Pro AVL MEA November-December 2020 by Blank Canvas Publishing Ltd

ProAVLMEA November–December 2020 MICA (P) 060/05/2020

LIVE SOUND LIGHTING RECORDING INSTALLATION AV BROADCAST POSTPRODUCTION November–December 2020

UPPING THE ENERGY

Extensive AV brings nightclub vibes to Crank Dubai

STRENGTH IN NUMBERS AT TURKUVAZ BRINGING NEWS INTO VIEW FOR AL ARABIYA

SCALING NEW HEIGHTS WITH SENNHEISER

Singapore: MICA (P) 060/05/2020

www.proavl-mea.com

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Contents Volume 17 Issue Six November–December 2020

Editor’s note

NEWS NEWS EMEA AV market set to bounce back in 2021

EDUCATION Sennheiser educates ME influencers

DISTRIBUTION Funktion-One teams up with Ko Team

APPOINTMENTS Qvest strengthens MENA position, Atlona expands EMEA team

SPECIAL REPORT Area Four Industries brings Prolyte back to ME

SPECIAL REPORT Phil Ward examines the recording sector

Email: sluckhurst@proavl-mea.com Welcome to the final Pro AVL MEA edition of 2020, and what a year it’s been. When I attended The NAMM Show back in January, I definitely was not expecting it to be my only tradeshow of the year. Instead, we’ve all been forced to “go digital”, thankful we live in an age where the audiovisual technologies necessary to keep us communicating have matured to the point where a lot can still be done. Technology evolutions that were predicted to take years have instead happened overnight and changed the future landscape for us all. Crestron’s Stijn Ooms touches on some of these rapid changes in our Technology feature on pp44–45. But it’s sadly not the same situation for all. This year has been particularly tricky for the live events sector, and will doubtless continue to be so for the near future. Recent months have shown us there’s simply no satisfying way to replicate a live concert virtually for most fans, even with the aid of current technology. What’s been encouraging though, is seeing the way the sector, friends and competitors alike, have rallied around to make their voices heard. Seeing some of the world’s most iconic buildings lit up in red will definitely be an image of 2020 that stays with me. Some form of normality, however, is resuming in parts of Asia – China has even successfully hosted several large tradeshows and entertainment events in recent weeks, proving that it can be done safely – and the Middle East has a lot to look forward to with the rescheduled Expo 2020 finally happening later in 2021. I’m also very hopeful that I’ll be back visiting you all on your home turf or meeting at a convention centre much sooner than that. But if 2020 has taught us anything, it’s that everything can change in an instant.

FEATURES NEWS IN VIEW Barco brings the news to life at Al Arabiya’s newest studio

SCALING NEW HEIGHTS Setting out to document Dilijan’s climbing routes

COVER: UPPING THE ENERGY Crank Dubai is part gym and part nightclub

STRENGTH IN NUMBERS TMG consolidates operations in Istanbul

BUSINESS LETTER FROM AMERICA Dan Daley questions the future of drive-in events

LETTER FROM EUROPE Phil Ward on when the live events industry will restart

COMPANY PROFILE Newcomer Pequod Acoustics adapts during the pandemic

TECH Crestron product manager Stijn Ooms discusses current trends in AV

NEW PRODUCTS The industry’s most comprehensive product news

ANALYSIS Calrec discusses how customers are transitioning to remote working

inside 9

Contacts PRODUCTION MANAGER Adrian Baker T: +44 1892 676280

GENERAL MANAGER Richard Lawn T: +44 1892 676280

ADVERTISING DIRECTOR Sue Gould T: +44 1892 676280

CONTRIBUTING EDITOR Caroline Moss T: +44 1892 676280

EDITORIAL COORDINATOR Karen Wallace T: +44 1892 676280

rlawn@proavl-mea.com

sgould@proavl-mea.com

cmoss@proavl-mea.com

kwallace@proavl-mea.com

abaker@proavl-mea.com

DIGITAL MEDIA MANAGER Nick Smith T: +44 1892 676280

VIDEO EDITOR Chris Yardley T: +44 1892 676280

SOCIAL MEDIA COORDINATOR

SALES ASSOCIATE Carolyn Valliere T: +1 562 746 1790

CIRCULATION Marne Mittelmann F: +65 6491 6588

cvalliere@proavl-mea.com

circulation@proavl-mea.com

nsmith@proavl-mea.com

cyardley@proavl-mea.com

Jessica Ubhi T: +44 1892 676280 jubhi@proavl-mea.com

COVER: Crank Dubai PRINTER: Times Printers Singapore LICENCES: Singapore: MCI (P) 060/05/2020 All rights reserved. No part of this magazine may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording or by any information storage and retrieval system, without prior permission in writing from the copyright owners.

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

@ProAVLMEAMagazine November–December 2020 PRO AVL MEA 3

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NEWS

EMEA AV market declines in 2020 before bouncing back in 2021 EMEA

The latest pro AV industry forecast from AVIXA has highlighted that the Europe, Middle East and Africa market will decline to US$65 billion in 2020, a 9% fall from the 2019 figure of $71 billion. The 2020 AV Industry Outlook and Trends Analysis (IOTA) EMEA Summary does however expect this to return to its 2019 level by 2022 and will continue to expand to $81 billion in 2025. “The pro AV industry and economies at large are reeling from the effects of Covid-19,” said Sean Wargo, senior director of market intelligence, AVIXA. “The pandemic

has broadly impacted the near- and longerterm outlooks for economic growth and business activity in the EMEA region, spurring reductions in our forecast. But recovery is in sight. Growth for pro AV in EMEA will far exceed the expansion of the regional economy, with the industry growing in the range of 4.8–5.1% in the coming years.” While most of this revenue comes from western Europe, growth is expected to hold steady through to 2025. The Sub-Saharan Africa market

is expected to generate the strongest growth in the region, with a 6% compound annual growth rate (CAGR) from 2020–2025 and growing from $1.7 billion to $2.2 billion during that time. The Central European pro AV market is set to expand to $12.5 billion in 2025, rising at a CAGR of 5.8% from $9.4 billion in 2020. The strongest performing sector, rather expectedly, appears to be media and entertainment, with revenue declining by only 5.6% in 2020 and rising by 8.5% in 2021.

This was mainly driven by the consumption of digital content from mobile apps to TV and gaming which increased during the pandemic. Another sector showing potential for growth for the mid- to long term is military and defence, as governments battle increased cyberthreats and nationalistic outlooks. The report states that government and military, education and corporate customers will generate the most demand for security, surveillance and life safety solutions during the short and long term as they seek to update their infrastructure to handle the needs of monitoring and responding to the pandemic. Digital signage growth will also be driven by the increased need for on-premise and out-of-home (OOH) communications, especially for security and new health protocols. The functionalities of digital signage merge with those of surveillance and security and are applicable to both employee-facing and customer-facing situations. For example, surveillance cameras already in place will be augmented by AI, software and displays and used for business analytics for assessing customer journey, tracking and heat-mapping. Due to the prevalence of work from home, revenue from conferencing and collaboration solutions is due to increase at a CAGR of 2.6% from 2020–2025. Furthermore, spending will continue to increase in this area as legacy infrastructure gives way to the cloud. To read the full 2020 AV IOTA EMEA summary, visit www.avixa.org/IOTA www.avixa.org

ISE postponed to June 2021 WORLD

After a period of consultation with the industry and the impact of the ongoing pandemic, Integrated Systems Events has announced that ISE 2021 has been postponed and will now take place on 1–4 June 2021 alongside a virtual offering. The show was originally scheduled to take place from 2–5 February 2021. Together with the postponement, the organiser has launched RISE Digital, on ongoing programme of content and networking events for the industry that will continue throughout the year. Having carefully monitored the conditions in Europe since the beginning of the year, the organisers have focused on balancing health and safety concerns with commerce and face-to-face interaction. Having originally felt confident to deliver the show in February, ISE 2021 has now opted to delay the show edition until June 2021. “The health and safety of our team, exhibiting companies, industry partners and attendees is our number one priority,” commented Integrated Systems Events managing director, Mike Blackman. “Given the understandable concerns among all of

our stakeholders regarding coronavirus and the uncertainty regarding travel restrictions and country lockdowns, we have concluded it is not prudent to maintain our original schedule of an in-person February 2021 tradeshow. From our many conversations, it is clear the industry can’t wait to get back together doing business face to face and we are committed to delivering an engaging and safe in-person ISE in 2021. We feel

by moving the event to June, it provides time for the industry to adapt and restore balance. We look forward to hosting the global AV community in our new home in Barcelona.” Fira de Barcelona chairman, Pau Relat, issued a separate comment. “We highly value ISE’s strong commitment to Barcelona and, in moments as complex as the current ones, the decision to postpone

the event for a few months in order to ensure the best possible edition with the largest international participation of companies and visitors, will be very positive both for attendees and for the city. We will keep on working together to ensure that a leading event such as ISE has a great first edition in its new home in Barcelona in 2021.” US-based AVIXA CEO David Labuskes also issued a statement. “AVIXA is proud to be a partner with CEDIA in delivering ISE to the audiovisual industry each year. We fully support ISE’s decision to postpone the first show in Barcelona until June 2021. This isn’t a trivial undertaking and has thousands of moving parts but, in making this decision, ISE reaffirms their commitment to the health of all those who participate in these events from the taxi driver to the exhibitor teams. And all of those same people will be even more committed to be a part of the extravaganza that ISE promises to be.” www.iseurope.com

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BOSE NOISE CANCELLING HEADPHONES 700 UC — N OW AVAI L AB LE Adaptive four-microphone system 11 levels of noise cancellation Includes Bose USB Link Bluetooth® module works with

Google Meet

PRO.BOSE.COM/NCH700UC Bose, Bose Headphones, and Bose Noise Cancelling Headphones are trademarks of Bose Corporation. Microsoft is a registered trademark of Microsoft Corporation in the United States and other countries. Google and Google Hangouts Meet are trademarks of Google LLC. Zoom is a trademark of Zoom Video Communications, Inc. The Bluetooth® word mark and logos are registered trademarks owned by Bluetooth SIG, Inc. and any use of such marks by Bose Corporation is under license. All other trademarks are the property of their respective owners. Voice and Unified Communications services may vary by country.

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NEWS

Riedel employs DisTag for its employees WORLD

Riedel has wasted no time in deploying its recently devised DisTag distance monitoring device at its Wuppertal HQ, where it is playing an essential role in the company’s gradual resumption of onsite operations. As employees of the Managed Technology Division return to work, each member is either carrying or wearing the DisTag. Measuring 93mm x 41mm and weighing 61g, DisTag is geared towards media and event production, industrial operations, retail, medical centres, public institutions and educational facilities. The integrated battery allows up to 12 hours of operation, with three signal levels: a vibration alarm (haptic), a three-stage LED signal (visual) and a three-stage sound signal (acoustic). The proximity limits of the warning signals can be individually defined and adjusted in accordance with local regulations for social distancing. Individual tags can be divided into

compatible groups using the friendly function, whereby no alarms are triggered if users come into close contact with each other.

d&b launches Certified Pre-Owned programme

WORLD

d&b audiotechnik has launched the Certified Pre-Owned (CPO) programme, making remanufactured loudspeaker systems available for purchase. Part of d&b’s ongoing support of the Sustainable Development Goals adopted in 2015 by UN member states, as well as the European Union’s Corporate Social Responsibility (CSR) directive, CPO allows customers to own a d&b sound reinforcement

system while contributing to the reduction of greenhouse gas emissions and consumption of raw materials. “The CPO programme means our systems are more accessible than ever before,” said Amnon Harman, CEO, d&b audiotechnik. “At a time when the entire entertainment industry has been challenged, remanufacturing extends the life of a d&b system with all the benefits

Sony acquires Nevion

Riedel’s Managed Technology Division supplies turnkey solutions for media production and global events. Based on a

of buying new. The entertainment industry consumes an enormous amount of energy, and the CPO programme is just one part of d&b’s long-term commitment to sustainability. Extending the life of our loudspeaker systems is a small but powerful way of providing premium audio while protecting the natural world.” During the remanufacturing process, each system goes through an exterior, mechanical and acoustic check. The exterior check confirms there is no damage, with all foam and seals replaced and the exterior repainted. The mechanical check sees pins, rigging, links, wheels, latches, frames and chains inspected for damage, then tested and replaced where necessary. Finally, the product goes through the same rigorous frequency and impedance checks as new systems, including a listening test for performance qualities. All systems come with new energy-saving amplification and electronics, accessories and the same access to service and finance arrangements as new systems, including a two-year warranty and five-year factory warranty for all new parts. The first product to be available in the CPO programme is the large-format J-Series. www.dbaudio.com/certified-pre-owned

WORLD

Sony has announced that it is acquiring virtualised media production solutions manufacturer Nevion AS in a move to enhance its portfolio of end-to-end IP and cloud-based production solutions for broadcasting. Sony, which has been a minority shareholder in Nevion since July 2019, will now make the company its subsidiary having purchased the remaining shares. Sony cites the reasons for the acquisition as the increasing demand in broadcasting for remote production solutions and remote integration (REMI), a trend that has been

accelerated by Covid-19 alongside combining on-premise facility and cloud processing, enabling remote work and resource sharing. “We are always listening to our customers’ feedback, pushing hard to deliver innovation

that goes beyond their expectations,” stated Mikio Kita, VP of Media Solutions, Sony Imaging Products & Solutions. “Through this investment, we will take the scope of IP-based remote production to the next level as one of our highly focused business fields. As the Sony Group, we pursue technologies to achieve ‘remote’, ‘reality’ and ‘real-time’ solutions. With Nevion’s acclaimed expertise, we will deliver more integrated and optimal experiences for our customers.”

scalable signal backbone, solutions include intercom systems and fibre-based networks for distribution of video, audio and data signals. Riedel technology is currently being used on numerous international projects, including festivals, international summits and global sporting events. “As our projects begin to ramp up once more, we’ve reached a point at which the division gets more and more busy with staff onsite,” said Riedel Communications Managed Technology Division director, Lutz Rathmann. “It’s an ideal opportunity for our own employees to prove the concept for DisTag. Tools like this are making it possible for companies around the world to start getting their employees back to work while ensuring their social distancing and safety.” www.riedel.net

Believe in Music to replace NAMM 2021 WORLD

Originally scheduled to take place at the Anaheim Convention Centre in January 2021, The NAMM Show has been replaced with a virtual format in light of the pandemic. The new online event, named Believe in Music, will be held over the week of 18 January 2021 and feature a mix of programming and professional education, as well as an interactive marketplace to connect buyers and

sellers. The organisation says that while this won’t be a virtual tradeshow, it will meet the needs of its member companies through thought-leader-led education for all segments of the industry, networking and AI matchmaking, and business-tobusiness focused opportunities. “With a robust marketplace to launch new products and share your brand story, Believe in Music will also feature networking and matchmaking for our buyers and our sellers, education for all segments of the industry, and live music and concerts,” commented Joe Lamond, NAMM president and CEO. www.believeinmusic.tv www.namm.org

pro.sony

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NEWS

xKit connects AV buyers and sellers in the ME GCC

A new online platform has been launched to pair buyers with sellers of audiovisual equipment throughout the GCC territories. Named xKit, the service catalogues a wide variety of new and used professional audio, video, lighting, rigging and backline equipment from a network of manufacturers and suppliers with the aim of providing buyers with the best price locally. Having been actively involved in the regional AV industry for almost 15 years, Jean Michel Elias has identified a gap in the Middle East – the second-hand equipment market largely comprises of sporadic Facebook groups and listings. By working closely with a large number of vendors, xKit has already amassed a sizeable equipment offering spanning most major brands. In addition to its supply hub, the company will also provide system designs and consultation to aid in selecting the right product for the right application. “I’m a lighting designer by profession and I’m usually doing a lot of travelling and work with different AV suppliers and vendors,” Jean Michel explained of the company’s origins. “There’s always been someone either selling something or wanting to upgrade and looking for kit. I had previously connected suppliers together and helped them facilitate a deal and this is where the idea for xKit was born – a platform to connect vendors and suppliers in the region and help with facilitating deals and all the logistics that come with it. We aim to become the most sought-after hub when it comes to buying and selling AV kit. We’re making sure the prices on the platform are the best the buyer can get and that the support with logistics is unparalleled.” For a start-up company, xKit certainly has one major strength on its side – numbers. But while it doesn’t hold stock centrally,

the service is much more than an online marketplace. “Other than connecting buyers and sellers in the region through our platform and the great variety of brands and products, xKit handles everything on behalf of the vendor, from pick-up to delivery, shipping and everything in between,” the founder furthered. “We deal with new, used and B-stock equipment and also offer a host of other services, such as in-house inspection for non-brand certified used products, servicing and refurbishing of used products and system consultation and design. Furthermore, vendor

registration and product listing on the platform is absolutely free.” Despite having only just launched, the platform already boasts equipment, new and old, to meet all users’ budgetary demands. “This concept has been in the works for a bit more than a year; however, we had a lot more time to work on it and fully develop it during the pandemic. As you know, all of sudden, we had a lot of time on our hands,” added Jean Michel. “The response has been great so far. We are growing by the day and we are certainly seeing interest growing within brands and vendors. For any professionals looking for new or secondhand equipment in the Middle East and GCC, I suggest they check out our ever-expanding catalogue.” www.xkit.me

Datavideo launches streaming platform WORLD

Datavideo has launched a new streaming service capable of allowing users to stream live events to multiple platforms simultaneously. dvCloud was developed due to growing demand for cloud streaming services, even before the Covid-19 pandemic. In addition to simultaneous streaming, the platform allows users to monitor multiple streams in the cloud. The solution is being offered as a subscription service. It starts with a plan that includes 70 hours of streaming, allowing users to stream a single channel to up to five platforms such as YouTube and Facebook simultaneously. For customers who require more bandwidth, channels and recording, dvCloud Professional features unlimited hours of streaming, up to five simultaneous live sources, streaming of up to 25 platforms simultaneously and 50GB of cloud recording storage. Additionally, the platform will add SRT support, direct YouTube integration remote camera control and remote monitoring in the near future. “dvCloud is a very simple to use streaming service,” commented Johan Lieffers, MD of Datavideo Technologies Europe BV. “Account activation is automatic and seamless, which sets it apart from other services. With dvCloud, we are offering an end-to-end live production solution for our customers that is affordable and easy to use.”

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LED solutions for

Virtual studios

Picture by: Faber Audiovisuals

Are we to witness the end of the green-screen era? LED panels are the ideal solution to portray set and backgrounds created in virtual reality. Creating the right canvas is not just building any LED screen. It’s where the LED panel, processing and camera setting come together that stunning results are achieved. With its high-end manufacturing and premium parts the ROE Visual LED products are perfectly suited for virtual stages and productions. More information on: www.roevisual.com

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Murano kits out the Al-Rashid Al-Saleh Private School UAE

A newly constructed theatre at the Al-Rashid Al-Saleh Private School in Dubai’s Oud Metha area has been outfitted with audio, video and lighting equipment by local integrator Murano Lighting. With equipment supplied by Provision AVL, the theatre is now home to a Clair Brothers sound system for audio reinforcement, an allChauvet lighting rig and Absen LED screens. The school was looking to construct a worldclass new auditorium with all of the necessary amenities present to be able to carry out both school and outside events. Following a bidding process, Murano was selected for the project thanks to its close relationship with the project’s lead consultant, ultimately supplying design recommendations, material documentation, previsualisations and calculations, as well as demonstrations of the equipment. “We conducted the installation in coordination with the appointed civil and fit out contractor right from the preparations prior to layout of the finished ceiling, installing supports for the flying trusses and completed the layout of the electrical and signal cables in coordination with the building services team,” explained Kush Suneja, business and design development, Murano Lighting. “Then came the job of mounting and testing all equipment to ensure the installation worked in perfect harmony.”

