPA1-Solo-8 and MPA1-Mix-8 come complete with a built-in
phase meters and source names. With MPA1-Mix-8, users can create stereo monitoring mixes comprising up to eight audio pairs from any combination of the analogue and AES audio sources.
web-server to allow remote configuration and control, thirdparty control using SNMP and free software updates.
MPA1-Solo-8 while extending the range of connectivity already available in the series. Both products are equipped with 16 balanced analogue inputs, eight AES inputs and eight GPIO ports.
www.tslproducts.com
The Lectrosonics RPS4 power supply
Redundant power from Lectrosonics THE RPS4 from Lectrosonics is a universal DC power supply with redundant internal supply modules designed as a 12V DC source for low-voltage devices such as wireless microphones, receivers, IEM transmitters, IFB transmitters and signal processing equipment. The power supply is housed inside a 1U chassis that negates the need for a separate power strip with individual DC supplies for each device. The RPS4 supplies four 12V DC thread-locking taps, with each providing up to 1.5A. Two internal power supplies and two temperature controlled fans operate in a failover mode for an automatic backup in the event one of them fails. Furthermore, individual 2A blade-type fuses used in cars protect each 12V tap from overload or direct short. The unit can be powered by 100V to 240V AC, 50/60Hz. Output DC ripple is less than 20mV. The unit ships with two 12-inch and two 18-inch DC supply cables. The RPS4 is said by the manufacturer to be the per fect companion for its Venue and Venue 2 receivers. Meanwhile, Lectrosonics has also unveiled the SPDR, a stereo version of its PDR micro digital recorder. The SPDR (Stereo Portable Digital Recorder) is a dual-channel unit designed for use in ENG, film
and video production or as a backup recorder. It records to a Micro SDHC memory card in Broadcast Wave Format (.WAV with iXML metadata) and 24-bit depth, in sample rates of either 48kHz or 96kHz. The unit can accept inputs from analogue line level and AES digital sources, or from lavalier microphones wired for standard Lectrosonics 5-pin ‘servo bias’ inputs. The SPDR can be jammed with time code via an industry-standard 5-pin Lemo connector, and features a temperature compensated (TCXO) time base crystal. www.lectrosonics.com
The Stereo Portable Digital Recorder (SPDR)
High analogue channel counts via AVB RME HAS debuted a new series of AVB converters that are based on state-of-the-art, high-resolution converter components and a fully balanced analogue circuit design. The M-32 Pro AVB series includes the M-32 AD Pro and M-32 DA Pro, two high-end, 32-channel 192kHz converters that meet the requirements for high analogue channel counts. The series offers a signal-to-noise ratio of 120dB(A) with low THD values, placing the converters in the reference class.
In order to connect with a variety of analogue hardware, the individual channels of the M-32 AD Pro and M-32 DA Pro can be operated with different line levels, each with full resolution of the converters. Besides +19dBu and +13dBu, the M-Series also allows working with the SMPTE recommendation of +24dBU at 0dBFS. The M-Series converters boast an AVB interface based on the open network standard IEEE 802.1 and 1722.1, enabling transmission
42 PRO AVL MEA November–December 2018
of the 32 analogue channels at maximum 192kHz sampling rate via a single Ethernet cable. This is in addition to two fully equipped MADI I/Os including separate signal routing. Combined with external AVB switches, the new converters can be integrated into more complex network structures thanks to the time-synchronous signal processing of the AVB protocol. The M-32 DA Pro and M-32 AD Pro converters
www.rme-audio.de
PRODUCTS
Tasker ticks all the boxes
TASKER HAS customised the sheaths of its cables to suit the various audio and video applications that they are used for. In the music market, the soft PVC cable with a low number of shores is particularly relevant, although many of Tasker’s customers are said to prefer the flexibility and mechanical resistance of the polyurethane sheaths. Polyurethane is considered to be a highly versatile material thanks 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.
Sommer goes the distance
As well as the polyurethane sheaths, the polyethylene cables have been designed for both indoor and outdoor applications to provide customers with a high resistance to water and chemicals. For public installations, the company recommends its Low Smoke Zero Halogen sheaths. For medical applications, the silicone sheaths have been designed for installations with an operating temperature of –60°C to +180°C. For underground installations, metallic braided armour covers the entire cable sheath to offer protection even from rodents. www.tasker.it
FOR LONG-DISTANCE signal transmission, Sommer Cable has introduced a new generation of Cardinal DVM-HDBT extender systems that raise the bar for transmissions quality. The compact devices are optimised for continuous operation and process HDMI signals up to the 2.0 standard with all common features such as HDCP 2.2, 4K, 3D, CEC as well as PCM and bitstream audio. Bidirectional RS232 and infrared communication for display or beamer control is also transmitted, while the devices can be powered remotely via Ethernet (PoE). The Cardinal DVM-HDBT extender systems are available as transmitter, receiver and kit.
Cat.6 Pur Superflex
Cardinal DVM-HDBT ‘When designing the new Cardinal DVM systems, we focused on a stable, zero latency transmission of HDMI signals,’ explained Pascal Miguet at Sommer Cable. ‘That way, uncompressed UHD content can be transferred in real-time by using only a single Cat line,
and over a maximum distance of 70m.’ In addition to the updated extender sets, Sommer Cable has launched a new outdoor cable for digital audio and network signals that is being recommended for situations where a reliable temperature resistance, a safe data transfer and high flexibility are demanded. The Cat.6 Pur Superflex is 8mm in diameter for 4x2 wires and is said to be well-suited for use in OB vans. It is available as bulkware or as a ready-made cable. www.sommercable.com
workhorse. STINGER G3 SERIES ®
MULTIFUNCTIONAL PA SPEAKERS & SUBWOOFERS
VISIT OUR SHOWROOM IN SINGAPORE Adam Hall Asia Pte Ltd · Singapore 737853
11 Woodlands Close 01-12 · Phone +65 3152 9345 · asia@adamhall.com a subsidiary of the Adam Hall Group Germany
November–December 2018 PRO AVL MEA 43
PRODUCTS
Klotz says goodbye to distortion GERMAN MANUFACTURER Klotz AIS has unveiled its DX10 passive DI Box that converts a high Ω unbalanced signal into a low Ω balanced signal. The signal from the instrument is fed into the DI box between the instrument and the amp. The DX10 then balances the signal so that it can be transmitted over long distances without hiss or background noise before it is fed into a mixer for further
processing. As it is a passive DI box, it does not require an external power supply and a 6+6:1 transformer ratio. The box incorporates a 100% mu-metal transformer core and a mu-metal shield for RF isolation. The company is so convinced that the ultra-rugged housing will cope with the stresses and strains of
NST Audio adds new tools
live per formance that it is offering a 5-year warranty.
Boom-1 is compatible with the entire range of the manufacturer’s personal mixing systems. Boom-1’s front panel features a ¼-inch TRS stereo headphone in and thru connection, a strength control knob with signal and clip LED indicators, four selectable
NST Audio’s D-Net Ethernetbased control software for PC, Mac and iPad provides the ability to not only control all the devices on a network but also to store preset memories and configure systems offline. Additionally, NST Audio has released a new wall panel remote device for controlling specific parameters with the
www.klotz-ais.com
Click Click Boom!
THE BOOM-1 Tactile Transducer Processor has been developed by Aviom to add processed, lowfrequency tactile information to an in-ear or headphone monitor mix. Designed for ease of use and providing a low-frequency extension to a performer’s personal mix,
BASED ON the same engine as the D48 matrix processor, NST Audio’s D48S expands the system with a range of new audio tools. With inputs and outputs switchable in channel pairs between analogue or AES/EBU, the D48S can be integrated into virtually any system. Compressors are available on every input as well as a
NST Audio’s D48 processor
‘feel’ presets with control over multiple DSP settings from a tight to loose feel and a transducer mute button. On the rear is a locking transducer out, as well as an XLR mono input offering direct connection to the A360 Personal Mixer and an XLR output with level control to deliver a DSP processed signal to an external power amplifier for driving large transducer arrays. Keeping things simple, Boom-1 can be added to any personal mixer with a stereo headphone output or a dedicated mono linelevel output. www.aviom.com
high pass filter, eight bands of parametric EQ, a 28-band graphic EQ, three bands of dynamic EQ and up to 1.3s of delay. Routing to outputs can be configured to either mix-matrix mode, freerouting or several pre-configured routing options, and every output channel has high and low pass filters, 16 bands of PEQ and up to 1.3s of delay. The device also integrates the manufacturer’s new Predictive eXcursion Limiter (PXL) algorithm, designed to offer the ‘best driver protection with the lowest distortion’. Controls on the front panels enable the instant mute of any input or output as well as editing of all the most commonly used parameters and recall of presets.
manufacturer’s audio processors. The panel is designed to fit into a single-gang electrical wall box and can be powered by a PoE router. The VR1 is programmed using the NST Audio D-Net software and can be set up to allow control of one or more NST Audio processors connected to the same network as the wall panel. Once set up, the VR1 reportedly requires no technical knowledge to operate. The full colour 128x128 pixel LCD display allows all pages to be labelled by the install engineer, leaving venue staff with a remote that adjusts the configuration and volume of the sound system in multiple locations. www.nstaudio.com
Flexible OB from Sony
HDCU-3100 SONY HAS added the HDCU4300 and HDCU-3100 to its inventory. The HDCU-4300 is a 2U full-rack sized CCU and 4K/ HD for IP baseband processor unit with built-in IP and SDI inter faces designed to save space and weight in OB trucks. The unit enables either 4K or HD IP operations through a single Networked Media Inter face, alongside SDI outputs. The unit is also HDR ready and can handle High Frame Rate HD up to 8x slow motion. The HDCU-3100 is a 1.5U compact CCU that brings IP capabilities to Sony’s system cameras. Combined with the HKCU-SFP30 option board, the
HDCU-3100 is able to support SMPTE ST 2110 Professional Media over a managed IP network suite of standards. The HDCU3100 is equipped with eight built-in SDI outputs, including four 3G-SDI outputs. An LED colour indicator shows the status of optical transmission on the front panel with different LED colours to optimise operability. The PXW-Z190 and PXW-Z280 have also been unveiled by the camera manufacturer. The PXW-Z190 is a 4K compact camcorder that has been designed for independent shooters in applications such as corporate, event production and education. The camcorder’s
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three ⅓-type Exmor R CMOS image sensors capture RGB light independently and deliver 4K 50p/60p imagery with high resolution and a wide range of gradation. The model incorporates a 25x optical zoom lens to cover a wide focal range for multiple shooting requirements, while a 50x zoom equivalent image can be captured thanks to the camcorder’s 4K
PXW-Z190 resolution sensor. The PXW-Z280 is an extension of the company’s XDCAM line of professional
PXW-Z280
camcorders. The three ½-type Exmor R CMOS sensors deliver high sensitivity of F12 (59.94p), long zoom ratio and deep depth of field. The 3-chip sensors and 4K 4:2:2 10-bit are said to add vivid imager y and delicate colour gradation. The Face Detection Autofocus function is designed for recording inter views or lectures, where a specific person will automatically stay in pin-sharp focus when applied together with registration function of the face. www.pro.sony
the new flagship FOR LIVE SOUND AMPLIFICATION
TGX 4-CHANNEL AMPLIFIERS Along with unprecedented power density, TGX offers Dynacord’s signature superior audio quality, advanced reliability and power efficiency. With up to 20,000 watts of total power output, TGX amplifiers release any loudspeaker’s potential with unparalleled performance and unrivalled quality.
The industry’s most advanced tour-grade 96 kHz DSP with FIR Drive technology Integrated networking with proven Dante Audio and OCA (AES70) Sophisticated protection algorithms for flawless and reliable operation Pre-configured system rack designed for professionals by professionals New system software with intuitive workflow guidance to save time and effort
Learn more: www.dynacord.com/tgx
PRODUCTS
Shure upgrades bodypack receivers SHURE HAS released the P9RA+ and P10R+ bodypack receivers that operate with the PSM900 and PSM1000 Wireless Personal Monitor Systems, respectively. Both the P9RA+ and P10R+ are said to deliver enhanced RF performance while preserving the audio quality and transparency of the PSM900 and PSM1000. Designed for live performers, broadcast production managers, sound technicians and rental agency managers, the receivers provide an analogue/ digital hybrid system that reportedly increases headroom, stereo separation and audio fidelity. The P9RA+ is a compact, stereo bodypack that is compatible with the original P9T and P10T
P9RA+ transmitters and all Shure SE Sound Isolating Earphones, while the P10R+ is a low-profile, twin-antenna diversity bodypack receiver with features such as full bandwidth RF scan, precision front-
end RF filtering and automatic RF gain control. Built with an integrated FPGA circuit, both receivers are equipped with advanced DSP technology that provides highquality digital audio over analogue RF transmission, according to the manufacturer. By offering higher RF sensitivity, the P9RA+ and P10R+ reportedly deliver a cleaner RF signal and better end-of-range performance. The P10R+ is said to possess a more robust and reliable RF signal in close proximity to digital transmitters when used alongside digital wireless microphone systems in crowded spectrum spaces. www.shure.com
Kevic builds in Dante KEVIC HAS unveiled a series of products compatible with the Dante network. The range includes four digital signal processors (DN3124, DN3144, DN3124(B) and DN3144(B)), a digital rack mixer (G-16), four powered coaxial stage monitors (CM-1082PN, CM-1122PN, CK1082PN and CK-1122PN), eight full-range powered speakers (KS-1082P, KS-1102P, KS1122P, KS-1152P, MS-1082PN, MS-1102PN, MS-1122PN and MS-1152PN), six powered line arrays (LS-2107PF, LS-2103PN, LS-2083PN, LW-1152PF, LW1181PN and LW-1151PN) and four digital snake boxes (DMB-04, DMB-08, DMB-16 and DMB-32). All the speakers and line arrays include built-in Dante, DSP and Class-D amplifiers. According to the Korean manufacturer, it is
possible to build a lossless, noise-free system using only Kevic products. Dante has also been integrated into the DSPs, mixers and snake boxes. SFP
DEVELOPED TO connect trusted analogue devices within a Dante network, Neutrik has created the NA2-IO-DLINE interface. Offering two inputs and two outputs, the cable-based product is an end-ofnetwork device that allows four analogue signals to be connected simultaneously, hence bypassing the need for new devices. The Dante I/O Interface has been optimised for extreme use together with input and output signal conversion. Other features include stable casing and a lockable etherCON connection, while the adapter can be used multi-functionally as a standalone
technology has been added so that all network data can be transferred and managed, even from a distance. The company claims that the system is the first to be manufactured with a direct link configuration to the speaker’s Ethernet port. The speaker cable has also been simplified so that users can configure a larger system or adapt to any additional system changes. www.kevic.com
USERS OF Yamaha consoles are now able to access Stage Tec’s Nexus system over IP via a Dante interface. This provides Yamaha consoles with the ability to control the Nexus TrueMatch microphone inputs and allows for the use of Nexus converters. The licence for Nexus remote control via a Yamaha mixing console can be acquired directly from Stage Tec. TrueMatch input parameters such as phantom power, low cut and gain can be controlled using the XDIP Dante audio over IP interface and the XACI control board. A Dante board provides up to 64 channels, while
SD12 - OUR ULTIMATE
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46 PRO AVL MEA November–December 2018
device in floor outlets or in 19-inch racks. The Liechtenstein-based manufacturer has also created the True Outdoor Protection series (TOP) that provides protection against moisture and precipitation in addition to the sun and ultraviolet rays. The new series includes powerCON TRUE1, etherCON and XLR products, which have been certified in accordance with IEC 61076-2103, IEC 60320, UL 1977 and UL 498 to meet the requirements for outdoor use as laid out in UL50E. www.neutrik.com
Nexus becomes compatible with Yamaha
LS-2107PF
DMB-32
Neutrik makes a connection
Nexus with the XDIP Dante audio over IP interface and the XACI control board up to four Dante boards can be used per mixing console. The licence for Nexus remote control by Yamaha mixing consoles must be purchased from Stage Tec. www.stagetec.com www.yamahaproaudio.com
#FESTIVALSD12 www.DIgIco.bIz
PRODUCTS
Model 24 arrives
THE MODEL 24 digital multitrack recorder has been designed by TASCAM for studio and live applications. It offers 24 tracks of 24-bit, 48kHz audio capture – or 22 channels and a stereo main mix – and 22 playback tracks via either USB 2.0 or to the system’s in-built SD card recorder. The SD Card recorder facilitates 1-touch recording functionality and incorporates transport controls, automatic or manual punch in and out, and overdub. Meanwhile, Model 24’s built-in 22-channel mixer and 100mm long-throw fader simplify mixdown. A pair of monitor returns, a subgroup bus and stereo main bus are also equipped with dedicated 100mm faders. The system offers 12 mono channels, each of which has XLR mic and ¼-inch line inputs. The ¼-inch
channel inputs 1 and 2 can be switched between line and instrument level and include a ¼-inch TRS insert point. Four stereo channels with mono XLR mic and left and right ¼-inch line inputs also feature. All 16 microphone inputs possess a preamp gain control as well as an overload (clip) indicator for the channel’s TASCAM microphone preamp. Each of the first 20 channels also includes Mute and PFL solo commands. Based on TASCAM’s Portastudio digital technology, with an LCD screen, digital recording abilities and Bluetooth input, Model 24 has a retro look with colour-coded knobs and faux wood sides. www.tascam.com
Clair Brothers identifies similarities OVER THE past three years, Clair Brothers’ TrueFit Technology waveguide system has evolved. Initially designed to optimise frequency dispersion using a bespoke horizontal waveguide that enhances directivity throughout an entire space, the modular and fully customisable waveguide has now been modified to operate as a ‘ready-fit’ option specifically in small- and medium-sized venues sharing overall geometric similarities. As such, the kiTCurve-TrueFit system can be adapted for both ‘landscape’ and ‘portrait’ room layouts. kiTCurve-TrueFit Landscape and
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kiTCurve-TrueFit Portrait models have been added as standardised TrueFit line array systems. www.clairbrothers.com
Simple selection from Bose
BMSD BOSE HAS developed a new online, interactive tool to aid audio integrators in specifying the right Bose products in commercial audio applications. The Business Music System Designer
(BMSD) tool can be accessed on the manufacturer’s website. The free-to-access tool focuses on FreeSpace and EdgeMax recommendations for non-technical users. The recommendations are based on parameters such as room dimensions, mounting style, desired coverage and volume level. According to Bose, no pre-existing technical knowledge is required and the design time takes less than 10 minutes to complete. pro.bose.com
November–December 2018 PRO AVL MEA 47
PRODUCTS
Countryman dons a new headset to tackle background noise COUNTRYMAN’S NEW H7 headset microphone is designed to shut out surrounding noise with a wide dynamic range and a precision cardioid pattern. It is also designed to be rugged, yet comfortable to wear and is intended for location sound, theatrical and presentation applications, among other uses. The manufacturer states that the mic’s extended dynamic range and precision cardioid pattern provides consistent coverage across the audio frequency range, ensuring an uncoloured on- and off-axis response and a noticeable reduction in feedback and surrounding noise.
AS A result of feedback from the theatre, film and television industries, DPA Microphones is adding to its d:screet and d:fine ranges with its ‘smallestever’ microphone capsule. The d:screet Core 6060 and 6061 Subminiature Microphones and the d:fine Core 6066 Subminiature Headset Microphone are 3mm
reports that more colours will be added at a later stage. The d:fine 6066 is described as a one-size-fits-all headset that attaches over the ears and has a spring mechanism to help it grip below the ears and to the side of the head for added security. The cable attachment has been redesigned so that the cable
H7 headset mic The H7’s ‘ultra slim’ sideaddress capsule maintains a low profile while removing sweat and moisture. The unit weighs in at under 7g and its frame adjusts to fit all manner of head size. The mic boom slides
independently of the ear loops, ensuring the correct placement for the user’s mouth, and can be flipped to run down the left or right of the face. www.countryman.com
A-T updates ATUC-50
ATUC-50
DPA goes miniature
AUDIO-TECHNICA HAS announced the availability of new firmware for the ATUC-50 Digital Discussion System line-up. New features of the V1.6.1 upgrade include an increase in the maximum number of delegate units (ATUC-50DU and ATUC-50IU) from 50 to 100 per ATUC-50CU together with support for the ATUC-50IU Integration Unit for discreet installations. The free firmware can be downloaded from the ATUC-50 product page on the ATUS website.
The manufacturer has also upgraded its entire line of network microphones and devices and is offering AES67-compatible ‘a’-designated versions of all its previous models. They are designed for audio over IP interoperability, connecting directly to any AES67-compliant network, including those that use Livewire, Ravenna and Q-Lan AoIP technologies. www.audio-technica.com
The 6066 subminiature headset and 6060 lavaliers in diameter – 2mm smaller than DPA’s existing 4000 series of miniature microphone products. All three microphones incorporate the company’s Core by DPA microphone technology that reduces distortion and increases dynamic range. The capsules are omnidirectional and have a frequency range of 20Hz to 20kHz. The d:screet 6060 lavalier has a noise floor of only 24dB(A), while the d:screet 6061 lavalier and d:fine 6066 headset have noise floors of only 26dB(A). All three capsules are available in black and beige and the company
runs down the wearer’s back and cannot be seen. Meanwhile, DPA has also unveiled its pocket-sized MMA-A Digital Audio Interface, a 2-channel preamp and A/D converter that reportedly works with any iOS device, Mac or PC computer, and has been designed for users to broadcast or record sound anywhere in the world. The MMA-A comes with interchangeable Lightning and USB cables for connectivity and MicroDot inputs that allow it to be connected to all DPA capsules. www.dpamicrophones.com
Professional wireless audio for smartphones SENNHEISER IS targeting a new breed of broadcaster with its latest wireless microphone solution. Memory Mic is a professional wireless mic that pairs with users’ phones via Bluetooth, allowing them to capture high-quality audio for their smartphone video recordings. This, says Sennheiser, makes Memory Mic the perfect tool for mobile journalists. ‘The benefits for the mobile journalist include audio pickup in broadcast quality via the free Sennheiser app, 1-touch synchronisation of audio and video via Bluetooth, no issues at all with range, up to four hours of operating time and recharging via USB,’ explained Sennheiser’s Tobias von Allwoerden. The Memory Mic is a condenser microphone with an omnidirectional pick-up pattern
The Sennheiser Memory Mic and weighs just 30g. Via the app, the sensitivity of the microphone can be set at three levels in order to adapt to louder or softer voices. The operating time of the microphone amounts to up
48 PRO AVL MEA November–December 2018
to four hours – a full recharge of the integrated lithium-polymer battery via the USB port takes ‘no more than two hours’ and, within an hour, the battery will have recharged to about 70% of its full capacity. It can be attached to clothing via a magnetic clip. Staying with audio capture but moving into the boardroom, Sennheiser has released a second-generation version of its TeamConnect Ceiling array microphone that promises ‘superior’ audio quality for voice and video conferences as a result of its automatic adaptive beamforming technology that uses the 28 omnidirectional microphone capsules integrated within the ceiling array. Furthermore, TeamConnect Ceiling 2 also offers support for Dante networks and Power over Ethernet (PoE), simplifying installation.