The new AV system and hall is expected to be used for school events such as graduation ceremonies and annual days, as well as hosting outside events on the occasion of a visiting artist/performer. “The client has loved how it’s all performing, achieving over and above all that was expected. So much so that they are now going beyond the essentials and starting to explore the nuances of the equipment,” concluded Suneja. www.muranolighting.ae www.provisionavl.com

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Clair Brothers Kit Curve 12+ and 10Spot provide the necessary audio reinforcement For the audio, Murano selected Clair Brothers Kit Curve 12+ and 10Spot cabinets as the main speakers, both of which feature Clair’s Curved Array Technology. A pair of CS218+ subwoofers handle the low end and Lab.gruppen PLM 5K44 amplifiers power all of the boxes. For lighting, the integrator called upon 12 Chauvet Colorado 1 Quad Zoom, eight Rogue R2 Washes, Rogue R2X Spots and Strike 4s, seven Ovation E910FC ellipsoidals and 19 Ovation F-265WW Fresnels. Control is from an MA Lighting grandMA2. The visuals are catered to with 44m2 of Absen P3.9mm LED screens, with content delivered from a Dataton WatchMax Server. “Most of the AV installation work was carried out fairly quickly, just two weeks,” added Suneja. “However, by taking into account the need to finish the job in line with other construction works as well as intermediate consultant inspection and approvals, we were onsite for around 18 months in total. I think that the end result has turned out terrifically.”

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NEWS

Mixed reactions as South Africa starts easing restrictions

An empty auditorium at the Nelson Mandela Bay theatre complex in Port Elizabeth SOUTH AFRICA

South Africa’s strict Level 3 lockdown has finally been downgraded to Level 1. Offering somewhat of a respite for the country’s bruised technical events industry, the eased restrictions will allow up to 500 people at outdoor gatherings, a maximum of 250 people indoors and a maximum of 100 people at funerals. The existing restrictions on sports events, however, remain in place. While this feels like a positive move on the surface, the news has been met with mixed

reactions in the industry. The live events and technical production sector has been unable to work due to the ban on gatherings first instilled on 15 March. Campaign movements such as #LightSAred and the #Flightcasemovement quickly sprang up in order to represent thousands of people who have had no income during this time. The downtime in events meant companies have retrenched or have been forced to let staff go, and many have closed entirely.

“We are not celebrating the 250 to 500 people because this does not cover the different market segments within our industry,” commented Kagiso Moima Wa Masimini, owner of rental company Blackmotion and founder of #Flightcasemovement. “It means that we will continue to face unknown months of struggle in the industry because most people will remain unemployed. Companies right now do not have the capacity to reopen and operate based on the different market segments.” Not all companies work on conferences and indoor shows and, for those who have bought equipment for large outdoor events, their investment is still shelved and their crew unable to work. Larger-capacity venues will also be left stranded. With smaller events, less staff are needed to run a show. Sharif Baker, chairperson of the TPSA and spokesperson for #LightSAred, was interviewed on #Newzroom Africa. “Obviously, we are very appreciative of the lifting of the gatherings to accommodate 250 people indoors and 500 outdoors, and obviously we will follow a stringent safety protocol. Unfortunately, however, it will not help or assist the economy in any form whatsoever, let alone our own pockets or those of freelancers. A lot of people are excited, yes, because some of the smaller venues will be able to participate in making sure they can look after artists, actors and theatres, but,

looking at the greater scheme of things, it’s still a long road for us.” Over recent months, SACIA, TPSA and the South African Events Council have forwarded a safety protocol and measures for events to the South African government to cater for at least 1,000 people. While the Department of Sports, Arts and Culture (DSAC) is trying to assist with some form of financial support, many know it won’t suffice. “We want to get back to work, we want to help build the economy, we want to be able to look after ourselves and not go for a handout,” furthered Sharif. “The well from government is drying up and we want to be part of the solution and not part of the problem. To have a 50% venue capacity will set the ball in motion.” “The beauty of the event industry is that we are strictly regulated,” said Baker. “Even prior to the pandemic, we could not do an event unless we were compliant with city regulations, permits and approvals. Nothing has changed but what we have done is work very hard with our SA Events Safety Council and put together a plan that directly addresses communicable diseases specific to Covid-19.” www.facebook.com/flightcasemovement www.facebook.com/LightSAred www.sacia.org.za www.saeventscouncil.org

Exterity deployed throughout Dubai’s Grand Hyatt Hotel UAE

The Grand Hyatt Hotel in Dubai has deployed an Exterity digital signage solution throughout the hotel, as well as across its extensive conference and event facilities. Local integrator RPS Technologies worked closely with Exterity’s hospitality division, Accommtec, to specify and oversee the deployment of Exterity digital signage on 26 displays across the site – mostly within the conference centre but also in key meeting rooms, entrances and exits. The HD quality images, combined with text, graphics and dynamically updated information, have reportedly been widely appreciated by guests and staff. The Grand Hyatt Dubai provides accommodation and conference facilities that create a modern and comfortable experience for all visitors and guests and wanted to upgrade its communication platform to sustain this expectation. The hotel is home to 682 luxurious rooms, served by 13 dining and entertainment outlets; it also boasts 8,000m2 of event space, with two ballrooms, including the largest in the city. The conference facilities are further enhanced with seven meeting rooms in the convention centre, plus several areas for outdoor events. Following a detailed proof-of-concept test

Key meeting rooms throughout the conference centre have been outfitted

The hotel boasts two ballrooms, including the largest in the city

within the hotel, it became clear to RPS that the deployment of Exterity hardware and

its ArtioSign digital signage software would meet the hotel’s requirements and included

features that offered an improvement on its existing system – winning out over the other tenders. “Behind the scenes, audiovisual technology plays a critical role in meeting hotel guests’ and conference delegates’ experience expectations,” said Charles Pineda, information systems manager, Cyber Security SME – EMEA for Grand Hyatt Dubai. “The ease of use and unrivalled reliability of Exterity’s system has meant that this project has been a tremendous success.” “Whether they are travelling for business or leisure, the modern traveller will look to hoteliers to provide a cutting-edge experience – both in-room and in-conference facilities – that’s equal or superior to what they have at home,” added Eleuterio Fernandes, managing director at Accommtec. “The Grand Hyatt Dubai recognises its communication platform must be in keeping with the hotel’s reputation – sleek and reliable. We look forward to continuing our partnership with Grand Hyatt Dubai and RPS Technologies.” www.accommtec.com www.exterity.com www.rps-technologies.com

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NAB moves 2021 show to October WORLD

Postponement of tradeshows throughout 2020 is now spilling into next year, with the news that NAB has taken the precaution to delay its 2021 event in Las Vegas from April to October. A statement from NAB president and CEO Gordon Smith outlines the move from the original dates of 11–14 April to 9–13 October 2021, citing a growing

have worked diligently over the last few weeks and months monitoring a range of variables, including health and safety concerns, economic indicators, industry developments and travel restrictions, to gain an understanding of overall trends and future conditions for holding a major event in 2021.

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concern and uncertainty over what the next six months will bring and perception of a reluctance around participating in large events in the first half of next year due to the ongoing threat of the pandemic. “Our top priority is to deliver a successful NAB Show,” said Smith. “We recognise the vital role NAB Show plays as a driver of innovation and an economic engine for the global media and entertainment industry. With that in mind, it is critical we act on your behalf and in a way that will best serve the long-term interests of the industry. We

“Evidence suggests it will be well into next year before Covid-19 could be under control in the US. We also have our own concerns around being able to deliver the type of event in April that will not only drive results, but one that can be produced safely for all involved and without significant limitations on the experience.” The move means that NAB is now also considering alternative 2021 dates for the NAB Show New York, held annually in October.

Ross Video has become the latest member of the SRT Alliance, the opensource initiative dedicated to low-latency video streaming. The initiative was founded by Haivision in 2017 and has since grown to include more than 400 members. “Ross is very happy to join the SRT Alliance and to contribute to their work addressing the challenges around highperformance, low-latency, secure and reliable streaming across the public internet,” commented Ross Video CTO, Troy English. “We have had interest from our clients in integrating SRT with our product portfolio and we are actively developing these capabilities. Ross has a strong history of innovation in a variety of

different hardware and software fields, and we look forward to bringing that expertise to bear in our dealings with the SRT Alliance and its members.” “We’re thrilled that Ross has joined the SRT Alliance, an industry movement to improve the way the world streams video,” added Jesús (Suso) Carrillo, director of the SRT Alliance at Haivision. “As one of the leading manufacturers of live production equipment, Ross will provide its customers with best-in-class SRT solutions to help them with their remote and cloud production workflows.” www.rossvideo.com www.srtalliance.org

www.nabshow.com

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Platform ZA goes live in South Africa eclipse lights up world’s second tallest hotel SOUTH AFRICA

Pieter Jan-Kapp (Kappie) from PJK Management and Christiaan Ballot of technical supplier Blond Productions have teamed up to establish their own online platform, Platform ZA. The duo are known for their work as technical directors and suppliers on popular music events such as South Africa’s Innibos Festival, Klein Karoo Nasionale Kunstefees (KKNK) and Aarkloop, but have been unable to take to the road in recent months due to Covid-19. Platform ZA is a digital pay-per-view channel that has created work for over 200 people, ranging from actors, to musicians, cameramen and technical crew.

The events of 2020 left both companies in an unfortunate position. Very soon, like-minded players within the live events industry, facing the same dilemma, jumped at the opportunity to be part of the project. Together they have produced over 2,000 minutes of content and feel strongly that

Platform ZA will reach a new audience and continue running even once the world returns to normal. Filming took place at Blond’s warehouse in Midrand, as well as shooting at various locations. “We are absolutely delighted that the content is proudly South African, even though we have received assistance from an Australian financial investor,” commented Ballot. “It is such a privilege to present our showcase to the world, featuring the wonder ful talent our country has to offer from actors, artists, musicians and the technical crew.” Attracting a wide scope of individuals from within the live events industry, the project was particularly inspirational for Jan-Kapp. “Platform ZA will offer diverse content to a diverse audience, and it has been an honour to work with every single person who has contributed to produce the magic,” he said.

UAE

The Global Action Day initiated by the #WeMakeEvents campaign saw 25 territories around the world join forces to support the struggling live events industry on 30 September. The campaign has been ramping up activity recently in order to highlight how the global live events industry urgently needs to get back to work. In Dubai, the eclipse Group, a member of the PSAV family of companies, joined forces with JW Marriott Marquis to amplify that message across Dubai’s skyline.

www.platformza.tv

Jordan Media City returns to Imagine to upscale playout capacity JORDAN

Jordan Media City (JMC), one of the leading production and transmission centres in the Middle East, has upgraded its Imagine Communications-based playout facilities in Amman. Imagine installed its first servers at JMC in 2004 and began the migration to HD channels in 2016. The latest expansion provides capabilities for 18 premium, fullfunctionality SD and HD channels. Content delivery from ingest to on-air branding and playout is achieved using software-centric tools running on COTS hardware. The readily scalable solution enables JMC to switch the 18 premium channels freely between SD and HD to meet demand.

“We needed to move quickly to expand our capabilities,” explained Radi Alkhas, CEO of JMC. “That meant going for equipment that we knew we could trust. Imagine Communications has been a key technology partner for as long as JMC has been in business and has developed a close understanding of our operations, so can proactively develop solutions with us as we grow. When we needed to get our new HD services on air quickly, Imagine was able to agree the specification, deliver and commission the facility to our timescales – even under the difficult conditions of the global pandemic.”

Radi Alkhas, CEO of Jordan Media City in Amman JMC’s capacity was scaled through the deployment of five additional Nexio+ AMP playout servers, providing 30 bidirectional ports. In addition, its Nexio online shared storage, Platinum VX router and Selenio 6800+ modular processing were all expanded to meet the additional demands. The expansion project doubled the JMC facility’s existing 32TB of shared storage, including intrinsic mirroring, with the additional disk space being integrated into the single server environment without interruption to operations.

JMC’s playout facility in Amman, Jordan

“We chose to illuminate our main warehouse in DIP 1 as we collectively #StandAsOne in demonstrating how integral our industry is and how our industry has over the years contributed to the economies of the world,” commented Martin Lubach, general manager, eclipse Staging Services. “In addition to the illumination of our main warehouse, we have united with one of our key venue partners, JW Marriott Marquis, to illuminate the world’s second tallest hotel to support this cause,” added Sacha Morazain, general manager, eclipse Venue Services. Over 30 million people in 25 countries would usually work in the events industry but, with social distancing measures in place, there is no possibility of a financially viable return for the foreseeable future. Over recent weeks, events have happened around the world, including in the US, Canada, Sweden, France, Germany, Spain, Australia and UK, to raise awareness of those impacted in the event supply chain, from manufacturers, production companies, catering, transport, security and others, to the huge freelance community that works within the industry. The Global Action Day marks the start of a new phase of the #WeMakeEvents campaign which will continue to alert governments to the disastrous situation the sector faces. “With the varying levels of government support provided for our industry around the world, it is important for the eclipse team to add our voice to this statement in order to bring attention to the millions of event industry professionals who are devastatingly affected by this global pandemic,” commented Simon Ransom, group director, Middle East, PSAV.

www.imaginecommunications.com www.eclipse.ae

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Oasis Enterprises delivers studio lighting upgrade for RAKGMO

UAE

Oasis Enterprises has completed the installation of a new studio LED lighting solution for the Ras Al Khaimah Government Media Office (RAKGMO), a leading governmentbased media entity from the Ras Al Khaimah emirate. The solution draws on products from ETC and Rosco. “Our extensive knowledge of studio and stage lighting allowed us to work with ease in a studio space measuring 6m x 5m,” explained Karim Abdel Massih, lighting systems manager, Oasis Enterprises. “We have delivered a high-quality studio LED lighting system with the goal of making the

space as flexible as possible so it can grow and evolve alongside the show.” To meet the clients’ needs, the Oasis Enterprises projects team designed a custom lighting solution that can be remotely controlled via an ETC ETS-4 Echo Touch DMX controller system. This offers the media company intuitive touchscreen control in a compact package that Oasis considers to be the “ideal lighting choice for smaller entertainment spaces”. Accent lighting on the studio’s stage and desk is accomplished by Rosco’s Varicolor RGB+W LED tape, which reportedly offers

clean white light production as well as superior colour rendering. The structure rigging facility has been outfitted with eight free-wired lighting bars fitted with Oasis Enterprises’ customdesigned robosockets to facilitate power and data requirements. These have been hung from the ceiling, while the bars have been fitted with five Rosco Silk 205 and 10 Lupo Dayled 1000 Fresnel lighting fixtures. An additional four ETC ColorSource linear fixtures create background lighting effects. “Overall, the design, supply, installation, testing, commissioning and programming were all successfully implemented,” concluded

Massih. “We would like to thank the RAKGMO staff for their extended cooperation.” www.oasisppd.com www.rakmediaoffice.ae

Media Mania puts its faith in FOR-A for historic UAE Mars mission PS_CILI_3rdHorizontalSpread.indd 1

UAE

Abu-Dhabi-based Media Mania called on a host of equipment from FOR-A in order to cover the launch of the UAE’s first interplanetary mission – the Mars-bound Hope probe. Live video signals from the launch were sent to control rooms in Japan and the UAE via Media Mania’s OB2. The OB2 vehicle has been equipped with FOR-A HVS-2000 3 M/E 3G/HD/SD video switchers, MV-4200 multiviewers, MFR5000 Series routing switchers and FA Series multipurpose signal processors. FOR-A’s Gear Link virtual control software and TALM tally manager system were used for production control of the large-scale Mars mission. Several FOR-A FA-505 and FA-1010 multipurpose signal

processors on board the OB2 provided frame synchronisation of feeds all over the world. “This was a historic event and we didn’t want to miss a detail or lose the signal at any point,” said Roland Daou, managing director, Media Mania. “We set out to capture this launch with the highest possible quality while staying out of the way of the engineers and mission crew, which was particularly challenging, given current distancing requirements. We needed to run and install a lot of cables and remote cameras in the UAE control room to keep our crew to a minimum. We knew this coverage had to be nothing less than perfect.” www.for-a.com

14 PRO AVL MEA November–December 2020

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Cratsol Technology brings school to the students UAE

A large quantity of MXL USB boundary microphones have been installed at a private school in Dubai in order to provide online distance learning capabilities for students in the wake of the pandemic. The project was carried out by local systems integrator Cratsol Technology with support from MXL’s regional distributor, Just Pro Audio. The microphones were selected for their vocal range and pickup abilities, as they would be mounted to a podium near the teacher and need to be capable of capturing their voice from up to 6m away. The MXL microphones are being sent to conduct online classes via video conferencing, explained Cratsol Technology senior sales

MXL’s AC-44

manager, Jose Paul Irimpan. “Half of the students will stay at home while the remaining half comes to the school. These microphones will be connected to the laptop along with a camera so that the live broadcast of the class is clear for the students at home during video conference calls.” Initially intending to purchase MXL’s AC-404 USB mic, discussions with Just Pro Audio led Cratsol Technology to select the newer AC-44 USB model, which replaces a

USB-mini connection for the more modern USB-C, as well as a much more compact design. “We were looking for mic solutions and came to know about the MXL AC-404. The proof of concept with that model was a success. Just Pro Audio then helped us get the latest model from this series, the MXL AC-44. We did a successful demo with the client and the AC-44 was chosen for all classrooms. Since we had already done the testing and demonstration beforehand, the actual deployment was easy.” www.cratsol.ae www.justproaudio.net www.mxlmics.com

Clever Interaction. Lighter installations. Powersoft Install system solution for source and zone management .

Vizrt celebrates 15 years in the Middle East

19/10/20 11:54

MIDDLE EAST

Vizrt is celebrating 15 years of growth in the Middle East this year. The company, which specialises in software-defined visual stor ytelling tools, first established a base in Dubai back in 2005, investing in customers and staf f while sharing an of fice in the Dubai Knowledge Village. Over time, the company has grown into one of the largest vendors of broadcast software in the region, eventually relocating to the Al Shatha Tower in Dubai Media City. “Our initial customers were Al Jazeera, Al Arabiya and Dubai Media Incorporated, whose belief in us and tremendous suppor t really helped establish Vizr t as a major player in the region’s broadcast industr y,” commented Ian Davies, regional manager for Vizr t’s Middle East operation. “From there, we expanded

rapidly to include all major broadcasters across the Middle East, including state broadcasters of most of the countries.”

As customer success grew, so did Vizrt, now reaching across 13 countries in the region, from Egypt in the west, the entire Gulf area,

up to and including Pakistan in the east. “We are extremely proud of our relationships in this region and to be associated with some of the most technically advanced broadcasters in the world, helping them innovate wherever possible,” continued Davies. “Graphics was and is Vizrt’s foundation, but we have successfully expanded beyond this into media asset management, studio automation and online publishing.” The Vizrt Middle East team now comprises 10 people, with skills in sales, support and professional services across all of the Vizrt product line. “We would like to thank our customers and partners for their support, trust and belief in us, and we look forward to extending our combined successes into the future,” added Davies. www.vizrt.com

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Point Source Audio launches MIKE’s Academy ONLINE

Absen recognised by Deloitte’s annual index WORLD

LED display specialist, Absen, has been recognised for the second year running by Deloitte’s Best Managed Companies (BMC) programme. The BMC programme is a global initiative that identifies and recognises private companies with advanced management ideas and business performance. Key factors in the evaluation of a company’s management ability include strategy, capabilities, commitment and financial strength. This year, resilience towards the Covid-19 pandemic was also considered. Absen was deemed to have shown competency in all areas, allowing the company to weather these difficult times. “We are delighted to receive this award again this year, as we know that BMC examines every component of a company, and this is confirmation that we are heading in the right direction,” said Alex

Couzins, Absen Europe’s head of brand and marketing. “Getting this business accolade will further boost our confidence in continuing to improve our business management as well as our products and services.” Absen, which next year celebrates its 20th anniversary, has a state-of-the-art manufacturing facility and has built a strong customer service network with 15 domestic and overseas subsidiaries in order to support its clients worldwide. Throughout 2020, the company has continued to make improvements to its management systems, IT systems and end-to-end processes. The company has also invested in talent development and corporate social responsibility practices. www.absen.com

Point Source Audio has launched a new online resource intended to help microphone owners get the most out of the products when reopening amid the Covid-19 pandemic. Named MIKE’s Academy, a special area has been created on the PSA website and launches with a focus on mic cleaning and self-miking techniques that can help to navigate social distancing protocols. The “Safe Miking” and “Self-Miking” resources include easy-to-follow video tutorials, as well as downloadable guides to engage readers with graphics serving as a visual reminder to practise safe microphone handling. “As the world starts to get back to work, we want professionals to have every trust in our products and know that this will be something that they don’t need to worry about,” commented Point Source Audio’s market development manager, Mac Johnson. “We can genuinely say that all of our miniature body mics can be fully sanitised with 70% isopropyl alcohol from the boom to the cable, and even to the element for waterproof models.” In time, the academy will grow into a hub for all PSA educational resources. This will see a raft of educational content uploaded over the coming weeks, with videos, infographics and articles added regularly. These will highlight best-practice and share simple tips and techniques that will make the difference between a good show and a great production. “We want every user to get the most out of their Point Source Audio microphones

and MIKE’s Academy is another great way that we can achieve that,” added Yvonne Ho, VP, sales and marketing at Point Source Audio. “Our focus has always been adding value for our users, not only with our revolutionary microphones and headsets but also with the service levels we provide behind them. MIKE’s Academy will serve as another resource to aid with this.” www.point-sourceaudio.com

The safe mic cleaning guide

Industry mourns passing of KV2’s David Croxton WORLD

It has been a massive shock to learn of the unexpected passing of KV2 Audio’s sales director, David Croxton, a long-time and valued friend of Pro AVL Asia and Pro AVL MEA magazines. At the age of just 59, Dave suffered a fatal accident. Those who knew Dave will attest to his fiery passion and love for all superior audio reproduction. This wasn’t always the case though. He joined the KV2 family back in 2011, initially to fulfil a new sales director role within Asia Pacific. He was a somewhat sceptical “curious non-believer” of the technologies and theories of founder and developer, George Krampera Snr. But this didn’t last long. He soon discovered through deep thought, questioning and actual operating of systems that he could not only understand and accept what was being proposed, but provide essential and additional complements with his quiet considered approach, linked to a deep well of knowledge and advice, usually delivered with his inimitable dry wit. Once on board,

Dave Croxton

he rapidly became a fierce proponent of the company’s outlook and presentation. In fact, such was Dave’s frequent presence at tradeshows and events, and unending passion for the technologies that KV2 was pursuing, that he was undoubtedly the face of the company for many in Asia. Having worked in the audio industry throughout his career, his knowledge of touring systems and studio production recording coupled with his experience of having run a successful distribution business in his Australian homeland, provided unparalleled access to unique insights and knowledge to those involved with him throughout his work – insights and knowledge that will now be greatly missed. “His passing has left behind a huge hole in everybody’s hearts, especially his family and friends, and we are all thankful for having had the privilege of being his friend and colleague,” added a statement from the company. Dave is survived by his wife and three children. He will be greatly missed.

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Full-Range. Compact. No Compromises.

Introducing K3: a versatile loudspeaker satisfying all your requirements for mid-size events and venues without any compromises. Completing the K series line, K3 boasts an optimal mechanical design for reduced weight, Panflex™ variable directivity, laminar vents for a powerful, linear low-frequency response down to 42Hz, and class-leading SPL. Optimized for audiences of 1,000 to 10,000, K3 reduces the need for amplification and dedicated subwoofer, making it faster, more straightforward, sustainable, and economical to deploy. It’s ready for your next event. l-acoustics.com

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SA’s technical events industry pulls together for #LightSAred SOUTH AFRICA

Kyalami Expo Centre SOUTH AFRICA

The South African entertainment industry united on 5 August for the #LightSAred “Code Red” event that saw more than 500 buildings, structures, monuments, venues, spaces and places all over the country lit up in red. The campaign was to highlight the critical state of the live entertainment industry and its support infrastructure, which has had no work, and therefore no cashflow, since mass gatherings were banned on 15 March. #LightSAred was initiated by DWR Distribution’s Duncan Riley and quickly gained momentum and support from the Southern African Communications Industries Association (SACIA), the Technical Production Services Association (TPSA) and the SA Events Council. Riley and Sharif Baker, chair of the TPSA, energised a wide range of industry sectors, including rental and production companies, venues, artists, promoters, agents, technicians, producers, directors and creatives working across all disciplines, to pull together for this consciousness-raising event. A continuous livestream – an idea initiated by DJ and music producer Dino Moran and broadcast by SkyRoomLIVE from virtual studios at MGG in Johannesburg and the Solid Group in Cape Town – was streamed on multiple channels during the day, highlighting and debating key issues facing the industry and its basic demands from government. Several prominent SA artists played guest slots on the stream, while various technical production and live event spokespeople were joined at one stage by Collen Hlatshwayo, deputy director for cultural development in event technology from the Department of Sports, Arts & Culture (DSAC) who could hear first-hand the immediate concerns. His presence was the result of a communication sent to the government the day before, requesting a discussion on finding solutions for the events sector. The DSAC acknowledged this, then the following day Hlatshwayo met with Baker and others for a roundtable discussion and was also interviewed on the #LightSAred stream. #LightSAred trended second on Twitter South Africa and several TV and radio news portals picked up on the campaign and sent reporters to red-lit buildings to broadcast live. Of the 500 red buildings, Robe moving lights were used on a significant amount of them.

Montecasino

Cape Town Stadium supplied by MJ Event Gear in collaboration with ShowSync and AV Systems. Cape Town Stadium was beautifully lit by rental company CCPP using 24 Spiiders and 24 BMFLs. The famous Table Mountain was lit red by crews from Gearhouse’s Cape Town branch, who boldly trekked up the mountain with giant red-coloured gel frames and covered all the lighting “pits” containing the landmark’s permanently installed fixtures.

Northcliff Water Tower Signature sites in Johannesburg included the impressive frontage, main entrance and fountain of the Montecasino entertainment complex, lit by rental companies MJ Event Gear and Lucidity utilising 36 Robe LEDWash 600s, 12 Pointes, 24 LEDBeam 100s and 24 LED PARs, plus four MegaPointes for the Palazzo bell tower. MGG lit its warehouse and created an outline shape of Africa in the parking area with the help of 24 MegaPointes, nine Tetra2 moving LED battens, 18 Pointes, six CitySkape Xtreme LED washes, 14 LEDWash 1200s and some profiles. MGG’s Studio A was used for the Johannesburg segments of the livestream, where the lighting rig comprised six Robe DL4S Profiles, 16 LEDWash 600s and four PATT2013s. The conference centre at Kyalami Racetrack radiated ruby red, courtesy of 24 BMFLs

The DWR mobile lighting rig But not all displays were fixed in place. DWR’s Bruce Riley took to the road in his Jeep Rubicon to provide mobile “illumination support” around the vast Johannesburg area on an “as and when needed” basis. With a specially modified rigging system designed by father and son team Keith and Tyler Pugin, two BMFL WashBeams and two MegaPointes were secured to the vehicle’s roof rack, together with a RoboSpot Motion Camera for

control. The passenger seat was removed and a RoboSpot Base station fitted in place that could be operated from the back seat. With a 10KVA generator being towed, Riley behind the wheel and Tyler poised at the RoboSpot control, they set off to light the town red. The pair assisted in lighting several landmarks, including the Northcliff Water Tower perched up at 1,807m on the second highest point in Jozi with stunning views of the city. The tower became a beaming red beacon visible from all over the Johannesburg valley, lit with two Robe Tarrantulas located at its base and with its standard permanent white light fixture gelled red for the occasion. For the top part of the tower, Riley and Tyler parked up 300m down the hill and shone their mobile lighting rig up, enveloping the whole structure in red and beaming the #LightSAred logo around the top. “The entire experience was surreal,” commented Baker. “Even the next morning, I thought, ‘Wow, did we really do that?’” He also confirmed that the campaign had already seen some success in achieving its goals, with the DSAC now acknowledging “our existence as the technical production and live event industry, is aware of our cause, our requests and is undertaking to engage in a consultative process geared to developing a strategy and ensure that the sector does not cease to exist during this difficult time”. www.dwrdistribution.co.za www.lightsared.org.za

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SPEECHLINE DIGITAL WIRELESS

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Listen

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NEWS: EDUCATION

Sennheiser educates ME influencers on advanced audio capture MIDDLE EAST

As part of its efforts to support content creators in the Middle East, Sennheiser recently conducted in-depth training on high-quality audio capture for 15 leading social media influencers in Amman, Jordan. The session was hosted for participants of the latest season of Sadeem, the largest competition for influencers in the Arab world, and focused on how the manufacturer’s portable lavalier mics and headphones can be best utilised to accurately capture and master audio for engaging digital content. The Sadeem competition encourages the region’s top influencers to achieve their creative potential through the use of the latest technologies. The popular show attracts millions of views across TikTok, YouTube, Facebook, Instagram, Twitter and other leading social media platforms. In this third season, Sennheiser collaborated to be the show’s official audio partner, using the platform to draw attention to the vital role that high-quality audio plays

in elevating experiences for consumers of digital content. “It is incredible to see the eagerness of participants to create remarkably engaging content with top-notch production quality,” noted Fadi Constantine, technical sales manager at Sennheiser Middle East. “Today, digital media is moulding the culture and progress of the region and we at Sennheiser are here to provide talented content creators with the world-class tools they need to realise their visions.” Over the course of the half-day session, Constantine first introduced the show’s participants to Sennheiser’s XS Wireless Digital Portable Lavalier set, which serves as an entry-level system for musicians and videographers. He emphasised how the XSW-D incorporates one-touch synchronisation, low audio latency and automatic frequency management – features typically seen in top-grade microphone systems. He also shared insight into how creators can take

Shure MEA returns to in-person certification MIDDLE EAST

Sennheiser Middle East’s Fadi Constantine introduces the manufacturer’s mics to the influencers

MIDDLE EAST

Shure MEA returns to in-person certification Prior to taking part in the Shure Audio Ecosystem certification, students require completion of prerequisite courses: Networking for Shure DSP and Audio Interfaces. Those courses are available online on Shure Audio Institute platform before enrolling on the instructor-led ecosystem certification. “Hands-on trainings are very important and essential for the successful design, planning, deployment and maintenance of AV/VC/collaboration, meeting space, remote learning and classroom technology, and cannot be easily replicated online,” commented Samuel. “We are adapting to the new norms and will continue running more trainings in the coming period, with social distancing – maximum four people – and sanitisation in place. Hopefully in the near future, life goes back to usual.” To access Shure MEA’s online course, visit www.shuremeasa-shure.talentlms.com www.shure.com

www.sennheiser.com

MediaCast brings AKAI Pro MPC training to ME

Unable to physically attend the region on behalf of the manufacturer, MediaCast recently hosted an in-depth webinar for AKAI Pro dealers and resellers around the Gulf with Matthew Reay, AKAI products specialist and training manager. The session saw Reay provide an extensive overview of the manufacturer’s MPC Series, including the new MPC One and MPC Live II products. The webinar was attended by 30 members that included managers and sales staff from a variety of local reseller channels.

With the easing of restrictions in Dubai, Shure MEA recently made a long-awaited return to in-person training for the first time since March. The team hosted three guests from local distributor NMK Electronics to take part in the Shure Audio Ecosystem Certification. The ecosystem was launched earlier in the year and comprises a product portfolio of networked microphones, speakers and DSP for meeting rooms and conference spaces. The two-day course covered all of the Shure Ecosystem solutions, including the MXA910, MXA710 and MXA310 array microphones, P300 DSP processor, MXA Network Mute button and the manufacturer’s newest addition, the MXN5C networked ceiling speaker for high-quality speech applications. The sessions were conducted by Anish Samuel, Shure MEA application engineer, and attended by NMK’s Akhil Raphael, Varun Asokan and Juan Vivancos. With social distancing measures in place, the course also including hands-on training and Microsoft Teams integration.

advantage of these to greatly simplify the capture of professional-grade audio. Highlighting the impor tance of attention to detail during postproduction, Constantine then went on to demonstrate how content creators can utilise the HD 300 PRO headset during the editing process. “I was actually looking for a mic and was lost searching between different brands, but when I had the oppor tunity to use Sennheiser I was completely satisfied and surprised by how great the quality of the sound is and how practical the mic itself was,” stated Beki Ksouri, a show par ticipant from Tunisia. “I really can’t wait to discover more about Sennheiser.” This sentiment was echoed by fellow participant Reda Wahhabi from Morocco who said: “Sennheiser played a big role in making the sound quality better in my videos. I can’t wait to explore more using their audio equipment for creating content.” Following the training session, each participant of the show was provided with a Sennheiser XS Wireless Digital and HD 300 PRO bundle which they will use for content creation through the course of the series.

“It was lovely to bring together our partners from around the region to be walked through the MPC Series from AKAI Professional’s product and training specialist himself,” commented MediaCast audio sales and marketing manager, Khadija Khalid. “As a distributor, it is important to keep our partners up to date with the latest releases. The understanding of these products by the sales team, especially retail stores, is an added advantage for them to be able to hold good conversations with musicians. At MediaCast, we thrive to share as much knowledge as we can for the products and brands we carry, not just to the end users but to our dedicated partners as well. This event was quite different to the ones we would host on a normal day but we have all adapted and hosting webinars is the best way so far.”

The extensive rundown included an introduction to MPC hardware; an introduction to music creation in a standalone format; workflow methods and how to apply these to the creative process; connectivity and external hardware: using the MPC as a standalone hub; and the key selling points of each unit. Following the AKAI Pro dealer webinar, the manufacturer hosted a similar, but less technical, virtual session focused on the end user experience. “We were quite excited to host the very first MPC Series webinar yesterday, which brought together musicians from around the region and other parts of the world, keen to know more about the MPCs – which are not only meant for live performance but for music production as well.” Attended by more than 70 participants, both inside and outside of the Gulf, the workshop included key MPC One features and production workflows, an overview of the MPC Live II and a look at AKAI’s latest free feature, MPC Beats. “The world has seen a few changes since Covid, with more and more content being created online. Since it will take some time before we go back to hosting in-person workshops, we are grateful to be able to do so through webinars instead and try to keep the sessions as exciting and informative as they would be in a physical workshop. We want to expand the knowledge of the MPC Series in the region to let more musicians understand what the MPC Series is all about, and not just being a live performance product, but they can enjoy some of the features in these products, by adding them to their existing production workflow.” www.mediacastsys.com

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23/10/2020 11:20

BIGTIME PERFORMANCE JUST GOT SMALLER We get it; when it comes to tabletop conferencing solutions, one size doesn’t fit all. Introducing Crestron Flex MM. 40% smaller footprint than Flex M-Series, 100% high performance. Right-sized for smaller tables. Just two cables to table and you’re good to go.

For all available options visit crestron.com/FlexMM All brand names, product names, and trademarks are the property of their respective owners. Certain trademarks, registered trademarks, and trade names may be used in this document to refer to either the entities claiming the marks and names or their products. Crestron disclaims any proprietary interest in the marks and names of others. Crestron is not responsible for errors in typography or photography. ©2020 Crestron Electronics, Inc.

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10/23/2020 10:58:05 AM 26/10/2020 11:39

NEWS: DISTRIBUTION

Funktion-One teams up with Ko Team in Israel

Funktion-One is looking to bring its loudspeakers to more venues and audiences in Israel with the appointment of Ko Team as its new distributor. The partnership comes following an initial meeting at this year’s ISE in Amsterdam, before being finalised remotely due to travel restrictions. “After the show we all agreed that Ko Team is the right company to work with in Israel and take the brand forward,” recalled Bill Woods, Funktion-One director of business development. “I was scheduled to visit Tel Aviv in early March but, as coronavirus began to inexorably spread, I cancelled my flight and my appointments. After about a month, it became clear that trying to plan a visit was pointless, so the handshakes and onboarding had to be done virtually.” Though the distribution partnership is new, Ko Team’s Keynan Oz’s connection with Funktion-One goes back a couple of decades, he explained. “We have owned many Tony

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Andrews-designed speakers over the past 20 years and have grown from working as technicians in companies that owned them, then owning them ourselves, learning everything about them and now taking on the distribution.” Both Woods and Oz recognise the potential in Israel and an opportunity to bring FunktionOne sound to more people. “Having spent time in Tel Aviv a few years ago, I was aware of the bustling bar culture in the beach area and the potential for our brand if we were with the right company,” furthered Woods. “Keynan and I totally agreed on a strategy and the stock necessary to take that forward. The pandemic conspired to scupper the initial plan, but I am 100% confident in Keynan and his team’s ability to put Funktion-One in the position it deserves.” www.funktion-one.com www.kot.co.il

AMAC Group and GSARC partner for GCC distribution GCC

GSARC has partnered with the AMAC Group for distribution throughout the GCC territories. GSARC is the name given to Golden Sea’s line of architectural lighting solutions. GSARC fixtures join a wide variety of AV brands in AMAC’s portfolio that includes Martin Professional, Shure, TOA, Electro-Voice, Hitachi, Crestron and Extron. “We are looking forward to a long-term relationship and step forward into offering new and out-of-the-box lighting solutions,” commented Abdul Assafiri, general manager of the AMAC Group. GSARC offers a range of lighting fixtures Abdul Assafiri for both small- and large-scale projects,

including scalable solutions capable of tolerating extreme weather conditions. “With their portfolio and reputation, it was an obvious decision to partner with AMAC,” stated Rebecca Xiao, Golden Sea’s international sales director and deputy general manager. “We know the scale of their operations and the knowledge that their team possesses. This step adds immense value to our operations in the region and opens up the door for greater exposure and growth.” www.amacsarl.com

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More new partners for NMK MIDDLE EAST

NMK Electronics has become the new GCC distributor for Ampetronic induction loop systems. With Williams AV recently becoming the US distributor for Ampetronic, and Williams AV already enjoying an existing relationship with NMK, this has opened the door for NMK to bring Ampetronic hearing loop technology into its portfolio. The distributor has great expectations for the new relationship, as hearing loop solutions are gradually becoming more and more prolific throughout the region. “We’ve been watching Ampetronic actively engaged in growing their business in the market and in the region for more than 10 years now and were delighted to hear of the collaboration with Williams AV; it’s a perfect fit for these two companies,” commented NMK business development manager, Dino Drimakis. “For us at NMK, it grows our portfolio in the induction loop market, where we are actually seeing a lot of potential for growth. An increasing number of consultants are becoming aware of the importance of assistive listening solutions in the region,

and, as international venues and projects start to materialise, we’re seeing a big uptake.” NMK expects the majority of this uptake to come from the healthcare and medical industr y but sees great potential in nearly ever y installed ver tical market. “Any public area typically needs an induction loop facility, and the requirements for them are consistently increasing,” added Drimakis. “We’ll be getting our presales team to work on more in-house designs with regards to loop induction simulations, and, in general, continuously promote and develop the brand. The nice thing about the brand itself is that it already has a ver y strong presence because of their highly active approach to the market. We’re super excited about par tnering with Ampetronic because we’ve enjoyed really great synergy right from the first conversation.” “By ser vicing the GCC market directly for the last 10 years, we recognise the value that a strong local par tner provides,”

commented Sam Burkinshaw, head of business development, Ampetronic. “Having competed against NMK previously, we are confident that they will be able to offer unrivalled suppor t for our segment with the combined, world-leading por tfolios from Ampetronic and Williams AV.”