Lastly, and at the other end of the signal chain, a new professional IEM series has been launched, beginning with the IE 40 Pro entry model. At the heart of the IE 40 Pro is a Sennheiser driver that offers lowlevel distortion of 0.1% at 1kHz and 94dB. Neodymium magnets provide the necessary punch to take SPLs up to 115dB. To protect users against excessive stage sound, the IE 40 Pro is able to reduce ambient sound by up to 26dB. This is achieved by a choice of silicone ear tips and a special ear tip made from memory foam, which expands to fit the ear canal. The IE 40 Pro will be available in black and transparent versions, complete
with a soft storage pouch, a cleaning tool, silicone ear tips in three sizes (S, M, L) and a pair of memory foam ear tips in size M. The IE 40 Pro will be joined by the IE 400 Pro and the top-ofthe-range IE 500 Pro in the near future. www.sennheiser.com
IE 40 Pro
by
Vero delivers spectral balance, directivity and level control through natural means, so transient and harmonic information remain intact. Its stereo image is both spacious and realistic, meaning artists, engineers and audiences around the world can enjoy unprecedented dynamic range, dimension and ďŹ delity.Â
vero-system.com
PRODUCTS
Symetrix adds DSP control SYMVUE HAS been launched by Symetrix enabling custom GUIs authored using Symetrix’s Composer to be designed and tested without writing any code. With the SymVue software deployed on Symetrix Control Server hardware, Symetrix DSPs are able to respond to commands from any browser-enabled device. Parameter changes remain in sync across all networked devices including Composer, ARC Wall Panels and ARC-WEB, third-party controllers and SymVue clients on Windows PCs. SymVue is distributed to one or more users across a wired network or Wi-Fi via Control Server hardware as well as existing and upcoming Symetrix apps. Multiple users can operate SymVue with a unique username and password. Each installation of SymVue for Control Server also includes five
Q-Sys heads into the cloud
configurations of the application, as well as five configurations of the Mixer application, enabling users to create intricate and complex systems out of the box. SymVue for Control Server virtually eliminates device and
operating system compatibility issues. Furthermore, security and user access is centrally managed, enabling administrators to deal with changes and reconfiguration. www.symetrix.co
AS A subset of the latest Q-Sys Designer Software v7.1, Q-Sys Designer Asset Manager is a cloud-based feature that provides quicker and easier downloads of new Q-Sys assets including plug-ins for third-party device control. The addition of the Asset Manager enhances contributions to the growing Q-Sys asset library before delivering these resources to system designers and administrators. The Asset Manager currently features plug-ins from
some of the most commonly used elements in today’s conference rooms, including devices from Microsoft, Global Cache, Attero Tech, Atlona, Clock Audio and Visionary Solutions. Each plug-in includes a detailed description, links to relevant product pages, imagery and access to previous versions of the asset for when reversion is necessary within a system design. www.qsc.com
Redefining processing JÜNGER AUDIO is hoping to redefine how broadcasters approach their audio processing requirements with flexAI (Flexible Audio Infrastructure). With additional software licences, broadcasters and postproduction facilities can customise the system to suit their needs. Said to enable the implementation of a range of audio applications without hardware or rack space constraints, flexAI applications run on off-the-shelf
servers such as the company’s servAI line or on AIXpressor. flexAI can run on a single AIXpressor or servAI unit, or on a spanned array of multiple units. Additional hardware units can be cascaded whenever more processing power or media interfaces are required. In other news, the German manufacturer has upgraded its D*AP8 Monitoring Audio Processor (MAP). The new firmware (v3.0) provides ‘a much easier to use
The D*AP8 MAP interface and improved alarm functionality so that broadcast engineers are alerted sooner if measurements fall outside permitted ranges’. When fitted with a Dolby decoder and encoder, the processor is reportedly the only device on the market capable of covering a full Dolby workflow. Firmware v3.0 also delivers improvements to MAP’s alarm
functionality as it now offers an independent alarm for the main measurement and additional alarms for all four log-ports, each of which monitor up to eight channels independently from the actual signal processing in the device. The alarms alert the operator when preset loudness thresholds are exceeded, and these signals can be delivered
by SNMP and documented in the optional J*AM logging software. Alarms can also be used to trigger changes in signal processing, rerouting of channels or switching notification lights in the facility. The processor is also equipped with the latest drivers for Dolby’s current codec option board, the CAT1100, running a Dolby D/D+ encoder. www.jungeraudio.com
MediaCentral takes to the web
L-ISA integrates with Avid L-ACOUSTICS HAS announced the addition of an AAX DSP version of its L-ISA Source Control plug-in for the Avid Venue S6L console’s control surface. Users will have access to all ‘source object’ controls and all L-ISA parameters can be stored in the console’s snapshots engine and recalled in the same way as other console parameters. Portability and live interaction are cited as some of the benefits, plus the loudspeaker layout can
easily be adapted to location changes while maintaining the spatial properties of the mix. ‘Sound engineers are able to use a familiar workflow and a single interface to manage an objectbased mix easily and intuitively, for a variety of loudspeaker configurations, from frontal layouts to surround or 3D,’ said L-ISA director of R&D, Guillaume Le Nost. www.l-acoustics.com
50 PRO AVL MEA November–December 2018
AVID HAS launched a new, web-based version of its MediaCentral workflow production and management platform. The ‘next-generation’ MediaCentral platform engine found in the new version provides capabilities such as automated content indexing, workflow orchestration and centralised administration. The new functionality has been added to allow users to locate and access media assets remotely. This, Avid states, will facilitate a quicker turnaround of content and delivery to a diverse range of channels and devices, while also automating workflows. In other Avid news, the Nexis family has grown with the addition of the E5 NL nearline storage solution. Accessed through MediaCentral Cloud UX or Media Composer, it enables the management of media across online, nearline and
Avid Venue On-Stage app
archive storage resources. The Avid Nexis E5 NL integrates into media applications, services and workflows. It includes the web-based Avid Nexis management console app for managing, controlling and monitoring Nexis installations. Finally, Avid has unveiled its OnStage iOS app for its Venue software that provides a range of new control surfaces and software workflows, enabling monitor engineers to
reportedly control any mix from any location. Monitor engineers are said to be able to take control of their individual monitor mixes using a user interface on an iPad, iPhone or iPod, and step away from the Avid mixing system to fine tune individual monitor mixes while onstage, hearing exactly what the performers hear. www.avid.com
E
E SERIES
PROFESSIONAL MIXING CONSOLES
Mixing tradition redefined Redefining the tradition of professional analog mixing desks with high-grade preamplifiers and EQs, extended dynamic and exceptional sound clarity in a road proof metal chassis. All consoles feature semi-parametric EQ with switchable Q, two Hi-Z inputs, channel inserts, and the newlydesigned 32-bit floating-point Z.CORE DSP effects engine offering 80 predefined presets and 20 user-presets. Multiple auxes, assignable buses, adjustable monophonic output, and USB driverless stereo IN/OUT allow for wide-ranging routing capabilities.
E 24
E 16
E 12
• • • • •
• • • • •
• • • • •
18 Mic/Line IN, 3 Stereo Line IN 8 Single-Control Dynamic Compressors 4 Band Semiparametric EQ 6 Aux Sends per Channel 100 mm Faders
12 Mic/Line IN, 2 Stereo Line IN 6 Single-Control Dynamic Compressors 4 Band Semiparametric EQ 6 Aux Sends 100 mm Faders
6 Mic/Line in, 3 Stereo Line IN 4 Single-Control Dynamic Compressors 3 Band Semiparametric EQ 4 Aux Sends 60 mm Faders
www.rcf.it
PRODUCTS
EXBOX.BLDS gets hardware update DIRECTOUT HAS announced a new hardware version of its EXBOX.BLDS automatic redundancy switch. The hardware will ship with a modular MADI inter face in order to cover all applications and formats in multichannel MADI systems. The new hardware design of EXBOX. BLDS is based on the MADI modules DirectOut uses in its
SG.MADI SoundGrid inter face. According to the manufacturer, users are not only able to receive any configuration of the two MADI ports as required but are also able to change this configuration in the future. DirectOut is also continuing to develop its technical partnership with globcon in the form of free globcon support for the MADI.SRC.
The EXBOX.BLDS MADI redundancy switch ‘It’s hard to improve a solid working product,’ said Jan Ehrlich, MD at DirectOut. ‘However, globcon support is really a feature
that adds a big improvement to the hardware since it is now able
to monitor what’s going on. That’s the icing on the cake for our MADI.SRC.’ Control plug-ins for the ANDIAMO series have also been completed, along with the management of MIDI over MADI and SERIAL over MADI features of all ANDIAMOs via globcon. The DO.Net implementation for M.1k2 has also been developed and enables control of the ANDIAMO series through globcon via Ethernet UDP. www.directout.eu
CEDAR Studio 8 goes live CEDAR AUDIO’S Studio 8 builds upon the previous incarnation of the CEDAR Studio suite of plugins, CEDAR Studio 7, by adding new modules, increasing its compatibility with plug-in formats and making improvements to existing functionality. Available in AAX, VST 2, VST 3 and AU plug-in formats, as well as a standalone version of Retouch, CEDAR Studio 8 includes the DNS Two module,
a dialogue noise suppressor based on the DNS 2 hardware unit that allows users to adjust the attenuation of a recording to achieve the desired amount of noise reduction. Meanwhile, the new Declip 2 module improves on the original CEDAR Declip and is designed to remove clipped samples and reconstruct the original signal, improve clarity, eliminate distortion and restore the original
dynamic range of damaged audio. The other two new modules included within Studio 8 are for use with Pro Tools only. They are Manual Declick, which aims to restore analogue and digital audio media that suffers from long clicks and extended scratches, and Dethump, which replaces unwanted sound with restored low-frequency audio. www.cedar-audio.com
CEDAR Retouch inside Studio 8
UNITE THE PEOPLE DIGITAL WIRELESS COMMUNICATION SYSTEM
1/2 PAGE • Wireless Microhone • Interpretation Application • Assistive Listening • Guided Tours www.beyerdynamic.com/unite
52 PRO AVL MEA November–December 2018
FEATURES: LIVE PRODUCTS
New VHD2.18J Subwoofer Rush Betten Hex 1
Martin is in a Rush FOLLOWING AN official launch at InfoComm 2018, Martin Professional has announced that the Rush entertainment lighting fixtures are now shipping. Featuring 12W RGBAW+UV 6-in-1 LEDs, the Rush Batten Hex 1 is a 12-cell batten wash fixture that can transmit intense light for colour, white or blacklight applications. With available pixel mapping of the individual LEDs and a removable diffuser lens that increases
the beam angle of the fixture from 25° to 32°, the new model can be specified for multi-purpose applications. The Rush Blinder 1 WW is an ultra-bright 2x2 LED blinder fixture incorporating four individually controllable 100W COB warm white LEDs capable of providing over 19,000 lumens output. A unique frame can be used to attach fixtures together in a grid pattern, while the individually controllable COBs create pixel effects across multiple fixtures. Designed as a successor to the Rush PAR 1, the Rush PAR 3 RGB is a 36W single-lens LED PAR can fixture that comes with fully pre-mixed colour. A magnetically attached beam angle reducer lens provides both 80° and 14° Shure MX-153 headworn mics were used at the beam event angle options, while a fanless design provides quiet operation. Finally, best the feedback LED Beams, the same number of Robin Rush was PAR from 4 UVattendees has beenwho created seen LED panels utilised Mini Pointes as well as a dozen Robin 100 had never as a single-lens UV LED PAR in can fixture that in manner,’ she notes. ‘The client was LED Beams. The solution was completed black-light applications. Integrating a ecstatic we produced next-level innovation with 24 LED PAR cans with added 100W COB 400nm UV LED mounted in a not commonly seen in the South African light, effects from an MDG Haze machine, all reflector for high-output ultraviolet controlled from an MA Lighting Dot2 desk A/V space. For one of the largest speaker air the fixture incorporates regulated with fader wing. bureaus in the a technical cooling forworld, quiethaving operation. ‘The design for the event took two weeks partner they can rely on to surpass toRush finalise,’ Ms Shekleton. ‘The expectations and deliver the goods on the www.martin.com PARrecalls 3 RGB client trusts our creative process and day is invaluable.’ asked us to create something unique. A/V While impressing numerous potential technology plays a crucial role in making major clients has to be the main success of this project for the rental company, Ms an event look unique, how the gear is Shekleton also believes there have been utilised and paired up with the content other advantages. ‘This event showcased created makes all the difference. We the Multi-Media experience to people who decided to create the content to highlight the design, showcasing a variety of colours may not have been exposed to it before. We think the differences between us and as well asHAS deploying screens in aProfile, more PHILIPS addedthe the VL2600 traditional “PiP” format.’ Spot and Wash to its Vari-Lite brand. The any other player in the arena in South Reflecting on theproduce event itself, Ms lumens ofAfrica are clear. We expect to win more Profile and Spot 19,000 Shekleton clearly very happy with contrast business as a result of it.’ high colouristemperature and high the company’s work. ‘The eventengines. was light output from their 550W With resounding success. Theon the www.multi-media.co.za afantastic, range ofa7° to 48°, they expand colour range of the VL2500 and reportedly offer a broader choice of saturated colours while maintaining the familiar Vari-Lite colour palette. Effects features include iris, two gobo wheels, one fixed colour wheel, prism and variable frost. Described by the manufacturer as ‘compact, lightweight, fast and accurate’, the Profile and Spot also benefit from a flat, even beam, a full wipe framing shutter and a CRI of 81. The VL2600 Wash produces 22,000 lumens of high colour temperature from its 550W engine and has a zoom range VL2600 Profile of 12° to 63°. It includes an internal, Wash matches its Profile and Spot siblings beam-shaping framing system and has with a CRI of 81. an adjustable beam edge feature (PC or Fresnel). Other benefits include a variable A d&b audiotechnik Q Series system provided the main PA fan control and a fixed colour wheel, and the www.vari-lite.com
Housing two 18” high performance transducers the VHD2.18J is a direct radiating bass-reflex subwoofer. The VHD2.18J’s optimised, high efficiency, bass-reflex design produces considerably more output than other similar double 18” enclosures and features intuitive integrated flyware that allows for fast rigging of multiple cabinets. Johannes Krämer works with many of the worlds leading artists, promoters and events. When he visited KV2 Audio he was looking for something special in a sub. After discussions with Chief Engineer, George Krampera the VHD2.18J was born.
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Philips updates its VL2500 Series
George Krampera Chief Engineer, KV2 Audio
Johannes Krämer Sound Engineer, Richie Hawtin
www.kv2audio.com
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PRODUCTS
Calling in the Lexperts THE LEXPERT family is a new range of LED units from ADB Stagelight, designed to replicate traditional white light sources. Family members include the Lexpert Profile spot, Lexpert Fresnel and Lexpert Emphasy, all of which are available in two versions, offering different colour temperatures: warm (3,200K) and daylight (5,600K). Lexpert Profile is a 300W profile spotlight built to replace a 1KW halogen profile fixture. Modular in design, its body contains the LED source and an optical unit with either a 15° to 30° or 25° to 50°
zoom. The two zoom modules are interchangeable. Developed to take the place of 1KW halogen Fresnels, Lexpert Fresnel presents a 150W LED source of white light and is also available in warm and daylight versions. It is designed to be light and compact, while reportedly keeping heat and sound emissions down, with a noise level of less than 30dB. The Fresnel also has a 200mm lens and motor-driven linear zoom, delivering a uniform beam, which can be adjusted from 8° to 80° via local and DMX controls. Users are able to select
between 8- and 16-bit operation on four channels, with four preset dimmer curves, or make manual adjustments using a knob on the back of the unit. It has a frequency range of 600Hz to 48kHz, and control is offered through DMX512, RDM and Art-Net 3. Finally, the Lexpert Emphasy is an LED profile spot intended primarily for accent lighting. With a lightweight construction and built-in electronic control, the unit is also fanless resulting in ‘total silence’ during operation. ADB Stagelight emphasises the aesthetic look of the Lexpert Emphasy, stating that
Claypaky adds to Axcor range
Axcor Profile 600 FOLLOWING IN the footsteps of the Axcor Profile 900 LED spot profile, Claypaky has unveiled the Axcor Profile 600 and
400 luminaires featuring the manufacturer’s patented beam framing system. Both models are available in two versions: with 6,500K colour temperature and high light output, or with 5,600K colour temperature and a CRI of around 90. Axcor Profile 600 has a wide zoom range from 5° to 45° (1:9 ratio) which means that, according to the manufacturer, the light can be used in a variety of situations, including those where a narrow angle is better. It incorporates one colour wheel with seven colours, one rotating gobo wheel with six gobos and a rotating 4-facet prism. Meanwhile, Axcor Profile 400, measuring 65cm high, incorporates a framing system that works on four planes, an effects section with an animation wheel, a colour system
with linear CTO and a high precision mechanical iris. It has three operating modes: silent, standard and auto. www.claypaky.it
Axcor Profile 400
The three Lexpert models it is ‘a solution for all applications where the fixture cannot be hidden and an object or an architectural detail has to be enhanced’. It
features a high colour-rendering index (CRI≥95), stable-over-time and a reported high light output-topower consumption ratio. The lens is designed around the LED and is said to deliver a precise, sharp, perfectly diffused beam. Lexpert Emphasy is available in several versions, with different beam angles (19°, 26°, 36° or 50°), warm and daylight colour temperatures (3,200K or 5,600K), body finishing colour (black or white) and a DMX version for theatrical use. www.adbstagelight.com
House lights come into the mix CHAUVET HAS responded to requests for full colour mixing in house lights with its Ovation H-605FC. The convection cooled fixture is powered by an RGBA-Lime LED engine, reportedly enabling it to replicate nearly any colour, as well as virtually any colour temperature of white, making it suitable for traditional house lighting as well as applications that call for more colour to be added to the room. The fixture offers colour temperature presets from 2,800K to 6,500K, 16-bit dimming and adjustable Pulse Width Modulation, which avoids flickering on camera. It offers interchangeable lens plates to allow the fixture’s beam angle to go from narrow to wide, while an included yoke allows for mounting from pipes or integrated loop-eyes. The light can be controlled via DMX, WDMX or RDM
Ovation H-605FC adds colour to house lights and has 5-pin XLR and terminal blocks for DMX connections. www.chauvetprofessional.com
Elation caters for all weathers WITH MORE and more events being staged outdoors, Elation Professional has expanded its range of IP-rated products with Cuepix 16 IP, a 4x4 matrix LED blinder and effects panel with an IP65 rating. Cuepix 16 IP is an updated version of the company’s 5x5 Cuepix Panel and houses 16 long-life 30W RGBA COB LEDs to provide a ‘full spectrum of well-balanced, custom colours with no pixelated rainbow shadows’. The amber LED is said to extend the possible range of colours and give more control over white balance.
Cuepix 16 IP
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The COB LEDs reportedly give a higher density output and a more even light distribution. Each COB module is individually controllable, while RGB, dynamic amber and pixel flip modes add to the LED’s ‘creative potential’. The five pixel flip modes allow users to uniformly configure all pixels in multi-panel configurations, regardless of the installation setting. The LED colour matrix projects a wide 62° beam angle with an 87° field angle. When used with cameras, the silent fixture is flicker-free thanks to the LED refresh rate and gamma brightness settings. Cuepix 16 IP is said to
The eCast App dim smoothly all the way to zero with adjustable dimming curves. The fixture also includes an adjustable high-speed strobe.
Meanwhile, the lighting manufacturer has unveiled eCast, a stage lighting control app designed for use in small- and medium-sized venues. The app requires an Elation 4Cast DMX Bridge as the interface between lighting fixtures and an iOS device. The eCast App can control up to 576 lighting fixtures and up to 12 DMX universes, and includes an effects generator for movement, colour and flash effects. The app will work with any Art-Net or sACN node and is available from the App Store. www.elationlighting.com
Minimalist design, maximum connectivity
Azimut
Complete audio solution with plug and play capabilities Bluetooth connectivity and onboard Spotify Dedicated app via Wi-Fi
PROCOM exclusive distributor for: UAE, Qatar, Saudi Arabia, Kuwait, Bahrain, Oman, Yemen, Egypt and Lebanon. sales@procom-me.com
PRODUCTS
Fiilex enters full-colour RGB lighting market
The Matrix II Tunable White THE MATRIX II RGBW fixture marks Fiilex’s entry into the fullcolour RGB lighting market. To differentiate it from its rivals, the Matrix II RGBW features Dense Matrix LED clusters to create multi-wavelength colour groups with multiple custom chips covering a specific hue rather than single chips representing a
hue range. This approach means each chip outputs a specific portion of the hue wavelength, which the manufacturer states produces ‘a broader and deeper range of hue than other fixtures’. The design of the fixture sees four Dense Matrix LED clusters set into a customdesigned reflecting chamber and enclosed by a layer of diffusion. It supports additional optics and accessories that can reshape the fixture’s illumination and is compatible with light banks from Chimera as well as DoP Choice when using the speed ring accessory. It can also be used as a front-focused light with the optional Quad-Fresnel. The Matrix II is available in two models. The manufacturer states that the Matrix II Tunable White and the RGBW model both offer
‘an improved mechanical design, smoother dimming down to 0%, magenta/green hue adjustment and tunable CCT’ (2,800K to 6,500K and 2,800 to 10,000K, respectively). The fixtures draw 340W of power and are constructed of aluminium along with rubber at the impact points. www.fiilex.com
The optional Quad-Fresnel
Charles and Dalis at PL+S 2018
Silent and smooth for Robert Juliat SHARING THE same technology as the manufacturer’s Alice and Oz follow spots, the Charles 960SX series represents another new range of LED profiles. The 600W profiles are available in three variable zoom ranges (29°/50°, 15°/40° and 8°/16°) and exhibit a high optical efficiency with a 6,000K colour temperature and a CRI in excess of 90. Smooth electronic dimming and an integrated, flicker-free power supply ensures silent operation together with a high output reaching 80% of the 2.5kW HID D’Artagnan capabilities.
Featuring a 4-colour mixing system (red, green, royal blue and warm white 2,200K), the Dalis range has been expanded with the introduction of Access 863. The 150W LED cyc light shares the same technology as the original Dalis 860 Cyclorama fixture, offering just four colours and 24 of the asymmetrical micro-reflectors. Designed for the creation of colourful upstage or downstage lighting, the Dalis 864 Footlight is a 150W colour variation of the Dalis 862 tuneable white footlight. www.robertjuliat.com
PR Lighting brightens its catalogue A RAFT of new products has been added to the PR Lighting catalogue. The IP65 Arc LED 60 features Osram 60W LEDs, a compact size (3.75kg), a 4.7° beam angle and a variable colour correction (3,200K to 7,300K). It can be hung in any position and is powered by a rechargeable lithium-ion battery. Designed for outdoor events and activities, Arc LED 60 also incorporates a DMX512 wireless receiver, an optional DMX512 wireless transmitter and is housed in high-intensity, die-cast aluminium.
Next on the list is XLED 6019, a bright LED colour wash moving head luminaire featuring 19 Osram 60W LEDs. It includes a variable colour temperature (2,700K to 10,000K) and effects such as rainbow, wash, beam, profile, kaleidoscope, swirl and various macros. Alongside a pan tilt swap and invert function, the head movement is 540° pan and 0° to 180° tilt. Control is via a DMX512 and a 5-pin interface. In standard mode, the luminaire provides 19 channels in standard mode and 92 channels in extended mode. It is also IP20-rated.
Ayrton gets in the frame AYRTON HAS extended its Automated Luminaire range with the addition of Bora-TC, an 800W LED wash luminaire with a 32,000 lumens output, a 70% optical efficiency, a native high CRI greater than 90 and high TM30 readings. Among its other features is an integral framing system that provides framing capabilities over the full surface area. The luminaire offers an 8:1 zoom giving an 8° to 64° beam spread through its 204mm Fresnel front lens. The feature set includes CMY colour mixing, variable CTO, two
Hybrid is the manufacturer’s new hybrid moving head, said to deliver a full designer’s toolkit in a single unit. It uses an Osram 440W discharge source with PR Lighting’s advantage optical system and has a solid beam, wide 60° wash and an even varied spot. With a power consumption of 650W at 220V and a mechanical dimmer adjustable from 0% to 100%, the moving head incorporates three prisms: two 8-facet prisms and one 4-facet linear prism. In beam mode, the light operates from 0° to 2.8°; in spot mode from 2.8°
to 60°; and in wash mode from 10° to 60°. Finally, Merlin integrates a spot, wash and beam into a single unit. It combines 480W lamp technology with double shutter blades and a mechanical dimmer adjustable from 0% to 100%. It also incorporates the same three prisms and operating angles as its Hybrid counterpart. It comes with a DMX512 wireless receiver as standard and an optional DMX512 wireless transmitter. Both Hybrid and Merlin are IP20-rated. Merlin
www.pr-lighting.com
Filtered control
colour wheels, each with seven complementary colours, a 0% to 100% variable linear frost and a 15-blade iris diaphragm and defocusable rotating beam-shaping optic. www.ayrton.eu
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‘THESE FILTERS have been engineered to enable lighting professionals to accurately control the shape of their light,’ said Rosco’s director of products, Tracey Cosgrove, of the manufacturer’s new OptiSculpt filters. ‘They will allow our customers to achieve new lighting control with their current fixtures in ways they never could with existing diffusion filters.’ Designed for use on LED fixtures, the Opti-Sculpt filters are heat-resistant, allowing them to also be used with traditional tungsten lamps. They are
available in two sizes – 50cm x 60cm and 100cm x 60cm – and can be cut into any shape or size. Symmetrical and asymmetrical patterns on the market include 10°, 10° x 20°, 10° x 30°,
10° x 60°, 15° x 35° and the 40°/60° reversible variants. Further patterns are reportedly in development. www.rosco.com
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PRODUCTS
Quick control from ChamSys
QuickQ 10 THE THREE models in the ChamSys QuickQ series have been designed to put more power ful lighting control in the hands of students/house of worship volunteers and programmers, regardless of experience or budget. The manufacturer believes that even established professionals will find the console to be a ‘valuable’ tool for running smaller-scale shows.
The consoles incorporate a smart-phone-like interface and a 9.7-inch touchscreen. The buttons and faders are described as ‘easy-to-understand’, the colour selection menu as ‘simple’ and the intensity control tools as ‘readily accessible’. Built-in Wi-Fi capabilities mean the consoles can be controlled from a tablet or phone, both of which can also serve as a second external monitor. The console comes with
free downloadable offline QuickQ programming software for Mac and Windows, including a MagicVis visualiser. QuickQ users can also program their designs on a computer, save them on a flash drive and load them onto the console. Show files can be saved on the console and replayed via the console’s cue/chase system for playback. QuickQ 10 supports one universe, features dedicated hue and saturation control encoders for controlling LED and traditional conventional fixtures, and 20 fixture faders. QuickQ 20 has all of the features of the QuickQ 10 but supports two universes and includes four attribute encoders for controlling moving lights. Finally, QuickQ 30 has all of the features of the QuickQ 20 but 40 fixture faders and supports four universes. www.chamsys.co.uk
Introducing the Streamster
RUSHWORKS’ STREAMSTER – also referred to as the A-List Streamster on account of the A-List Broadcast server included – enables houses of worship to create an internet TV channel.
Building on the manufacturer’s A-List Broadcast Automation System, Streamster can best be described as a desktop scheduling and playback engine. It includes the majority of the
software features found in the A-List Broadcast server, differing in its dedication to IP operations with no baseband video input or output. Possessing NDI and URL streaming I/O, Streamster facilitates the management of an internet TV channel with an i7 processor, 16GB of memory, a 512GB SSD, keyboard and mouse. The system runs on Windows 10 and includes USB ports and GigE, wireless and Bluetooth capability, making it accessible to house of worship volunteers who may be familiar with many of these technologies found in consumer devices. www.rushworks.tv
Middle Atlantic solves cabling challenges MIDDLE ATLANTIC has expanded its SR Series of pivoting wall racks with a wider model said to provide integrators with more space to manage high-density cable bundles. The Wider SR Series includes all the functionalities of the SR Series, including the pivoting mechanism that opens 90°. According to the manufacturer, the Wider SR Series takes into account that systems are evolving as equipment continues to increase in capability and decrease in size. Designed for scenarios where A/V, data and security equipment needs to be housed together, the Wider SR Series is available in 24 RU, 40 RU and 46 RU options. The racks also include the company’s patented QuickMount system for centre section mounting. The Sliding Mounting Plate forms part of Middle Atlantic’s Proximity Series and is reportedly the industry’s first mounting plate with a sliding design. Integrators can mount small devices onto the removable, 15-inch x 10-inch Lever Lock mounting space and service them without needing to take down the display. Also part of the Proximity Series
The Sliding Mounting Plate
The Wider SR Series are the In-Wall Boxes that have been developed to provide ‘convenient, recessed storage for localised, all-in-one system support’. The manufacturer has also unveiled its Vision Display Mount (VDM) Series display mounts. Aimed at conference rooms, menu boards and digital signage, the mounts feature a modular design that supports single or multiple displays for ceiling and wall-mount applications. The series includes eight models that can be deployed in different configurations, including on-wall, ceiling or back-to-back. A further addition to the company’s portfolio is the Vertical Wall Mount (VWM) Series, a low-profile wall-rack solution that provides vertical mounting of deep equipment as well as small devices. Available in pre-configured models, the VWM Series uses a patent-pending modular systems approach to equipment mounting. www.middleatlantic.com
Sapphire fits the frame THE ROE Visual Sapphire is an LED display designed with a 1.5mm pixel pitch display that the manufacturer claims ‘offers a completely new approach to building and mounting large display LED screens’. Sapphire is able to facilitate multiple resolution types within the same hardware frames. Users are able to intersect Sapphire frames in all manner of
ways, leaving gaps as par t of the display, which Roe states ‘offers an improvement over traditional rows and columns’ that most LED panels are designed to form. ‘Easy access’ is provided for the integrated eject motor and for removing panels in any position from the frames. Roe’s Front Protection Treatment has also been
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applied to Sapphire to prevent damage, as well as reinforcing the edges and corners of the individual boards. Roe has also released the Black Marble Glass LED platform, an LED floor solution that provides the stage floor at a house of worship with the look of a televised concer t. A Sapphire panel and outside frame
www.roevisual.com
PRODUCTS
Barco caters for all budgets BARCO IS aiming to strengthen its position in the LCD videowall market with the launch of its ‘budget-friendly’ OverView KVD5521B, a tiled LCD system compatible with any VESA mounting structure. Incorporating many of the benefits of the company’s UniSee platform, such as easy maintenance, noiseless operation, automatic colour and brightness calibration and remote power supply operation, OverView
Low-cost room scheduling
Crestron room scheduling PROVIDING A touchscreen room scheduling solution for those with smaller budgets, Crestron has developed the TSS-7 and TSS-10. Based on the manufacturer’s TSW touchscreen range, the TSS-7 and TSS-10 touchscreens are simplified to lower the price tag. The new TSS screens natively support a wide variety of third-party solutions, allowing organisations to select the scheduling provider to best meet their requirements. Appspace, Robin Powered, Teems and EMS software are all supported. An optional light bar is also available for the TSS-7 and TSS-10, providing an alternative solution to Crestron’s SSW-100 and SSC-100 room availability hallway signs. The light bar emits a glowing green halo around the touchscreen when the room is available and red when it is occupied. It is compatible with wall and glass mounts, and can be added to existing TSS or TSW setups. Crestron has also updated its Pyng operating system to add video support. Pyng OS 2 is installed on the CP3-R 3-Series control system and includes full integration of video control and distribution, including Crestron DigitalMedia products, AVRs, local sources, set-top boxes and remote controls.
sensors in the back provide automatic and real-time colour and brightness calibration. The videowall has a number of features to prevent downtime and speed up ser vicing. According to the manufacturer, the input boards and power supplies can be quickly removed for maintenance or replacement, while the use of LCD Connect makes it easier to control the videowall.
KVD5521B is an optimised version of the KVD5521, Barco’s 55-inch LCD videowall. The absence of cooling fans is said to minimise noise and means that no moving par ts are used. The introduction of DisplayPor t V1.2, which enables feeding four displays in loopthrough with 4K@60Hz content, repor tedly allows for easy connection with a limited number of cables. The videowall provides 500 nits of brightness with a 3.5mm bezel, while integrated
www.barco.com
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November–December 2018 PRO AVL MEA 59
PRODUCTS
Connectivity and transportation in one THE AMX CT Series combines connection and transportation in a single solution. Each member of the series of 4K switching and distribution kits handles switching, scaling and distance transport, and includes a transmitter and receiver. Two models are initially available: a presentation kit aimed at simple presentation applications and a
conferencing kit that adds USB 2.0 transport and switching for use in web conferences. The Presentation Connectivity and Transport kit facilitates 4K switching at the table, transport via category cable and additional connectivity for an AMX Acendo Core or a PC at the receiver. The receiver has built-in
AMX has launched the CT Series scaling, enabling the display to receive content in its native resolution no matter the source.
Kumo gains 12G-SDI inputs
Kumo 1616-12G and 3232-12G stacked AJA HAS introduced a pair of new compact 12G-SDI routers: Kumo 3232-12G and Kumo 161612G. Both support large format resolutions, high frame rate and deep colour formats, while being designed to reduce cable runs when transporting 4K/UHD content over SDI. Kumo 3232-12G offers 32 12G-SDI inputs and 32 12G-SDI outputs, while Kumo 1616-12G presents 16 of each. They mirror the manufacturer’s Kumo 3232 and Kumo 1616 routers, but add
a new USB port for configuring IP addresses via AJA’s eMini-Setup software and introduce multiport Gang-routing, making them 8K-ready. AJA’s Kona family also has some new additions in the form of Kona HDMI and Kona 1. Kona HDMI is a video capture card that supports a range of workflows, including live streaming. It can manage the capture of four HD channels simultaneously with various streaming and switching
applications. In addition, Kona HDMI can offer a single channel of UHD up to 60p over HDMI 2.0 using the AJA Control Room software. Meanwhile, Kona 1 is a singlechannel 3G-SDI 2K/HD 60p I/O PCIe card offering serial control and reference/LTC. It features standard application plug-ins, as well as AJA SDK support, while supporting 3G-SDI capture, monitoring and playback. www.aja.com
Meanwhile, the Conferencing Connectivity and Transport kit combines multi-format 4K60
video switching, scaling and distance transport with USB 2.0 peripheral switching for web conferencing. Room USB peripherals, such as an AMX Acendo Vibe, can be shared between visiting laptops and permanently installed devices, including PCs. www.amx.com
Just Add Power extends video distribution boundaries DESIGNED TO provide ultra-low source-to-screen latency in 4K applications, the latest 3G Ultra HD over IP series of solutions from Just Add Power (J+P) are undetectable to the human eye. Drawing on a common IP infrastructure, J+P’s devices can be selected to match bespoke hardware and budget requirements. Having reduced latency down to 16ms, J+P’s 3G Ultra HD over IP solutions can be applied to an assortment of variously scaled UHD distribution and matrix applications. Adopting standard PoE, J+P’s solutions consume a maximum of 10W per device, decreasing power consumption by 30% and eliminating the cost of proprietary PoE injectors. In addition to using standard
network protocols (telnet, TCP/ IP, UDP and multicast), they also work with off-the-shelf gigabit switches. Operating from an isolated, firewall-protected VLAN that has no access to other databases, information and servers, the devices require no further security measures. www.justaddpower.com
Bittree makes history The mini-WECO inter faces enable direct patching between Bittree 12G video distribution amplifiers and the 12G+ mini-WECO coaxial patchbays. One of the mini-WECO jacks serves as a half-normalling output, allowing it to act as a
The DAF32FX 12G Video Distribution Amplifier frame BITTREE HAS announced the first series of video distribution amplifiers in the company’s 40-year history. The 12G Video Distribution Amplifiers ‘condense customers’ growing signal distribution requirements into a lightweight, high-density, modular form factor while supporting 12GB/s data rates’. The flagships of the new family are the DAF32FX distribution frames and the DABFX cards that build on the functionality of their coax-only siblings to empower hybrid video infrastructures.
The frames can host up to 32 1-in/4-out distribution amplifier modules to reportedly provide ‘exceptional’ signal density in a small footprint. The cards feature one input and four outputs with DIN 1.0/2.3 connectors on the rear of the module. The cards are compliant with SMPTE 259M, 292M, 344M, 424M, ST2081-1 and ST2082-1 technical standards, support data rates up to 12GB/s and are said to enable reliable distribution of analogue, SD-SDI, HD-SDI and 4K video with embedded audio.
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An SFP (small form factor pluggable) inter face on each DABFX card can be populated with the customer’s choice of a fibre or HDMI SFP module, and can be configured as either input or output. The option of IP connectivity via fibre means the 12G distribution amplifiers can serve as on- or off-ramp gateways between traditional SDI video signals and IP video networks using the SMPTE ST 2110 standard. Each DABFX also comes with two mini-WECO jacks on the front.
test and monitoring point without interrupting the flow of the source signal to the four standard outputs. The second mini-WECO jack acts as a direct input to the distribution amplifier. www.bittree.com
The DABFX 12G Video Distribution Amplifier card
ICONYX DC 12/2
Big Shoes. Small Footprint.
ICONYX IC 12/3
We posed a question. Could we bring the focus, clarity and control of our industry-leading ICONYX series Digitally Steered Speaker Arrays to more intimate environments? Could we translate our cathedral-filling, airport-taming designs into solutions for corporate offices, mid size industrial locations, restaurants, health clubs, universities and civic facilities? The answer is: Yes. Introducing the ICONYX IC 12/3 and DC 12/2 Directivity Controlled vertical column speakers from Renkus-Heinz. Delivering the ICONYX experience to smaller venues, the revolutionary DC12/2 is a ready-to-roll solution featuring predefined, user-selectable presets and control via smartphone or tablet. And the IC12/3 delivers a modular, stackable system which can be easily customized for any location. Take a walk to www.Renkus-Heinz.com and take your first step towards incredible audio.
PRODUCTS
Blackmagic brings desktop processing to MacBook Pros WITH EXTERNAL graphic processor support for MacBook Pros introduced in the latest version of macOS, Blackmagic Design has worked with Apple on the creation of the Blackmagic eGPU. The card is intended for MacBook Pro owners that need to remain mobile but also want the power of a full desktop computer. Featuring a built-in Radeon Pro 580, two Thunderbolt 3 ports, HDMI 2.0, 85W of charging power and four USB 3.1 connections, the eGPU is extruded from a single piece of aluminium and features a unique
thermal cooling system that’s been designed to balance the air flow and dissipate heat more efficiently. The cooling system also reportedly enables quiet operation as low as 18dB. The Radeon Pro 580 that drives the unit features 8GB of GDDR5 RAM, 256-bit memory bandwidth and 36 discreet compute units for up to 5.5 teraflops of processing power. According to the manufacturer, this equates to outputting 38.4 billion textured pixels per second. www.blackmagicdesign.com
Panasonic promotes PTZ THE UE150 (AW-UE150) is a new, integrated remote PTZ camera from Panasonic that offers 4K 60p capture. It supports several 4K interfaces and simultaneous 4K/HD output, while reportedly providing the ‘widest viewing angle in its class’ at 75.1° horizontal. Incorporating a 1-type MOS sensor, 20x optical zoom and seamless intelligent zoom (i Zoom), the UE150 supports 12G-SDI, HDMI, fibre optic and IP interfaces. Compatible with the UE150 is Panasonic’s new RP150 (AWRP150) remote camera controller. The controller is compatible with other remote cameras and
features a single-hand joystick to control PTZ or focus. A large, touchpanel LCD screen provides a view for monitoring and menu settings. An SDI input facilitates camera monitoring via the LCD panel. The manufacturer has also launched the SQ1 Series of large, 4K displays for indoor use. The TH-98SQ1 is a 98-inch screen, while the TH-86SQ1 is slightly smaller at 86 inches. Finally, Panasonic has announced a partnership with xG Technology, Inc, whose IMT Vislink brands provide communications in the broadcast, law enforcement and defence markets. The deal will
AT-HDR-M2C-Quad
Converting audio 4-fold ATLONA’S AT-HDR-M2CQUAD multichannel audio converter features the downmixing capabilities of the manufacturer’s AT-HDR-M2C and offers four simultaneous HDMI inputs. The 1U rack-mountable Quad unit is designed to facilitate the easy integration of multiple HDMI audio sources into distributed audio systems. It extracts, decodes and downmixes multichannel PCM, Dolby and DTS audio, including HDR-enhanced 4K/UHD signals. The AT-HDR-M2C-Quad supports HDMI signals up to 4K/UHD at 60Hz with 4:4:4 chroma sampling and data rates up to 18Gbp. It can de-embed HDMI audio whether it’s connected to an HDMI display or not. The Quad is HDCP 2.2-compliant and capable of managing video resolutions, audio formats and colour spaces encompassed by the HDMI 2.0b specification, and it is compatible with 4K HDR10
and Dolby Vision at 60Hz. With integrated audio volume, bass and treble adjustments negating the need for an external DSP to change gain and tone settings, the AT-HDRM2C-Quad can be controlled via an IP network utilising the built-in web interface, the Atlona Management System (AMS 2.0) software, the manufacturer’s Velocity IP-based A/V control system or third-party control systems. Also new is the JunoX 451 HDBT (AT-Juno-451-HDBT) HDMI and HDBaseT 4-input switcher (three HDMI inputs, one HDBaseT input) for receiving video, embedded audio and Ethernet over Cat-6a or Cat-7 cabling. It takes the features of the JunoX 451 4x1 HDMI switcher and adds HDBaseT functionality for transporting signals over longer distances. www.atlona.com
AW-UE150 see IMT Vislink’s external wireless solution integrated into the Panasonic camera range. JunoX 451 HDBT www.panasonic.com
Through the smart glass
RoboShot IW’s smart glass cover VADDIO’S ROBOSHOT IW (inwall) HDBaseT recessed HD PTZ camera has been designed with interior design concerns in mind. It features a ‘smart glass’ cover to remain discreet when not in use. ‘The smart glass cover changes
from a frosted opaque when the camera is off to a transparent clear glass when the camera is powered on,’ explained Vaddio director of product management, Jay Kilby. ‘In addition to room aesthetics, this also easily
62 PRO AVL MEA November–December 2018
informs room occupants whether or not the camera is active.’ The RoboShot IW is initially available in two configurations: the RoboShot IW OneLink HDMI System and the RoboShot IW OneLink Bridge System. The frame comes in black or primed so that it can be painted to match a room’s décor. A clear glass version is also available. The camera features a 10x optical zoom with a resolution of 1080p/60fps and 16 camera presets. Other functionality includes a web-based user interface for remote configuration and control, automatic or manual colour adjustment, and the ability to adjust for image colour, shading, backlight and wide dynamic range.
Its HDBaseT technology reportedly makes the RoboShot IW easy to connect to other HDBaseT-compatible devices, simplifying cabling and the
The clear glass version
extension of video, power and control for installations with a distance of up to 100m. www.vaddio.com
THERE’S A LOT TO LIKE ABOUT THE
AP62 PERFORMANCE WIRELESS SERIES Start with a dual channel system housed within a durable metal single rack mount receiver that packs 64 MHz of frequency bandwidth. Next move to the true diversity antenna system with 450’ of operating range and up to 24 channels of simultaneous use. Finally, consider the fact that the built in antenna combiner allows the ability to operate up to 8 channels of wireless on one single rack mountable antenna distribution system (Audix ADS48). A single receiver model (AP61) is also available. Now that’s a lot to like.
For more information visit audixusa.com
Warehouse no. 5, Industrial area 4, 16A Street, Al Quos, Dubai UAE P.O. Box 105 | Tel. +971 4 268 4575 | Fax +971 4 266 2052 Email. proinfo@vvsons.ae | Web. www.vvsons.com
A SOUND DECISION
PRODUCTS NEWS
Ross Video saves on space K-array provides further INTRODUCED Rosssystems Video 10 HONG KONG: BY K-array years ago, Furio has enhanced have been installed in two more of broadcast by producing the latest news bars created by Dining smooth, sweeping, dollyLilly. Concepts: Yojimbo on-air and Dear shots, which can be precisely Both were designed by Ashley repeated at the push talent of a behind Sutton, the creative button. The modular system is Iron Fairies, site of another recent now available in a wide variety K-array installation (PAA, July/ of configurations, August 2017). with multiple platforms, lifts and heads to choose Dining Concepts, established from. These include the SE 3-stage by Indian businessman Sandeep lift, an economical S2the 2-stage lift Sekhri in 2002 with launch or fixed column directly on the SE of aBombay Dreams in Central, dolly for pairing with either VR100 now has a portfolio of 28 adiverse or panrestaurants, and tilt head.bars butVR600 high-end Ideally suited small studios and clubs. Thefor company’s music where space is atPaganini, a premium, the in director, Fabian arrived Furio Dolly runs compacthad HongSE Kong just as on Irona Fairies 36cm-wide track, less opened, and has requiring chosen K-array space a manual camera for all than the new venues since.and operator. ‘K-array Communicating is a really goodnatively company to work with,’ said Mr Paganini. ‘K-array speakers are very good quality, but what’s also attractive is the opportunity to work with some quality people, such as [president of global sales] Marc Vincent who lives right here on THEKong CP2315-RGB and CP2320Hong Island and gets very RGB are marketed by Christie involved with our installations.’ as the ‘cinema industry’s Located in the same block first as affordable RGBoffpure laser Street Iron Fairies just Pottinger in Central, newcomer Yojimbo
Dining Concepts
over IP, it uses a flexible is a slightly bigger spaceand thanopen API forofstudio many Hongautomation Kong’s barswhen or used with Ross clubs.inAcombination discreet system of four OverDrive or another K-array KV52 passivethird-party flat line system. With thewith addition array elements eight of 1-inch the economical Lift, adual wider drivers and two S2 KU210 10spectrum of studios can now draw inch passive ultra-thin subwoofers on the creative benefits Furio. powered by a KA14 ampofwith DSP Designed for use ininrapid-fire has been installed the lobbylive television newsroomasenvironments, bar area. However, the main Ross has as added the room Video functions a nightclub, the Tria NewsSeries playout Concert KH3 powered line array elements flown either side of the DJ booth and KS5 double
input, the Tria News playout server can ingest and store live content, encoded with DVCPRO-HD. Content can be quickly trimmed using simple ‘heads and tails’ edit tools built right into the Tria News server itself. Once this content is clipped, it can play back-to-back with native XDCAM and AVC-I MXF files during a run-down playout. Tria News is tightly integrated with Ross Video’s Inception newsroom computer system, Streamline media asset The Furio S2 Lift
server to its Abekas Tria video server product line. Integrating Abekas video processing hardware and controlled from newsroom automation
systems, Tria News provides ingest and playout of newsroom media assets four independent Dining from Concepts’ Fabian Paganini at Yojimbo PGM playout channels. Featuring The Tria News server a21-inch dedicated HD-SDIbeneath baseband subwoofer it don’t Dear Lilly, whose prime location look out of place. Completing in the IFC Mall overlooks Victoria the setup, a pair of smaller KH2 Harbour, is a tiny cocktail bar/ powered line array elements has restaurant designed as an ode been installed on the opposite wall. to the ar t of romance, complete This is the first time Dining with hear t-shaped booths and Concepts has used K-array’s winsome trinkets including Concert Series for one of its per fume bottles, love letters and ‘The 12k‘They lumen CP2315-RGB designed its roses projectors’. These are the latest venues. give the same audio a EPSON movingHAS display of dried and its 18k lumen LightSceneabove projector additions to the manufacturer’s characteristics ascounterpart, the compact suspended thetobar. Here, the CP2320-RGB, all of feel the the a simultaneously RealLaser family of cinema designs, but you have can really system of fourilluminate K-array KP102 I ground-breaking foundin the passive and project content projectors. power of the lowfeatures frequencies arraydynamic elements and two Yves Smit and Fabian Paganini the CP4325-RGB, andMr more,’ on virtually any surface or speakers,’ said Paganini. KMT18 P passive subwoofers from Dining Concepts at Dear Lilly inlarger explained Dale Miller, executive material. The spotlight-shaped vice president of cinema at accent lighting laser projectors Christie. ‘RealLaser projectors are are aimed at applications in able to use our existing lens suite, curated visual environments such for added value.’ as retail showrooms. The CP2320-RGB is built for Available in two colour options more than 30,000 hours of (LightScene EV-100 in white and operation at 80% brightness LightScene EV-105 in black), and has a nominal brightness of the projectors use 3LCD laser television and live auction video technology to deliver 2,000 feeds to more than 250 displays, 18,000 centre DCI lumens. It has a contrast ratio of 2,000:1 in highlumens for a 20,000-hour via Exterity’s AvediaPlayer media contrast mode. lifespan. The projectors can be players, throughout the hotel, controlled remotely using Epson stables, hospitality suites, auction Meanwhile, the CP2315-RGB offers similar statistics, but differs Web Control via a browser, while rooms and paddocks. ArtioSign, 12,000extensive centre DCI the manufacturer’s Content the manufacturer’s drag-and-drop with ‘Making uselumens. of video is across the Inglis Riverside Stables Manager software includes digital signage interface, has been a great way for horse enthusiasts and Warwick Farm Racecourse,’ www.christiedigital.com templates, effects, CEO colour integrated to manage content. to keep up with all the action said Colin Farquhar, at and
RGB pure laser projection becomes ‘affordable’
The PA People takes Exterity to the races
AUSTRALIA: The PA People has designed and installed an integrated IP video and digital signage solution from Exterity for the recently opened Inglis Riverside Stables, a thoroughbred auctioneer and boutique hotel at Sydney’s Warwick Farm Racecourse. The system delivers
management and OverDrive have been installed, with automated production control three KT2 passive 2-inch point platform. When news stories are source speakers. This system published a central from is poweredtoby a KA24NAS amp. An networked edit systems, Rossthe outdoor terrace overlooking Streamline can direct to harbour is fitted with Tria two News Frog-Is load andpoint playout up tospeakers four native FP15P source XDCAM and/orFI-Amp8 AVC-Intra poweredHD422 by a Frog-Is 50 MXF media files concurrently amplifier. with four clips directly Mr all Paganini hasplayed recently been from the across gigabitby joined atNAS Dining Concepts Ethernet. freelancer Yves Smit, a graduate from SAE in Amsterdam, whose www.rossvideo.com 10 years of audio engineering experience has been invaluable in assisting with the installations and ongoing maintenance and operation of the systems. ‘Together with Marc – a former sound engineer himself – we can figure out what will work best in our new venues,’ said Mr Smit. ‘For example, in Dear Lilly, there are four column speakers which provide a stereo image ever ywhere. Then above the bar, the three little KT2s fill out the space, which is a small footprint with a high ceiling. It works ver y well, providing some openness in here.’