In addition to Ampetronic, the Dubai-based distributor has also added Xten-AV’s cloudbased software to its portfolio, which makes use of artificial intelligence and machine learning to realise AV system design in line with AVIXA published standards and guidelines. “We were simply blown away by Xten-AV’s technical advancement, design, application and ease of use right from the day they officially launched back in 2018,” furthered Drimakis. “As a company, they have really heard what the market needs and reacted to build a spot-on solution steering towards the future of AV design. It is really interesting how they have taken a traditional way of design and solution and made it much more cost effective, enabling clients to save time and energy, not to forget bringing efficiency to our industry as a whole from a design perspective.” www.ampetronic.com www.nmkelectronics.com

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NEWS: DISTRIBUTION

DLC partners with Interprefy for remote interpretation UAE

DLC Events is continuing to expand its presence in the remote simultaneous interpretation through a new partnership agreement with Interprefy to use its solutions to aid with simultaneous interpretation during online events. The partnership allows DLC to offer conference-level interpretation in a variety of languages integrated directly into popular online conference platforms such as Zoom. “The fact that interpretation services are provided online rather than onsite, and the interpreters are working remotely, does not change the need for appropriate technology and suitable working conditions for live events,” explained DLC’s Mark Breakspear. “The only way we are able to guarantee the same level of service online as we do in person has been to use a robust platform from a company that shares the same

values as us. Interprefy have enabled us to offer a solid solution, using interpreters in our studio, or based remotely, with a system compatible with any event platform the client chooses.” “Interprefy is in the process of building an empire and our partnership with DLC Events – the largest provider of conference technology equipment in the Middle East – is a mutually beneficial relationship that we are proud of,” added Richard Roocroft, director of global sales at Interprefy. The Interprefy virtual console

www.dlcevents.com www.interprefy.com

Broadcast Solutions starts living the Dream WORLD

Broadcast Solutions has teamed up with Dream Chip for distribution of the latter’s Atom one mini cameras and mini slow-motion cameras throughout the Middle East and Africa. “We and the broadcast industry know Broadcast Solutions as a trusted partner, and we think, with their know-how, open-mindedness

and their team of experts, they are a perfect match to develop new markets and opportunities,” said Stephane Ducobu, director of sales, broadcast products worldwide at Dream Chip. Dream Chip’s Atom one cameras are known for being some of the smallest broadcast cameras on the market. Depending on size and specs, they are equipped with S- and C-Mounts, global shutters, RS-485 control, offer multi-matrix control and can be connected to common RCPs. The family includes eight cameras, including the new Atom one SSM500, which can shoot 500fps in HDR and comes with internal storage for 60sec/500fps. www.broadcast-solutions.de www.dreamchip.de

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NEWS: APPOINTMENTS

Philipp Glänzel joins Qvest to strengthen MENA position

UAE

Qvest Media has appointed Philipp Glänzel as the new general manager and CTO for its Dubai office. Glänzel will focus on managing all technology relevant matters

as the company looks to expand its market position in the MENA region. He joins the management team alongside general manager and CSO, Ahmad Al Kayal. Al Kayal will continue to lead the company’s sales activities as a longstanding manager. During his career to date as consultant, project owner and principal at Qvest Media, Glänzel has already played a key role in numerous major projects for clients in Germany and was responsible for the infrastructure projects for Asharq, IMS and Al Jazeera in the Arab region. His excellent networking in the MENA region and his exper tise in the digital transformation of the media sector are said to be impor tant building blocks to fur ther establish the company’s market position. www.qvestmedia.com

Ben Erwin becomes PSAV CEO

WORLD

PSAV has announced the appointment of Ben Erwin as CEO. He will maintain his current title as president and will now be responsible for driving the strategic direction of the company and overseeing the execution of its business plan. Erwin succeeds Mike Mcllwain, who has served as CEO since 2011. The PSAV family includes the Dubai-based eclipse Group. “I am honoured to assume the role of CEO during this pivotal time,” Erwin commented. “We are focused on positioning PSAV for a return to growth and long-term success as we continue to provide creative solutions to our customers and venue partners. On behalf of the entire team, I want to thank Mike for all he has done for PSAV during his tenure and, personally, for his mentorship and guidance to help me prepare for this role. His impact will continue to be felt by our organisation long after his formal departure from the business.” Erwin was hired by PSAV in 2015 as chief financial officer and was named PSAV president in October 2018. In that role, he

was responsible for global operations, sales and marketing, IT and product management. “Ben has been an important partner in supporting PSAV’s growth over the last five years, and he has the right combination of leadership skills and financial and operational acumen to guide the company well into the future,” Mcllwain stated. “Along with our full board, I am confident in his ability to step seamlessly into the CEO role and build on our more than 80-year history of helping to bring unforgettable events to life.” www.psav.com

Atlona bolsters EMEA sales and engineering team EMEA

Mustafa Bostanci and Timo Schonmeier have joined Atlona’s EMEA sales and engineering team, assuming the roles of technical support engineer and sales engineer for networked AV. Atlona is a Panduit company, and the pair will be based out of the Panduit Customer Briefing Center (CBC) in Frankfurt. Bostanci joins from AVI-SPL, where as lead technician he oversaw the installation, inspection and approval of AV systems and collaboration solutions for their end customers. His expertise in software solutions is beneficial for Atlona partners and end users transitioning

to AV-over-IP systems. Bostanci also brings 12 years of experience as an IT and network technician at Messe Frankfurt, a well-known trade fair and event organiser, where he managed installation, operation and technical support of AV and IT systems. In his new role, he will help the manufacturer’s partners and dealers develop IP and circuit-based AV systems and support both customers and Atlona sales managers through all design and documentation processes. Mustafa Bostanci

Timo Schonmeier

www.atlona.com

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NEWS: APPOINTMENTS

Meyer Sound announces key promotions USA

Meyer Sound has promoted four key staff members with the overall aim of streamlining internal communications, increasing operational efficiencies and accelerating timelines, from product planning and R&D through product development and global marketing. Tim Boot has been appointed to the newly created position of director of global marketing, with responsibility for product management, marketing, communications and education on a worldwide basis. Boot, who joined Meyer Sound in 2015, has previously held high-level sales, marketing and technology development roles, most recently as global brand manager. John McMahon has been promoted to senior vice president, where he assumes a range of company-wide executive responsibilities while working closely with president and CEO, John Meyer, and executive vice president, Helen Meyer.

Tim Boot

Marc Chutczer

John McMahon

Mike Ulrich

Marc Chutczer has been promoted from vice president of digital programme management to vice president of R&D, assuming leadership of R&D teams working on all technology platforms, including loudspeakers as well as digital systems, and Mike Ulrich becomes Meyer Sound’s new vice president of operations, in charge of manufacturing, purchasing, quality control and test engineering. With Meyer Sound since 2014, Ulrich has broad experience in both engineering and new product development. “At Meyer Sound, we anticipate that pent-up demand will lead to an industry rebound in the not-too-distant future, and we are developing strategies to leverage the expected growth,” said Helen Meyer. “These latest promotions and role realignments will position us to meet resurging demand with new technologies and ramped-up production, and always with the high level of support our customers have come to expect.” www.meyersound.com

Mike Dias appointed as Earthworks Audio’s VP, global sales and marketing USA

Mike Dias has been appointed as VP of global sales and marketing by Earthworks Audio, one of several recent positions that the company has opened up. Earthworks attributes a period of growth and development to its strong supply chain due to the US manufacture of its microphones and ability to control as many production factors as possible in-house.

Dias was previously director of sales and marketing for Ultimate Ears and is also the founder of the In-Ear Monitor International Trade Organization (IEMITO). “Mike’s background in the industry – in terms of his relationships with distributors, resellers, organisations and manufacturers, members of the press and the live sound reinforcement community – make him an invaluable addition to

the team,” said Gareth Krassuer, COO of Earthworks Audio. “He moved out to New Hampshire for family reasons and this new partnership becomes a win for all of us.” Earthworks Audio had been planning to expand before the pandemic decimated the touring industry. “I’m honoured to help spearhead the vision that the Earthworks management team has put in place,” said Dias. “I’ve always been attracted to the Earthworks product line and to their philosophy of building precision mics that can fit into any critical environment – measurement, studio or live sound – but right now a great product line is, perhaps, not enough to ensure future health. The other piece to the puzzle, and one that Earthworks understands very well, is the need to take care of all the people involved in the process: the dealers, end users, partners and employees.” Dias will be based in New Hampshire and continues as executive director of the IEMITO. As part of the expansion, he will be assisting with growing the Earthworks team with several positions opening immediately. www.earthworksaudio.com

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NEWS: SPECIAL REPORT

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Following its demise in 2019, Prolyte is back in the Middle East under the stewardship of Area Four Industries Middle East

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Inside the Area Four Middle East office IN 2019, DUTCH TRUSSING MANUFACTURER Prolyte filed for bankruptcy. As one of the one of the most popular trussing brands in the Middle East, this not only left a big gap in market – of which several have attempted to fill in the interim – as well as existing customers with large stocks of Prolyte equipment pondering their next steps. Thankfully, having been taken under the wing of Area Four Industries, the brand is now back in the Middle East in full force. With the establishment of A4ME Area Four Middle East, customers now have direct access to stock, on-the-ground training and certification facilities and a dedicated team of local experts. Pro AVL MEA spoke to Area Four Middle East general manager Kevin Boujikian to find out when the brand’s re-emergence means for the future. Boujikian was no stranger to Prolyte, having been responsible for distribution of the Dutch trussing brand throughout the Middle East up until its bankruptcy last year.

When Prolyte went bankrupt, what did that mean for customers in the Middle East? Prolyte is the most in-demand trussing brand in the world, by far. So when the bankruptcy happened there was a lot of uncertainty, not only in the Middle East market but all around the world. Clients that had large stocks in their warehouses were left trying to figure out how they would continue to expand their inventories once the brand was gone. From our side, we had to be patient. We had

certain limited stock that we could sell through ProvisionAVL, but it wasn’t clear what the next steps were. But I think the way that Area Four Industries came in and acquired Prolyte, and in record time flipped things around, is really impressive.

Can customers not mix and match equipment from different brands? This one of the biggest questions in the trussing world. If you have truss A and truss B and you mix them together, you’re creating your own truss. It might look like it should be really strong, but if something happens, neither the manufacturer of truss A or truss B is going to take responsibility. So, mix and matching is a big no-no in our trussing world. This is why it is so important for companies with existing stock to know that they’re able to acquire the full product portfolio now.

How did the relationship with Area Four take place? The way Area Four came in an took over Prolyte was really impressive, and so immediately we wanted to know more about the company. Around the beginning of this year we’d largely settled on that fact that this was a group we wanted to be involved with and then around the time of ISE in February, we finalised all of the paperwork. But because of the unexpected events of this year, we decided to hold off on officially launching until the market has started to pick back up again. We’re now fully operational and open for business.

Kevin Boujikian

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NEWS: SPECIAL REPORT One good thing about the lockdown from this perspective though is that it has allowed us to take our time and set everything up properly, create a proper plan and decide how we want to tackle the market here.

Describe your operations in Dubai? Many of Prolyte’s existing customers in the region will know me as the Prolyte distributor, but we’re not just Prolyte now, we’re part of the Area Four Industries group. I am the managing director of Area Four Industries Middle East and we have opened a dedicated office in Jebel Alley Free Zone. We’re currently holding more than a kilometre of trussing in our warehouse. Normally, if a client requires a demo, then we would go and visit them. Now with COVID, where we can’t always visit, we can still go online and present the products. When the time is right, in terms of the pandemic, we would love to do an official launch and invite existing clients, some of whom have been really patient waiting for Prolyte’s return. But I don’t think now is the right time yet. We’re also working on a couple of training courses. We’ll be setting up in-person training as well, while adhering to social distancing measures.

What does the group bring to the market beyond a return of Prolyte? Prolyte is one of several brands. Some of which have never been well represented in our region before, so we’re excited to be able

A dedicated website has been created for the Middle East office to represent them. This includes: Litec truss, EXE Technology hoists and James Thomas Engineering. Our main focus in the Middle East will be Prolyte and Litec truss. These systems are not compatible with each other and cater to different types of users and markets. In certain projects we would be more inclined to recommend Litec, for permanent installs and especially for the custom side of things. When it comes to your roof systems or 1-, 2-, 3-, 4m setups, such as for a rental company

that perhaps also wants to cross-rent with another company, Prolyte would be the way to go, because the market here is dominated by Prolyte.

What do you see as the most promising in the market in the immediate future? Obviously there are still not many events taking place at the moment, but

the projects market is slightly getting better, although many are still yet to be confirmed. It’s not like it used to be where you would send of a design and get the confirmation back within a week, people are still ner vous about pushing the button. Nonetheless, we await a better future for our enter tainment industr y. www.areafourindustries.me

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NEWS: SPECIAL REPORT

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Phil Ward examines the recording sector’s viral windfall HOME RECORDING WAS WELL ESTABLISHED decades before this fateful year put the world into lockdown. In professional circles, it had become known as “project” recording, giving it a slightly speculative and, let’s face it, inferior status. But it almost wiped out the studio industry altogether, until a surprising resurgence that suggested what by now everyone knows perfectly well: being stuck at home is not necessarily the most creative option. The economics were inarguable. For a fraction of the cost, an amazingly pro-sounding recording platform could be built almost anywhere, away from the abandoned halls of fame that charged by the hour. And that was the other thing: away from such meter-running crucibles, all the time in the world could be devoted to pressure-free production like you were the Beatles and could waltz in and out like you owned the place. Because you did.

Safe and sound Where studios have revived, it’s partly because the savings on relatively inexpensive equipment can be redirected towards premises, which range enormously and reflect the individual personalities of the owners more than ever before. They are, it’s true, inspired by an urge to mingle, not self-isolate but, even under lockdown, a recording studio is not a particularly dangerous place to be and can be easily adapted to the fragmented nature of modern production. Studios 301 in Sydney, the oldest studio enterprise in the Southern Hemisphere, is now a registered “Covidsafe” business, open for bookings while putting into practice a set of guidelines and the Australian Government’s Covid-19 Safety Plan. The

Drummer and 55TEC co-principal Bei Bei in the studio’s live room cavernous Studio One lends itself to streaming events, from gigs to conferences, and is large enough for socially distanced recording. Its online mixing and mastering services have only benefitted from the situation, and the combination of reputation and size works in 301’s favour, regardless of the pandemic. It’s a similar story at Beijing’s three-year-old 55TEC, an Asian jewel in the crown of the renowned Walters-Storyk Design Group. The spacious facility includes a 46m2 live room, specified for China’s emerging pop music market by owner and recording engineer Li You and business partners Wu Yongheng – a record producer and also known as top session drummer Bei Bei – and pro audio executive Lizzy Zhou. The pandemic seems hardly to have broken the enterprise’s bold stride. “As most of the commercial recording studios go back to work, musicians are returning to them for serious sessions,” says Mills Xu,

director of strategic alliance and marketing at Budee Group in Beijing. “55TEC is the perfect example: they reopened on 15 April and had their third anniversary celebrations in May. Most of the artists who have recorded there came along and helped to promote the occasion.” But even if studios are making operational adjustments for Covid-19, is there enough business to justify upgrading the facilities? “Globally, there is a big difference between commercial studios and the home recording market,” says ADAM Audio CEO, Christian Hellinger. “In parallel with the boost of entrylevel and mid-segment studio monitors, we could also be seeing a decline in high-end products – even if they’re already slightly recovering over the last two months. This is a global situation and we can’t see significant differences between countries or regions. As long as studios remain closed, I’m sure they’re

holding back investment until there is more clarity about reopening. In general, and the long term, I’m not worried and quite convinced that this market will fully recover.” API Audio’s director of sales, Dan Zimbelman, also believes investment in bigger facilities is only temporarily paused. “Large-format consoles for major projects are on hold because of the hiatus in construction,” he says. “On the other hand, sales of smaller consoles are consistent, while our processing modules have seen excellent turnover.” In particular, API’s 500 Series 565 Filter Bank has seen a 500% increase in sales, which Zimbelman attributes to a rise in recording environments with insufficient isolation from extraneous noise, such as air conditioning and traffic. Chris Allen at PMC is seeing visible spending across the board. “We have experienced a rise in customers interested in upgrading their monitoring during the pandemic,” he says, “not only nearfields for home production but also larger facilities using this time to refurbish their main monitoring. Our best sellers right now are a mixture of active nearfields – result6 and the twotwo range – as well as the larger IB2S XBD-A and MB3 XBD-A active main monitors.”

Gridlockdown DiGiGrid’s campaign to promote its compact audio interfaces basks under the confident headline: “Supplying the Home Front”. As users bunker down in the face of the invisible invasion, DiGiGrid – a collaboration between DiGiCo and Waves – promises a line of defence optimised for home recording like sonic sandbags: the D and M interfaces, Q headphone amplifier and S PoE-capable

28 PRO AVL MEA November–December 2020

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NEWS: SPECIAL REPORT SoundGrid switches turn a modest softwarebased recording desktop into a workable mini-studio. As DiGiGrid’s brand manager Dan Page puts it: “While we all miss the human interactions of a busy office or the excitement of a live gig, the wonders of technology keep us connected.” To some extent, lockdown caught the supply chain off guard. “At the beginning of lockdown, we had no idea how the situation would develop,” said ADAM Audio’s Hellinger. “Looking back, it seems logical that when people are encouraged to stay at home, they try to make the best of it – and many of them bought musical instruments or home recording equipment like our monitors or audio interfaces. One other consequence of the lockdown is the increased demand for podcast equipment.”

Classic desktop with DiGiGrid D interface “All retailers I talk to have seen spikes in online sales,” adds Allen, “especially for small products intended for private home use, such as interfaces and mics, as well as hardware and software processors. Like us, a lot of brands are working hard to keep up with demand – and this is a challenge for the factories where social distancing is still crucial.” In every region, a new relationship between home and commercial studios is emerging. “The home studio market is steadily developing, as well as the online connectivity market, and product upgrades in recording studios are constantly being made,” confirms Jin Kim, assistant manager, executive department of Seoul-based reseller BLS. “However, it has actually decreased compared to the situation before Covid-19. In addition, if you take a look at these markets regardless of Covid-19, the influx of entry-level users is constantly growing, along with individual music studios and livestreaming spaces. The demand for mid-level products is stagnant or declining: entry-level products are highly preferred. However, there is no impact on purchases of high-end products, where there is a reliable budget.” What BLS means by entry-level is Tascam, alongside M-Audio’s array of peripherals, while the company’s high-end brands include Manley, Tube-Tech, Grace Design, Neve and Prism Sound. “Studios are operating in accordance with the government’s quarantine guidelines,” adds Chang Shik Shin, BLS’ assistant manager, Channel Business Dept. “But artist demand is steady because live performance has been discouraged.” “Everybody is getting involved,” agrees Hussain Shaikh, senior manager, content and digital marketing at reseller Bajaao Music in Mumbai, “whether professional or amateur, musician or podcaster. All you need is a good microphone, an audio interface and a quiet room. For monitoring, we’re selling a lot of KRK, PreSonus and Yamaha.”

equipment. “Often, when we’re busy, we feel that we need more time to create music but, in this situation, time is in abundance,” she says. “However, your mind is under different pressure to work out how to sustain and adapt to this new world.” Yet adapt we must. Ravisankar Nadiyam is Waves Audio’s regional sales manager for Southeast Asia, the Middle East and South Korea. “The engineers from most studios have had to set up something at home, and they have gone for pro gear,” he says. “But the real boom, if you can call it that, is at semi-pro and project level. Firstly, hobbyists with nine-tofive jobs suddenly found the time to do what

L–R: Jin Kim and Chang Shik Shin of BLS at the company’s Tascam showroom in Seoul The more remote the studio, meanwhile, the safer it is – as confirmed by Setiadi Chandra, owner of music and audio shop ChandraCom in Jakarta. “I have several customers in Bali, a very good place for creative production,” he reveals. “And they are mostly European – not Indonesian. One studio, Swarapadi Villa, is a luxury hotel in itself.” Interfaces by Steinberg, Native Instruments, SSL, Antelope and Arturia are all selling well in Indonesia. “It’s a sign of a lot of newcomers to the market,” Chandra points out, “because the most sales are of entry-level models. But life’s real meaning is becoming important to people and, if this is what they’ve always wanted to do, now is the time.” “Since our monitors have the ability to adapt to their acoustic environment, this new remote working culture is one that they tend to flourish in,” points out Ken Kimura, Genelec’s business development director for Asia Pacific. “Also, with more time at home, we’ve seen a surge in interest from private individuals across the region looking to upgrade their entertainment and hi-fi systems for recreational listening as more audio enthusiasts are realising the benefits

Hussain Shaikh from Bajaao Music in Mumbai

Xylo Aria with her Audient iD14 of active loudspeaker technology and in-room calibration.”

The hobby lobby “As Covid-19 hit Australia, we noticed an immediate uptake in our Audient and EVO by Audient interface sales,” comments Paul Newcomb, business development manager at distributor, Studio Connections. “It became clear that people saw the lockdown of our cities as an opportunity to explore podcasting and livestreaming and they embraced this opportunity in big numbers. Musicians, no longer able to go into recording studios, purchased an Audient interface to enable them to continue tracking the album they were working on, at home.” Artist, producer and founder of Music Production for Women, Xylo Aria, has been using her Audient iD14 audio interface with a MacBook Pro and three mics during lockdown in Melbourne for her weekly MPW podcast, featuring conversations with industry professionals about music production or

Setiadi Chandra from Jakarta music shop, ChandraCom

they love – plugging in that guitar they hadn’t touched in ages and finding that the amp or microphone didn’t work properly. So, they started buying. “Secondly, many of those forced to stay at home have decided to take their hobby a lot more seriously – either changing career or finding an alternative income. Online collaboration platforms have become the focus of attention, and reducing latency is the main issue. At Waves, we have around 250 plug-ins that work on all platforms from GarageBand to Pro Tools, and we’re supporting the uptake with discounts and special bundles like the Content Creator Audio Toolkit.” We could, in a few years’ time, see the fruits of all this labour in a new spike: that of individual and independent new music distributed online, giving rise to what headline writers might well call “Flu Wave”. Let’s face it, Daniel Bedingfield recorded his first hit in his bedroom with a PC and a microphone, using Reason music software – and called it Gotta Get Thru This. Nicely put, Daniel.