Epson puts projection on the spot www.k-array.com
Exterity. ‘Being able to show all the action of the live auction and offer additional equine-related shape filters, and customisable information through digital signage options.the Thestables LightScene units enables to guarantee be positioned vertically acan world-class experience to all or horizontally include visitors. We areand proud that aour 1.58x powered optical solutions are playing anzoom, active powered focus and edge role in combining long-standing blendingwith capabilities. In terms of tradition a state-of-the-art connectivity, that the projectors environment brings theoffer HDMI, world wired and LAN equine into wireless a new era.’ and an SD card slot. www.exterity.com www.epson.com www.papeople.com.au
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Dante primary and secondary connectors equipped for redundancy Supports AES67 and other AES67-compatible network protocols including Ravenna Up to 96 kHz / 24 bit resolution Reference level dip switches for 5 selectable DBu level meterings D-sub 25-pin connectors enable line input/output
24 ASIA November–December July–August 2018 2018 64 PRO AVL MEA
Euroblock / D-Sub 25-pin
BO-16DX/OUT XLR male / D-Sub 25-pin
PRODUCTS
Digital Projection sees red THE PROPRIETARY ColorBoost + Red Laser technology is one of the key new features found in a range of Digital Projection’s laser projectors. The manufacturer describes the technology as ‘an intelligent processing innovation to deliver the most accurate colour reproduction’ and claims that it brings the performance of its 1-chip range of DLP projectors closer to that of 3-chip DLP projectors. The projectors use red lasers coupled with a specially designed colour wheel. The manufacturer states that the resulting colour gamut guarantees the projector will achieve at least the REC709 standard. A second technology update from the manufacturer sees the introduction of IP60-rated 100% sealed optics. The optical engine uses liquid cooling via a radiator heat exchanger to create a filter-free projector. This ensures that light output and colour performance will not be degraded due to the ingress of dust. Models that use the technology include the Titan family, M-Vision Laser 21000 and E-Vision Laser 13000 WU, as well as a range of Digital Projection’s single-chip DLP laser projectors, including the E-Vision Laser 10K, WQ120, 8500 and 4K-UHD. Staying with Titan, the Titan Laser 37000 WU and Titan Laser 33000 4K-UHD projectors produce 37,000 and 33,000 lumens, respectively, and are additions to the manufacturer’s 3-chip Laser series. The brightness has been achieved thanks to the manufacturer pairing its third-generation laser illumination systems with Texas Instruments’ 3-chip DLP technology. Input capabilities include a pair of HDMI 2.0b with HDCP 2.2 and HDR processing; two HDMI 1.4b for both single and dual pipe 3D processing and support of frame sequential 3D formats; and 3G SDI and DisplayPort 1.2 to ensure the latest connectivity for high bandwidth 4K content delivery. Other features include Constant Brightness Control and DMX Art-Net compatibility. The M-Vision Laser 21000 WU, meanwhile, boasts 20,000 lumens output and a 10,000:1 contrast ratio. Its DisplayPort accepts frame rates up to 60Hz and HDMI 1.4b for side-byside frame packing and top bottom 3D formats. Motorised
shift, zoom and focus across the whole lens range completes the feature set. The E-Vision Laser 13000 WU comes as standard with HDMI 1.4b, DisplayPort and HDBaseT connectivity, while accepting both commercial and domestic 3D signals. The single-chip DLP laser phosphor projector features automation and central control via a PC-based application as well as edge blending and geometry
M-Vision Laser 21000 WU
STAY CONNECTED TO THE GLOBAL AV INDUSTRY
E-Vision Laser 11000 correction. Staying in the E-Vision family, the E-Vision Laser 11000 4K-UHD offers 10,500 lumens of brightness alongside 4K UHD resolution (3840x2160). www.digitalprojection.com
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November–December 2018 PRO AVL MEA 65
FEATURES: LIVE
Tying together Tomorrowland
Uniting local EDM lovers with 400,000 others across the world making up the 2018 Tomorrowland Festival was the challenge for Protec, discovers Simon Luckhurst WHEN TOMORROWLAND RETURNED TO THE FESTIVAL circuit for its 2018 edition recently, ambitions and expectations were high. Already one of the largest of its kind across the world, Tomorrowland is also what’s been termed a live-stream festival. That is, in addition to the tens of thousands of revellers flanking the main stage in Belgium, over 400,000 EDM lovers spread across seven venues in Italy, Malta, Spain, Taiwan, Mexico, Lebanon and the UAE could also enjoy the enviable line-up of DJs gracing the main stage in Belgium. EDM lovers could ‘Unite with Tomorrowland’ through shared AVL technology. Abu Dhabi’s du Forum on Yas Island served as the location for the UAE satellite site, with a packed out audience filling the space for 12 hours of non-stop EDM music. They weren’t just left staring at a big screen, however – the event featured live local and international DJs including Lucas & Steve, SmokinGroove, Marcus Santoro, Regi, Barry Fore, Omar Basaad, D.O.D. and Ummet Ozcan. Protec was called on by Envie Events to deliver audio, lighting, video, scenic, staging and rigging solutions for what the company describes in its own words as ‘probably the most elaborate festival on earth’. From a technical standpoint, truly uniting the audience with the main arena in Belgium meant going far beyond simply sharing a video feed. Dazzling special effects in du Forum were synchronised with the main show in Belgium. Party-goers got the opportunity to dance in real-time to renowned international DJs, including Afrojack, Armin van Buuren, Dmitri Vegas and Like Mike, via the live satellite connection. This also involved remote control of lighting to ensure each of the seven outreach venues shared an almost identical visual as well as audio experience. How does one go about synchronising a complex lighting show across multiple venues, some of which are on the other side of the globe? Protec had handled production of the Dubai satellite site for the festival’s outreach edition last year. Yet as Protec’s project manager Pieter Smuts recalls, ‘the show in Abu Dhabi was almost a breeze – which was fantastic because the heat
66 PRO AVL MEA November–December 2018
Both lighting and audio synced across the seven outreach venues
of the UAE summer can really put a lot of pressure on the crew as temperatures hover in the high 40s. As the theme for Abu Dhabi was the same as the one in Dubai, it made it a lot easier for us as we already knew the challenges we could have potentially faced.’ The saving grace for Protec was that this year’s event occupied a much smaller venue than the Dubai one last year, despite requiring a far more complicated stage lighting setup. ‘This meant that we didn’t need to implement a large amount of audience lighting, as we did last year, because the audience area was not as spacious,’ explains Abigail Bates, who headed up Protec’s lighting crew. ‘This also made the install slightly easier, as it meant that we could concentrate all our efforts on rigging the fixtures into the stage set, which
The hangs deployed comprised 18 K2 per side
FEATURES: LIVE is the most complex and time-consuming part of the lighting rig.’ The lighting specifications were outlined by the main Tomorrowland show designers in Belgium and included Robe’s Pointe, K10 Washes, Scenius Profiles, VL3500 Washes, Stormy CC Strobes, SGM P5s and Molefay 4 light/PAR 36 fixtures. ‘It was important that we used fixtures as specified in their lighting rider so that all the Tomorrowland Unite shows around the world have the same visual aesthetic,’ Ms Bates adds. ‘In addition, we used SGM P2s and some more Robe Pointes to light the VIP deck, and a combination of SGM P2s and LED PAR cans to add some colour and atmosphere to the catering/bar area outside.’ Yet it wasn’t, as you might expect, synchronising the lighting design that gave the team its biggest challenge. ‘The main challenge for lighting on Tomorrowland has been the physical rigging of the fixtures,’ says Ms Bates. ‘For every fixture – and there are around 80 attached to the stage façade – the exact position needs to be determined. It is important to be as precise as possible when doing this because the lighting/stage
Ground stacked underneath each hang were four SB28 subs
Protec’s Mambo 9mm LED 16x10 panel screen provided the visuals design has to look the same as the other Unite events, and a fixture or group of fixtures rigged in the wrong place would be very noticeable when the live stream footage is playing from the other countries. ‘Once the position of the fixtures has been determined, a hole has to be made in the set, a pipe put through this hole and then a rigging structure installed on the back of the set to hold this pipe in place. This whole process means that for every fixture, at least four members of the lighting crew and one staging technician are needed.’ Thankfully the audio setup was more traditional and presented ‘no challenges at all’. ‘We used our L-Acoustics K2 with K1-SB subs flown above and SB28 subs on the ground,’ shares Protec’s head of audio, Ed Ross. ‘It differed from last year as we had a lot more weight-loading capacity this time around so we were able to fly a very large array for the main hang and then a small Kara array for delays for the VIP deck.’ The hangs comprised 18 K2s per side flown underneath four K1-SBs, with delay hangs comprising six Karas and two SB18s per side. A further 24 SB28 subwoofers on the ground added the necessary low-end for such an event. For comms, three Clear-Com Helixnet base stations were networked together alongside 10 Clear-com FreeSpeak II wireless systems, selected for their ability to maintain a strong and continuous wireless connection across an expansive area. For video, the team deployed Protec’s Mambo 9mm LED 16x10 panel
screen with two VX4S controllers for main/backup and a Roland V-800HD switcher to switch between Resolume, the satellite camera feed and Playback Pro. The set design, while not radically different from the one used in Dubai last year, also required a rethink as the entire set had been scaled down to a height of 15.8m and a width of 22.8m, in order to fit inside du Forum. ‘The towers were the most challenging part of the new restrictions as we had to cut them down by a total of 2.4m,’ recalls Leigh Snyman of Protec’s scenic and staging department. ‘This meant we had to remove a large section of each tower without compromising the structural integrity and the overall appearance of the towers.’ Because of attention to detail given the set design and accuracy, getting the entire visual effect to be uniform across all the venues involved working closely with the lighting team. ‘Because of the changes made, lights were shifted slightly and we had to cut new access holes into the set panels for them,’ Mr Snyman added. ’Those were the only major changes and challenges we had on site. Yet we had also planned a worst-case scenario schedule for this gig to ensure we were prepared for any pitfalls or external factors along the way. In short, we were extremely well-prepared for the gig from the very beginning.’ ‘Our goal is to bring people from all walks of life, countries, backgrounds and unite them as one with the power of music,’ says director of Envie Events, Barry Pavic, reflecting on a successful festival. ‘It is with the help of strong partners like Protec, and many others, that have made this concept such a huge success in the UAE.’ Akin to the emergence of sophisticated virtual reality solutions, audiovisual technology is now helping people connect with their favourite artists directly, breaking down geographical boundaries. www.l-acoustics.com www.productiontec.com www.robe.cz
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November–December 2018 PRO AVL MEA 67
FEATURES: INSTALLATION
Mumbai meets Dubai
MD of operations Parvez Mhd and GM Sadananda S Poojari welcome the Thomsun Trading team back to Bar Baar
Adamson IS7s make their debut again and again in Dubai, reports Richard Lawn HAVING LONG BEEN ASSOCIATED WITH THE MUSIC ROOM, the Majestic Hotel Tower in Bur Dubai recently shocked its patrons by announcing a change in the venue’s functionality to that of a social hub gastropub. The fears of both regulars and tourists were allayed following the wraps coming off Bar Baar and, as the name suggests in Hindi, these customers will return again and again. Today’s modern entertainment outlets can no longer rely on several hours of opening time and, in an attempt to keep the doors open as long as possible, food menus and musical variety have to adapt as day extends into night. MD Parvez Mhd played the role of interior designer and oversaw divisions over the large floor plan into varied zones. These are all linked by rustic Indian living themes at their core, so the bookcases, lighting, scooters, graffiti and furnishings have more in common with Mumbai than Bur Dubai. The Living Room zone reflects Indian communal living, the comfy sofas and work desks of the Lounge Zone cater for entrepreneurs, while the Community Table and the Bar Zone with high stools complete the transformation. True to the site’s heritage, regular live music sessions with an in-house band and visiting musicians, together with comedy evenings, ensure the Music Room devotees are more than appeased. ‘We usually draw 800 customers each night and host two to three live bands,’ explains operations GM, Sadananda S Poojari. ‘The compact stage normally showcases 4-piece bands and was extended towards stage right during the transformation to accommodate a Yamaha TF5 mixing console and Pioneer rekordbox DJ area.’ The stage right location is not a hindrance for FOH mixing, as Mr Poojari further explains. ‘By using the Yamaha StageMix
68 PRO AVL MEA November–December 2018
The Living Room and Lounge Zones are served with Adamson PC8 coaxial speakers app on the iPad, our technical staff can operate the TF5 console remotely from the main floor.’ Supplied by Thomsun Trading and installed by SI Adeco Technologies, Bar Baar’s audio system operates within a 96kHz system. Sixteen mic/line inputs from the stage feed into a Yamaha Tio1608-D I/O digital stagebox before being mixed on the TF5 console. Signal processing is applied prior to speaker output from the MRX7-D digital processor linked to an EX-08 expansion unit, into which the venue’s presets have been stored. Operating over a single Cat-6e cable, this now serves as the hub of the Dante IP network, ensuring low-latency digital transmission in addition to a reduction of noise hum and signal loss.
A pair of Røde NT5 mics provide overheads for the drum kit
FEATURES: INSTALLATION Having changed into a gastropub, many Music Room fans felt that the live entertainment would come second on the bill. Acoustically challenging with a low 4.5m-high ceiling, the venue benefits as crowds enter to absorb the potential harsh reflections resulting from the hard floor surface. However, Bar Baar was not to be deterred, revealing its true entertainment credentials by being the first in the UAE to invest in an Adamson IS7 loudspeaker system.
Raised on a slightly higher level, the ornately furnished Living Room and Lounge Zones towards the far wall in addition to the rear of the main restaurant required delayed fills to ensure even coverage. Eight PC8s provide 100° conical dispersion from their individual 8-inch coaxial woofers for these peripheral areas. The MRX7-D digital processor has been programmed to equalise and delay each of the eight PC8 cabinets. Finally, a combination of Lab.gruppen PLM and D-series 40:4/80:4 amplifiers provide the required headroom for the system when it is in full throttle. ‘The system has additional headroom at FOH to spare even when the place is packed to the maximum,’ confirmed Mr Poojari. ‘The crowds have returned and we’re sold out every night and the new Adamson system has played a large role in this,’ assured Mr Parvez. ‘I’ve definitely noticed that customers stick around longer and generally bottle rather than just a couple of shots,’ he grinned. ‘The uniform dispersion and definition is there to appreciate. I’d like to believe that the IS7 sets us apart from other venues at this point in time.’ www.adecotechnologies.com
The restaurant, bar and lounge by day is transformed to a club in the evening when the tables are removed
L-R hangs combine five Adamson IS7 cabinets in each array
Currently the smallest member of the IS-Series, which is the installation variation of the S-Series, the IS7 is a 2-way line array cabinet containing dual ND7-LM8 low-mid drivers and an NH3-16 1.4-inch exit compression driver. The optimised waveguide produces a slightly curved wavefront with a nominal dispersion pattern of 100° x 12.5° (HxV), while Controlled Summation Technology eliminates low-mid lobing normally associated with 2-way line source systems. The low-profile cabinet was deemed to be ideal for Bar Baar’s restricted ceiling height as the five cabinets per side measure just over 1.2m in height when rigged together. Combining to weigh 65kg (without rigging), they can still provide sufficient throw to the rear of the 30m-long venue. Operating within a
frequency range (±3dB) of 80Hz to 18kHz, the addition of two IS118 and four dual 18-inch SpekTrix subwoofers provides lowfrequency extension down to 35Hz. The former single 18-inch woofers have been placed on stage, while the four SpekTrix models operate in cardioid mode below the stage. The demo made the sale for Adamson as Mr Parvez confirms. ‘I’ve worked with Thomsun before and they have always provided great service and support. So I asked Alok and Nikil from Thomsun to demonstrate a system that may be suitable for Bar Baar’s needs. We played some music through their Adamson Point Concentric 8 cabinets and I was impressed with the clarity and full-definition range they provided.’
www.thomsunmusiconline.com
A Yamaha TF1 console provides all the FOH mixing for live band performances
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November–December 2018 PRO AVL MEA 69
FEATURES: INSTALLATION
Underground sound
Industrial Avenue has kicked off a new nightclub trend in Dubai – putting music front and centre. Simon Luckhurst heads underground AS PRO AVL MEA HEADS TOWARDS INDUSTRIAL AVENUE, one of the latest new underground venues emerging for music lovers in Dubai, it’s not the first time we’ve been greeted by a secret entrance. It’s a clever ploy. Before even stepping inside, the mind wonders what lies behind. Once through, the clinical interior of The Westin Dubai Mina Seyahi lobby seems a world away. You’ve been transported – underground.
Behind a hidden door, music fans head ‘underground’ into Industrial Avenue It’s also an odd start for a venue that bills itself as ‘a nightclub for all’. Yet this is a trend sweeping through the underground club landscape in Dubai, where VIP inviteonly establishments are plentiful. Industrial Avenue lacks the usual opulence and grandeur of your typical Middle Eastern establishment, but that’s entirely the point. It’s all about good music and dancing. Or, in its own words, ‘more dancefloor, less tables’. With a come-as-you-are door policy, the venue has planned a host of local, regional and international artists in upcoming months for nights of ‘back-to-basics’ partying all built around its spacious central dancefloor.
70 PRO AVL MEA November–December 2018
Of course, good music also requires a good sound system. While there was nothing technically wrong with the existing setup, it was considered far too small for the new demands now placed upon it. Having been invited to present a Pioneer Pro Audio solution to the owners, Dubai-based distributor and systems integrator Avant Garde was subsequently selected to outfit the space with an XY Series solution – the first in Dubai. ‘Given the entertainment-first nature of the venue, the space required a top-end pro audio and lighting system to complement the theme,’ says Daniel Ball, technical consultant at Avant Garde. ‘The client understood that they would need to build a system into the venue that would ensure their offering as a nightclub was exceptional from a music lover’s point of view. ‘We had a 4-week window to complete the project from when the official agreement was in place between the client and ourselves until it opened,’ he furthers. ‘The planning and implementation of the sound system was not challenging during this timeframe; however, the effort lay in running new cabling and manufacturing attachment brackets to fly the main PA.’ Industrial Avenue sports two rooms, each with their own distinct flavour. Pioneer XY-3Bs serve as the main FOH system in Room 1, with two cabinets per array hung left and right, while due to the width of the performance stage, an XY-122 centre-fill unit was installed directly above the DJ booth. Lowend for the main system is provided via three dual 18-inch cabinets, equally spaced and tuned, while power comes from three Powersoft K3 DSP and three K10 DSP amplifiers. Furthermore, a Xilica Neutrino A1616N open-architecture DSP enables zoning and level adjustment. With Pioneer dutifully handling the main dancefloor area, parts of the original system were then repurposed to serve as in-fills for the bar area and Shoreditch (Room 2). ‘The LF performance in the space is exceptional. The DJ booth is also a point of strong interest; the two Pioneer
The view from the DJ booth
The XY-3Bs are flanked by an XY-122 for centre-fill XY-152 main cabinets and two XY-118S subs in the booth make for an exceptional monitoring experience,’ adds Mr Ball. ‘Every DJ since the opening absolutely loves it in there – a Ministry of Sound resident DJ recently stated it as good as the booth there. Our team did all of the work, with some design review work done by Pioneer before final submittals were made to the client.’
FEATURES: INSTALLATION The result is music to electronic music lovers’ ears. The system is capable of delivering SPL-A weight levels of 110dB in the centre of the main dancefloor with 8dB to 9dB of headroom remaining. SPL-C weight levels can reach 128dB. ‘We had the usual challenges in terms of laying in infrastructure, coordinating other parties and then, of course, working around the schedules of those parties. Sound tuning, however, was very complex and time enduring: achieving a high output of greater than 105dB inside a solid concrete box with almost zero added material was definitely a challenge.’ Mr Ball highlights the cost-to-performance ratio of the XY-3Bs
The XY-3Bs at FOH in Room 1
The club ‘Dare to Disrupt’ shakes up the typical VIP and invite-only club scene in Dubai system as being impossible to beat at this level. ‘It is commercially attractive to the client at this level of investment and sound quality is exceptional,’ he asserts. The Avant Garde team also designed and manufactured LED lighting rigs to be flown above the dancefloor in the main room – truly bringing an underground vibe to the club. These were built around pro-grade Linear LED strips, with 4-channel DMX controllers for every section to allow flexible lighting effects to be programmed over them. The grids themselves are aluminium and assembled with metal channel holders and diffusers.
Now open, the team is able to sit back and appreciate their work and the new business opportunities it affords the venue. ‘We are extremely proud of the work we have achieved. We will boldly state the club has the best DJ booth monitoring setup in the country (possibly the region) and that we can push hip-hop, R&B, grime, house and techno genres through the main system day-in, day-out,’ enthuses Mr Ball. ‘There’s plenty of headroom in the system, which leads to there being less fatigue on listeners as no audible distortion occurs. The lighting also looks great and the customer is literally over the moon with what has been delivered.’ It’s also a notable installation for Pioneer, forming the first XY Series ecosystem in Dubai. ‘We’re really excited to be involved,’ commented Raf Rettel, EMEA distributors sales manager for Pioneer Pro Audio. ‘The Avant Garde team did a fantastic job in a club that’s set to shake up the Dubai scene by putting music front and centre. To achieve that connection between clubbers and artists, it needed a sound system that could deliver a powerful and authentic underground vibe to every corner of the room. Our latest addition to the range, the
XY-3B, does exactly that and we’re very proud of the fact that it was the number one choice for this music-first venue.’ Yet work for Avant Garde at Industrial Avenue is only just beginning. ‘The venue is serviced by us at the beginning of each week, prior to the first opening night, and this shall be continued through for the longevity of the system,’ shares Mr Ball. ‘In the future, we are also planning to do some very unique one-of-a-kind video setups, more lighting and special FX platforms. ‘There are always areas to improve in what we offer and do,’ he adds. ‘Technically, there is still work to do in the venue which allows us to continue developing on what we have already done.’ It’s refreshing to see club owners take risks by bucking the trend. Instead, Industrial Avenue is leading the pack. It has seemingly begun a new trend in Dubai, with numerous new venues making similar aesthetic plans and similar music programming. For Avant Garde and Pioneer, this opens up a world of potential new opportunities. www.agav.me www.industrialavenuedubai.com www.pioneerproaudio.com
The venue in action
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November–December 2018 PRO AVL MEA 71
FEATURES: INSTALLATION
SISD senior technician Nimo Bartoleme with Oasis Enterprises’ KC Ravik and Anwar Hussain
A motorised Screenline Big Lodo projection screen can be lowered for Blu-ray films
Dry ice on the Creek
Inside Swiss International Scientific School lies a hidden audiovisual treat, writes Richard Lawn SINCE ITS LAUNCH IN 2002, THE DEVELOPERS OF DUBAI Healthcare City (DHCC) are not diversifying this free zone into becoming the next theatrical district of the progressive Emirate. Having completed Phase One in Oud Metha several years ago, Phase Two is currently under construction on the opposite side of the Sheikh Rashid road overlooking the historic Dubai Creek in Al Jaddaf. In addition to hospitals, medical centres and laboratories, the zone also incorporates numerous retail and non-clinical facilities that serve the free zone. As well as the Al Jaddaf Marriott Hotel, the larger Phase Two development is also home to the Swiss International Scientific School in Dubai (SISD). Deep within the 55,000m2 teaching space, its budding students are developing their artistic talents within a world-class, 600-seat auditorium. Most private schools in Dubai today boast a theatre that goes some way towards enticing many ambitious expatriate parents to enlist their children. Should their 15-year-old daughter’s grades be below par, what better way of soothing the anguish than a rousing end-of-year Sound of Music spectacular with a super trooper trained on their child prodigy. While being equipped to hoist lighting and scenery with its very own ETC Lighting Prodigy system, the SISD has certainly raised the theatrical arts venue bar in the UAE. Having successfully tendered for the project, Oasis Enterprises LLC soon discovered that this was no ordinary school auditorium, as project manager Mohamed Wessam explains. ‘Having won the contract in 2015 – the year when the school started teaching students – it would be another three years before we could commission the venue. In addition to extensive construction works that were delayed by some 18 months, the SISD demanded the best acoustics for the space.
72 PRO AVL MEA November–December 2018
The Swiss International Scientific School in Dubai lies within Healthcare City’s Phase Two development
Nimo Bartoleme can simply configure the lighting and A/V settings via an iPad control GUI
During that time, we worked closely with the consultant Jasper Whittaker from Innovation in creating the A/V, lighting and other theatrical designs.’ The electrical equipment racks were assembled at its Dubai service centre, while the fibre, loudspeaker and DMX cabling was routed from the stage to the control room, patchbays and numerous facility panels. ‘We had many meetings with the general contractor and Jasper, who was extremely experienced in terms of detail. Time and again we were called upon to overcome numerous obstacles on a day-to-day basis, but Jasper would always make himself available in helping us negotiate unforeseen problems.’ One of the main briefs of the tender was to create a theatre that could be operated by non-specialist technicians. ‘Today’s venues are designed more for IT-savvy operators,’ furthers
Mr Wessam. ‘Everything from the GUI to the presets and the on-off switches have been designed with simplicity in mind. Nobody wants a dissatisfied client and none of us like a latenight phone call as the operator cannot work out the dimmers on the LEDs.’ While Oasis Enterprises was also responsible for installing the audio system and lighting infrastructure into an adjacent Black Box theatre, the bulk of the works was confined to the main theatre. The scope of their onsite activity related to the integration of sound reinforcement, video projection, stage lighting, house lighting and motorised rigging and control systems. Depicting more than the red and white colours of the Swiss flag, the lighting design wouldn’t look out of place in London’s West End and incorporates eight lighting bars for both lighting
FEATURES: INSTALLATION the central seats from a ceiling hoist that can be further lowered when required. Dual Mitus 118S subwoofers located under the stage provide low-frequency extension. Three FBT Archon 108 8-inch cabinets provide rear seat delays, while a further four Archon 108s have been installed into the lip of the stage for providing an even dispersion of SPLs in the seating towards the front. A pair of J 8 speakers round off the FBT contribution as control room monitor speakers. This extensive speaker system is powered by a combination of M 5000-4, T Five and M 2800-4 amplifiers from fellow Italian manufacturer, Outline Audio.
Four Archon 108 speakers have been inserted into the lip of the stage as front-fill reinforcement
A Panasonic PT-RZ970BE 9,400 ANSI lumens projector serves as the main visual output in the theatre Oasis’ signature of neatly installed and easily indentifiable cabling terminated in the control room racks
The ETC Ion Xe lighting surface provides control of all the ETC and Martin Professional fixtures
and scenery. A Prodigy P1000E remote controllable system is equipped with an extensive inventory of ETC fixtures including 42 Source Spots, 12 Source 4 LED Fresnels, eight XLR Spots and 24 XLR PARs. Six Martin Rush MH7 hybrid moving heads also occupy a place on one of the bars. In addition, the left and right theatre walls host smaller fixed vertical bars loaded with ETC Source Four Zooms. The SISD technicians operate the lights from the keypad of an ETC Ion Xe lighting control console that integrates four dedicated encoders for non-intensity parameter control, grand master and blackout buttons, together with a master split fader. Should technical confidence grow, those techies who prefer hands-on control can utilise the 2x10 and 2x20 USB fader wings for up to 300 additional mapped sub-masters or 200 cue lists with paging controls. External high-resolution Windows 7-compatible monitors provide multi-touch screen control. Just as the sophisticated lighting technology matches the acoustic grandeur of this venue, the visuals have certainly not been watered down in an attempt to balance the budget as the project neared completion. Located above the stage, a motorised Screenline Big Lodo projection screen can be lowered to receive HD images from the Panasonic PT-RZ970BE 9,400 ANSI lumens projector installed in the rear control room. Source inputs including a Blu-ray player are fed through an Extron 8-in/4-out scaling presentation matrix switcher with DTP over HDMI twisted pair receivers. The A/V parameters can be controlled from an iPad Air 2 tablet via Wi-Fi courtesy of the Extron IP Link Pro Control processor that has been added to the IP infrastructure. Depending on the function, the main SISD podium can be portably positioned over one of two stage panels for headmaster, lecturer or speaker presentations. Equipped with a Shure MX418S gooseneck microphone for speech, VGA and HDMI inputs enable content to be shared and presented from a laptop. Additionally, a NovoPro+Launch wireless presentation system has been added to promote collaboration with the audience when required. Providing low-latency audio transmission over single Cat-6e cabling, the Oasis Enterprises team successfully installed a Dante network within the theatre. Crucially, this allows the in-house technicians to configure, manage and control the audio parameters from the iPad Air 2 tablet or a PC over the network for which a ZyXEL GS1920-24HP 24-port managed POE switch lies at its heart. Inserted with an NY64-D Dante expansion card, live mixing is conducted on a Yamaha TF5 32-channel digital control surface
connected to a Tio1608-D Dante-equipped I/O rack over the Ethernet network. DSP configurations and presets are created and stored within a Biamp Tesira Server I/O providing signal routing and mixing, equalisation, filtering, dynamics and delays through the Tesira designer software. Outfitted with Tesira SIC-4 input and SOC-4 output cards, the digital network server allows PA announcements to be made to both the theatre and BOH areas from a Cloud PM4 4-zone paging microphone. A TASCAM SS-R250N recorder player can also be called upon for both pre- and post-function playback. The young performers and speakers can utilise up to four channels of Shure QLXD4 wireless microphone receivers and transmitters, including lapels, Beta57a and Beta58 handheld models. The 32m x 22m (LxW) theatre demanded the installation of a UA844+SWB antenna and distribution system together with a UA874WB active directional antenna to ensure clarity of signal throughout. An L-C-R FBT Mitus loudspeaker system provides the audio reinforcement for the venue. Wall-mounted at a height of 3m, single Mitus 152 15-inch, 2-way cabinets provide the L-R coverage, while a pair of Mitus 115 models cover
The mobile podium can be connected to two stage panels equipped with HDMI, VGA and audio connections
‘Delivering such a calibre of auditorium project equipped with world-class solutions not only shows our strength,’ states Basel Al Arif, general manager at Oasis Enterprises, ‘but our ability to meet the need for contractors and the design community who are also gearing up for the iconic Expo 2020 Dubai – which will be a festival of human ingenuity.’ Finally, Mr Whittaker added a showbiz touch for those dramatic production entrances. Weighing 200kg each and measuring 9m x 8m (HxW), two 400gm/m Rose Fabric IFR crimson red curtains can be quickly drawn at the touch of a stage left knob on the overhead motorised tracking system. It’s doubtful that the school principal will ever ask for the Look Solutions Viper 2.6 Fog generator to be added as part of his own stage effects. Like Lake Geneva, the atmospheric conditions outside the school on the edge of the Creek are capable of occasionally producing a natural haze. Whether the theatre will ever witness an Emirati version of Smoke on the Water being per formed is debatable. However, it could host any world-class production should it wish to, but without the baggage of experienced touring engineers. www.oasisppd.com ua-intl.com
Eight bars can be hoisted into position for lighting and scenery changes using an ETC Prodigy P1000E system
November–December 2018 PRO AVL MEA 73
FEATURES: INSTALLATION
Simon Luckhurst reports on the changing perception of EVAC systems in Kenya WHEN GAPP ARCHITECTS & URBAN DESIGNERS FIRST proposed a new 18-storey, high-rise office building at Waiyaki Way in Nairobi, the strikingly modern exterior design of the building formed a new landmark on the city’s emerging skyline. Little did those reading about it at the time know just how modern the infrastructure running throughout the new 80m-high building would be in contrast to its surroundings. Sanlam Tower’s design is as interesting on the inside as out. Construction started way back in 2015 on the Sh2.7 billion (US$25 million) eco-friendly development, which has recently become the permanent home for Sanlam Kenya, the pan-African financial services company, in addition to sporting more than 42,000m2 of Grade-A lettable office space. The move into high-rise buildings in cheaper suburbs, where the remaining floors can be sub-let to corporate tenants for additional income, has been increasingly popular in Nairobi as rents reach record levels in traditional business districts. Understanding this, priority in the design for Sanlam Towers was given to making the building eco-friendly through clever architecture and the integration of new technologies. This includes a range of automated smart systems such as crossventilation, occupational sensors and green lighting to make the office spaces as cost-efficient – and therefore an attractive investment – for tenants as possible. Needless to say, a comprehensive fire and evacuation system would be a key boast of the building’s smart credentials. Fire safety in buildings has undergone an evolution in recent years. Fires are burning differently because of modern construction techniques and furnishings, while budget constraints are limiting equipment purchasing and training. Africa also suffers highly from fire losses; therefore, new facilities and renovation projects need to be designed to incorporate efficient, cost-effective passive and automatic fire safety systems.
74 PRO AVL MEA November–December 2018
Image courtesy of Sanlam
Fire engineering is a fairly new concept in Kenya and East Africa and, traditionally, developers have not really embraced safety as an important part of the construction process. Furthermore, the role of fire systems themselves has expanded to encompass more than just early detection and warning, providing emergency communication of essential information that is needed for occupants to respond during all types of emergencies. While visual safety warnings are increasingly common, audible announcements are still the fastest and most effective way of notifying occupants to potential situations. This is no trivial matter. Speaking on the challenges in the fire detection industry in Africa, a spokesman for the IFSS (Integrated Fire & Safety Solutions) Group in Kenya recently
Image courtesy of Sanlam
Fire safety at Sanlam
noted: ‘A lot of building owners take fire detection to be an unnecessary cost; the idea is that once in a while, in case they get a fire, insurance will compensate for the damages.’ With several big fire incidences experienced in Kenya recently, this mentality is beginning to change. Yet ‘clients still feel it is a huge investment and want to invest the minimum they can afford,’ notes the IFSS. ‘There is also no proper training and understanding of fire detection and protection. A lot of buildings just have the basic fire extinguishers. The issue of maintenance of the detection systems is also often not taken very seriously, and people give maintenance jobs to unqualified personnel because of cost.’ Following a rigorous stage of proposals and presentations, the tender for the Sanlam Tower EVAC system was awarded to Mehta Electricals Kenya Ltd, which was supported throughout the design and installation by local A/V solutions supplier and TOA distributor, Audio Visual Engineering (AVE) Ltd. ‘The project was won by Mehta Electricals Kenya with help from AVE Ltd. As well as supplying them with the equipment, we supported them fully throughout the project,’ explains Omar Abdalla, technical director of AVE Ltd. ‘As a leading electrical and ICT contractor in Africa, Mehta Electricals is a major player with offices all over the East African region. We were very happy they decided to choose us, and we knew they had selected the right partner for the job.’ ‘Being a commercial tower that would be let to unknown tenants, the evacuation system needs to have provisions and the necessary capacity to accommodate whichever tenant wanted the system extended to his space,’ furthers AVE’s technical head, Victor Nyotu. ‘We were brought on board to supervise the cabling and installation of the EVAC speakers, as well as the termination and configuration of the central system and the commissioning of the entire setup.’ With much of the office space yet to be rented out at the time of opening, the design for Sanlam Tower needed to be as flexible as possible to cater for any potential future clients’ needs. Working together with AVE, Mehta Electricals utilised tried-and-tested products from Japanese manufacturer TOA
FEATURES: INSTALLATION Corporation’s VM-3000 series. The VM-3360 main unit installed at Sanlam Tower is an all-in-one, EN54-certified voice alarm emergency evacuation system boasting audio public address, paging and BGM functions, as well as built-in digital audio processing and audio mixing functionality. ‘It comes with audio inputs, and the speaker output section has an internal attenuator and 6-output selector. It permits general-purpose broadcast, but also EN60849 standard emergency broadcasts, which provide pre-recorded voice instructions in an emergency situation,’ outlines Mr Abdalla. ‘The emergency broadcast can be made from an optional TOA RM-300MF Fireman’s Microphone or from the amplifier, and can also be remotely controlled from external equipment. In addition, the unit features a surveillance function which automatically checks for failures.’ ‘The VM-3000 was ideal for this project since it can accommodate up to 60 independently addressed output zones,’ adds Mr Nyotu. ‘Sanlam has four basements and 18 office floors – these public areas alone were grouped into 12 zones plus an additional 40 zones for the rentable spaces. This was well catered for with the VM-3000.
A TOA RM-210 remote microphone in the main reception area
The VM-3360 main unit connects with four VM-3360 extension units to provide the flexibility Sanlam Towers required ‘We have the capacity to accommodate more zones and these zones can be independently addressed,’ adds the technical head. ‘Furthermore, the system can also be monitored and send log reports on a set duration. Faults can be easily noted from the main LED display of the unit.’ Four VM-3360 extension units connect the system with just over 100 TOA PC-648R 5-inch speakers that have been ceiling mounted throughout the tower’s offices and public spaces, such as the lift lobbies and washrooms. The system continues outside into the tower’s 3-storey, 400-bay parking silo, where a further 30 TOA PJ-64 5-inch pendant speakers keep residents appraised of any situation. TOA RM-320, RM-300, RM-200 and RM-210 remote microphones are installed in the control room, main security control room, security gate and main reception area. While the design of the system itself was relatively straightforward, the installation served to highlight the gulf in knowledge Kenya faces when promoting fire safety. ‘Our role was in supervising the cabling and installation of EVAC speakers, the termination and configuration of the central
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system before commissioning the entire thing,’ recalls Mr Nyotu. ‘The biggest challenge ended up being supervising and following-up on the cabling works and checking how the speakers were terminated. Since most of the electricians were not familiar with audio systems, we provided training on the termination and cable testing for them to work faster. Ultimately, the process took us about a week.’ The fire systems at Sanlam Tower may still be considered simplistic in comparison to others deployed elsewhere in the world, but at Waiyaki Way the system is as cutting-edge as the building housing it. Choosing the solution that offered the necessary functionality without introducing unnecessary costs for the client was key to securing the project. ‘The client is very happy with the EVAC system since it has met all their requirements. They particularly like the fact that they can receive the system log via email at set durations, and the final result is exactly what they wanted,’ shares Mr Nyotu. ‘From our perspective, this solution is absolutely suitable for such a tower and a more complex one would provide too much expense to the client with little extra benefit.’ Having completed the installation phase of the project quickly, the cooperation between AVE and Mehta Electricals didn’t terminate at commissioning. In addition to ongoing servicing, AVE remains committed to training and education on the installation of fire safety systems. ‘We believe increasing awareness about fire safety in Africa to be vitally important, and the TOA VM-3000 series to be the perfect product in helping us do this,’ concludes Mr Abdalla. ‘Providing continued training about fire systems to a major contactor like Mehta Electricals is a great step in pushing the industry forward, and highlights the value we can bring to the industry as a reliable TOA distributor.’ www.ave-africa.com www.mehta.co.ke www.toa.jp
There are no better monitors of this size, it’s as simple as that Andy Jones - Music Tech
genelec.com/theones
November–December 2018 PRO AVL MEA 75
FEATURES: INSTALLATION
Rising to the occasion
Sennheiser joins up with aDawliah Electronics to tackle RF interference head on in its latest conference installation for Sheraton Kuwait. Ledetta Asfa-Wossen reports RADIO FREQUENCY INTERFERENCE CAN BE THE discriminating factor between a state-of-the-art conference facility and a run-of-the-mill meeting space. So with Sheraton Kuwait, there was no room for compromise. Part of the Marriot International Hotels group, the grand 5-star hotel is home to two large ballroom spaces and several meeting rooms that needed a clearer, flexible audio conferencing solution to match the requirements of its growing business clientele. Having previously worked with Sheraton’s engineering department on a number of projects, assigning distributor aDawliah Electronics the task seemed like the logical solution. The project adds to a long list of work led by the Kuwaitbased pro A/V distributor which has been involved in a number of installations up and down the country, from functional government and retail projects to the Central Bank of Kuwait and the prestigious Four Seasons Hotel in Burj Al Shaya. This time, however, aDawliah had its work cut out. ‘Sheraton wanted to upgrade their old conference wireless system with a new one that met with the latest microphone system technologies. The old conference system had an interference issue as well as a bulky design and audio quality was not clear, or good,’ explains general manager at aDawliah Electronics, Maher Abdelkarim. Adding to that, the conference needs for the hotel were quite complex, in that they wanted to be able to use the system in multiple rooms throughout the premises. Confident of its technical capabilities, aDawliah proposed
76 PRO AVL MEA November–December 2018
ADN-W MIC gooseneck microphones installed in the Sheraton Kuwait
a Sennheiser ADN wireless conferencing (ADN-W) and microphone system for its expansive facilities. Open to the recommendations, Sheraton led a trial. ‘Prior to selecting Sennheiser, we conducted a test between ADN-W, our existing system and another manufacturer’s solution and the ADN-W not only demonstrated vastly superior sound quality, but also convincingly addressed our concerns around interference,’ said Sheraton Kuwait engineer and maintenance manager, Mohamed Monieb. The reason for improved performance was all down to ‘the ADN-W’s ability to hop between frequencies in the 2.4GHz and 5GHz ranges’. With a little meticulous planning and modelling, the application engineers at Sennheiser settled on permanently locating the antennas and control units in three of the rooms and then provided a floating system with accompanying wireless microphone units that can be easily moved between meeting rooms as required. Working as a simpler plug-and-play solution to its existing setup, the ADN-W system gives conference participants the ability to control an event from an integrated PC by attaching a monitor and keyboard, or via a third-party media control system. The system also offers two USB ports that enable recording of conference audio onto connected drives or memory sticks. The setup involves a digital discussion central unit (ADN CU1) that powers 40 and controls up to 400 connected delegate and chairperson units. An integrated software package, Conference Manager, is used directly with the ADN CU1 to create more intuitive monitoring of the conference.
32.24. ‘SSL has primary actually been making network I/O for some the potential establishing what to customer expectations are.of audio networking for the concert market, the I/O and some Dante I/O which is connected directly the polar Cartesian coordinate that the polar get ontowith their job ofconverter capturing thechanges action. Crews can time,’ reasons Mr ‘Traditionally manufacturer shown that all that time in development has ‘This will be Madi the first many products on the has collaborative network,’ he begins. ‘The I/Oofgoes coordinates of smaller rooms into the Cartesian coordinates focus on setting upFerriday. quickly and sending the live shot back to that the this has been product, it’s not well spent. from theconsole two companies,’ hebeen continues. ‘We’re looking to directly into side the monitor to run you would use aforbroadcast larger spaces. It uses trigonometry to work out broadcast facility. something we’ve soldis,into the liveangle market in or leverage ourbetween products. We have wireless microphones the absolutefurther minimum latency what hypotenuse what the is and then it converts Mostthe satellite vehicles with existing Ka-band Ku-band www.solidstatelogic.com the past. However, the new Dante which stagebox andmonitor Yamaha-built and other systems for mixing in very the I/O and the board.DSPs Via the that to two Cartesian coordinates, are how far along satellite equipment can be upgraded for compatibility with and has been designed forand sound. how far up as compared to sitting firing polar coordinates network blending. Asspecifically an example, alive Newtec Dialog IP modem, We’re still using same is super analogue mic from something. Otherwise you could end up with athe height configured for thethe service, provided as part of the CellSat rooms. The antenna modules allow for relation to its acoustic outline,’ notes Oliver Thomas. ‘But pres as we do thewhereas broadcast device, but we high-end audio applications. For high channel on theon wall youtransmission really want itand on receiving the ceiling. solution, which includes Dejero control ofItboth RF output power and operating the best takeaway was looking at the type of engineering now have a software, different form factor is more imagine us combining our wireless a allows everything to track with thewhich correct azimuth and tow. range,The equipment, connectivity services to the CellSat frequency so they can be coordinated screen shot of a high renderand channel count immersive audio design design process for a company making products that will FOR EVAC appropriate forthing live.’was creating technologies with some of their DSP ‘The second capability to handle tiered network, cloud management and the support. Satellite time with any Wi-Fi/IT services in the facility. be used in a pretty harsh environment and going through The unithe includes 32 mic/line of the know where to put those channels,boardrooms they wouldn’t evenworld.’ know seating,’ continues. ‘We hadinputs, tobandwidth look16 at everything from polar I want a database that is filtered so that they’re not confused becomes freely available to boost when needed. To This versatility and control ensured that the SYSTEMS CERTIFIED the steps of validation and testing.’ analogue outs, four AES/EBU inputs and four But he is equally quick to point out what to do with them. responsethis, graphs to off-axis response andwith acoustical insertion products and brands that are not applicable,’ he reasons. achieve CellSat has been integrated Newtec’s Mx-DMA system met the by main customer requirement The PMC sales and marketing team has already set its ACCORDING EN 54-24 (B) ofproducts o AES/EBU it is on the back could tackle conferencing ‘The barrier to businessTO for most people is the complexities points for outputs. the ‘So withoperation.’ one buttonand click, users can filter the database for justnews technology as loudspeakers.’ part However, of the Newtec Dialog platform. Mx-DMA of an interference-free Blending cellular satelite signals remote sightscan on assist the broadcast sectorteams in Asia and Australasia and panel where thealso newseen stagebox offersmanage something unique. Here can go down and up. They have powe The move has specifications from abandwidth variety of new the design,’ he continues. ‘I can do a design in a minute-andthe professional ranges from the various speaker or projector combines SCPC and TDMA to flexibly on The chairman and delegate units have an is banking on the result6 to make an impact in the region. there are while twomanufacturers pairs of redundant ports. and all kinds Anything that offers greater capacity provides manufacturers, opportunities for of high-e loudspeaker addedDante to TCD’s database. ‘We’ve batterya a-half. I could run five designs usingreinforcement different manufacturers. That willhours make it a much more professionally demand, avoiding fragmentation ofnetwork the space segment. cloud-based management system, which allows users to extended operating time of 20 ‘We will be looking at China quite aggressively, and I would ‘In the Network redundant pair, thereand is much a were we can leverage we go up. And go improved video qualitybrands, and performance. been talking to people aboutAtheir bigger,the horn-loaded, different loudspeaker different screens and as projectors driven commercial database.’monitor live feeds, route content to Toaddition set up ato network blending solution, broadcaster can equipped remotely equipment, with acontrol high-performance expect the result6 to open a new market for us there,’ second pair on athe back of the box which phones USB phones s Network blending offers a newIflevel of reliability by have more systems,’ notes Mrtransmitter Singleton. ‘It’s trying to and present those to the client. we get theand job,they that’s brilliant, With the for solution nowfacility able to handle the added complexities equipprofessional a redundant vehicle with either mobile or atwin rack-loudspeaker the desired broadcast and view performance data and system decentralised says international sales director, Miles Roberts, adding provides aencoder gain compensated Dante split,’ furthers Mr we can go from together. USB phones, VoI automatically cellular30 connectivity multiple address commercial application aspect and, with this data, and if we don’tcombining I’ve only wasted minutes.’ of large-scale theatre mountedthat – compatible cellular antennas and IP satellite billing reports. sound reinforcement. For flexible use,design, the Mr Singleton is quick to point that unlike its European and American competitors, PMC Ferriday. channel the gainthat differential that do everything – aud mobile network with on-demand satellite connectivity, we are in ‘This a much better includes position to cover commercial sphere.’ This has alwayscarriers been the key goalperipherals for TCD. Clients will make toAthe potential benefits bring to new marketplace, modems – while satellite terminal equipment can be added network architecture beadesigned so that ADN-W C1 unit can also be blended charged withTCD its canshould is in the process of obtaining China CCC Certification – a audio. The audio coming out here will be battery cover the full spectrum of collaborati is keen that the commercial addition to TCD allowing broadcasters gettools high-quality video transmitted subjective choices but,towith like TCD, missing out on ain mostpictures notably in time savings. ‘Because I have been doing this atMr theSingleton broadcast facility and aof receiver cannot reconstruct the pack, ADN-W live and sound arethe sent over whatever data bandwidth case units or using mandatory product certification system with the aim of changed by video anything thatorhappens on the input While that is for the future, Mr Reid does not cause confusion forIPhis users. ‘I deal with people in DC power challenging network contract doesn’t haveconditions. to be so painful. a long time,and I knew what atoproblem it was for me,’ he reflects. transmitted for SDI playout. is available delivered whichever location or locations NT 12-50C supply. The all-important protecting consumer security – for result6. Not having a gains from the control console.’ business case for the CS-700 now. ‘W the sphere, I understand that it is complex ‘When are doing 5.1 or it’sthe easy. WhenPhil you’re doing If acommercial broadcaster chooses to go with CellSat forvery their networktouchesthe requires. As7.1 such, system should be as 32 finishing tobroadcaster theyou conference space Revolabs’ Marechal and Michael Fitch demonstrating CCC can reportedly create import restrictions but PMC the CS-700 InfoComm 2017www.dejero.com Thisthey means the box can operate as two discrete market for these smaller rooms wher www.thecinemadesigner.com and don’t want tois sift through a database of nonsense. channels of rendered audio, most people wouldn’t has been designed allow theasconnection of various peripherals blending, the that solution managed from a browser through applicable fordiscretely live links betweentocontinents itat is across town. included ADN-WThe MICdesk gooseneck microphones, claims to have the edge in the country, having obtained the equipped with a super-cardioid capsule to certification for previous products. diminish any unwanted sound. ‘China is working out for us quite well,’ continues Mr ‘We explained to Sheraton that Sennheiser’s Roberts. ‘We are expecting some significant movement with microphone system has a sensitive cartridge the result6. We already have pretty large pre-orders from technology to achieve crystal clear audio. We DMT, our China and Hong Kong distributor, so we are just also highlighted the fact that it is very easy to waiting for the CCC approval to come through to ship them.’ install, with the added possibility of installing The big plans for Asia do not end there, with PMC also it anytime/any place as well as the option of using result6 to tap into education for radio and television • adding more microphones into it. All of these production technologies and classical recording. ‘We were points played a big role in convincing the hotel already doing installations at around eight conservatoire• management,’ added Mr Abdelkarim. type, educational establishments,’ continues Mr Roberts. ‘I see result6 as the point where the students can step into a • brand like PMC. It is reachable and affordable as opposed to our other products. The result6 will give students that going to be put to market are much quality experience they will face in the real world.’ product of result6’s price. Although It has been a long and rocky road for PMC and result6 but, the amount per speaker isn’t.’ for Peter Thomas and his team, it was worth the wait and Although the result6 will not have struggle. ‘In business, you allocate the R&D cost to each dynamics as its predecessors, it w www.pan-acoustics.de product by working out what the lifetime will be,’ explains trait that Peter Thomas – who star Peter Thomas. ‘With the twotwos, the numbers that are back in 1991 with his partner Adria
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‘The antenna modules allow for control of both RF output power and operating frequency range, so they can be coordinated with any Wi-Fi/IT services in the facility’
INDOOR & OUTDOOR
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Coupled with a low-noise fan, the central unit can also run throughout meetings without disturbing proceedings. Key to the installation was the ADN-W AM antenna module, which has been designed to ensure reliable wireless bidirectional communication with the ADN-W D1 delegate units and ADN-W C1 chairman units in both the 2.4GHz and 5GHz frequency bands. ‘During the site survey process we decided that, due to the size of the larger spaces, an array of multiple antennas would be required in each of the two ballrooms,’ said Ryan Burr, head of technical sales and application engineering at Sennheiser Middle East. ‘These were then tested and located to give the best-possible coverage within the spaces any significant spill outside advert(Vertical).indd 11 ndustry drivers classwithout advert(Vertical2).indd
Come installation day, the results had already started to pay off, with Sheraton parading its conference revamp that afternoon in a high-profile event attended by government ministers of trade and industry from all across the Arabian region. ‘We received some really positive feedback from clients who have been using the new system,’ said Mr Monieb. As demand for high-quality conference facilities in the Gulf region continues to grow, the hotel hopes to increase its capacity, with Mr Abdelkarim stating Sheraton already has plans to install 30 more microphone systems in the near future.