Ravisankar Nadiyam from Waves

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FEATURES: BROADCAST

Bringing the news into view Tailor-made convex and concave LED screens have taken pride of place at Al Arabiya’s new news studio

The newsroom’s open design is interspersed with editorial

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The walls work together with the robotic cameras to create more immersive reports COINCIDING NICELY WITH THE MONTHS IN 2020 WHEN viewers were first locked down at home and forced into a greater reliance on television programming to keep up with the rapidly evolving state of the emerging coronavirus epidemic, the UAE’s Al Arabiya network went live with a brand-new, state-ofthe-art studio design offering sweeping views of Dubai, a sleek, modern aesthetic and packed full of new visual technology. Since 2003, the Al Arabiya network has been one of the most popular news sources for Arabs seeking credible news and information about the Middle East and the world beyond. The

24-hour platform publishes breaking news, politics, business, features, opinion and lifestyle. The new Al Arabiya broadcast studio that was launched earlier in the year was clearly designed to amaze audiences. The space features an open design and integrates the direct shooting locations together with editorial workstations and an office area. The nearly 2,500m2 facility is located in a standard office tower not originally intended to be TV studio space. Aside from the glimmering surfaces and razor-sharp architectural contouring, the space is dominated by three large curved videowalls situated behind the presenters that steal the show. With 140m2 of Barco LED videowall comprising 594 X1.5 LED tiles, the Belgian manufacturer’s products are well represented onscreen. When Al Arabiya decided to overhaul its studio design, its engineers left nothing to chance in order to provide the best viewing experience. The vendor selection process was thorough but, after extensive shootouts and testing, Barco was chosen as the preferred visualisation partner. “It is all about the graphics in our new studio,” explains Fadi Radi, director of creative at Al Arabiya. “You can see a videowall in practically any studio shot with a presenter. Certainly, in times when people have become used to hyperrealistic imagery, the videowall image quality will make or break the show. That’s why we only wanted the best of the best.”

However, bringing perfect onscreen image quality in such a unique studio configuration was no simple task. The design features quite a few dramatic twists and is equipped with 13 robotic cameras that travel dynamically between the one convex and two concave videowalls. Making sure that the displays’ colours look good onscreen in any camera position was a big challenge, Radi recalls. “We wanted consistent, high-contrast and saturated colours for our graphics across the entire studio design, and we needed them to be presented in the best possible resolution. An additional challenge was the fact that our studio allows daylight to come in, so we needed colours that were equally stunning at night as during the day. Barco certainly has made this possible.” The technology that drives this colour excellence is Barco’s Infinipix image processing platform. The system is integrated with a Vizrt video playout platform to ensure that colours look perfect in all camera positions, even under the tightest angles. In addition, with Barco’s E2 screen management platform, the Al Arabiya production team can get creative through the development of a virtually unlimited amount of content templates to cater for their 24/7 programming schedule. This gives the news team the ability to easily change the mood of the studio and adapt its graphics compositions according to the show requirements.

pro

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torial

FEATURES: BROADCAST solutions to the end customer, and the company was once again the preferred partner for solution design, installation, testing and commissioning of the latest works. Together, the pair have installed more than 20 studio installations. Thanks to 24/7 support and a three-hour response time, Intertech has managed to guarantee 99.9% uptime for its installations. “The excellent service and fast support we have experienced in these years have strengthened us in our belief that the Intertech and Barco partnership is our best guarantee to keep our videowalls up and running 24/7, without interruption,” says Safwan Harcouss, lighting manager at Al Arabiya. Intertech also proved to be willing to listen to customer needs. During the project design stage, Al Arabiya was concerned about the weight of the LED backdrop displays. To meet the customer

requirements, Barco and Intertech provided a tailor-made solution to reduce the total weight. The new look Al Arabiya studio with its three Barco curved screens has been transmitting live to the public for several months now and making full use of the increased immersivity the large screens provide. By making use of integrated Augmented Reality (AR) solutions with mixed reality inside the studio, the broadcaster has been able to create completely interactive environments together with the videowalls, taking its storytelling capabilities to a whole new level. www.alarabiya.net www.barco.com www.itv-me.com

workstations “The Barco technology offers us so many creative options,” furthers Radi. “One technique that we like to use, for example, is the virtual window, a moving camera with graphics that travels in the same direction of the camera, based on optical tracking. Thanks to Barco’s image processing, this can all be done in perfect resolution and with no sign of jittering or glitching.” By opting for LED technology, which benefits from limited depth and small footprint, the studio space could also be used in the most optimal way. This was especially critical in the area where two of the videowalls face each other at a close distance while, at the same time, the robot camera needs to move in between. Another way of saving valuable studio space was the possibility to service the LED tiles from the front. This way, Al Arabiya did not have to create extra space for a service area in the back. In its 15-year long relationship with Al Arabiya network, Barco has relied on its local partner Intertech to bring its visualisation

Convex and concave Barco LED walls surround the presenters

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FEATURES: RECORDING

Besides interview situations, the MKE 600 shotgun mic was used when filming the climbers on the cliff face

Armenia was uncharted territory for climbers until the team set out to visit Dilijan

Aleksandra Wierzbowska taking a well-deserved break from documenting

Scaling new heights

A full selection of Sennheiser audio capture equipment aided intrepid adventurers scaling a rock formation in Armenia, discovers Simon Luckhurst THE TASK OF CAPTURING ENVIRONMENTAL AUDIO IN unique and undocumented environments must be one of the most rewarding, if at times highly frustrating, jobs on the planet. You are at the end of the day, attempting to bend physics to your will all the while nature does its best to set your best laid plans to waste. Any equipment to make the job easier is a must. An intrepid team of experienced mountaineers recently travelled to the Republic of Armenia to embark on just such a mission – discovering new routes for climbing fans and document their adventures for their community. In order to achieve this, high-quality audio capture equipment was required to match the big-budget visual quality of the production, yet be portable and flexible enough to not restrict the mountaineers as they scaled rock formations. The team turned to German manufacturer Sennheiser and its Polish partner Aplauz. The destination was a formation approximately 15km long near the town of Dilijan. Due to its beautiful surroundings, the region in the province of Tavush is fondly known as “Little Switzerland” by the locals. During their stay, the team marked three sectors of the sandstone rocks, which rise up to 400m high and which have never been climbed by professionals. In total, they defined 22 climbing routes and documented them thoroughly for the community. “Many climbers restrict themselves to routes that are already known – but, personally, I take much more pleasure in exploring places that have so far been ignored,” explains Aleksandra Wierzbowska. Together with a climbing partner, Wierzbowska was responsible for the audiovisual documentation of the project, which lasted for several weeks in total. The key components of the equipment were DSLR cameras for photos and video recordings, a portable multitrack audio recorder and microphone equipment from Sennheiser, including wireless systems, wired shotgun microphones and headphones. The

The evolution wireless ew 112P system was mainly used for interview situations video recordings were made in HD quality, with the aim to produce a 40-minute documentary that would not only be of interest to climbers but would also bring to life the country and its people for a greater audience. For their journey, Wierzbowska and her colleagues packed four evolution wireless ew 112P G4 wireless camera microphones, a ready-to-use set including an SK 100 G4 bodypack transmitter, an EK 100 G4 portable receiver and an ME 2-II lavalier microphone, as well as a camera adapter and the necessary connecting cables. “We operated the wireless systems in Dilijan in the range around 525MHz and there were no problems at all with the local authorities. Aplauz had advised us in advance to select the A band for use in Armenia,” she explains. “No unexpected interference occurred, although of course we

weren’t in a big city but in a thinly populated rural region without much wireless traffic.” The wireless systems were primarily used for interviews with the locals. The interviewees were professionally fitted with ME 2-II microphones that were included in the sets. “During the wireless transmission, we never experienced any interruptions or undesired artefacts,” recalls Wierzbowska. “The operating period of the transmitters and receivers with fully charged batteries was always more than sufficient.” The wireless systems were also supplemented by wired Sennheiser MKE 600 microphone models. Besides interview situations, the MKE 600s were used when filming the climbers on the cliff face. “We regularly used the MKE 600s in situations where we didn’t want to mike up our interview partners with an ME 2-II, but still wanted to clearly record what they said without any surrounding noise,” Wierzbowska furthers. “Sometimes, we also employed the MKE 600 in scenes that we did with climbers high up on a cliff face – and, of course, the MZH 600 windshield always made sure that wind noise was kept to a minimum and wasn’t an issue.” For monitoring of the recorded audio tracks, the team stuck with Sennheiser, using HD 25 Plus headphones. “Their closed design enabled us to reliably monitor the sound recordings, even under the most challenging environmental conditions,” Wierzbowska explains. “It only became a bit more complicated when we were wearing our helmets at the rock face – although,” she adds with a smile, “one can hardly expect the developers at Sennheiser to predict such an unconventional job for their headphones.” Perhaps the unique expedition will set cogs in motion in the manufacturer’s R&D department. Like many other events, the audiovisual documentation of the climbing project was put on hold by the coronavirus pandemic. “As soon as it’s possible to enter Armenia again, I will set off back to Dilijan to round off the project with further video impressions and interviews and then go into the postproduction phase,” Wierzbowska concludes. www.sennheiser.com

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trans ferable engine

true lighting innovation. robe-te.com

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Watch How We Do It!

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FEATURES: LEISURE

Cranking up the energy

Crank Dubai is as much a nightclub as fitness centre, and for that it required an audiovisual system typically found on the dancefloor, writes Simon Luckhurst LONG GONE ARE THE DAYS OF THE STERILE CLINICAL fitness studio reminiscent of an old school gymnasium. Health and fitness in the 21st century has become a major consumer industry and, for those workers too busy to get out on the road during the day, the variety and quality of options available now is simply staggering. The steps gym owners have taken to differentiate themselves from the competition is equally impressive, and for many it is the audiovisual equipment that is key to creating the desired atmosphere and environment, not to mention essential for injecting some much-needed energy into a gruellingly tough workout. Crank Dubai is one of the latest and greatest to hit the Dubai scene. Opened in 2018, Crank has honed its new identity over the course of those two years through the steady addition of high-quality audio reinforcement and a selection of studio lighting fixtures. The end result, admits co-founder Sami Hakim, is anything but your typical gym experience. But that is precisely the point. “Crank is a local homegrown brand with the idea revolving around a main indoor Cycle studio, and a second Stretch and Shape studio,” he explains. “Originally when we started in 2018, people got very attracted to the brand and we quickly became a market leader in Dubai.” As a result, Hakim enlisted Dubai-based Procom Middle East for a guiding hand in further developing and implementing the technical design. This wasn’t merely a chance encounter, however. Committed to gaining a greater appreciation of how audiovisual equipment could enhance the Crank space, he

The instructor cage is formed from Cyclops Lighting RGB Razor laser bars

enrolled in Procom’s Madrix LED Mapping and Control Software training class. It certainly helps make the life of a systems integrator easier if the owners of a project have, at least, a rudimentary understanding of the technology involved and what they’re hoping to achieve, but it’s rare to find a client that has as much passion

and knowledge as the technicians themselves. “Three of us from Crank, knowing pretty much nothing about lighting, decided to take part in the course to learn more about operating our system and the relationship with Procom quickly developed from there,” Hakim furthers. “We were very clear about what we wanted to achieve but we needed a lighting and audio partner to help us along our journey. From that point, everything we’ve been doing with replacing, repurchasing and readjusting components of the sound and lighting system, has been with the help of Procom.” While Crank already possessed some pre-existing audio and lighting equipment prior to Procom’s involvement, Hakim describes it as simplistic at best. “We received the space in September 2018 and I think, by December, we were already in touch and working together with Procom on every sort of upgrade that you could possibly think of. We’ve changed out all of the lighting equipment within the rack to install new laser lights, reprogrammed all the fixtures and added a range of new Madrix Luna controllers.” This enquiring mindset and ambitious design from the Crank owners have made the relationship a joy for the Dubai-based distributor, explains Procom’s Anro Schroeder. “If you look at the amount of time and the amount of attention to detail that’s gone into technical aspects of Crank, it rivals some of the biggest nightclubs here. It might not be that same size but it has all of the same elements. Everything is integrated, everything looks beautiful and Sami is very much right in saying that Crank is all about the experience.”

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Dr. Elena Shabalina, Applied Research

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19.10.2020 15:22:23 26/10/2020 13:17

FEATURES: LEISURE The attention of the 43 cyclists that the studio can accommodate is immediately drawn towards the six central Cyclops Lighting RGB Razor laser bars surrounding the instructor, which work in tandem with an Antari HZ500 hazer used to create the “instructor cages”, the focal point of the room. A pair of hologram fans on either side of the stage are linked to the main control system and are used to add in a number of moving images and effects during key parts of the classes, while everything is connected and controlled via a Madrix Luna eight-port node. As the upstairs Stretch and Shape studio requires a greater level of two-way participation, illumination here comes from 120 Cyclops Lighting LED bars distributed throughout the ceiling and is managed by a Madrix Luna 16-DMX port network node in tandem with Luna 5 software. “The Shape space is very similar to the Cycle studio; however, here we opted to do the lighting design in the ceiling,” shares Hakim. “In Shape, there are many more fixtures, but they are used to create a whole different experience altogether.” Once the upgraded lighting was put to use, the existing loudspeakers were quite literally left in the dark and so attention quickly turned to upgrading the audio infrastructure. “The biggest challenge that we were trying to achieve and fix from a sound perspective has always been the quality and sharpness of the sound, and the ability to distribute it effectively within the space to ensure the instructors are well heard,” notes Hakim. “Previously, when music was playing loud, the sound of the instructors was very muffled and hard to understand.” To remedy this, the Cycle studio has been outfitted with KP52 cabinets from Italian manufacturer K-array – two at the front, middle and rear, together with three KMT18P subwoofers. Power comes from a pair of four-channel KA84 amplifiers. “The first thing we wanted to do was minimise the look of the sound system,” explains Schroeder. “We had all of this lighting across the roof, lasers going up and down, and there were loads of speakers and unnecessary rigging. We stripped all of that out and it’s now a super clean space adorned with almost invisible K-array cabinets. They provide both the form factor and output that we needed but, more importantly, the clarity.” With the SPL inside the cycle studio regularly surpassing 105dB, “the system is really loud and super punchy, but we took into consideration all of the acoustical aspects as well, such as not disturbing the neighbours,” furthers Schroeder. Dedicated audio configurations have also been created for the instructors and can be activated by Symetrix Arc-2e wall controllers that connect back to a central Jupiter 8 processor. “We worked closely with all of the instructors sitting on the bike to tune the headset mic, the music level and monitors

Madrix Luna 5 software allows a variety of looks to be easily created by instructors

There are 120 Cyclops Lighting LED bars throughout the ceiling

The room can be completely transformed at the push of a button to their liking and save it as a preset under their name which is also customised to their individual lighting preferences. When they come into the class, they just select the right instructor preset to tailor the technical elements to their preferences.”

“This was a key and very important thing for us, because we play music at such loud levels,” adds the owner. “You still want to ensure everything is very clear and crisp for the clients. The system that we have now has been great at achieving that. In the past, this was something people used to complain about a lot.” The result is a nightclub-like fitness experience that feels perfectly at home in Dubai. “What we were trying to achieve with Crank was basically to be the bridge between the fitness and the entertainment community in the Middle East,” the co-founder explains. “There’s more to Crank than just fitness, and this is a big attraction to get people in through the doors. Through that theme we’ve managed to create a space where, pre-Covid, we were getting in around 8,000 bookings every month. That’s lowered more recently to between 6,000 and 7,000 because of the recent capacity reductions. We’re one of the most popular fitness studios in Dubai, especially in indoor cycling.” And Hakim credits this popularity in no small part to the extensive use of audiovisual equipment throughout. “One of the biggest elements of our concept is the sound and lighting. I think here we are unmatched in Dubai. The space here has been designed in a way that the lighting elements are blended in from a design perspective, and the energy of the room revolves around the instructor. When the instructor is on the bike, the way the class structure works is all around the beat of the music.” It’s usually the flashy nightclub, fancy restaurant and five-star hotel projects that end up serving as companies’ flagship reference projects. Rarely a gym. Clearly the extensive use of AV is proving to be a winning formula for the Crank owners. It’s all about maintaining energy levels throughout sessions. And Hakim’s lighting knowledge may have now extended well beyond DIY necessities but, with Procom’s support, he can take a more hands-off mentality to sound. “I’ve done a lot more learning on the lighting side because we faced a very bad experience at the beginning and were forced to learn everything ourselves,” he concludes. “On the audio side, we were offered a solution that simply works with limited interference for our side. So far, everything is working perfectly and so I don’t feel I need to get too involved with the nitty gritty of that. I have Procom here to help.” www.crank-fit.com

Invisible KP52 cabinets provide nightclub-like sound in the Cycle studio

www.procom-me.com

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FEATURES: BROADCAST

One of the largest studios, typically used for hosting big competitions

Strength in numbers

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A variety of small studio spaces are capable of unmanned filming

A new central location for the Turkuvaz Media Group in Istanbul prompted a complete outfit with SSP lighting IT MIGHT HAVE BEEN A LONG TIME COMING, BUT THE consolidation of all of Turkuvaz Media Group’s (TMG) disparate studio locations under a single roof in Istanbul couldn’t have been realised at a more crucial time. The broadcaster’s vast services include the operation of a diversified media house which owns a variety of television channels, radio stations, newspapers and magazines. Launched in 1993, its flagship channel, ATV, is one of the most popular in the country. By moving its distributed television studios into a single location, the broadcaster has been able to future-proof its 4K capabilities as well as deploy new scalable systems for future growth. Having grown rapidly in recent years, TMG oversaturated its existing capacity. The new centre in Istanbul will therefore enable it to continue to grow at pace and maintain its position as a leading private media group in Turkey. As one of the biggest in the country with 300,000m2 of closed space in the new Istanbul building, TMG should be well provisioned for the foreseeable future. The new ATV media centre is the first all-4K IP-based production centre in EMEA and spans multiple television studios and control rooms. TMG was looking to complement this with a move to the latest technology of all-LED-based lighting rigs. For such a big project, heavily reliant on tried-and-tested production techniques and equipment, the fact that these spaces have been entirely outfitted with the products of a boutique lighting and audio brand, SSP, is an impressive commendation of the brand. The broadcaster’s selection of SSP fixtures was no simple feat for representative Dinakord Elektronik, which worked diligently to convince the client of the products’ worth through multiple demonstrations. “TMG’s technical team and the head of lighting already had a specific list of brands in mind when we first started discussions,” recalls Ari Cavusyan, procurement manager of Dinakord Elektronik. “However, we are fortunate that we enjoy a great relationship with most of the major broadcasters in Turkey, and also enjoy an existing relationship with TMG supplying entertainment lamps, lighting filters, microphones, flight cases and a variety of other AV equipment on a regular basis.”