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Biamp has the room covered Quests to Saro Lounge managing director anditsfounder, BIAMP HAS extended Kesavan Purusotman, to install Tesira platform with a series of a new sound ceiling systemmicrophones to reinforce beamtracking the DJs. and a power over Ethernet (PoE+) Mr Purusotman’s background conferencing amplifier. lies the music industry and, Theinmicrophones include three familiar withtomany pro360° audioroom 120° zones provide brands, heand selected Audio’s coverage, identifyQuest and lock to 2-way ultra aQM108 signal source, evencompact if the person speaker for the karaoke room. speaking is moving around. The The Concept team, led Tesira TCM-1 isAudio an AVB ceiling by senior business development microphone comprised of a pendant manager Alexandra Chua,box installed microphone and a plenum 14 QM108 cabinets around the with an additional RJ-45 connector room, hung from the ceiling. In for daisy-chain connections. The addition to reinforcing Tesira TCM-1A is an AVBkaraoke ceiling and BGM, they the energy microphone and boost PoE+ amplifier when the resident DJs per form. comprised of a pendant microphone
in conjunction with the TCM-1 or TCM-1A; it cannot operate as a standalone device. The Tesira AMP-450P is a 4-channel PoE+ conferencing amplifier that includes an internal limiter and is reportedly capable of providing 3W of continuous power to all four channels and operating in a burst mode to handle peak signals, providing up to 50W (4Ω) or 30W (8Ω) per channel. The and a plenum box. The 2-channel output channels are also software PoE+ amplifier includes an internal MALAYSIA: Saro Lounge draws as providing a venue for eating configurable. The amp is suitable limiter, selectable power and a in the crowds from Kuala and drinking, Saro features a for use in air-handling spaces and is burst mode to handle peak signals. Lumpur’s Pavilion Elite with its room for private functions with configurable via Tesira software. Tesira TCM-1EX is an expansion JAPAN: AmericanforSchool light within a moment’s notice,’ bold, Western dishes and its a setup for DJs among other AVB ceilingThe microphone use www.biamp.com Japan recently four explained Mr Gilmartin. ‘The elegant wood and leather décor forms of entertainment. Having asin a second or third added microphone Chauvet Professional Maverick MK2s have opened a whole new complemented by a state-of-theestablished its reputation in the A update for been www.conceptaudio.com.my MK2 Spot fixtures to its multiworld for my students. I’m now artFIRMWARE light feature that has local pro audio market, Concept www.questaudio.com.au DirectOut functional auditorium. The 440W able to teach them a new set of integratedTechnologies’ into the ceiling. As well Audio was approached by Saro Montone.42 format converter LED moving fixtures join a full skills on our lighting desk. One means it now offers support for rig of conventional luminaires of my students was recently Dicentis BOSCH HAS expanded its IP to be added, the SMPTE standard ST 2022-7 and were acquired through the accepted to so thethe BFAinterpreter Lighting Interpreter networks for Dicentis conference see programme the participant speaking (stream redundancy). The German manufacturer’s local distributor, can Design at the North and PA/VA systems by introducing or the participant’s manufacturer is reportedly one PRG Japan. Carolina School of presentation. the Arts in Dicentis Interpreter and The complies the ISO of the first Pietschmann, manufacturersDavid to Kirby and Markus Jahnel ‘We have been looking to the desk US. Having thatwith additional Alexander installations benefit from this Praesensa. 20109 standard. implement 2022-7, which make our lighting system more programming skill on her résumé cutting the ST ribbon on the Experience Centre CHINA: Stage Tec has equipped thatThe by offering 96 desk, input channels update as well.’ Montone.42 is interpreter which is The Praesensa the latestof describes seamless protection versatile to meet the varied helped attract theisattention an OB van at Hunan 48of busses up ADAM to 108 HALL input GROUP’S an AES67-compliant converter part the Dicentis Conference PA/VA system from Bosch switching between twoTelevision RTP audio demands we place onmarket. it,’ saidCosting this top-rated school.’ A STRIKINGwith NEON SIGN ATor THE million, it is technology upwards of €20 with a Crescendo digital mixing channels 32 busses asjust well that bridges MADI (AES10) and System, has been optimised for and networked with the streams. Noteverything onlyishave themanufacturer Chauvet new Experience Centrewith in Neu-Anspach, north of Ed Gilmartin, thetheatre physicalmanager manifestation of the console. is the second asthe flexible routing The‘if you can dream Ravenna audio over IP technology. real-life needs of words interpreters ofequipped ensuring high at the ‘With the This growing proliferation and resident lightingtodesigner fixtures proven their worth Frankfurt, Germany, glows withoptions. the is trying achieve. at It includes aaim fully product Hunan TV’s five OBsystems vans to console has 24 and is may be The manufacturer believes and features tactile buttons andand scalability ofof IP-based production theseen school.showroom, ‘The MK2 has theauditorium school, but shows Mr Gilmartin was it, that you can donew it’. The famous Waltfaders Disney quote a large forflexibility live with one of the within aprovide Nexusas network. supporting ST 2022-7 willbyprovide andimpressive knobs thatcomplex control small centralised to in be theupgraded broadcast industry, performance features we were also from impressed with thenewly service visitors tointegrated the a statement about demonstrations, and educational facilities for the German manufacturer’s consoles has afacilitates Star router equipped an increase in transmission andcompany, operation without large decentralised systems. our customers’ demand for seeking. It’s a first-rate he received from PRG Japan.The the growth ofIt the but these words resonate further. founded Adammover Hall Academy. following the previous with a RMDQ DSP boards security for audio signals inThe IP sign hangs even looking atatthe desk. The Bosch IPwas architecture redundancy concepts is successful also that fits our ‘The budget.’ ‘Their Omneo team has been onpair theof wall one end of the elaborately idea behind the Experience Centre to extremely make a installationsaid of anClaudio Aurus desk in to interpreter ensure theother bestbetter performance networks. Additionally, thedecorated two can observe Dante audio networking, increasing,’ Beckerin two vertically aligned columns A pair of the Maverick MK2 whichsupports helpfulcome with any request thatwhole I’ve library. On the side of that wall is possibly space for creativity would together for the another of theaudio fleet.specialist possible when the van is deployed network inter faces – which non-verbal communication of of the supported and AES70 protocols. Foss, network a screen. Three Spots arebylocated downstage had,’Alexander he said. ‘IPietschmann. look forward‘We to theare single most important area for the future market,’ says AdamofHall AES67 CEO, The Crescendo installation forthe live productions, suchalso as now independently configurable – speakers andfacility. has been Bosch states thatequipment Praesensa at DirectOut. ‘We are pleased buttons provide thea statement the proscenium. adding more of their manufacturer: its R&D and test Every day, asassignable Adam are really making toalso the industry.’ deemed necessary by national majorlabs, theyinterpreter offer the possibility of operating specifically and optimised improves the effective towas be able to offer ST 2022-7 withWhile short-key functions points, to my in important theutilisation future.’ Hall’s engineers headcongresses intotested their respective will‘These hang all ofcombined these elements areinventory individually broadcaster as theanvan’s sporting audio streaming and large productions duedevice to awalk lackpast this for visually impaired interpreters. of availablenew power. in the Montone.42 at such early forwith quick to supporting theaccess wide angleto ofform the an impressive sign. Itevents. is surely as much a message to inspire andfield combine home for the www.chauvetprofessional.com previous was increasingly in separate networks. of capacity and its rigid bus Interpreterabout also separates the itself. functions’. stage. The console first projects planned to control The HDMI output MK2s, mean that there isn’t them as it is a statement the company manufacturer, it is athe R&D facilities that will provide the www.bosch.com www.prg.com/ja unable to meet the needs ofnow structure. The Crescendo fixes and outgoing incorporate this standard are enables anon external videoI can’t screen position stagelong-term that The launch www.stagetec.com ofincoming the Experience Centre languages and the neighbouring most benefits. Dotted along a corridor that runs beingExperience implemented and features existing a product www.directout.eu The Centre showroom logistics park has turned many heads in the entertainment behind the auditorium are four rooms where the future of the
DirectOut adds stream redundancy to Montone.42
Shining a light from America to Japan
Bosch in expanded IP drive
While there are many eye-catching areas at the Adam Hall Crescendo boards Group’s new Experience Centre, it is the R&D facility situated its ground floor that may well be the most important. Hunan TV OB vanon James Ling takes a tour
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Trust Your Inner Ear
PRODUCTS PRODUCTS PRODUCTS
FEATURES: INSTALLATION BUSINESS: COMPANY PROFILE
Bose unveils Powersoft The PT-70 gives performs Projecting toShowMatch the masses dBTechnologies returns toNew thea Opera BroaMan receives signal and ControlCenter Armonía a tune up Design to CM Series
and you don’t really find them in any within thehatched region,’inhe With the project complete and the first of the FITInc company will be created. While the gyms concepts are temperatures from –50°C to 200°C andmember a humidity range reasons. With this selection made, was timerooms to get creative chain open attracting new members, Mr Armstrong is EQ,capabilities optimised graphics, automatic the third-storey design offices, it isit in these that they from 0% to and 100% to testofthe in any environment. with theprototyped rest of the and spintested. room’s A/V. clearly ‘Personally, I believe the frequency-reordered filters andend an will be But ithappy is notwith onlythe howresults. the products perform in different Away the far sound, three is main elements result is good but client is overjoyed extremely happy expanded library featuring Sittingfrom at the end there of theare corridor theA/V space described environments thatour can be tested inpreset thisand space, it is also their that combine in the room. First thecontrol moving head LED audio quality as wellpresets asRepeat48-2Fiber solution FOHHN AUDIO AGspin developed Two differentwith beam dispersion for thewhere Boseof SMthe Series, solution for smaller venues,while asWITH the ‘most expensive room in theiswhole building’: the brand effect on the environment. Itthe is uniqueness here the manufacturer SIZES ranging from system integration, BROAMAN HAS expanded supports DBTECHNOLOGIES’ CLASSIC and a double horizontal dispersion. lights from Vision Pro as Lighting. Theseiscombine withand the second installed. Having or making a Audio client happy means more than to its Perform-Series, the name angles are available: 90-degrees Das Aero Series, custom d&b or as an new anechoic chamber. TheProAV room a box-in-box construction can measure materials such asto lead or cadmium 200 to 265 inches, Elite aindoors wireless 5Vout, to 12V its Repeat48 range with therestricted transceivers up 12G and can BOSE PROFESSIONAL’S Opera series of loudspeakers has Additionally, all three models element, the haze machine, sound system create aof lineorarray anything,’ offers. ‘I don’t think there anything that could ARMONÍA PRO Audio Suiteand x 50-degrees and 60-degrees xconform suggests, live performances. Max12 Max15 systems, and which enables imported shared extension for bigger or standing onfor rubber absorbers tothe decouple it from the rest ensure itshe PCBs to theand European and trigger is to included has released Saker Plus, av2.10 Repeat48-2Fiber module. reportedly beisused forinternational 12G video or ShowMatch DeltaQ array been completely reengineered feature two input‘Itsetups. channels, two club-like environment. be done better on the initial install. Perhaps we would offer offers avenue new interactive tuning plugTherefore, the manufacturer 50-degrees. maximum sound custom GeoT The location traces, such as smart, beam steering systems at larger the building. The walls and ceiling are covered with hundreds laws dangerous materials. large electric motorised for synchronised It can be The used toon convert from 10G IPNexo systems. is now possible loudspeakers aim to better witharea the latest evolution, promises pressure selectable output –places Link ‘The spin iswedges extremely unique,’ Mrenvironment Armstrong. control for gym toalso ensure the AV/server room that aims to improve the process looked to studio ensure that newest levelwireless isThe 140dB, the fibre update the Quattrocanali 1204, txt, csv or xml to be read Targeting rental final room on the themain corridor isintegrate one12G ofchannels the first ofin large Rockwool which createsays aarenas. test Theinperformance projection screen. Thethe screens operation withfiles the multi-mode to single-mode to fullyof video with match the total array coverage the Italian manufacturer. CH 1and or workflows Mix CHprototype 1+2 – and eight ‘We wanted create anthe immersive where you it can also does not to to be accessed during day. Budget concerns TAKING THE technical aspects of measuring and aligning aPT-70 sound environment addition toto the frequency range fromhave 52Hz 2404 4804 and Duecanali real-time. market in particular, anyis new product concept will arrive: the workshop. for accurate measurements between 60Hz and 30kHz. are available inseries, six sizes: 200, the projector’s or to/from any CWDM or DWDM IP video and run all on of audience areas by allowing for three variants, the like20kHz preset equalisations tailored can really think you are atpurpose a club but not using your at play team through the design stage so will ofsame the Apart Audio CM series while also removing noise loadobviously capacity isSFP loudspeaker, was forin 1604 systems adds control and The Smaart technologyvery provides be used as the av8 multi-functional plug Here the first works with foam towe ensure high. The Comprised reason is ifofyou have a luminaire a transceiver spotand or thewere Itsystem, is also home to afit large robotic armyou’re that can turn power cycle. There 235 and 265 inches 4:3 thanks to engineering its two the fibre infrastructure, even changes inand directivity or ‘Q’and forand each Opera series then speakers include 10- 900W toofsingle different environments. energy for dancing you are powering that works on ensure thatpeak. this happens with later installs.’ in-ceiling speakers andThe from the surrounding environment. in delivering concert sound and nominal, 3,600W support to theBroaMan standard myriad functionality, including offlinespot, for and play solution. the dimensions of a newmonitoring product are right before creating a follow example, you need distance because loudspeaker to200, any –235 position allowsthe the engineering team format; 265 is abike detachable cages. on fibre’, stated module ininthe array. The American 12-inch andthe 15-inch models, cabinets feature athe kinetic Asof Pro MEA the elevator back downsuch into the real adding athemselves thin-edge grille and has also integrated surviving touring life. Part ofof a loudspeaker. With dimensions 400 x takes non-DSP versions. manipulation with EQ, gain,Selecting polarity, is inch, needed for quiet, offline tuning Also new with working v2.10 isAudio thex 850 ability It includes the manufacturer’s wooden versions for testing in spaces as only with distance you see sharp light. Then we toPowersoft take energy.’ polar measurements These two inches 16:9 format. 3-way wall switch the bestwill model of fog machine was one of can the dBTechnologies’ series manufacturer has also recently and offer 1,200W peak grille, topinnovative and The final element istoperhaps the important. It is certainly it’s clear that FITInc full lives up totogether its neodymium billingwith as an integrated grille Armonía with Rational Acoustic the extensive testing process 450mm and aworld, mounting bracket delay, sum, average and Technology merge. Achallenges before a the virtual simulation is andpower to integrate with EAWOpera Greyboxes, Convertible Dispersion look at how the edge of the gobo will be the edges of the elements combine ensure the most manufacturer can measure The screens incorporate keypad for up/ main ofeach project developed the series while integrating DSP processing side handles and pole mount cupsit athe that you are at aupdate, gym, a club. The A/V example of how canmagnets, be used. More than that, fixing the Belgian Smaart v8putting asControlCenter part ofspeakers the system designed to allow it toA/V technology involved the PT-70 to work, single set of solution starting measurements completed. enhancements to the visualisation (CDT), which enables it to beams be themselves.’ dispersion of its atnot every angle to build a stop/down manual areminder MaxWhite 1.1 Gain front www.powersoft-audio.com of zone a set ofoffers remote FIRroom filters andtoa the Class-D formanufacturer stacking athe large portion the original sees thecontrollers, output from each bike recorded through a central is aaoftripod project can configurations be rightly proudwith of. The SI week installation project was due use of has introduced providing the sound reinforcement stand alone on orthat be Delta AV Solutions manually switched vented While the sizewith of the ensures it different is a 600W suitable testing precise picture of its characteristics. projection surface that a operations and PC-between controls for use with its FreeSpace amplifier. models’ hasfrom alsosteel been based control system and viaofan interactive NEC short- modes. took abuilt challenging brief anddBTechnologies’ created truly unique. As technology. ‘The challenges facedofincluded a thesuccess the CM something Designsubs. series. across Fohnn’s home country of flown, PT-70 isto, and cardioid operational While audio makes up a displayed major part the entertainment environment, there are alsoweplenty tools atchoosing the engineering wide viewing angle and is said internal radio and PowerShare amplifiers and The series’ asymmetrical horn, redesigned tomore obtain an compete for business, throw projector onto the main wall the instructor. This is chassis, gymboth chains this kind of installation haze machine that wouldn’t spin and their In terms of functionality, Apart Germany – atdiffuse the Rantastic in brace reinforced multiplex birch With a pair of technology industry, lighting just as important a 12-inch role. team’s disposal. There arehinder sensors forparticipants measuring everything to uniformly light inholds all behind frequency/infrared ControlSpace processors. which asymmetrical vertical dispersion used showsurprise how well people performing in the with session and andbreathing will helpscratchFITInc position itself as the king during their dBTechnologies workout,’ smiles attributes Mr Armstrong. ‘Also, states that of thespin. CM1008D, plywood, with Baden-Baden, the 28th Ehinger compression chamber horn, Sodirections. it to is little that the are facility directly neighbouring www.dbtechnologies.com from dimmer curves to laser intensity and beam angles towe coated They are active 3D, receivers IR the The ShowMatch encourage everyone toAdam push themselves harder. have not used aThis conventional DSPto butenable ratherthe all audio in the CMX20DT, CM608D and resistant, polyurethane finish Jazztage at Jazzclub Ehingen andnew photometric as well alaboratory. 1.4-inch compression anechoic chamber is Hall’s colour quality. all combines manufacturer Individual Repeat48 black or technical sales manager, Maciek 4K ultra HD andDeltaQ HDR ready, and RF as remotes www.deltasolutions.ae loudspeakers have aAxel design suited While the creates the environment for the gym is running from a central PC.’ CM20DT don’t differ in their a performance bystandard Rudi Pell at as Repeat48WDM standard (other RAL colours driver onwedges the workout, CD that horn, themain PT-70 the technology anechoic chamber is striking for also the to measure every element of its lights. devices can beare Janiszewski. and incorporate black are included. to both permanent installation SOVICO CORPORATION is technical now performanceSFPs compared Rockfabrik in Ludwigsburg. available onSERIES request) weighs possesses a are passive crossover, give it its acoustic characteristics, high room isplug-andWhile the first two rooms deal with the equipped with up toand 12 Repeat48Alternatively, can be to used masking borders and black and this long, The screens SAC DNL portable applications, with fieldshipping six models of Class-D thedirect non ‘Design’ models. The A horn-loaded, passive, two-way 39kg. featuring aand voltage-controlled equally imposing. you see room characteristics of the various products, it isdigital the third room 2Fiber modules, or up to six with SDI, HDMI or RJ-45 play readybecause do not require any screen backing. ‘What Ring bolts are is a black changeable waveguides in been compact THE SA of amplifiers amplifiers integrating on-board speakers also feature the speaker, the PT-70 circuit an integrated mid-range what weSeries don’t need ishas reflection from the wallsand orinstallation. something that provides a real-world test for them. The environmental Repeat48-2Fiber modules can connectivity. hardwire included to allow for installation Fohhn’s PT-70 underwent enclosures allowing for either 70or light of from Renkus-Heinz made its DSP, LEDs and Neutrik connectors. designed to only servehas as atosound waveform system. like that we want see the the luminaires,’ test room is home to various endurance and climatic test be mixed with up to six SDI-Fiber from a –suspended ceiling. The www.fohhn.com real-world testing 100-degree horizontal coverage. The first appearance as part of thelight technology Grouped under performance the SAC umbrella, www.eliteproav.com www.broaman.com explains Adam Hall’s senior engineer, rigs. One measures product under Saker Plusthe constant converter modules. RJ-45 port allows third-party enclosures allowCAforand theis formation manufacturer’s TA S4DEwhile and S4D versions Herbert Bernstädt. ‘It aSeries very big room, it is very long and running water the of aX4D, shower, another can simulate Inside Adam Hall’s anechoic chamber MARTIN R&D of DeltaQ, constant-curvature, or point source loudspeakers. They have beenAUDIO’S engineered forteam DSP has and reinvented the Blackline J-shape line-array configurations. are designed to provide unified matrix applications, whilstseries the X2D, anechoic chamber. It is this lab that backs on to the neon with theS8BlacklineX passive Each full-range connectivity andspeaker control incorporates platforms to X4 and amplifierssuite haveofbeen sign, ensuring the quote has that extra meaning. loudspeakers. According to the four EMB2S DASextended-HF AUDIO has developed which the area to be While covered, or the Bose ShowMatch DeltaQ array Renkus-Heinz loudspeakers, specifically designed for the touring these rooms may not be as instantly eye-catching as loudspeakers manufacturer represents compression drivers together an ultimately online portal to all help users number of people will allow Renkus-Heinz and installationthis sectors. All six ‘a someinofthe theaudience. other spaces within the Experience Centre, for reinvention for the modern era’. two 8-inch neodymium woofers. determine the size of they With this information loudspeaker models to system be freely employ switch-mode power supplies the CEO the it istool the will combination every part ofwith the up building that DESIGNED FOR rental, staging whichofare available to times can be reduced to save both whereas CC-2 CC-3 offer ring Designed for both Modules are available with 5-, 10-, require for an event. The Event output a wealth data, combined, as well as clean sound for international useinstallations and power willoflead to including its overall success. More importantly, there is a and fixed installation applications, 8,100 ISO lumens and both time and setand up costs. Housed A ceiling mounted sub provides low end in the main room volume plus A/Bform source selection and portable applications, or 20-degree vertical coverage, Line Array Systems Performance Eventthat 208A or the R&D for complex audio signals. factor correction efficienciesthe together the number ofbelief moving teamand intoHD a facility where The they can WUXGA resolutions. Christie Digital has added the in a compact factor almost oridentical volume plus A/B/C/D series four two-way whilst integrated rigging is rated Simulator has been designed Event 210A systems required, There areroom three SA models with all comprises the required protections be in direct contact with projectors endApart’s users offer will thespeakers best results. 65,000:1 contrast Crimson series ofSeries 3DLP laserfor audio to the Christiesource Boxer CMyield Design The spin has a professional and lighting setup which feature a of new grille in systemspeaks, and three direct-radiating up to 24-box arrays. ASA-625 compatible to phosphor calculate how many of coverage initially available: the against overheating and over- configuration options, ‘We want to create the ratio, cycle between R&D, customers and projectors to the its product selection 3,000 hours lamp life and chassis,respectively. the CrimsonAvailable projectors either black or three subwoofers. matching-width, single 18-inch itmanufacturer’s iscatalogue. the instructor who leads it.or+ As such, they need to be able Event 208A maps, and rigging data. explains Mr Pietschmann. amplifier, whichCapable outputs voltage. With the exception of the the future,’ ‘When we listen to simplified integration. Reportedly of500W delivering come with anwhite, IP5X these sealed, are equipped with an and The X8 ultra-compact, X10 subwoofer with a ISO complete line to understand and use therequired equipment their fingertips. This Event 210A systems are The tool canour reportedly be used to the Apart Quick Fitand connector (70just 125W; the SA-1250, which delivers 2-channel X2D and the 8-channel customers we get right feedback we at areroughly not up to 25,000 lumens forofuptoto at models offering high brightness solid-state laser light source intuitive interface and can and fit into a compact, X15 highrigging accessories provides LF60Hz is quite literally the thanks to or the simplified touchscreen properly a given audience, areas up to 35m x 35m 100V) for fast connection via 1,000W +cover 250W; and the SA2000, S5 models,X12 theand 4-channel amplifiers calculate developing products that we just think are necessary. Being half the cost of competitive laser 20,000 hours ofcase light with provide quiet operation 360° Martin Audio’s BlacklineX Series 1-gang electrical additional powered models are eight-inch, extension, the ShowMatch control nextincluding to audience the instructor’s bike. integrated providing remote management controller) processing elements a determined area. or an audience size of up to push terminals. Additionally, a which produces 2,000W. Each is ‘We have vary in power between 500W and here means the4,900 processphosphor is getting faster and we have that processing, the Crimson Series units, the LWU720i-D, orientation. Forbox. 3D The visualisation units allbehind include a user-rotatable ControlCenter CV41 to one 10-inch,per 12-inch andin15-inch Eachcontrol, BlacklineX enclosure is That’s theLWU620i-D SM5 module rigging which can bethis within everything into touchscreens placed length of thefour and optical formats. Native DSP, and the Matrix re:defined provide flexible, scalable audio The manufacturer intends for people. transformer tappings sticker equipped with output connections 1,500W channel power. Ondirect contact. vision building.’ andthe LHD720i-D incorporates BoldColor Technology, orarm’s simulation applications, the horn allowing horizontal converter can up to four loudspeakers respectively. Thethree made from plywood and finished adjusted for longer instructor so tracks for audio can be changed as well assupport lighting including delay, equalisation, multiaudio management systems are solutions. The Matrix-C controller tool to be simple tothrow. operate and The Event Line Array Systems gives a have clear colour indication to power external drivers and offers board DSP functionality of the Walt Disney’s words may be seen by for some as justor a throwTruLife Electronics for ultra-fast projectors been designed as Crimson HD25 and Crimson WU25 Crimson vertical orientation and a variety ControlCenter CC-1 zone controllers subwoofer line-up comprises the with a textured black coating Meanwhile, the new ControlCenter themes,’ explains Mr Armstrong. ‘This allows the instructor to channel limiting and noise-reduction categorised within the commercial combines 8-balanced inputs with has based the simulator around Performance Simulator can thatquote.an for for which power tapAdam needs to ofit’s full networking capabilities, Rhaon matrix versions include crossover away motivational But, the team at Hall, processing and Christie Twist alternative to laser phosphor projectors offer higher frame rates mounting options. with a up PS602 orand PS604 PowerShare X115 15-inch theWU25 X118 and reportedly provides durability, while ofand zone controllers comprises never leave their bike so they don’t lose features the energy, are also included, as are catalogue. Thea Adaily (PC/Mac software), 8-outputs, can be controlled some standard questions. be found directly onis the be used. IIseries control, monitoring functionality, and parametric EQ filters, limiting reminder of the abundance ofwhich creativity and inspiration warp blend capabilities. With projectors. and tovibe 120Hz processing. upgrade to themodel, Crimson The manufacturer expanding amplifier. 18-inch version and the X210 to white and custom RAL colours are three distinct and aAES/ converter momentum built a session.’ nine available preset C (DSP audio controller), M (remote from Users are asked toinselect the manufacturer’s homepage. and a choice ofmodels analogue, and alignment delays. that our is capable of.an iPad touchscreen via the addition ofup Christie Mystique, Existing Christie M memories. Series and HD25 models without needing its D Series line-up withindustry three slimline 10-inchports cabinet. alsosingle-lamp available to models, order. seven for simplifying wiring. Asmultiple would be expected installing a club-style system microphone station) andThe W (wall EtherNet. Multiple units can be system, whether the ControlCenter loudspeakers EBU and Dante single orfrom redundant Outfitteddouble withlenses. RS-485 www.martin-audio.com new projector calibration Christie Series customers purchase new www.christiedigital.com www.apart-audio.com The EventJLine Array Systemscan Performance Simulator CC-1 provides volume control, The NEC short throw projector into asolely gym environment, theinstacked, main challenge three Adam Hall’s Asian distributors gather forfor the opening should be flown or ground network input connections copper www.adamhall.com/ExperienceUsLive pro.bose.com The audio setup in the studio www.dasaudio.com www.renkus-heinz.com can bethe found on the DAS website
SA Series to unify Renkus-Heinz
A SAC of digital goodies from Korea
Blackline gains X-factor DAS tool answers coverage questions Christie hits a purple patch
1/3 1/3 PAGE PAGE
36 PRO AUDIO MEA November–December 46 September–October March–April 201720172016 54 PRO PROAVL AVLMEA MEA March–April 2018
January–February 2017 PRO AUDIO November–December 2018 PRO AVL MEA MEA 75 79
BUSINESS: COMMENT
A letter from America
Dan Daley explores the funny business of mixing live sound for some of the highest-earning standup comedians in the business WANT A GOOD LAUGH? TAKE A LOOK AT the kind of multi-billion-dollar business comedy is doing these days. Netflix alone has shelled out over a quarter of a billion dollars to just five stand-up comedians – Jerry Seinfeld (who got $100 million of that), Dave Chapelle, Chris Rock, Ricky Gervais and Amy Shumer – in just the last year. Every one of them uses a microphone. See where this is going? Comedians aren’t at the point where they’re touring with their own rider-ready PA systems, but they do have seasoned veterans mixing their live sound, they are using effects and mic choices are critical to them. Mixing sound for a stand-up comedian on the road seems like it might be an easy gig. Open the channel and stand by for an evening of yuks? Not really. ‘It’s harder than any band I’ve ever mixed,’ says Scott Tydings, who is currently mixing the diminutive Kevin Hart on his year-long tour. ‘Any problem you might have is magnified, because it’s just one person up on stage and just one person
mixing. There’s nowhere to hide. We have a new systems tech on this tour and, before this, he was out with artists like Judas Priest and the Red Hot Chili Peppers. He thought working with a comedian would be simple. It actually took three weeks to get it dialed in.’ These performers are touring at the arena level, so they are not going out with half an EON system and a Mackie Mix8. SR provider Showtime Sound is providing a 64-box L-Acoustics K2 system for Mr Hart, enough for many touring bands, let alone one person on stage with a microphone. ‘It’s all about coverage,’ says Mr Tydings, who has also mixed FOH or done production management for Mr Hart’s contemporaries Amy Shumer and Louis CK. ‘Every seat in the house has to be able to hear every word clearly and intelligibly. The audience comes to hear the jokes and, if they can’t, they can get pretty angry.’ Some comics are relatively sedate on stage; Mr Tydings says both Ms Shumer and Louis CK, both of whom he worked with while Mr
Hart was spending most of 2017 doing films and television, rarely raise their voices. ‘Amy is pretty easy to mix – she tends to keep the microphone in one place and doesn’t do character voices,’ he says. ‘Louis is much the same – he’ll keep the mic in one place for most of the show and speak in a pretty controlled tone of voice.’ Mr Hart, however, is another matter entirely. He’ll keep the microphone (a Shure KSM8 through an Axient wireless system, although sometimes they use an SM58) firmly in his grip as he gesticulates wildly on stage, with the mic pointing every which way in the process. ‘You can never let go of the faders,’ says Mr Tydings. And yes, that’s faders, plural. He has Mr Hart’s input assigned to four separate channels across the Midas Pro X console he’s touring with, each with its own specific EQ and dynamics settings, for Mr Hart’s numerous excursions into other characters and situations. ‘I’ll move him from channel to channel as the show progresses, as he does different bits,’ says
Mr Tydings, who is considering experimenting with a lavalier microphone at some point on this tour, in the hope of keeping up with Hart’s highly physical comedy. ‘You have to know the show by heart, and be ready as Kevin switches to women’s and kids’ voices, sings and just goes through a whole range of different sounds and different volume levels.’ Geoff Hidden, who mixed comedian/ actor Gabriel ‘Fluffy’ Iglesias for eight years, recalls dealing with sudden level changes using a combination of compression and careful fader riding, as well as filtering out some of the lower frequencies that would get especially honked and could rumble the system. Feedback was a constant possibility. ‘You never knew where he was going to go onstage,’ he says. ‘If you blinked, he’d be somewhere else when you opened your eyes, pointing the mic at a monitor.’ Whether it’s being tightly held or purposefully dropped, the microphone is comedy’s main trope. As a result, pro audio has a chance to be laughing all the way to the bank.
Dolby walked into London’s Advision Studios and spoke enthusiastically to a young tech called Eddie Veale, nobody had a clue who Ray Dolby was. However, you have to be careful when using terms like 3D and immersive. There is no real consensus about the lexicon of surround and its various definitions and, as ASA founder Bjorn van Munster points out, there is no ownership even of the phrase ‘object-based’ audio. One week later, and only three miles away at a similarly revived East End rough diamond – the Troxy Art Deco multi-purpose venue – the Pro Audio Group hosted ‘an immersive experience’ using Rolling Stones footage and a Turbosound Flashlight PA refurbished by Formidable Audio. But in this instance, ‘immersive’ meant actors and props in a living re-creation of the gig – the most analogue way there is of turning anything 3D, with the audio remaining resolutely L-R.