Inside

SSP products deployed 20 PRO ECLIPSE 1000 RGBAL full-colour profile

30 PRO ECLIPSE 750 HD single-colour profile 50 PRO ECLIPSE 25–50° zoom lens for profile 70 PRO SUPERBEE BSW LED moving head 110 PRO OPTOPIX-MEGA linear full-colour wall washer 30 PRO CYAN 1200XE MK4 moving head 20 PRO PLUTO 4000XE MK2 moving head 30 XSPOT150 moving head OPTOPIX-MEGAs line the perimeter of the Kim Milyoner Olmak İster? studio One product at a time, Dinakord set about convincing TMG of the SSP offerings. “Step by step we were able to persuade them that these alternative solutions were more than suitable for their project,” explains Dinakord Elektronik’s project and sales executive, Esat Alpay. “We first met to show them the initial product data quite a long time ago now and then invited their engineers to our company to experience a demo. Later, we travelled to their old studios and assembled the products one by one so that they were able to see the real-life results and how they fit inside their production environment. This also allowed them to control the products first-hand as they would in a typical scenario, and properly experience how everything functions.” Able to match the capabilities of more recognisable global brands, the choice to adopt SSP for the studio’s lighting infrastructure also provides some additional benefits. “SSP is the only brand in the Turkish market capable of offering such a wide range of products and we can also promise good stock availability,” notes Cavusyan. “The variety and the availability are both very important aspects when it comes to projects of the scale such as this one. Furthermore, the products are regularly updated. We are constantly improving them based on

2 PRO LFS2500Z LED follow spot with zoom 2 PRO SW-2000 fog machine

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50 PRO SLIM PAR18 six-in-one wall washer 75 PRO LED317XWA full-colour linear wall washer 50 DERON MOBI 9AUV six-in-one battery-powered wall washer 40 PRO COB LED PIXEL full-colour audience blinder 170 PRO ALPHA 8I DMX splitter

the new demands from the market and feedback from clients. As a result, all of these meetings went very well but the whole process took around two-and-a-half years in total since we first engaged with them.” One obvious challenge to put a halt to processing was the impending global coronavirus outbreak. While Turkey did not lockdown to the same degree as many neighbouring countries, the final stages of the project were still heavily impacted. Originally, everything was due to be finished by the beginning of 2020 at the latest; however, the construction of the building as well as some other issues within the media group delayed

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the project slightly. They’ve been in a transition period for more or less the last year. All-in-all, Dinakord Elektronik has equipped TMG’s ATV, A2, AHaber and ASpor television channel studios with well over 1,000 pieces of new SSP equipment, from washes to profiles, spots and variety of different LED effects fixtures such as pixel-controlled audience lights, wireless wall washes, smoke and fog machines and DMX infrastructure products. The new spaces include three main 1,500m2 studios where big competitions are typically held, in addition to eight medium-sized studios of 700m2 which are used predominantly for news and discussion programmes, and a multitude of small-sized studios averaging 100m2 and capable of performing unmanned shootings. Since the integration took place, one of Turkey’s popular TV shows, Kim Milyoner Olmak İste? – a Turkish version of Who Wants to Be a Millionaire – has begun broadcasting its newest season on ATV in the all-SSP-outfitted studios. “The large studios have a high ceiling at a height of approximately 15m and can also be subdivided into smaller spaces,” explains

lming

Inside one of the medium studios

there will not be any screen flicker, and so on. What made us especially happy is, although we could have completed this project with other brand items, like we did on the audio side, for the whole lighting demand we were approved using only SSP brand products.” In addition to the large quantities of SSP fixtures, the team has provided a selection of audio equipment spread across the studios, including 44 Yamaha DBR10 loudspeakers for reinforcement, 30 BSS AR133 active DI boxes, 10 Shure P9HW wired in-ear bodypack personal monitors and a selection of more than 30 microphones, such as Beta 52A, Beta 91A, Beta 58A, Beta 57A and Beta 565SD models. After years of planning and thorough specification, the eventual installation was down to TMG’s team of experienced in-house engineers. “We provided them with all of the fixture details for the lighting, as well as some small software updates for certain products which would allow them to immediately be put to use. The installation of the fixtures themselves was largely completed by the broadcast’s technical team of more than 60 people. Of course, we shared some ideas, but every TV studio has its own style and different architecture to negotiate around. “Furthermore, these studios are not permanent spaces that will also be used for the same show, so they need to be reconfigurable and frequently rearranged. There’s a structure and they are able to place the items wherever they want.”

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The spaces feature flexible lighting grids that can be reconfigured depending on programme requirements Cavusyan. “Some of the products that we have supplied have been permanently integrated, particularly the wall-mounted lights such as the profiles, and so on. However, they also do a lot of exterior shooting and so they needed mobile products for that reason. Some of the moving heads and profiles are stored in TMG’s various locations and will be taken out to events as required.” The Dinakord Elektronik team also went above and beyond to ensure that the products would match TMG’s demanding needs through the deployment of bespoke control software. This upgraded certain fixtures, such as OPTOPIXMEGA LED bars, with a smoother colour transition. “This was created especially for this project,” shares Cavusyan. “We made a number of special developments to ensure that, while shooting, there will always be perfect colour transition within the item and

With the new studios now primed to open their doors, the Dinakord Elektronik team can’t wait to see the SSP lighting infrastructure come to life for the first time. “Both Dinakord Elektronik and TMG are very happy with how everything has turned out. Considering the variety of models and quantity of products that we have provided, the importance of this project for our company cannot be underestimated,” concludes Cavusyan. “At more than 300,000m2 in total, the area is absolutely huge and TMG is one of the biggest media companies in Turkey. We are proud to have been able to beat the competition, the other global big-name brands, by providing a complete selection of SSP brand fixtures. This is just brilliant.” www.atlantik.com.tr www.sspworld.com

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BUSINESS: COMMENT

A letter from America

Drive-in events cannot replace traditional concerts, yet for now they provide a sustainable and memorable alternative, reports Dan Daley

THANKS TO CONCERNS OVER COVID-19 “SECOND-SPIKE” local lockdowns, the UK has compelled Live Nation to cancel its Live at the Drive-In series of concerts over the summer. You don’t know what you’ve missed. They’ve been gangbusters over here, for better or for worse. Keith Urban’s show at the Stardust Drive-In about 40 miles east of Nashville in May was a self-described proof-of-concept show, and for the 125 or so cars – half the capacity of one of the theatre’s two screens – and the frontline healthcare workers in and on them (a car makes a useful six-foot distancing marker) to whom the show was dedicated, it was a proper treat. Urban told a local news outlet that they wanted to keep it small, with minimal PA and lighting rigs, and just two musicians beside himself, one of whom was essentially DJing backing tracks (using two laptops that enabled him to edit tracks on the fly to extend choruses, verses and intro, which let the song structures flow as freely as they do during “real” concerts). All three were 10 feet apart onstage. The idea has caught on. Colorado’s Beanstalk Festival in June took place at the Holiday Twin Drive-In in Fort Collins. Guests remained in their cars during performances while the artists were projected onto the screen and concert-goers were able to listen to the performance via their vehicle’s FM radios. In fact,

any venue with a large parking lot can get in on this action. The Texas Rangers baseball team announced plans to use their brand-new Globe Life Field stadium’s parking lot B to host a series of drive-in Concert in Your Car shows this summer. The use of drive-in movie theatres as concert venues will certainly be memorable, if not sustainable. It’s not the traditional concert hall or club experience and likely wouldn’t replace those once the pandemic is corralled, but, at a time when the few concerts there are have moved to online and television, this model provides something far more tactile. They can also be a boon to the venues: drive-in theatre numbers have declined to barely 300 from a 1960s’ high of over 4,000 and this represents a new purpose for them. The Rangers’ new US$1.1 billion stadium had yet to host a baseball game as of early August, so a few hundred paying cars now and then can help keep the lights on. These are also superior, at least to this observer, to the “concerts” and other performances from artists’ basements, bedrooms and front porches. These mostly run the gamut from cloyingly ambitious to positively twee. In between are streamed (live and otherwise) pay-per-view-type concerts, like recent ones by Garth Brooks and K-Pop idols BTS. They provide the artists with revenue, and – in the case of those

A letter from Europe

two artists – quite substantial sums. But that kind of haul is available mainly to top-ranked performers. With Spotify founder Daniel Ek’s assertion that the streaming service posts as many as 40,000 new songs per day, assuming those posters need to play live to make the rent, they’re not likely becoming PPV stars. Besides, even for major artists, the idea of a live or near-live show streamed puts it into another category of entertainment. Streamed and cabled performances give an audience a lot of control over the timing and pace of a performance; no matter how big your home screen is, hit “pause” and Beyoncé stops mid-note, frozen as you get another slice of pizza. That level of control over the artist is nice for the consumer but serves to diminish the power of the performance and perhaps the integrity and authenticity of the artist. (I say “perhaps” because he or she is likely endorsing Boots or Tesco.) Livestreamed concerts will be part of the mix in the post-pan era, as will basement streaming. But nothing will replace actually being there, and that won’t happen until the pandemic is tamed. All eyes had been on Germany, where a Bryan Adams concert was due to take place on 4 September at the Düsseldorf Stadium. Despite all the safety measures put in place, it became just another victim of a concert business we badly need to come back.

Phil Ward discusses how researchers across Europe are trying to predict when, and how, the live event industry can restart A CORONAVIRUS EXPERIMENT IN GERMANY HAS LED TO significant confusion regarding scientific method. Medical researchers in Leipzig, part of the old DDR and still a region characterised by mild cultural breathing problems, staged three gigs in one day under three measuredly different conditions inside the same venue: the first with no virus protection; the second putting some compromises in place; and the third with full social distancing and hygiene. Naturally, at each stage, audience capacity was reduced. However, economics was not the point. Nor was there, at any stage, a risk of the volunteers contracting the virus: all had been screened beforehand and cleared. Despite this, some observers have assumed that deliberate exposure to it was behind a fiendish, Mengele-style operation, probably flouting the Geneva Convention. No, calm down. The point of the exercise was to gather accurate data about how and where members of an audience interact in detail, using everything from photographs to fingerprints. This will be used to assess the most effective ways of readying the live event industry for the return of crowds, while similar studies are being carried out in Belgium, Denmark and Australia by scientists who will now liaise with Leipzig’s Halle University.

Alcohol was not allowed, alas, so not exactly real-world modelling. According to public health watchdog the Robert Koch Institute in Berlin, German cases of Covid-19 have now risen above 310,000, including a dramatic 4,000+ jump in just 24 hours in early October. Not surprisingly, frantic attempts are being made worldwide to investigate how the live industry can reboot under such threatening conditions. Even the spectacular consolidation of the rental sector in the US – to wit: Clair Global’s acquisition of arch-rival Eighth Day Sound – is being couched in terms of “using this available time” to “emerge prepared with all the needed resources to serve a global customer base”. Expect hand sanitiser brackets on the consoles. In London, major players in the theatre industry have been carrying out parallel tests, albeit under less than laboratory conditions. Even gargoyle-flattering musical vampire Andrew Lloyd-Webber has splashed out on major alterations to one of the city’s famous old theatres in the hope of proving that events can take place safely. Inside the London Palladium, his team has erected partitions and Perspex shields in strategic places, not unlike in every bar and pub around the country, as well as installing sanitiser sprays in the aisles, fixing thermal cameras at the entrances and prohibiting every other row of seats.

Normally, capacity in the venue is just over 2,000 and, for a streamed concert headlined by soul diva Beverley Knight, the scrubbed-up punter count reached somewhere between 500 and 600. Not bad, but one industry eyewitness did describe it to me as “a sterile experience, in more ways than one”. Uncomfortably, while the civil servants of the Robert Koch Institute sleep soundly in their beds ready for a 7:30am alarm, the more reckless constituency of Berlin is still doing its thing, whooping it up in graffiti-strewn steel and concrete bunkers till dawn at an ongoing and authority-embarrassing series of illegal raves. And when the civil servants go to work at the institute, they produce statistics that confirm, at the time of writing, that the average age of those who are newly infected is now 32. In April it was 52. It’s possible that the Halle data will enable the official clubs to reopen and divert those hell-bent on partying into more controlled environments. But even official venues, like the bar “Klo” in Berlin’s Mitte district, have trouble with tracking and tracing: speaking to Deutsche Welle magazine, barman Mario Kreibe reveals the name Donald Duck on the register, hailing from the city of Entenhausen. Translation? “Duckburg”. Really, what can you do?

40 PRO AVL MEA November–December 2020

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BUSINESS: COMPANY PROFILE

Pequod’s location doubtless stimulates creativity

The Italian job The Pequod team and friends at the launch event, PL+S Frankfurt 2019

Sue Gould revisits pro audio newcomer Pequod Acoustics to find out how the Italian manufacturer has adapted during the pandemic

IT SEEMS HARD TO BELIEVE THAT IT WAS ONLY A YEAR AGO that Pro AVL MEA visited the Pequod Acoustics headquarters situated in the verdant, rolling hills above Florence. The Italian speaker manufacturer was riding high after a successful launch event at Prolight + Sound Frankfurt 2019 and had a defined road map for further expansion and high-profile partnerships. Toasts were made to the future. Then, barely a few months later, the pandemic struck. Despite the havoc wreaked by Covid-19, one has to question what initially led brothers Andrea and Simone Ugolini to enter such a crowded, highly competitive marketplace in 2016. Both men were independently successful in their own fields, Andrea owning a structural engineering studio handling civil, military and government construction, while Simone was the CEO of the family’s well-established construction firm. Yet, away from the day-to-day business, Andrea had always held a deep-rooted, personal passion for high-end audio and had become increasingly frustrated by what was available to consumers. Together with Simone, he felt that they could change that landscape and, after some trial and error experiments and subsequent positive results, the brothers decided to take their passion to the next level with the creation of Pequod Acoustics. Not long after, the pair coined the term “Hi-Pro speakers”. “This is the synthesis of what we do,” explains Andrea, who acts as the company’s chief technical officer. “We blend together the best of the pro audio and hi-fi worlds. We have linear and accurate high-fidelity sound reproduction paired with the high SPL needed for professional audio.” This, he feels, is what sets Pequod apart from the rest of the pack. “The concept and approach are totally different. A lot of other companies use the sentence ‘no compromises’ but, here, it’s really true. Everything is made in Italy and the choice of components, the methods of constructing the speakers, the research into sound perfection – it’s all at the highest level. The outer design of the products is sound-driven and is something unique in the world.”

One only has to look at the current product line-up to appreciate how that ingrained passion has turned into a commercial reality. At that Frankfurt show in 2019, the philosophy clearly paid dividends, drawing a crowd of visitors to the booth to witness the enormous Shockwave three-way, horn-loaded system – with its 112cm-diameter mid-bass horn – working in tandem with the huge horn-loaded Hydra Super Sub.

Working on Cerberus “It was amazing; everyone was looking at us as the newest and coolest brand,” recalls Simone, Pequod’s chief executive manager. “We captured their attention and I think the market was ready for a new brand that manufactured something quite different from just another black box.” While the horn’s huge size enables proper sound reproduction at certain frequencies, the visual aspect of the range cannot be understated and is definitely a crowd puller.

Leonardo Dani (right) with Allan of Guangzhou Dardankings “You can’t hide this kind of massive speaker,” admits Andrea, “so why not incorporate the bright colour as part of the club’s general design?” Yet, from an acoustic perspective, the CTO is keen to elaborate on what the Pequod designs offer compared to more traditional models. “Almost every existing and future product from us uses horn-loaded technology,” he continues. “Without revealing too much about the type of horns we use, we are able to create a much more dynamic range than our competitors, as well as very consistent polar pattern dispersion with extremely high phase coherence. Furthermore, they produce almost zero sound reproduction at the back of the horns.” An additional characteristic is the bespoke design of Pequod’s passive crossovers, constructed using high-quality components, which Andrea claims is impossible to obtain with standard DSP. “They really increase the clarity and quality of playback to really lifelike levels and, furthermore, you only need a two-channel amplifier to drive a couple of our three-way systems. “Our systems are really plug-and-play,” he furthers. “They sound good immediately and you don’t need to struggle with complicated software or DSP presets. Only minimal corrections are needed according to the environment. More importantly, everyone from an audio guru to a clubber hears good and nice sound, with no ear fatigue. Another important aspect that makes us different from many other manufacturers is the high-grade IP rating of all our products. They can be installed or used in marine-grade environments, or outdoor in any temperature or weather condition. Plus, the composite and resins we use are fireproof-certified.” The advantage of being an independent, artisanal company has clearly provided Pequod with much-needed flexibility during the challenges of 2020. “We are a small but very wellfinanced company,” says Simone. “We don’t have hundreds or thousands of employees on the payroll and our streamlined structure has enabled us to not just survive this pandemic but also, albeit at a slower rate, continue growing.”

42 PRO AVL MEA November–December 2020

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BUSINESS: COMPANY PROFILE From those heady days when Pequod was simply a research project focused on “pursuing perfect audio reproduction with high SPL”, to the tipping point, where the business moved into the commercial domain, the brothers recognised that they needed to take the business to the next level. The appointment of industry veteran Leonardo Dani as chief sales officer was crucial to the company’s development. “Leo was the perfect candidate to help us with this transition,” attests Simone. “With his experience, he offered us multiple points of view: cost analysis, target prices, competitor comparisons and not least his clear picture of a brand establishment strategy demonstrating sustainable growth.” Dani joined following senior roles at Outline Audio, APIA and K-array, with a wealth of experience in developing overseas markets. While that background is serving him well as he introduces Pequod to the wider market, he’s understandably cautious about which segments will now present the most opportunities. “Before the pandemic, I would have said fixed installations in clubs and restaurants were the target, but now I don’t know if the club market will ever come back to past levels,” he says. “However, luxury home entertainment installation is another important market for us. We’ll see how the global scenario will evolve in the future, and we can and will react accordingly.” Immediately after PL+S 2019, Dani had thrown himself into developing Pequod’s distribution network and Asia was the first port of call, with exclusive distribution rights given to Vanlam Audio Equipments in Vietnam, quickly followed by Guangzhou Dardankings Audio Equipment in China. While these tie-ups have followed traditional distribution models, Dani acknowledges that different countries can operate more effectively in different ways. “We have used an alternative approach in Singapore, selling systems via friends for three different clubs: the Riverhause at Clarke; 1 Altitude, a 63rd-floor rooftop club in the financial district; and the new 1-VÜ club on Sentosa Island.” Further possibilities include Malaysia, Indonesia, Thailand and Mauritius, but understandably the pandemic has put those conversations on hold. The network of contacts that Dani has cultivated over the years is proving profitable in terms of some high-profile collaborations with the likes of fashion brand Burberry and

Italian DJ Benny Benassi. In typical low-key style, he sums this up in three words: “network, luck and design. The range immediately sparked the interest of fashion and event designers as well as artists, and we’re getting very good results. I’m working hard to make new partnerships, and now there’s a domino effect happening involving famous brands from other markets.” Product development is not slowing down either. “Our upcoming horn-loaded Polyphemus will be the biggest product we have launched,” reveals Andrea. “After that, we intend to release the new and very uncommon triple 18-inch Cerberus subwoofer. Our challenge now is to find the right amplifier to drive it because of the large amount of power it requires. But we are already working on this issue and we will find a solution soon.” To complete the hat trick, Pequod will focus on the fixed-install bar/restaurant market with a new 5-inch coaxial model similar in design to Kona but which can equally be used in a home studio setup when coupled with a small 10-inch sub or as a computer conference system for home offices or small boardrooms, coupled with a microphone. “This 5-inch

speaker has enabled us to plan for a new cooperation with an important brand from a market outside of pro audio,” discloses Dani. “If we are able to close the deal, it will be the most important act of co-marketing and co-branding in my career.” As the company looks ahead, the owners are also reflective about the journey that they have undertaken and lessons learnt. “We knew that this market wasn’t going to be simple but we didn’t expect that it would be so crowded and that there would be so much work just getting the attention of clients,” admits Andrea. “Product presentation, the website and our marketing has been changed twice already. Finding partners also wasn’t as easy as we had expected, but we’re learning quickly in order to do the right things in the future.” Concurring with his brother, Simone adds: “The pandemic has slowed down our market expansion a bit and removed precious resources from our R&D programme. But we feel we’re in a better position than other brands. We will be ready as soon as the markets start responding and asking for products again. We feel that our future will be bright and positive.” www.pequodacoustics.com

L–R: Andrea Simone and Leonardo Dani with the Cerberus 3x182Sub and Polyphemus

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November–December 2020 PRO AVL MEA 43

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BUSINESS: TECHNOLOGY

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Evolving trends in AV

The trials of 2020 have created a rapidly evolving AV market. With a career in AV spanning two decades, Crestron’s Stijn Ooms assesses the impact HAVING WORKED IN PRODUCT DEVELOPMENT FOR AV automation and integration manufacturer Crestron for some 20 years, Stijn Ooms has witnessed some serious technology changes throughout his career. Add in disruptions to the typical business model introduced by coronavirus and the projected time to market for some equipment has overtaken other technologies that seemed more crucial at the time. It’s a good time to reassess the future of the meeting space and huddle room, and audiovisual technology is key to a smooth transition. Who better to steer us through the last decade of AV disruptions than a man who has been central to Crestron’s product management since the start of the new millennium.