Mr Nankivell has had his own motivating experience at the sharp edge of the East End’s less-than-aristocratic nightlife culture. While working at the Broadway Theatre in Barking, he arrived one evening to learn of a stabbing on that very doorstep, and it was enough to encourage him to relocate to what British people comfortingly call the Home Counties (and a plum job at market leader tedAV). This demo, however, was a perfectly safe return to the neighbourhood, and it should be pointed out that, unlike driverless vehicles, to date no human being has been harmed in the pursuit of 3D sound. That would only happen if the notorious Kray Twins returned from the grave to launch Kray-array, an emphatically non-Plasa endorsed spin-off with a whole new interpretation of the concept of hearing protection. Mind you, the two directors of 2BHeard did meet in Sicily. Hmmm…
A letter from Europe
Phil Ward takes a stroll around the East End of London and its unlikely emergence into the world of audio technology THE EAST END OF LONDON NEVER USED to be somewhere you would associate with cutting-edge technology. Maybe the cutting edge of a razor blade, as it made its contribution to negotiations surrounding a gangland turf war. But not the biggest evolutionary change in pro audio since Alan Blumlein split the sonic atom and called it stereo. Yet that’s exactly what was on display at the Hackney Empire theatre – the East End’s answer to the Royal Albert Hall – this month. Where the Albert Hall has chandeliers, the Hackney Empire has shandy. In a paper cup. But it’s still a fine Victorian venue. Ambitious UK start-up 2BHeard Audio is now distributing the ‘3D’ audio technology designed by Dutch pioneer Astro Spatial Audio (ASA) and, with impressive commitment, rented this very space for three days to demonstrate its potential to big-hitting guests including Production Resources Group (PRG), the Royal
Opera House and the BBC. The portfolio at 2BHeard also includes K-array speakers from Italy and SSL’s prestigious Live range of digital mixing consoles, which assembles a pretty convincing signal chain for a great many applications. Spatial audio is a revelation, and Astro’s version of it a compelling apostle. Just as the French technology L-ISA has its ‘Bubble’ catalogue, ASA has a recording and mastering dimension soon to be exploited by 2BHeard’s new studio complex in England. Not for nothing does 2BHeard’s co-director, Sam Nankivell, envision the phrase ‘mixed in Astro 3D’ as an emblem for the technology, one that should encourage awareness of its potential across all sections of the industry, including live sound and installation. It works differently to Dolby Atmos, and is much more accessible to sound engineers and designers on the hoof. Never forget that when, one day in 1968, Ray
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BUSINESS: TECHNOLOGY
Back to the future
Dennis Baxter contemplates how major broadcast events have played a big role in the development of surround and immersive sound formats THERE IS NO DOUBT THAT ASIA, PARTICULARLY JAPAN’S NHK, has led the way in advancing audio programming and production for television for decades. When I was learning about surround sound, NHK sound engineer Mr H Sueishi shared his experience with me, guiding me through my first 5.1 sound design and mix for the opening ceremony of the 2004 Summer Olympic Games in Athens. Four years later, I implemented surround sound for the Beijing 2008 Summer Olympics, which was completely produced in discrete 5.1 surround. NHK Japan has pioneered many technical innovations in broadcasting. It has been forward-thinking in the production practices and content development of 4K and 8K video with super-high-definition audio capture and creation. The broadcaster was the first to adopt 5.1 surround sound and has pioneered its own proprietary audio format, 22.2, which was introduced in 2005. This multichannel sound format was developed for use with the ultra-high-definition video system, 8K video. The 22.2 channels of sound consist of three layers with 10 channels in the middle layer (ear level), nine channels in the upper and three in the lower layer, with two channels for the LFE (low-frequency effects). I do not think that NHK’s 8K Super Hi-Vision combined with 22.2 channels of sound happened by accident. All the stars aligned for Japan to try and commercialise a new ultra-highquality broadcast format. Japan has long been a leader in the manufacture of broadcast equipment such as cameras and electronics and, when the government-funded television network reached for the sky, it became possible because of the technical infrastructure and national support. NHK
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Dennis Baxter has been a sound designer for international sports for more than 30 years and offers some insight into advanced audio production
A 22.2-channel screenshot
has aggressively tested and developed the equipment and created an impressive library of content. Significantly, with the 2020 Summer Olympics on the horizon in Japan, NHK will produce a treasure trove of Super Hi-Vision content that will officially launch Super Hi-Vision picture and audio in Japan. However, NHK’s audio and video encoding is proprietary, and is not gaining traction with other broadcasters. Japan’s neighbours, Korea and China, have adopted the MPEG-H format, Korea coming onboard in 2016 and China in 2018, and, for all practical purposes, this format is robust and scalable enough to accommodate immersive and interactive audio. It is no secret that Asia – specifically China, Japan and Korea – has moved forward with many advanced media production technologies. The technology is usually on display at major international sporting events such as the Olympics and the FIFA World Cup. Beijing 2008 saw the complete rollout of surround sound for every event. The 2020 Olympics
BUSINESS: TECHNOLOGY will be broadcast in 22.2-channel immersive sound only in Japan, with 9.1 or 11.1 immersive sound available for other rights holders. Meanwhile, the 2018 FIFA World Cup in Russia set a new precedent by making broadcasts available in immersive sound, while future tournaments, including Qatar 2022, will be produced in 4K high definition with 5.1.4 immersive sound. Curiously, none of the Korean rights holders produced immersive audio content from the 2018 Winter Olympic Games in Seoul. There was a variety of explanations for not producing immersive sound, but the bottom line came from management: how many people can hear and experience immersive sound?
Asia continues to take a leading role in the development of high-definition 4K video and immersive sound I had heard a version of this daunting question years earlier, and it has long lingered with me. After Beijing 2008, the next major sporting event in the region was the Asian Games in 2010. During a production meeting, I inquired about producing the audio in 5.1 surround. A quick response came back: how many people can listen in surround sound? Except for the opening ceremony, the Asian Games are still being produced in stereo, putting the event behind the 5.1 standard the FIFA World Cup and Olympics have enjoyed since 2008. In audio terms, the migration from standard definition television to 2K high-definition television marked the transition from stereo to surround sound. I believe that similarly, 4K television signals another transition, this time from surround sound to immersive sound. But I have to bring
A 22.2-channel studio setup up the question: do we need super-high-definition television with 22.2 channels of sound for home entertainment? Large televisions and lots of speakers require lots of space. I am going to make an early prediction that the home entertainment screen size will plateau at 4K, not because the technology is not practical, but because of the size of the viewing space an 8K television monitor requires. You simply cannot sit too close to the screen. I first saw a presentation of 8K and 22.2-channel sound around 2008 and I have seen many demos since. Clearly, it is impressive. I have watched NHK build several OB vans and seen its relentless testing of sound and video. The whole exercise – particularly when it comes to sound – has been a learning process of what works and what doesn’t. I have often quipped that it sounds good on paper. 8K picture is fairly straightforward, but immersive sound is a bit tricky because a clear vision of what should be above the listener/ viewer is necessary. What is above the head of the sports viewer can be significantly different in a music or drama environment.
The super-high-resolution format for audio and video may find a market with super projection formats like IMAX or other high-resolution-type screens, but I question anything past 4K for the home. Additionally, I anticipate some sort of immersive sound format with overhead sound and for this to be delivered by soundbars. I am currently mixing in 11.1 (7.1.4 over Genelec speakers) and have tested sports, music and dramatic content. Although immersive sound is wonderful in a discrete speaker setup, I am very concerned at how immersive sound 11.1 or 22.2 reproduces over a wide variety of soundbars. I have heard audio professionals in broadcasting criticise the quality of reproduction from soundbars. But I argue that anything is an improvement on the current experience. The fact is that many consumers accepted the situation of having built-in speakers in televisions until there was just no more room for speakers in televisions. Wait, I forgot about rear-facing speakers, whose idea was that? Even though I am concerned about the transition from surround to immersive, the good news is that the adoption of immersive sound will happen much quicker than surround sound did, primarily because 2018 has seen a variety of immersive soundbars on the market. Sennheiser has partnered with Fraunhofer for a top-of-the-range 3D soundbar and Qualcomm has teamed up with THX for rendering of ambisonics, while Dolby, JBL and Samsung all have various up-firing, side-firing and sophisticated DSP processing that creates some very impressive sound. But as impressive as these soundbars are, affordability will be an equally big factor in the consumer adoption rate. Even though Korea was an early adopter of MPEG-H, China’s recent adoption provides the market size to speed up the development of the entire audio ecosystem, from speakers and electronics to production methods and practices. Looking back on the sound of the future, it is clear to me that Asia continues to take a leading role in the development of highdefinition 4K video and immersive sound.
Monumental
Clarity
1/2 PAGE
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November–December 2018 PRO AVL MEA 83
BUSINESS: SHOW REVIEW
IBC 2018
Richard Lawn visits IBC 2018 and discovers how broadcasters and developers are coping with a changing landscape
Thumbs up to Odin from the RTS team WHEN ASSESSING IBC AS AN INDICATOR OF CHANGE within the broadcast industry, the overall image – unlike the ultra HD screens that litter the 15 halls of the RAI for the five show days – is somewhat blurred. Immersive audio, UHD, HDR, AES67, SMPTE ST2011, 4K/8K advances, blockchain, collaborations, interoperability, the cloud, AI and 5G dominate the show floor chatter. ‘The landscape for making, delivering and consuming media has changed,’ IBC chief executive Michael Crimp asserted prior to the show’s onslaught. ‘Our industry used to be about broadcast, but now it’s about production – and delivery – of all different types of content, with much of that change enabled by telcos.’ So, perhaps, IBC has become a staging post by default for creating, sharing and delivering content, thus relegating the term ‘broadcast’ to the annuls of historic terminology. Having reflected somewhat nostalgically during IBC 2017, the 50th anniversary of the exhibition, the show was making up for lost time. The rapid pace of technological change dominates the thoughts of everyone from the humble podcaster to the largest global broadcasting companies. Any investment in technology has to be justified now more than at any time in the past. ‘The media landscape is changing,’ confirmed head of marketing and communications for Sony Professional Solutions Europe, Stuart Almond. ‘Industry predictions may not have changed, but what we have witnessed is the speed of that change accelerate. This challenges the entire business models of traditional broadcasters, yet for others it creates limitless potential. As a result, Sony is no longer telling the customer how it’s going to be. It’s now a case of asking what you need, where do you think it is going and what can Sony do to help to make that happen.’ The race is on to reach that future destination ahead of the pack. Located outside Hall 8, the Future Zone has become an integral part of IBC with presentations from researchers and academic bodies developing ideas that may become the norm in years to come. In addition to Sennheiser’s Ambeo immersive audio and NHK’s 8K glimpses was a theatre stage with a rolling programme of presentations by the IABM and the BBC’s R&D team, including a dynamic adaptive streaming over IP
Lectrosonics’ Karl Winkler with the latest SPDR stereo portable digital recorder
Sony Professional Solutions’ Stuart Almond remarked that content today is king
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DPA’s Anne Berggrein holds up the new 3mm Subminiature capsule
Craig Heffernan on the gigantic Blackmagic Design booth
Wheatstone’s Jay Tyler remotely controls an EMX IP console
Ross Gilbert demos SSL’s immersive bus widths of up to 12 channels multicast to web browser showcase and low-latency TV delivery solutions. In addition to the IBC Big Screen, the IABM Future Trends Theatre and Content Everywhere Hub staged presentations, while enlarged on-stand meeting areas have become an increasingly common feature of exhibition stands throughout the show. ‘As the industry has moved towards a softwarebased world that looks across the content supply chain, the way that vendors are interacting with visitors at IBC has
Maciek Janiszewski with BroaMan’s Mux22 FrameSync8 unit
TSL Products CEO Chris Exelby
Newtek’s Brian Olsen
changed,’ commented IBC exhibition committee chair, Roger Thornton. ‘Today, it’s all about collaboration to deliver solutions that provide broadcast and media companies the agility and flexibility they need to keep ahead in this rapidly transforming media landscape. That’s why we’re seeing more companies using big-picture theatre presentations on their stands to kickstart collaboration.’ As the primary source for audio, the principles of audio technology have changed little over the past century. However, the way that microphone manufacturers interact with IBC’s audience portrays diverse methods of engagement. While Audio-Technica and Shure appealed to more traditional broadcasters showcasing a bespoke selection of wireless, boundary and shotgun models, Sennheiser intrigued passers-by with an exhibit promoting the ‘Future of Audio’. The technologies and products on display catered to a wide spectrum of content creation and production needs from YouTubers and vloggers to film crews, studios, theatres and broadcasters. The recent partnership with Dear Reality for spatial connect mixing demanded further attention, while Ambeo immersive audio, a new Bluetooth-enabled Memory Mic for smartphones, binaural audio experiences using HD 300 headphones, surround sound listening with Neumann monitoring and the latest SK 6212 mini bodypack transmitter for the Digital 6000 system all vied for attention. The devil is often in the detail for cameramen who demand that audio technology deployed on the stars of film and TV studio sets should neither be seen nor felt. Both DPA and Lectrosonics demonstrated microphone transmitters and recorders on their respective stands for such productions. DPA unveiled a new series of Subminiature mics including the 6066 headset and the 6060 lavalier models integrating 3mm diameter cabling. Lectrosonics’ SPDR and PDR portable digital recorders may not transmit wireless signals but are ideal for applications where a wireless system is not practical such as shooting extreme sports, where it can be used with a camera to capture audio. Noted for its sophisticated RF broadcast and film solutions, Wisycom showcased its MPR52-ENG dualdiversity receiver providing 790MHz bandwidth in the 470MHz to 1.26GHz range with multiband front-end filtering. Collaboration among producers shows no sign of decrease. Having launched the A10 wireless mic system at IBC 2017,
Evolving with you. With a sleek new user interface, a generously expanded switching bandwidth and higher RF output power for the 500 Series, and new multi-channel functionality for the 100 Series, G4 delivers high-quality, reliable audio for musical performances, houses of worship, and theaters. www.sennheiser.com/g4
BUSINESS: SHOW REVIEW Audio Limited was demonstrating its A10-Rack this year on the Sound Devices booth, to better promote the interoperability with the 64-track 970 recorder over a Dante network. Røde was demonstrating the fruits of its own internal partnership with sister company Soundfield with its first foray into the world of ambisonics. The pairing of the NT-SF1, 360° surround sound capture microphone with the SoundField by Røde plug-in delivers spatial accuracy at all frequencies – and clearly grabbed the attention of visitors on the HHB booth. Yet for some microphone manufacturers, the status quo continues. Celebrating its 90th anniversary, Microtech Gefell showcased special edition CMV563 and M75 condensers, while Schoeps revealed updates to its MS and Double MS product line with new plug-ins and windshields together with modifications to the ORTF-3D mounts. Digital wireless and audio over IP intercom developments could be found on the Clear-Com, LaON (Genie), Pliant (CrewCom), Riedel and RTS (Odin Omneo) booths.
David Ross helped promote the company’s 21 new innovations
DirectOut’s Jan Ehrlich unveiled the new Prodigy platform
Focusrite Pro provided a post setup for technicians to demonstrate their skills Promoting loudspeaker technology at trade shows continues to be problematic. From the outside, the Genelec booth – taking its usual location in Hall 8 – appeared no different this year than any other but, with immersive audio now on the menu, the aural senses require further education. Celebrating its 40th anniversary, the Finnish innovator decided to take the horse to water by installing a fully lined acoustic listening suite into the RAI to better demonstrate the new S360 monitors with the 7382 subwoofers. ‘It was important for Genelec to provide the best listening environment for this S360 and 7382 combination at IBC,’ commented marketing director, Howard Jones. ‘To warrant their place in larger immersive audio systems, the listener by definition needs to find themselves utterly immersed in the experience and become aware of every detail. By the end of the fourth day, we had welcomed over 300 attendees for demonstrations and received very positive comments.’ With disruption showing no signs of decelerating, perhaps the audio console manufacturers should be worried. Desk formats continue to decrease in size, while simpler mixer configurations can be managed and controlled on tablets and even smartphones via LAN or Wi-Fi. However, the need for technicians to mix on a large-format console, DAW or control surface remains in vogue for now. Digital format consoles no longer need to be redesigned – rather kept current with downloadable software and on the network of choice. The trend for video companies moving into audio was countered by Lawo in 2013, when it demonstrated its experience in IP to produce video matrix and processing units. Better known for its mixing consoles in the live TV and radio markets, the advent of the V__pro8 video processor set its video over IP product range in motion. Utilising multiple cores connected to a COTS switch with redundant 10GE and 40GE connections, Lawo this year added the V__matrix IP core routing and processing platform. In addition, the German innovator also unveiled a series of WAN-capable audio over IP interfaces and made an announcement that its mixing
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Audio Limited’s Kishore Patel collaborated with Sound Devices
Director of sales and marketing for Sennheiser ME, Mig Cardamone, with the Memory Mic
consoles would now be compliant with the SMPTE 2022-7 network standard. Calrec revealed two new IP products in the form of the H2-IP Gateway interface and the AoIP Modular I/O controller card. Designed to operate with Impulse Core, a native IP core for use with Apollo and Artemis surfaces, both products are SMPTE 2110/AES67-compatible. Likewise, Wheatstone demonstrated refinements to the AirAura X4 processor and LXE mixer in addition to tablet control for the EMX IP work surface. Solid State Logic added to its support of immersive audio for ATSC 3.0, Dolby Atmos and MPEG-H within System T’s software architecture. Stage Tec may have launched its Aurus console 15 years ago but, with the creation of a 5.1.4 multichannel format with Z-plane for the Aurus platinum, the Berlin-based manufacturer has further extended its capabilities. With the addition of four overhead speakers above the console, 3D audio mixing can now be conducted. Both Studer and Yamaha seemed unfazed with the winds of change blowing around. Despite releasing its Micro series v2.0 software on the eve of IBC, Studer was simply represented by a solitary Vista 5BE console on its UK distributor’s booth, HHB. More visible on its own booth, Yamaha showcased a wide selection of mixing consoles with Dante networking capabilities for live rooms, venues and postproduction suites, including the Rivage PM10 and PM7 surfaces, Nuage, CL1, QL1 and TF3. Perhaps Avid had anticipated surging numbers of content creators, all be it with declining budgets, many years ago. Located in the ever-popular confines of Hall 7, the US innovator demonstrated a wide range of solutions, including postproduction platforms using Avid S6 and S3 consoles, Media Composer DVX ID and the web-based version of the MediaCentral platform. Maestro|Powerwall and Maestro|Engine were also showcased to highlight the control and management of content in studio displays. ‘Avid’s continued innovations in areas such as IP connectivity, 4K and the cloud are helping to shape and prioritise our customers who rely on the vendor
Andreas Hilmer from Lawo with the V__Matrix
Christian Bockskopf issues a Red Card signifying Riedel’s new office in Beijing
ADAM Audio’s Stephan Mauer and Rick Grossman
community to come together and help them overcome the massive shift impacting every aspect of their business,’ commented Avid CEO and president, Jeff Rosica. ‘We’ve accelerated our delivery of open platforms, tools, apps, services and solutions to make it easier for our customers to end disparity among technology in their operations, so they can work faster on smaller budgets, while still retaining viewers on any platform.’ While the audio for broadcast exhibits showed only subtle changes at best, much more evident changes were visible beyond. To the older generation, the existence of eSports remains somewhat mystifying. Yet it is looking to rival traditional sports for television rights beyond its stronger markets such as South Korea as a result of its streaming success. Numerous booths such as EVS and Grass Valley
Aisle of plenty in Hall 7
eSports took centre stage at Grass Valley
The Future Zone NHK 8K broadcasting display
Genelec’s Howard Jones and Lars-Olof Janflod hosted an impressive immersive audio system in a demo suite promoted live games for the show to better demonstrate their technologies in such applications. Celebrating its 100th birthday at IBC 2018, and having recently announced the relocation of its European headquarters to Amsterdam, Panasonic noted the successful market penetration of its PTZ cameras. Although IBC is traditionally a broadcast show, the manufacturer highlighted the use of its PTZ products for use in corporate settings as well as for television production. Panasonic also coined new terminology, claiming that as audio over IP and video over IP had become synonymous, the two should now collectively be referred to as MoIP – media over IP. The RAI auditorium played host to Christie’s Big Screen Experience, which provided a demonstration of the manufacturer’s next-generation RGB laser projection systems by comparing footage from Pixar’s Inside Out and Warner Bros’ Batman v Superman courtesy of guest speakers Dominic Glynn (Pixar) and Michael Zink (Warner Bros) who sat on a panel with NBC Universal’s Annie Chang. Meanwhile, For-A pledged its continued allegiance to 12G-SDI and IP, while also highlighting its Remote Production System that allows broadcasters to send a skeleton crew to live events, such as sports, while the production is controlled remotely from the studio over IP with an OB vehicle used for redundancy. Ross Video may not have welcomed any new brands into its growing family this year but its enlarged booth did include the Carbonite Ultra production switcher. This was just one of the 21 new products on display demanding further attention in addition to the Ultritouch smart touch control and monitoring panel, XPression Tessera, an Abekas Mira Replay control
BUSINESS: SHOW REVIEW panel and PivotCam-SE PTZ cameras. ‘Our customers have been providing us with positive remarks yet commenting on how things have changed even since NAB,’ remarked an everenergetic David Ross. ‘Even they’re shocked when they see how many new products we have developed since then.’ The IP video revolution involving the migration from traditional content and signal distribution technologies to IP networks continues to have a dramatic effect on broadcasting and media operations. However, traditional broadcasters aren’t exclusive in their awareness with regards to the benefits of IPTV systems as other companies not necessarily focused on A/V are also penetrating the market. Large broadcasting and manufacturing corporations are desperate to glimpse into the future to gain a firmer foothold and, while statistical analyses clearly demonstrate where viewers have migrated, the advent of 5G will accelerate declining sales in TV sets and shopping malls crowded with zombies glued to their mobile devices. Mirroring a forest trying to shelter from an increasingly volatile wind of change in motion, the broadcast market can expect hard falls from mighty oaks with shoots of life flourishing below.
LaON’s Miyong Park and Nam Yoo Chang with the new Genie 5GHz wireless system
Marina Prak and Auke Meijer from Roe Visual
Paul Isaacs presented the Sound Devices MixPre range
Clear-Com’s Nicki Fisher and Bob Boster continued to host the company’s 50th celebrations
Adobe demonstrations were very popular in Hall 7
Karl Chapman from Calrec
Wisycom’s Leslie Lello demoed the MRK 980
MultiDyne’s Jesse Foster with the SilverBullet II
Audinate’s Joshua Rush
2018 Dates:
14 – 18 September
2019 Dates:
13 – 17 September
Venue:
RAI Amsterdam
Total exhibitors:
1,700+
Attendance:
55,884
Contact:
show.ibc.org
The view from the show floor As is tradition, the opening of IBC coincided with Sony’s press conference. Vice president for Sony Professional Europe, Adam Fry: ‘Our current corporate direction is to get closer to the people whether that be creators who produce content or users who engage with that content. Where does today’s audience get that content from? On-demand streaming services. SVoD has overtaken Pay TV. The global DTT market is to grow by 24% in 2019. Disruptive propositions continue to change viewing habits. Modern audiences demand content wherever and whenever it suits them. Around 20% of Netflix viewing happens on mobile services; 25% of this is on mobile networks. The availability of 5G networks will further increase this. Premium content such as live sporting events and dramas is king. 4K production is now the industry de facto backed by consumer demand. Over 80 million 4K TV sets are estimated to be sold in 2018.’ ‘It’s our first time exhibiting,’ commented Marina Prak, Roe Visual marketing manager. ‘It’s a new market for us to engage with as we now have two products ready for a broadcast environment: our Black Marble floor and our Sapphire screen. So, for us, this show was really a try-out and it’s been a bit on and off. We’ve had some really interesting conversations – it hasn’t been booming, but interesting enough for us that we have decided to continue exhibiting next year.’ ‘We are seeing the same customers that we would have previously seen, but I think there’s also a growing awareness and appreciation that IP is actually here and is coming,’ said TSL Products CEO, Chris Exelby. ‘People are coming to us with real projects where they’re looking for an IP solution. In previous years, it’s been driven more by curiosity, where people were looking to educate themselves. This year, people are looking to actually do it and are thinking about product selections. So it’s a really exciting time. People are coming here and looking at our 2110 PAM 2 and they’re actually placing orders.’
‘This year has been better than previous years,’ commented Stagetec Asia’s Advon Tan. ‘People are really hungry for IP now and, because they now have a clear understanding of the technology, it has given much more focus to IBC.’
‘2017 marked our IBC debut and it is great to see how this show attracts so many diverse visitors from all over the world,’ said Shure MEA general manager, Freddy Sicko. ‘For Shure, IBC is the perfect touchpoint to meet our global customers from the broadcast market, to have interesting talks, to monitor trends and developments and, of course, to introduce our own product news. It was good to see that so many visitors attended the show and we had lots of traffic throughout the show.’ Shure highlighted its Axient Digital wireless system as being perfectly suited for broadcast and production applications, together with the new ADX micro-bodypack.
Stagetec Asia’s Advon Tan showcased the Crescendo platinum console on the Stage Tec booth ‘I’m always living in Planet AJA, so getting out of our booth and seeing what else is on display at the show is a challenge,’ said AJA Video Systems president, Nick Rashby. ‘But for us the show is really about 4K and continuing our lead in HDR with our HDR Image Analyzer. That’s really been resonating with customers.’
Shure MEA’s Freddy Sicko ‘About 10 years ago, IBC was about terrestrial broadcasting but, since then, cable came along together with satellite, mobile and now 5G as enabling technologies,’ explained IBC CEO, Mike Crimp. ‘Traditionally, it’s been about TV, but we decided to be agnostic about the TV screen and embrace the mobile and computer screen and film, and that is why you see all these things like the big screen.’
AJA Video Systems president Nick Rashby
‘We were previously focused purely on broadcast,’ assessed Enco president, Ken Frommert. ‘But we’ve now started targeting the A/V market as a whole, mirroring the IBC show.’ SoundFox’s Peter Moh travelled from Seoul primarily to conclude distribution terms for South Korea with the broadcast software developer.