How did you first become involved in this field and what is your role at Crestron?

whole revolution. The PDA was on the upswing and, thanks to the Ethernet port, it was suddenly possible to control the space through a touchpanel or PDA that was connected to the network. At the same time, this solved the uncomfortable circumstances in which AV installers had to work. Instead of having to balance their computer next to the AV rack, the port allowed them to programme comfortably from behind a desk. Other devices also received network ports, so design and control became much easier as they could be done over the existing network, instead of needing an extra wire between control processor and, for instance, projectors and sound servers.

Prior to the pandemic, what areas had Crestron highlighted for innovation? Before Covid-19, the majority of everyday conversations with customers revolved around the rise of Unified Collaboration

My background is actually in electromechanical engineering, IT, networking and data communication. During my studies, I was given the opportunity to go out and gain experience from companies in the market. Through my personal life, I knew the distributor for Crestron in EMEA. I didn’t know exactly what Crestron did at that time but, when I walked into their house, there were these touchpanels and all the remotes on the living room table were replaced by one wireless touchscreen, so I was fascinated. They were getting lots of requests for full home automation, and so I was asked to study the Crestron products and see whether they were capable of handling full home automation in addition to just the AV gear. Bear in mind this was around 1998, but pretty much everything was already in place for home automation. Yet, homes are one thing, building management for businesses is another, and so I started exploring these applications.

What were the main trends at that time? At the end of the 1990s, Crestron added an Ethernet port to its control system, connecting the processors to the network. That was very innovative back then, and the beginning of a

A vision of the future – UC tools will become essential to office life

Stijn Ooms (UC). We had identified this trend as early as 2013. Microsoft had been our biggest user since the mid-2000s and all of their meeting rooms globally had Crestron systems. They needed a way to monitor all of these different meeting rooms, so together we codeveloped a solution called RoomView. Later, they came knocking at our door again and said: “we have something called Microsoft Lync. It’s a really cool tool, but it falls apart when you bring it into a meeting room environment.” They wanted us to make an appliance that would work with Lync and could bring in all of the peripherals necessary to make a conference work. But, over time, we had seen this growing and moving from purely video conferencing to a collaboration tool like Teams is now, where you can work together on data and documents. While we knew this shift was coming, before the pandemic 80% of rooms were not video enabled and we had estimated that it would probably takes 3–5 years to get all rooms up to date. Now, over the course of a few months, all of these rooms are going to have some sor t of UC tool. Additionally, people have now got a taste for working at home, but physical contact will definitely still be needed, and so we’ll have a hybrid situation. I’ve had many conversations over the past few weeks with end

44 PRO AVL MEA November–December 2020

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BUSINESS: TECHNOLOGY

How has the pandemic altered the way UC is being conducted? One of the biggest growth areas was in small team, close collaboration, which of course spurred the popularity of huddle rooms and huddle room technologies. That’s now unlikely to be a focus for most companies in the near future. One positive is that there will be fewer personal offices and more meeting rooms and these will likely be bigger rooms capable of implementing social distancing, instead of huddle spaces – at least for the next year or so until progress is made on a vaccine.

What is the biggest AV challenge the pandemic has introduced? At many companies, the need for new technologies is greater than ever. The majority of shared office spaces are being reduced by half in regard to their capacity and policing of that reduced capacity has become ver y impor tant to organisations and universities. The right technology, for instance occupancy detection combined with monitoring software, can help ensure that social distancing is being implemented and that companies are aler ted when it is not. But, at the same time, the pandemic has accelerated a lot of processes that were already ongoing – the convergence between IT and AV for instance, and the related use of UC platforms like Microsoft Teams and Zoom. Not ever yone is returning to the office and, for knowledge workers, hybrid working remains the norm. AV installers have to be able to offer technology and solutions that answer both the need for social distancing and a touchless experience, and the

The workplace of the future must be highly flexible need to turn any room into a meeting room, by enabling UC platforms.

What do you think will be the most crucial technological development to affect AV in the next decade? Driven by the pandemic, remote operation and management could well be one of the main drivers, but there are many challenges ahead. AV-as-a-service was the industry buzzword last year, and now this service-type model is probably more applicable than ever. The ability to subscribe for a feature set only as and when it’s needed could pay massive dividends to cash-strapped companies. The biggest hurdle to achieving AV-as-a-service is third-party support. It’s all good if you can monitor and manage all Crestron devices, but there is much more in a building than just our products. Shortly, we’re going to release the option to monitor and manage third-party devices through the XiO Cloud tool. After that, we’re much closer to being able to truly deliver AV-asa-service.

AV-as-a-service will go from a capital expenditure to operations expenditure model, where the end user has a better idea of the total cost of ownership. One thing I also think will be quite disruptive is the move towards software. We see lots of technologies that were typically hardwarebased now moving in a software direction; however, you still need the appliances to control them and this will increasingly shift to off-the-shelf hardware controlled by bespoke software. This is logical because AV responsibility is increasingly left in the hands of an IT engineer. If we’re honest, the AV industry is probably still 10 years behind IT in terms of the techniques for deployment, management, maintenance and scalability. Combine this with the cloud and new firmware and features sets can be easily scheduled for multiple rooms to upgrade overnight or out of business hours when you know they won’t be occupied. That is a massive advantage. This does mean, however, that there are going to be a lot of mainly smaller integrators that will need to re-educate themselves more on software and networking. But it is a shift they can’t afford to miss. The workplace of the future must be highly flexible to support employees everywhere as nearly every office space will be modified to include room systems automation, collaboration and video conferencing technologies. The transition from physical offices to remote environments brought the value of the cloud into sharp focus. AV/IT managers pivoted quickly to keep pace – utilising cloud services and expanding licences to scale and meet staggering new demands. Whether the location is at home, satellite or an adjacent office, the benefits of the cloud extend to the AV/IT department, and thus to the AV industry. www.crestron.com

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More information on www.datavideo.com November–December 2020 PRO AVL MEA 45

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Untitled-3 4

26/10/2020 11:44

NEWPRODUCTS

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

Audio conversion for the 21st century Prism Sound’s ADA-128 offers up to 128 channels of 32-bit AD/DA conversion at sample rates of up to 384kHz FORMING PART of the manufacturer’s Dream A/D and D/A converter range, Prism Sound has created the ADA-128 to complement the existing products and bring flexibility, functionality and cost effectiveness to the professional audio market, without any compromise in sound quality. Mark Evans, Prism Sound’s sales director, explained: “This is the first product of a new generation of Prism Sound converters and we are confident that it will be well received by audio professionals across many different disciplines, including music recording, postproduction, broadcast and installation. It builds on everything that is great about Prism Sound conversion but takes it to a new level in terms of power and flexibility. It is also a very cost-effective solution for people who require a high channel count.” Designed as both a conversion system and a high-performance, networkable audio distribution and processing system, the ADA-128 is built around a flexible 2U mainframe that can be fitted with up to 16 analogue and four digital I/O modules (each of the analogue modules nominally providing eight input or output ports, or both). Up

to four Host modules provide bidirectional multichannel connections to host computers, workstations and networks. The ADA-128 provides free routing between all of these inputs and outputs under detailed user control, as well as a wide range of processing functions. “The ADA-128 has a host of exciting features, including low-jitter master clocks, flexible routing and synchronisation options, and a comprehensive store system for fast-access factory and user presets,” Evans added. “However, one of its key benefits is the ability to independently synchronise the I/O cards to create four different domains, each with its own sample rate and clock. This level of flexibility will appeal to facilities with more than one control room, as well as projects requiring a large amount of I/O.”

The inspiration for the ADA-128 originally came from discussions between Prism Sound’s managing director Jody Thorne and The Royal Birmingham Conservatoire, a faculty of Birmingham City University. “The Conservatoire were looking for high-quality converters and knew Prism Sound’s reputation in this area, which is why they approached us,” said Thorne. “Our discussions identified the need for a highchannel-count conversion system that could be networked across their entire facility. As this didn’t exist, we set about designing it and that project formed the basis of the ADA-128. This has now gone beyond their original specifications and we have ended up with a product that is perfect for many more customers in the installation market.”

AFMG EASE Focus 3 update 60 AJA FiDO-T-12G-ST/FiDO-R-12G-ST 66 Amate Audio X102FD 56 Analog Way LivePremier version 2 63 AOTO CV Series 67 53 API 312 Mic Pre ArKaos MediaMaster 6 63 50 ARX Systems MIXXMaker update AtlasIED Atmosphere 52 Audac ATEO2S/TouchLink update 56 Audio-Technica AT2020V/AT2020USB+V 54 50 AVT Magic ACX Dante WAN Bridge Ayrton Karif-LT/Domino 69 beyerdynamic TG D70/TG I51 54 Brompton Technology Tessera S8 48 60 CEDAR Audio Pyramix 64 v8 Chauvet F6 Strip IP 68 60 Clear-Com CC-70/Eclipse HX version 12 Crestron Flex MM 64 d&b audiotechnik 44S 56 54 dBTechnologies VIO L1610 disguise r17.3 60 DPA Paintable Subminiature Cap 54 Elation KL Panel/Atmosity 68 68 ETC ColorSource Spot jr Extron TLP Pro 1225, 1525 and 1725 64 Green Hippo Nevis+ 67 Heritage Audio HA-81A 50 55 HK Audio Premium PR:O D2 series/Polar 12 Ikegami UHL-F4000/BSX-100 66 JBL Professional VTX B28 57 Kramer VS-48H2/VS-66H2/VS-84H2 65 L-Acoustics K3 55 Lab.gruppen FA series 53 61 Lawo Radio Software v6.6 LDA Audio Tech CH-32TN/CH-42TN/DS-60TN 58 Lectrosonics DCHR 49 Lynx Pro Audio Juno 58 MA Lighting grandMA3 onPC command wing XT 67 67 Magewell Mac SDK Martin Audio XP Connect 61 67 Martin Professional ELP WW IP/ELP CL IP Merging Technologies Merging+Anubis SPS 48 58 Meyer Sound MAPP 3D Modulo Pi Multi-projector auto-calibration module 66 53 Neumann.Berlin V 402 NewTek TriCaster 2 Elite 64 Nexo ID14/IDS108 57 NTP Technology Penta 615/Penta 721s 50 Outline V-Series 56 Panasonic AK-UC3300 66 Pliant Technologies CrewCom V1.8 61 Powersoft MeMo 53 Prism Sound ADA-128 47 68 Prolights EclCyclorama 100/EclCyclorama 050 QSC Q-Sys Core 8 Flex and Core Nano 48 RCF S 10 and S 12/WMF 33EN/MF 33EN 57 Renkus-Heinz 24/3-RN 58 RME HDSPe AIO Pro/M-32 Pro v2.0.0 53 Roland VR-50HD MK II v2.0/V-8HD v1.10 62 Ross Video Gator Toolbox V2/OverDrive V19.3 62 Sennheiser MKE 200 54 Shure SLX-D/AD3 49 Solid State Logic System T v3.0 62 Sound Devices SL-2 49 52 Symetrix xIO Bluetooth 61 Tascam Model 12 update Tasker C128 LSZH/C128 PE/C128 AR 52 52 Visionary Solutions PacketAV Duet 2 Waves WRC-1/Kaleidoscopes 50 64 Yamaha Adecia/Remote Concierge Station

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PRODUCTS

Merging adds ST2022-7 compliance WITH THE 2019 launch of Merging+Anubis, Merging Technologies had created an AD/DA converter that was ST2110-compliant and enabled the monitoring of large numbers of AES67 audio streams. Following requests from users, the Swiss engineering team has devised an ST2022-7-compliant model with Merging+Anubis SPS.

Merging is simultaneously launching its Merging Audio Device which, coupled with Anubis SPS, “opens remarkable possibilities”. MAD is a multi-ASIO driver (also with WDM suppor t) that has an infrastructure option that suppor ts ST2022-7, ST2110, NMOS and Vir tual Machine control. This latter feature

Anubis SPS Discussions with broadcasters also revealed that discovery and control of IP sources is a major challenge and although Anubis, when controlled via Aneman, is capable of handling large numbers of Ravenna/AES67 audio streams, the overall network management compliance needed to be addressed. Anubis SPS also adds NMOS IS-04 (Discovery and Registration) and IS-05 (Device Connection Management) to its list of features, which Merging believes is a major step forward in the easier integration into a complete IP infrastructure.

specifically recognises that centralised data centres and ser ver-based installations are now the normal way to efficiently manage the global nature of the broadcast industr y. A fur ther addition to all Anubis products is the introduction of a “comprehensive” parametric EQ with filtering on all outputs. This is another popular request and is said to enhance its role as the primar y monitoring device on desktops.

S m Brompton brings the power UK MANUFACTURER Brompton Technology’s Tessera S8 LED processor has been created to cater for highprofile projects that would benefit from the flexibility of the Tessera feature set without the need for a large output capacity. The product is described as a midrange LED processor that suppor ts all Tessera processing features, including HDR and dynamic calibration, as well as ultra-low latency and high frame rates. The S8 provides full 4K60 input suppor t, with eight 1G outputs each capable of 525K pixels at 60Hz, 8-bits per colour, and a zero-latency up/down scaler that matches the source to the screen. It’s capable of full HD output with closed loop redundancy, making it a solid choice for rental companies looking to maximise their offering for more cost-conscious events. The ultra-low-latency feature reduces latency to just one frame, making it easier to synchronise live action with visual effects, vir tual sets and cameras. High frame rate allows users to play

video content on an LED screen at up to 144fps, repor tedly resulting in smoother motion, reduced motion ar tefacts in fast-moving content and reduced input lag. Several additional features have been included to help get shows up and running quickly. Quick Association provides a simple way to associate large numbers of fixtures to the processor, while Pixel Mapping allows free placement and rotation of fixtures to 0°, 90°, 180° and 270°, regardless of cabling order. The processor is said to ensure peace of mind for users with the ability to operate a full HD output with closed loop redundancy. Cabling loops are created from the primar y por t through a string of fixtures and then back to the processor. In the case of unexpected signal loss or errors with the loop or primar y feed, the backup por t takes control and within one frame switches to the backup feed to provide a worr y-free live show.

I/O channel capacity is just not needed,” explained QSC executive VP, COO and CTO, Jatan Shah. “These new models are the answer to that. One offers on-board analogue I/O while the other is strictly networked-based, so users can make their decision based on the type of endpoint requirements they have in their space. Just because they are smaller cores though, doesn’t mean we had to compromise. Both models still provide the fully integrated, software-based audio, video and control processors that Q-Sys is known for.” The Q-Sys Core 8 Flex includes a 64x64 networked I/O channel capacity with eight on-board Flex audio channels and eight GPIOs to integrate analogue audio and control devices into Q-Sys. The Q-Sys Core Nano offers the same 64x64 networked audio I/O without the on-board analogue I/O in order to support installations with smaller spaces with centralised processing and fully networked endpoints. Both occupy a half-width, 1U footprint and include preinstalled 8x8 software-based Dante audio

channels (licence upgradeable up to 32x32 channels), driverless USB audio and AV bridging capabilities. “These new processors answer the call of smaller spaces that require fewer I/O as well as the increased popularity of fully networked peripherals with a solution that stays true to the foundation of our platform, delivering the rock-solid processing power and extensibility you have come to expect from QSC,” stated Trent Wagner, audio product manager, QSC. “The Core 8 Flex and Core Nano ‘rightsize’ the on-board I/O and physical footprint without compromising on features, performance or flexibility.” In addition to their suitability in a range of applications from government to healthcare and education, QSC is targeting the new models at the connected meeting space, with universal connectivity for all of the popular soft codec conferencing platforms. In brief, the latest v8.3.3 Q-Sys Designer software update now supports softwarebased Dante networking on the Q-Sys 110f without the need for additional hardware or I/O cards.

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www.bromptontech.com

www.merging.com

Q-Sys releases two new Cores

TWO NEW smaller models have joined QSC’s Q-Sys processor portfolio in order to meet the demand in smaller spaces that require fewer inputs and outputs, as well the increased popularity of networking peripherals. Utilising the same softwarebased architecture, control engine and design software suite as the existing Q-Sys Core 110f, Core 510i and Core 5200, these smaller Core processors include the Core 8 Flex, which boasts on-board analogue audio I/O and GPIO plus network

I/O and the Core Nano which offers network-only audio I/O processing and control. As with the rest of the platform, the models both offer scalable DSP processing, video routing and bridging for web conferencing, as well as third-party endpoint integration without the need for separate dedicated control processors. “Ever since we released our Core 110f processor, customers have been asking us when we were going to cut that in half. There are many applications where 24

www.qsc.com

48 PRO AVL MEA November–December 2020

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PRODUCTS

SLX goes digital, while Axient Stereo in miniature makes any mic wireless SHURE’S OUT-OF-THE-BOX SLX wireless series has gained a new digital entry in the form of the SLX-D. Offered in single- and dual-channel models, the SLX-D can handle up to 32 wireless channels per frequency band without dropouts, reportedly providing better performance in congested RF environments, and is being targeted at installations where ease of use matters the most – houses of worship, schools, local governments and corporate environments. The SLX-D transmitters run on either standard

microphone. The Axient Digital AD3 Plug-On Transmitter is a compact unit sporting an XLR connector and small OLED display said to be easy to read in challenging lighting conditions, as well as boasting a sweat-, moisture- and debris-resistant construction. Compatible with Axient Digital AD4D and AD4Q rack receivers in standard or HD modes, the AD3 is for high-tier broadcast, film and TV applications that require a flexible connection to a wired microphone. The unit has been designed to provide portability and connectivity, while still offering the reliability and performance that are synonymous with

CAPABLE OF stereo or mono operation from a single RF carrier with digital transmitters such as the DCHT, M2T, DBu, DHu and DPR, the DCHR miniature stereo digital receiver tunes from 470–614MHz in the UHF band. It

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covers six Lectrosonics blocks and matches the tuning ranges of the digital transmitters in the D Squared, DCH and M2 Duet lines. Measuring 76mm x 60mm x 16mm (HxWxD) and weighing 259g with batteries installed, setup is described as quick and easy with ultra-fast RF scans in SmartTune and using IR sync to send settings to the associated transmitter. Manual tuning can also be carried out using the RF Scan screen or by entering the frequency in the tuning screen. The audio outputs on the TA5 locking connector can be selected in the menu as analogue or AES3 format. A 3.5mm stereo headphone jack on the top panel can be used to monitor the receiver audio signals. Detachable SMA-mount antennas are also included. The receiver incorporates AES 256-CTR mode encryption, with four different encryption key policies available including universal (common to all Lectrosonics D2, M2X and DCHX units), shared (ideal for sports coverage), standard and volatile (one-time use key). Optional accessory cables are available for both analogue and AES3 connections to associated equipment. The optional LTBATELIM battery eliminator can be used to power the DCHR with external DC, while the optional LRSHOE accessory can be used to mount the receiver on small cameras. A USB jack on the side of the unit can be used to update firmware in the field using Lectrosonics’ Wireless Designer software. The DCHR housing is milled from aluminium alloy and specially plated for scratch and corrosion resistance.