November–December 2018 PRO AVL MEA 87
BUSINESS: SHOW REVIEW
Prolight + Sound Middle East 2018
Exhibitors report an upbeat feel to this year’s Prolight + Sound Middle East
Prolight + Sound Middle East hosted numerous panels and discussions to enthusiastic audiences
Prolight + Sound Middle East was staged at Dubai’s World Trade Centre IT’S 15 YEARS SINCE PALME DUBAI LAUNCHED ITS inaugural pro audio and lighting event in Dubai’s World Trade Centre (DWTC). The vista outside the DWTC has changed beyond recognition, yet the show inside continues to provide a snapshot of an industry that is just as dynamic as the skyline. Back in 2003, most visiting and exhibiting manufacturers were simply testing the water of this virgin landscape, unprepared for what they may find. With the distribution deals all done and manufacturing subsidiaries firmly established, could Prolight + Sound Middle East breathe new life into an ailing regional trade show? Having inherited PALME two years ago, the Messe organisers soon discovered that even the most hardened of long-term exhibitors had tuned into different marketing means. Established and growing distributors in Dubai had served as a backbone of support for the trade show’s business during its heyday and subsequent decline. ‘We simply haven’t got the time nor the budget to be involved in coming along to these shows anymore,’ one leading distributor commented, preferring to remain anonymous. ‘We prefer to invest in demonstrations, workshops, seminars and training.’ While Light Middle East ran concurrently and took up three halls of space in the DWTC, Prolight + Sound was confined to just one. Unlike the PALME days of the past, however, it appeared vibrant with a constant stream of visitors. ‘Hosting a show on the first day of the week, Sunday, is never a good idea,’ commented Sennheiser’s Ryan Burr. ‘However, I’ve been mildly surprised by how many people have been coming to visit the show.’ Exhibiting the German manufacturer’s Memory Mic and new HD300 Pro headphones among an
88 PRO AVL MEA November–December 2018
Heralding from Germany, Monacor International was a familiar exhibitor at the Frankfurt Prolight + Sound until recently. Like Ateïs, the Bremen-based PA technology company was promoting a varied selection of products from its own catalogue alongside Aimline. ‘We can see the potential in the Middle East market. It’s a benefit to meet our partners here as we continue to build up the network and it’s a great platform to show some of our new products,’ attested export director, Alf Schmeichel. ‘We’ve been seeing a lot of local dealers and integrators, around 70% from the local market and the rest from outside the GCC.’ ‘I would urge other manufacturers to exhibit here at Prolight + Sound Middle East,’ continued FBT’s export director Roberto Mataloni, who was kept busy over the three days promoting products such as Horizon, Mitus, Muse and Vertus. ‘If this was a UAE show, the distributor should be responsible for exhibiting. However, we’re meeting many potential new customers not just from the GCC countries but much further afield, such as Malawi, Nigeria, Pakistan and Ethiopia, for example. It feels like a true trade show and our faith in the organisers has been repaid.’ Just as FBT was the only loudspeaker manufacturer to be exhibiting in Hall 4 in its own right, Celestion was the only transducer company in the same hall. ‘We’re a 91-year manufacturer but we’re late to the market here in the Middle East,’ confessed product marketing manager, Ken Weller. ‘One of our coaxial units has interested a few visitors, while we’re promoting the virtues of the CDV11757 HF driver that is specifically voiced for mosque
Sennheiser’s Ryan Burr can’t get enough of the new HD300 Pro headphones
Robe Middle East Trading LLC showcased new technologies
Venuetech’s Nour Assafiri in the GSM lighting demo room
Bosch’s Arshad Mecci and Sanjeev Singh from AVISS debut the Praesensa conference system
assortment of wireless and wired microphones on the Venuetech booth, Mr Burr knows how much trade shows have fluctuated over the 13 years he has been resident in the UAE. Perhaps the show gained from the general low expectations among those attending. Looking slightly out of place perhaps, EN 54-compliant voice alarm and BGM announcement systems could be found on the Ateïs, FBT and Monacor booths. ‘We normally attend shows such as InfoComm and fire security shows, but we wanted to reconnect with customers in the traditional PA markets,’ explained Ateïs international sales director, Phil Witts. ‘Our decision to exhibit has been vindicated as we have met a number of potential new clients who have come to the show with plans and drawings of projects they are working on.’
Marcel Lorenz and Alf Schmeichel from Monacor International
BUSINESS: SHOW REVIEW prayers and imam recitals. To be honest, we didn’t expect high visitor traffic, but we have garnered some interesting leads and, as a result, hope to be appointing a dedicated distributor following the show. So it’s quality over quantity and job done.’ Exhibiting on the Provision AVL booth, visitors could receive hands-on tuition on SSL’s Live L300 digital work surface. As there were no other consoles on display, Paul Lindsay was kept busy. In addition to exhibiting Le Maitre and Chauvet brands, the Lebanese/UAE distributor was also highlighting Clair Brothers stage monitors on a Prolyte stage.
The Claypaky booth beckoned passers-by with the latest Axcor Profile moving heads
The Canford team
FBT’s Luigo Paolini and Roberto Mataloni invite guests onto their booth
Having also travelled from the UK hot on the heels of IBC, Canford Audio took the bold decision to exhibit for the first time. ‘We normally attend Cabsat, but wanted to meet live production rental companies and systems integrators,’ explained sales manager, Mark Duff. ‘I don’t think any of our direct competitors are here, so we really have a captive audience.’ Located at the central front area of the hall was a prominent Venuetech booth. In addition to Sennheiser, the established distributor was showcasing French loudspeaker manufacturer APG, along with Active Audio, for the first time. Having once distributed L-Acoustics, Elie Khairallah was happy to be reunited with a prominent French innovator. ‘We specified their speakers for the Grand Mosque in Abu Dhabi recently and have been impressed with the product range.’ Venuetech’s impressive footprint extended into Hall 3 with two eye-catching booths. One was promoting Barco projectors alongside Martin Professional lighting, while the other was a dedicated space for SGM. ‘We opted to display the SGM solutions in a demonstration room,’ explained MD, Nour Assafiri. ‘We have just taken the brand on here for the region and are keen to make a statement.’ Lighting wasn’t confined to the lighting halls, however, as both Robe and Claypaky displayed their latest moving head innovations adjacent to one another at the front of Hall 4. The Italian brand was promoting its latest Axcor profiles, spots, beams and washes, while its Czech neighbours highlighted the RoboSpot system, MegaPointe luminaire and Tarrantula LED wash products.
SetSquare’s Dave Lee, SSL’s Paul Lindsay and Provision AVL’s Kevin Boujikian with the Live L300 ‘Robe ME Trading has only been here in Dubai for a few years, so it’s important that we interact with our customers by exhibiting at the show,’ assessed Robe GM, Elie Battah. ‘We took a smaller booth space this year, but it hasn’t affected us in the way we promote our products.’ Towards the rear of the hall, ADJ enticed nightclub owners and venue operators, while AVISS attracted browsers seeking conferencing and translation systems. In addition to Pan Acoustics beam steering loudspeakers, AVISS MD Sanjeev Singh showcased the latest Bosch Praesensa IP-connected voice alarm and PA system. ‘It was a busy show for us last year and it has been this year,’ assessed Mr Singh. ‘We also exhibited at InfoComm Middle East last year, which was
very quiet. However, we ended up getting no business from Prolight + Sound yet managed to secure several orders from the InfoComm contacts.’ The show definitely has a future as the Dante training workshop and discussion panel hosted in a closed section at the rear of the hall was well-attended over the course of the three days. As most of the exhibitors were promoting products and technologies without the distraction of competitors, contentment was high. Describing the Middle East as a hot destination for events, Messe Frankfurt Middle East’s CEO Ahmed Pauwels either has his tongue firmly planted in his cheek or something has got lost in translation. Similarly, the direction of this show is equally confusing and operating on a different frequency to the rest of the global spectrum. If it is to gain momentum and rise out of the PALME exhibition ashes, it needs to focus on true market sectors rather than jumbling an assortment of entertainment technologies into one small layout. Whether the visiting ex-exhibitors saw enough to convince them to return remains unclear. The establishment – Procom Middle East, NMK Electronics, GSL Professional Middle East, Thomsun Trading, VV & Sons – have all relocated in recent years and incorporated state-of-theart training facilities into their modern showrooms. Their databases of customers may be works in progress but, if a trade show such as Prolight + Sound Middle East is going to entice them back to the DWTC, these LLCs need to be assured of a healthy ROI. Hosting such a trade show during National Day in Saudi Arabia could mean that their names may not be on the 2019 floorplan.
Smiles all round from ADJ
2018 Dates:
23 – 25 September
2019 Dates:
TBC
Venue:
Dubai World Trade Centre
Total exhibitors: 40 Attendance:
2,774
Contact:
www.prolightsoundme.com
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November–December 2018 PRO AVL MEA 89
BUSINESS: SHOW REVIEW
Gitex 2018
Gitex Technology Week put exhibitors in front of a new and unfamiliar kind of attendee – the IT decision maker, discovers Simon Luckhurst
Peerless A/V’s Melinda Von Horvath and Justin Joy
Elie Kheirallah from Venuetech Shure MEA general manager with Televic’s Herman Geerinck Freddy Sicko
Ilyes Outertani and Christy Fang from Taiden, which saw saw great interest in its IR-based wireless conferencing solutions GITEX TECHNOLOGY WEEK IS ONE OF THE LARGEST OF ITS kind in the Middle East region and possibly, the world. And while the primary focus of Gitex is most definitely not A/V, the continued merging of IT and A/V solutions and workflows is making exhibiting at the show an increasingly attractive proposition for those interested in targeting corporates. Walking the aisles, you’ll come across everything from receipt printers to wireless phone chargers, Wi-Fi routers, surveillance systems, automation, robots and AI, cyber security, cloud-based services, 5G technology showcases and holographic displays – basically, any technology that connects to a system via IP. As an industry, the convergence of IT/AV solutions has been discussed for some time now, but Gitex makes it clear who holds the power. It is the IT managers that are choosing what other systems are allowed to integrate with their networks. Pro AVL MEA even heard comments on the show floor that in this sector, the A/V manager simply doesn’t exist anymore. Gitex therefore offers exhibitors the ability to communicate
90 PRO AVL MEA November–December 2018
and persuade a new type of decision maker that can’t be found at other trade shows in the region. ‘IT companies are increasingly making the decisions about which A/V solutions are used in their projects,’ observed Elie Kheirallah on the Venuetech booth, which chose to showcase solutions from Sennheiser, Televic, Active Audio, Stealth Acoustics and Atlona. ‘Because the majority of these audio solutions are IP-based and now exist on their network, these IT guys are having to learn more about A/V. Many projects are merging between IT and A/V and the Sennheiser TeamConnect solution on our booth is a great example of this shift.’ But for traditional A/V companies, this provides some challenges – the language is entirely different, while the heavyweights that are normally able to rely on industry-wide recognition for their more traditional products find themselves to be an almost unknown entity for the Gitex crowd. Shure therefore chose to educate visitors on the benefits of its MXA900 ceiling microphone. ‘For us, Gitex is quite a special show as we have the opportunity to meet customers we won’t find at the typical audio or retail shows. We have already made some interesting contacts from market segments we haven’t even had on our radar before,’ noted Shure MEA general manager, Freddy Sicko. ‘Global interaction is on the rise and therefore A/V conferencing is getting more and more important – people from other industries are often not aware that there are quality differences to consider when choosing a microphone. That’s why we educate these visitors and also use the chance to showcase our solutions. The footfall has been great so far, and we’ve met many customers from all kinds of entities, from government and ministries to smaller entities. At other tradeshows, we always tend to shake the hands of customers we already know.’
Christie’s Klaus Hilles
This was a similar battle faced by Taiden, which nevertheless saw strong interest in IR-based wireless conferencing systems such as its Digital IR Classroom solution. Furthermore, the show has a vast geographical reach across the Middle East and Africa, spurred on further this year by upcoming initiatives such as Expo 2020. ‘We’ve had some really good leads already at this show and many great business opportunities,’ stated Justin Joy from Peerless A/V on the Almoe Digital Solutions stand highlighting Peerless’ RMI3-FLIP rotational wall mount and 55-inch Xtreme High Bright Outdoor Display. ‘The particular highlight for me is the vast geographical spread of visitors from throughout the region, in particular from KSA, Qatar and even Oman.’ Almoe Digital also highlighted offerings from Bose’s conference solutions portfolio alongside the new Microsoft Surface Hub 2 and the Samsung super-narrow bezel displays. ‘Gitex has been very interesting and rewarding. We’ve got to meet all of our channel partners and it’s a unique platform for us,’ comments Gaurav Mehta from Almoe Digital. ‘Primarily the walk in is from the UAE, but this is also a platform that’s great for meeting clients from outside the UAE as well.’
The Barco MEA team return to the show for the first time in seven years Yet it wasn’t just conferencing systems on display from the traditional A/V manufacturer. High brightness projectors were the star of the show on many booths. ‘Gitex is really a technology show of the latest and greatest in A/V experiences. I think there will be more exhibitors like us here in the coming years because there is a big need for the sharing of audio and visual information,’ stated Christie’s Klaus Hilles, alongside the new Crimson 25,000 lumens Laser Phosphor and a video mapping display from the Christie Boxer 4K30. ‘As A/V and IT continue to converge, you will find more and more companies looking to appeal to this market.’ Gitex is an incredibly dynamic and enthusiastic show, which is no mean feat for an exhibition that spans such a large and seemingly disparate collection of technologies and industries. Much like the Integrated Systems Europe show that takes place in Amsterdam in February each year, it’s this massive collection of industries gathered together in one place that makes it so unique.
2018 Dates:
14 – 18 October
2019 Dates:
6 – 10 October
Venue:
Dubai Word Trade Centre
Total exhibitors:
TBC
Attendance:
TBC
Contact:
www.gitex.com
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BUSINESS: R&D
Open to increasing business The Solaro FR1 processor is based on a Linux platform
Earlier this year, Canadian success story Xilica launched its new Solaro platform. Richard Lawn reports from the Toronto HQ Launched at ISE 2018, the new flagship platform was five years in the making. ‘Solaro was designed from the ground up, based largely on customer feedback. Three years of this development was spent ensuring that all the electronics worked perfectly, both separately and together. We carefully source all our components, most of which originate from North America. While the DSP modules are upgrades of our Neutrino series, the controller and other aspects are new designs. Combined, the Solaro platform is very complex and we faced multiple challenges over that time frame, which each had to be overcome. However, the team learnt so much as a result.’ With Neutrino, customers could select fixed I/O combinations including 8x8, 8x16, 16x8 and 16x6 for their
The Solaro QR1 uses the same DSP processing architecture as the FR1
HAVING LEFT HIS NATIVE HONG KONG AS AN 18-YEAR-OLD student in 1982, Donny Chow settled in Ontario Province, jumping right into the ethnic mix of cultures that a diverse selection of migrants has brought to the area. Such fer tile ground inevitably created oppor tunities, and Mr Chow’s knowledge of electronics engineering combined with an interest in music, signposting him to a distinguished career in professional audio. Mr Chow cut his teeth during a 2-year stint as an electronics engineer at rising star Adamson Systems, where he was par t of the development team that created the company’s first DSP controller. The next decade was spent running his own consultancy and studio design business, Arctic Design. At that point he was ready to remove the water wings and take the plunge to fur ther his interest in DSP. Xilica came into existence in 2002, when Mr Chow unveiled the DLP-4080 digital loudspeaker processor. ‘We managed to sell sufficient units to live sound production companies,’ he recalls. ‘As our product range matured, we stopped selling the 4080 in 2007. However, thanks to its popularity, we still receive enquiries about the product.’
92 PRO AVL MEA November–December 2018
The XP, XD and Neutrino series all followed and, as sales inevitably grew, so did the employee count of R&D engineers in Canada together with manufacturing and sales personnel at the Xilica offices in Hong Kong and China. Meanwhile, an office in Amsterdam was established to oversee sales and servicing in Europe. ‘It became evident that there were tremendous opportunities in developing the market for floating-point DSPs owing to their increased economies of scale and general ease-of-use,’ explains Mr Chow. ‘The need to support high bitrates led us to create the DLP and X Series, which inevitably put our company on the global map.’ Following the launch of the Neutrino drag-and-drop architecture models in 2008, Mr Chow’s team was made increasingly aware that customised connectivity would be required if the series was to remain current. As a result, the Neutrino-N versions were conceived to adopt Audinate’s Dante-enabled network audio capability. Able to digitally transport 16x16 I/O audio channels of Dante network bidirectionally over Ethernet, the Dante and analogue audio streams can be converted back to analogue or to the Dante network audio using another Neutrino-N DSP, Rio series interface or a non-Xilica, Dante-enabled device.
Donny Chow
BUSINESS: R&D particular needs. ‘We needed to get away from fixed architecture and focus on creating a truly modular DSP system. So with Solaro, we took the approach to adopt a modular I/O architecture in order to maximise the I/O requirements per project and reduce unnecessary spending.’ Support for Audinate’s Dante technology, the introduction of programmable controls and Solaro’s selectable multi-sampling rates for enhanced usage continue to spearhead Xilica’s innovative DSP credentials. In addition, Solaro’s design specification adds a dragand-drop design, with control via iOS, Android and Xilica’s proprietary XTouch sur faces. The current Solaro family consists of FR1 and QR1 modular I/O architecture processors, new XTouch50 and XTouch80 programmable touch controls in addition to existing Mini controls and the Rio series of Dante I/O inter face devices. The rear panel of the QR1
Three years of this development was spent ensuring that all the electronics worked perfectly, both separately and together A Universal Media Controller lies at the heart of Solaro. ‘We’ve witnessed an increasing adoption of low-cost universal controllers for any device from any manufacturer,’ furthers Mr Chow. ‘A typical installation integrates a digital processor, active speakers, mixers, projectors and lighting. We have therefore developed this controller so that it could accommodate everything on one single software platform, together with all the control options.’
The design of the Solaro FR1 processor is based on a Linux platform and utilises Xilica Designer universal configuration software. From the front, the 19-inch 1RU chassis simply incorporates a front panel OLED display and rotary wheel. However, the full modularity of Solaro becomes evident from the rear. Sixteen card slots can accept either 2-channel audio input and output cards or 4-channel GPIO cards for either input or output. Providing enhanced flexibility, further cards can be inserted for other I/O requirements including AES/EBU, USB audio and RS232/485. Operating at a sample rate of 48kHz, Solaro QR1 uses the same input, output and DSP processing architecture as the larger FR1. Named for its ¼-rack dimensions, QR1 is based on the same Linux platform and incorporates a dual core processor drive to provide modular I/O flexibility. Eight card slots can accept either 2-channel audio input
and output cards or 4-channel GPIO cards for either input or output. The integrated 4x4 Dante card is something of a bonus feature for the user, as assured flexibility is provided by the combination of any card type and any card slot. Making systems integrators’ lives easier, Xilica’s programming software – Xilica Designer – develops into a universal control platform for third-party products. QR1 connects to a wide range of control inter faces including the optional XTouch50 and XTouch80 programmable touch controls. It can also be managed via Ethernet using the software GUI or indeed the GPIO card ports. Additionally, Xilica’s XTouchApp can be used to connect iOS and Android devices with any thirdparty controller such as AMX and Crestron. Just as the Neutrino series was updated to incorporate Dante networking, Mr Chow is keeping an eye on networking trends when it comes to other protocols on the market. ‘Xilica has to remain openminded if we are to maximise Solaro’s potential,’ he stresses. Mindful of the fact that the new platform allows Xilica to network with other manufacturers, the company understands that collaboration with other manufacturers will be the key to future successes. ‘Collaboration with similar-sized companies allows us to collectively compete in the market,’ he adds. Judging by the increased market acceptance of Neutrino during the past decade, Solaro is poised to take this relatively young company to the next stage of development. Xilica’s headquarters in the northern Toronto suburb of Stouffville in many ways symbolises both Mr Chow and the company he’s created. There may not be a sign to promote the industrious activities that lie within, but the door is open and the atmosphere is friendly. Ditto Solaro. www.xilica.com
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November–December 2018 PRO AVL MEA 93
BUSINESS: ANALYSIS
Full stream ahead Phil Ward assesses the impact of OTT media services
ONE DAY, EARLY IN THE 21ST CENTURY, a rail accident in central Stockholm brought the city to a halt. Fortunately, it was not a fatal incident. But naturally it drew a large crowd of onlookers, many of whom had smartphones, meaning: good quality video cameras connected live to internet transmission. Within minutes, all of the social media feeds had the story. Meanwhile, in a posh hotel about 0.5km away, senior managers of Swedish radio and television were engaged in a conference. They were the last people in Sweden to hear about the incident. Furthermore, it was nearly half an hour before the traditional phalanx of OB vans and crews were lined up as close to the track as they could get, by which time their newsworthiness – while valuable – had somewhat dissipated. This story is told with glee and in all its irony by Stockholm native Lars-Olof Janflod, known to many as the face of Finnish monitor mainstay, Genelec. Its point, he says, is that it sums up the challenge to established broadcasting by the new technology of Over the Top (OTT) media: any streamed content that bypasses the satellites, cables and antennas that carry the output of the global television giants. The opportunities and, some would say, dangers of this development are clear. While a boon for freedom of information and anti-censorship, OTT also raises awkward questions about financial modelling, advertising revenue streams and copyright ownership, acting as it does as a shortcircuit to distribution and dissemination in a field that hitherto concentrated power in only a few hands. In response, the last few years have seen media leaders attempt to assimilate OTT methods and mechanisms. Broadcasters, even Swedish ones, have woken up to the test. Based in Stockholm, Bonnier Broadcasting owns Swedish mainstay TV4, C More and Finnish MTV among many other services, and has begun to pioneer what it calls the ‘digitalisation of the television industry’. Last month, it announced the enhancement of its subscription-based OTT output by the deployment of a system of billing and Customer Relation Management (CRM) called Paywizard Agile, which already makes a distinction between VoD (Video on Demand) and AVoD (Advertising-based Video on Demand) as well as using a consumer monitoring feedback tool that goes by the evocative name of Decision Moments. Using the interactive essence of web and mobile services, organisations such as Bonnier can make the quicksilver nature of OTT media a more attractive proposition to advertisers, while expanding their footprint into the web and Wi-Fi hinterland. However, they face another serious challenge: the
dilution of content into more bespoke packages. Where once the broadcaster was a strong arbiter of consumption, even tastes, OTT media make possible the discrete broadcast of special interests. The unstoppable trend towards multichannel choice, which began with the satellite revolution of compressed ‘spot beams’ and geostationary orbits, has exploded into a maze of online options – many of them created by rights holders with no traditional broadcasting heritage. One good example is UEFA, the Union of European Football Associations. Already a pay-TV bedrock, UEFA has revealed plans for its own OTT platform to promote women’s football – a specific attempt to provide broadcasting for dimensions of the sport that ‘generally do not have the same visibility as the men’s tournaments’, according to UEFA’s marketing director GuyLaurent Epstein in a statement published on 18 September. He adds: ‘The current evolution of our environment tells us that digital platforms are a new place to talk with fans outside the TV viewers, so that the Champions League is not losing popularity because of the migration of broadcasts to pay-TV.’ UEFA is at pains to point out that, in this instance, OTT does not represent competition for TV channels and broadcasters; it is instead a new entry level for potential viewers. However, the organisation does feel it necessary to allay fears that the leading international tournaments – such as the Champions League and the Europa League – could be migrated from pay-TV to OTT: an unlikely prospect at the moment, to be sure, but its very possibility – and the immediate denial of it – illustrates the delicate nature
94 PRO AVL MEA November–December 2018
of the balance now emerging between broadcast platforms. OTT services are gaining significant traction. Online security specialist Irdeto Rights, based in the Netherlands, recently contributed to OTT expansion with a more streamlined Digital Rights Management system that speeds up streaming performance across multiple regions. Pointedly, SVP of content protection at Irdeto, Andrew Bunten, states that: ‘As consumer demand shifts firmly towards OTT, service providers must adapt their model and grow their global OTT offering accordingly.’ US market research company eMarketer has been measuring the uptake of subscription-based OTT video services globally, and its most recent report reveals a sharply upward curve – with the Asia-Pacific region showing the fastest growth. According to eMarketer, Asia-Pacific subscribers are set to rise 35.2% to 331.5 million in 2018, with a significant proportion of that growth attributable to Netflix alone – arguably the most recognisable brand name in OTT media operating today. China is singled out as the most competitive market, with 229 million subscribers driving a 60% share of global throughput for the three market leaders: Baidu’s iQiyi, Tencent Video and Alibaba’s Youku. Netflix itself is rapidly turning into a true media powerhouse globally. With offices in London and Amsterdam already, a third base has just been announced in Paris as the LA-based pioneer steps up its European presence, while Asia-Pacific is on track to deliver an increase in subscribers from 11.8% of all OTT video customers to 14.3% by 2020. Despite the predilection for more bespoke programming, the issue of maintaining
localised content remains – so much so that the EU is soon to introduce legislation requiring that OTT media providers to any member nation provide a subsidy towards the production of material by and for that country. Controversial, but the aim to counter a slide towards globalised homogeneity suggested by the borderbusting nature of a media wholly enabled by the world wide web. Such homogeneity has already slowed the development of OTT services in India, where language barriers remain dominant. Aside from traditional TV, Hotstar and YouTube are popular, while national enterprises Viu and Zee are attempting to raise subscriptions using programming in a wider range of regional dialects – as is Amazon Prime Video, via regional titles and programming in Hindi as well as English. Netflix has yet to respond other than with Bollywood mainstays and, as a result, penetration in 2018 stands at just 1.7%. The Japanese picture is less clear. Netflix launched there in September 2015, and there are more Japanese titles available than Hollywood or European offerings in the mainstream movie subscription market, but penetration remains at between 16% and 17% this year. An older demographic is one theory, while others point to the global survival of free-to-air (FTA) viewing habits as the natural domestic adjunct to OTT behaviour largely associated with mobile applications: watch OTT on the move; switch on the satellite or cable TV when you get home. It would be hard to argue with Apple’s prognosis for media consumption, however. Its much-vaunted VoD service, due next year, will sit cheek-by-jowel with its huge hardware customer base, while US investment giant Morgan Stanley is suggesting that the service will hit sales worth US$500 million in the first year alone – and US$4 billion by 2025. Meanwhile, the technical infrastructure is innovating, too: at IBC in September, German tech crucible Fraunhöfer demonstrated the first use of advanced interactive audio support for OTT content by Norwegian smart TV software provider, Vewd. The stage is set. US digital media provider Limelight Networks recently published the results of a survey carried out among 5,000 customers in France, Germany, India, Italy, Japan, the Philippines, Singapore, South Korea, the UK and the US. At the moment, it confirms, OTT is a supplement to pay-TV subscription – 62% said they did both – while quality of video service remains the top priority with the unsettling lurch of re-buffering the main OTT frustration. This would be a complaint they share with Stockholm commuters, no doubt.
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