AA batteries or an optional lithium-ion rechargeable battery solution with a dual-docking charging station. To aid with setup, the SLX-D is equipped with Guided Frequency Setup and a Group Scan feature that lets users set up multiple channels by assigning frequencies to all receivers automatically via Ethernet connections. “As we support customers in education, houses of worship, corporate facilities and theatres, we recognise the need for an easy-to-use digital wireless system with rock-solid RF performance that can scale as the needs of the venue or spectrum environment change,” said Nick Wood, senior wireless category director at Shure. “With the SLX-D, we can offer a solution that is both state-of-the-art and great value.” At the other end of Shure’s product portfolio, a new wireless transmitter for its flagship Axient Digital system has been released that transforms any XLR microphone into an Axient Digital

Axient. The transmitter also includes a pouch, belt clip, USB-C cable and supports both conventional AA and Shure SB900A rechargeable battery options. Shure has also announced a hardware customisation programme for the Microflex Complete (MXC) Digital Conference System that enables the manufacturer to respond to special requests for unique hardware variations. Options include front panels in sizes for user-specified dimensions; multiple colours in both brushed and matte finishes, including black (standard), aluminium clearcoat, bronze, gold, grey, blue, orange and red; customer logo and button labels in alternate languages; an assortment of features and control layout that match the customer’s meeting procedures; and a colour touchscreen that displays meeting information and enables control of features. www.shure.com

A RANGE of integrated multichannel wireless accessories are in the process of being launched by Sound Devices for its 8-Series mixer-recorders. The SL-2 Dual SuperSlot

supplies power to the SL-2 and slottedin receivers. Analogue or digital audio is transmitted from the receivers into the mixer-recorder via the expansion port. The

wireless module is a slot-in wireless receiver integration system that mounts to the top panel of any 8-Series mixer-recorder. Capable of accepting UniSlot and SuperSlot wireless receivers from a variety of manufacturers including Audio Ltd, Lectrosonics, Sennheiser and Wisycom, the SuperSlot protocol supports up to four channels of wireless audio per slot. Bypassing the need for an external DC connector, an 8-Series mixer-recorder

SL-2 offers antenna distribution to slot-in receivers, spreading out the placement of antennas for better RF performance. The rear panel of the SL-2 is equipped with two TA3 connectors for an additional four inputs of AES3 audio and two four-pin Hirose DC outputs, each supplying up to 500mA for powering additional equipment. www.sounddevices.com

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ARX mixes it up Routing in Waves and Stages DESIGNED SPECIFICALLY for applications such as onstage IEM control, the WRC-1 stage router is a rack-mountable wireless router that can be used with the Waves MyMon in-ear monitor mixing app in addition to other audio setups that require secure Wi-Fi connectivity, including remote audio console control and PA equipment. The router can also be used as a DLNA player for simplified audio playback in various corporate and educational settings via balanced analogue outputs (XLR L/R). Equipped with five 10/100/1,000 (1 WAN and 4 LAN) Gigabit Ethernet ports and two prograde lockable RJ45 ports plus three standard RJ45 ports, the WRC-1 offers simultaneous dual-band operation (2.4GHz and 5GHz). Packaged with basic router management

software, configuration features can be advanced with a free firmware download. Kaleidoscopes is a suite of phaser, flanger, chorus and tremolo sounds, crafted from analogue modulation studio classics. The plug-in’s Dual Cascade engines enable users to combine or “cascade” any two effects. The plug-in also features triggers that respond dynamically to playing in real time. The Dual Cascade architecture gives users access to two effects engines where they can choose a selection of wave shapes or any sidechain signal from a DAW session to be the modulation input. Speed, resonance, width and depth can also be controlled.

RESPONDING TO an increase in demand for a professional 1U solution that can inter face with smartphones, tablets, laptops and other mini-jack and USBenabled devices, ARX Systems has

but also independent controls for a professional mix. MIXXMaker integrates ARX USB, wireless and analogue audio inter face technologies into a compact package

upgraded its MIXXMaker wireless audio, USB mic/line master mixer. MIXXMaker is designed to deal with a wide variety of protocols and connectors. As consumer-level devices have become the programme source of convenience in audio playback across most applications, ARX reports that MIXXMaker not only provides all the inputs users need

with a wide range of features, including wireless audio, USB and mini-jack inputs, two balanced XLR microphone inputs, switchable push-to-talk priority override ducker, global three-way EQ control and phantom power for condenser microphones. www.arx.com.au

www.waves.com

Heritage Audio adds to Elite Series Connecting Dante from a distance THE HA-81A is the latest product to launch as part of Heritage Audio’s Elite Series. A mix of two classic consoles, combining a discreet, Class-A 73-style mic preamp with an 81-style equaliser, the HA-81A uses only rotary switches and precision, concentric potentiometers. The preamp section is an 80dB, Class-A design with Carnhill and St Ives input and output transformers, as found in the other products in the Elite Series. Features include input gain (switches in 5dB steps from 0–80), output trim (attenuates from 0 to –00 – infinity), –20dB PAD (ahead of the input transformer) and +48V phantom power.

In the equaliser section is a four-band, inductor-based system with high- and low-pass filters, each with five frequency positions. Whereas the typical 73-style three-band equalisers exceed at musicality but may fall short of the mark from a features perspective, the HA-81A reportedly excels at both by offering five-frequency position control over shelf or bell response curves on the highs and lows, and dual Q on both mid-bands with dedicated high and low mid ones (each with 10 frequency positions), providing a choice of 40 frequency selections overall. www.heritageaudio.net

Panel beaters NTP TECHNOLOGY has developed a new series of remote controllable panels together with audio routing and conversion interfaces for use in a wide variety of applications. The Penta 615 Series remote control panels are designed for remote control of Penta 720/721/721s audio routers and converters in addition to Digital Audio Denmark’s AX32/DX32R. Comprising the Penta 615-600A, -610A and -620A models, the units can either be operated through a direct connection or in combination with an NTP Technology 635 router controller. In Direct Control Mode (DCM), Penta 615 control panels communicate directly with Penta audio routers, eliminating the need for additional devices or software. Ideal for simple router solutions based on manual control, each key on the control panel is programmed for a certain function, such as source select, output select or cross-point select in DCM mode. The Penta 615-600A features 24 keys,

AUDIO VIDEO Technologies (AVT) has released its Magic ACX Dante WAN Bridge with the aim of solving the problems that occur when transmitting Dante signals over long distances. The multichannel PCM

latency of 5–40ms, making it difficult to transfer the signal via WANs,” said Lukas Mahler, marketing and sales assistant at AVT. “Also, the problem of high jitter and different clock signals at

system enables the transmission of up to 32 uncompressed audio signals via wide area networks (WAN), including the internet. The audio connection for the audio inputs/outputs is provided by the integrated 32-channel Dante/AES67 inter face and the audio signal is transmitted uncompressed via PCM. “Dante networks allow a maximum

the sender and receiver side can obstruct the transmission. These obstacles are eliminated by the system.” The device includes management software that can handle up to 10 systems in one graphical user inter face on any PC.

Penta 721s the Penta 615-610A has 18 keys plus four rotary encoders and the Penta 615-620A offers 42 keys plus a main display. Dedicated mini displays for each key or rotary knob are standard for each model and the controls are user-programmable.

The addition of the Penta 721s, 721s-DNT and 721s-SDI compact audio interfaces solve bridging audio format problems with AES, MADI and Dante I/O connectivity. With the inclusion of a 64-channel Brooklyn module, Dante connectivity is common

www.avt-nbg.de/en

to all three designs, but the 721s-DNT model adds another 128 channels and on-board sample rate conversion to the table. The Penta 721s-DNT is a Danteto-Dante converter with on-board sample rate conversion on the input, promoting its application on individual IP audio networks that may run on different sample rates and digital clocks. Designed for combining SDI signals with Dante, MADI or AES, the Penta 721s-SDI adds dual 3G-SDI embedding/de-embedding for broadcasters, with the SDI side providing integrated sample rate conversion. The modular 721s comes with an empty expansion card slot for inserting any of seven available expansion cards, such as analogue inputs or outputs and delay processing for lip-sync, 3G-SDI in addition to AES, MADI and Dante connectivity. www.ntp.dk

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PRODUCTS

Visionary Solutions sees double AtlasIED sets the Atmosphere

WITH THE release of the PacketAV Duet 2 encoder and decoder, Visionary Solutions claims it has created the world’s first AV-over-IP endpoints with built-in USB-C connectivity for distributing 4K UHD video and Dante/AES67 over Gigabit Ethernet. The Duet 2 encoders and decoders incorporate 4K UHD video and Dante/ AES67 connectivity control via a single main Gigabit LAN port. USB-C connection promotes the sharing of media from a laptop, tablet, phone or other USB-C connected devices, while soft-codec integration can be enabled from the USB 2.0 connection to a PC for web conferencing applications such as Zoom, Skype and Microsoft Teams.

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An Ethernet expansion port promotes network control and the management of IP traffic pass-through to remote devices, including projectors, displays and touchpanel controllers, all the while supporting PoE pass-through to connected devices. Duet 2 units also offer multiple selectable local input sources with HDMI loop-through that enable automatic switching between USB-C and dual HDMI input sources via input detect mode or programmed control system and web browser.

ATLASIED HAS spent the past two years developing Atmosphere, a digital audio platform that is said to be easier to configure, install and operate than traditional audio systems but with the modularity, scalability and versatility to support the needs of a wide range of commercial applications.

messages, while staff are permitted to only adjust the volume level. Ambient noise compensation technology is embedded into Atmosphere. Built into each DSP are multi-patented algorithms, which enable it to continually learn and adapt to changes in the environment. Through data collected and transmitted by an Atmosphere

www.vsicam.com

Tasker develops a classic ITALIAN CABLE manufacturer Tasker has unveiled a range of new products based on its classic C128 microphone cable. The C128 has a nominal section of 2x0.35mm² with a red and tinned OFC copper formation, a cotton filler to avoid distortion and an OFC tinned copper braid shielding covering 90%, all within an outer diameter of 6.3mm. Available in seven different colours, the C128 LSZH has a low smoke and zero halogen sheath and comes

with or without homologation. It is suited for low and medium fire resistance defined by the CPR EU305/2011 normative and tested by an independent international authority. The C128 PE, with a polyethylene outer sheath, is water resistant and specific for outdoor use and also for direct burial. The C128 PUR also has an outer sheath made polyurethane, a special material that has several features, such as flame retardant, halogen free, and resistant to friction, treading, atmospheric agents, UV rays and cold/heat (–40°C/+80°C). Tasker believes these characteristics make this cable an ideal solution for outdoor mobile or permanent installations and under water at a maximum 50m depth. Finally, the C128 AR has a special steel armour sheath for underground installation, even if there is a risk of damage from rodents. www.tasker.it

Suited for restaurants, bars, hotels, school campuses, houses of worship and retail establishments, the platform has been engineered to enable the use of touchless control, automation and artificial intelligence. Atmosphere combines digital audio processors, amplifiers, graphical user interfaces, programming software and controls, with all components designed to work together to minimise training time and installation, configuration and programming headaches for AV integrators, and reduce the learning curve for end users. Atmosphere enables each authorised user to manage the system from a mobile device, resulting in a cleaner, more hygienic approach to control. The controls of the Atmosphere digital audio processor populate automatically when a user’s mobile device scans the DSP’s QR code. Per parameters programmed initially into the system by the AV integrator, this QR code grants access to certain features – for example, allowing a manager to modify the schedule of outgoing

ambient noise sensor, the DSP comes to recognise patterns, like the need to raise the volume at a bar during happy hour to compensate for high levels of ambient noise. In addition, messages uploaded to the DSP as WAV files can be dispatched according to a pre-programmed schedule based on priority or when triggered by an Atmosphere input device, such as a volume/source/zone selector. Products currently comprising the Atmosphere digital audio platform include two varieties of digital signal processors; two amplifiers; six different plug-andplay accessories, including wall-mounted audio controllers; remote audio inputs; and an ambient noise sensor. The entire Atmosphere line-up has been engineered to integrate with AtlasIED loudspeakers – integrators can use the preloaded EQ files in an Atmosphere DSP to tune the speakers for the specific application and environment. www.atlasied.com

Symetrix bridges the network THE XIO Bluetooth has been launched by Symetrix as the first single-gang, Danteenabled Bluetooth endpoint. Available in both US and EU form factors, the sleekly designed endpoint adopts a Bluetooth 5.0 chipset and offers both an extended range with a stable connection. IP control and PoE simplify installation with a single cable connection from the xIO Bluetooth to a PoE-enabled network switch. The xIO Bluetooth may be configured to allow media-only connectivity, phone bridge connectivity or both. All aspects of the xIO Bluetooth can be controlled via Symetrix remotes, SymVue panels or third-par ty control systems. As a fully integrated member of the Symetrix xIO family of Dante endpoints that promote full device control and configuration, Dante routing can be managed within the Symetrix Composer software. All aspects of the xIO Bluetooth are fully configurable, including the Bluetooth-friendly device name, Dante

channel names, connect/reconnect functionality and security. www.symetrix.co

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PRODUCTS

API reissues 312 Mic Pre

Powersoft launches MeMo

AFTER NEARLY 50 years, API has introduced a recreation of the first microphone preamp designed by Saul Walker, API founder, in the 1970s. The 312 was originally used as the front end of the first API recording consoles. The circuitry of the unit was housed in card cages under the front “kneespace” of these early consoles, with only the gain pot mounted to the control sur face. In contrast, the new 312 is designed to fit into API’s various rack configurations. Still based on Saul Walker’s original designs, the 312 circuitry

MANUFACTURED IN Italy by Powersoft, MeMo is an ultra-low-frequency transducer amplifier bundle that adds a new layer of sound that can be felt. Following in the footsteps of M-System and Mover, MeMo is set to transform the home cinema and gaming markets by combining a tactile transducer and a matched amplifier platform. Requiring minimal setup, MeMo can be secured to any gaming chair or added to a cinephile’s favourite seat to achieve a fully immersive experience. Containing three presets accessible from the rear of the Class-D amplifier, resonating frequencies of the moving magnet transducer can be reduced between 20Hz and 40Hz. Added depth and lower volume control can be added to a home cinema system by optimising

is the building block behind the manufacturer’s 3124V, 3124MV and A2D. The 312 Mic Pre combines the manufacturer’s 2520 op-amps and proprietar y transformers and has a maximum 69dB of gain and 20dB pad switch. Other features include a 3:1 output transformer tap selection, switchable 48V phantom power and peak LED. www.apiaudio.com

MeMo to around 50Hz and enhancing the subharmonic content around 25Hz. With multiple mounting options, MeMo can also be optimised for music and multimedia content by using a flat preset with a slight bump between 60Hz and 80Hz. www.powersoft.com

Swedish tour de force are designed to maximise the conservation of energy. Employing convection-cooled, fanless technology for low noise and comprehensive circuit protections, the 1U, half-rack enclosures come with joining brackets for

rack, table and wall mounting. The rear panel incorporates an RJ45 port for GPI remote volume control, gain controls for each channel, a balanced line input and Euroblock-type input and output connectors. A system solution is available with an accompanying mixer and player products, in addition to wall panel and tabletop volume control accessories. www.labgruppen.com

The half rack FA602 amplifier PROMOTING DIRECT drive technology and Energy Star Certification for installed applications, Lab.gruppen has unveiled the FA series of commercial amplifiers. Incorporating a switchable high-pass filter, the two-channel FA602, FA1202 and

FA2402 models produce 2x 60W, 2x 120W and 2x 240W respectively in both low-Z (4/8Ω) and high-Z (70V/100V) operations. Incorporating Auto Ramp circuitry together with direct drive and constant power technologies, all three amplifiers

Neumann’s first standalone mic preamp

THE V 402 from Neumann is a microphone preamplifier with integrated headphone monitoring. It is a dual-channel mic preamp designed to maintain the sonic integrity of the original signal. Its transformer-less circuitry amplifies the microphone signal without unwanted colouration or sonic artefacts, such as noise and distortion. While this is also often claimed for simple preamps such as those in audio interfaces, Neumann believes the V 402 is built to much higher standards. The mic preamp is equipped with a studiograde headphone amplifier, reportedly ensuring uncompromised monitoring quality

at the recording stage. Independent volume controls for each channel provide a latencyfree monitoring mix without affecting the recorded signal. The manufacturer has also designed the DI input for sonic purity. Its high-impedance input stage is said to capture the sound of electric guitars and basses as well as other instruments with no loss of detail and free from audible noise. The switchable high-pass removes rumble and pops without signal degradation. A 20dB pad allows the V 402 to be used with highlevel sources up to 28dBu without distortion. www.neumann.com

The rear panel of the FA2402

RME turns Pro WITH THE advent of the HDSPe AIO Pro PCI Express interface card, RME has announced the successor of the HDSPe Audio Interface Card (AIO). Like its predecessor, all inputs and outputs can be used simultaneously but the Pro version has been designed for studio and broadcast applications offering a total of 30 channels (14 input, 16 output), each with a maximum of 24-bit/192kHz. The PCI Express audio interface also offers analogue stereo input and output, an additional headphone output, ADAT, SPDIF and AES/EBU I/O and one MIDI I/O. The HDSPe AIO Pro is based on the reference processors AK5572 and AK4490 derived from the ADI-2 Pro AD/DA converter. In addition, RME has enhanced the outputs with additional reference levels to allow more versatile integration into audio systems. It also includes a dedicated attenuator in the output section, resulting in an increased signal-to-noise ratio and a lower output impedance at low reference levels.

With the SteadyClock FS, the HDSPe AIO Pro features the latest clock and jitter rejection technology from RME. A further highlight of the HDSPe AIO Pro is the newly developed transparent headphone output. The mute relay includes switchable output levels that can remove the crackling noise at the headphone output and the analogue XLR and RCA outputs when switching on the computer. Firmware update 2.0.0 has also been released for the HDSPe AIO Pro M-32 Pro devices to increase AVB channel count from 64 previously (four streams) to 128 (eight streams) and allow single-channel routing across all inputs and outputs. The upgrade includes a new web remote interface and an enhanced JSON API for remote control over any type of network connection. www.rme-audio.com

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PRODUCTS

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A-T develops 2020 vision in silver AUDIO-TECHNICA HAS developed two limited-edition iterations of its AT2020 cardioid condenser microphone featuring a reflective silver finish. To celebrate the mic’s clear, natural sound quality, the visually striking finish of the AT2020V (standard) and the AT2020USB+V (USB model) is designed for YouTubers, livestreamers and content creators. Custom-engineered for extended frequency response and enhanced transient response, the side-address condensers are equipped

with low-mass diaphragms. The mics’ cardioid polar pattern reduces pick-up of sounds from the sides and rear, improving isolation of the desired sound source. Coming with AT8458a shock mounts as standard, the AT2020 mic line models offer a wide dynamic range and reportedly handle high SPLs with ease. The AT2020V is ideal for vocal pick-up in studio applications and features an analogue XLR output for easy connection to a digital converter or mixer. Designed

AT2020USB+V for podcasting, streaming, studio recording and voiceover use, the AT2020USB+V offers the convenience of plug-and-play

USB operation. Shipped with a 3.1m USB cable, the AT2020USB+V features an integrated headphone amplifier with volume control that allows direct monitoring of the microphone signal with no delay. It also offers a mix control that blends microphone and pre-recorded audio. The microphone’s A/D converter (16-bit, 44.1/48kHz sampling rate) is said to ensure articulate sound reproduction. www.audio-technica.com

beyerdynamic adds to TG series TWO MICROPHONES have made their debuts as part of beyerdynamic’s Touring Gear (TG) series. The kick-drum microphone TG D70 and the instrument microphone TG I51 are manufactured with a die-cast zinc housing, while the compact design includes features that enable both mics to excel in the studio or onstage. The TG D70 is a large diaphragm microphone specially designed to record the kick drum in action. beyerdynamic describes the TG D70 is a true midget as it can fit right into every hole on a typical kick drum. The microphone can also be set

TG D70 up on a cajón and bass guitar amplifiers to optimally record the instruments’ sound. The

hypercardioid features reportedly provide good isolation from ambient noises and prevent acoustic feedback. The microphone suppresses rear sound and softly captures side sound, making it particularly suited for drum recordings in loud environments like live concerts. The TG I51 is described as a jack of all trades and reportedly brings out the best in every instrument – from snare and tom drums to electric guitar amplifiers and brass instruments. It can be attached to the stand or a snare drum with the help of beyerdynamic’s MKV 87 microphone holder.

The TG D70 and TG I51 The TG I51 is said to enhance the toolbox used by producers and sound engineers while making their lives much easier. www.beyerdynamic.com

6060 evolves on a wider stage VIO gains a sibling

MEASURING JUST 3mm in diameter, the DPA 6060 Core sub-miniature microphones are capable of capturing high SPL levels

without distortion. The Danish innovator has now added a white-painted, stainless steel cap that can replace the original 6060 Series grid, which can then be painted or covered in makeup for theatrical performances. The IP58-certified model can be used by the film industry to hide a white mic in the buttonhole of a white shirt or similar. When extra audio security is required, a 360° double clip has been created for mounting the subminiature lavaliers in eight positions in 45° incremental steps. This added design feature speeds up mic changes when transferring from women’s to men’s shirts or even t-shirts where the neckline is used.

WITH THE VIO L1610, dBTechnologies has created a three-way active line array system entirely equipped with neodymium components: two 10-inch woofers provide an extended LF reproduction and interact with a coaxial neodymium component (4-inch voice coil MF plus a 2.5-inch voice coil HF compression driver) mounted on an exclusively designed waveguide. This coaxial symmetric acoustic design results in an “accurate transient reproduction”, which enables the VIO L1610 to deliver a “detailed

www.dpamicrophones.com

MKE 200 enhances audio use DESIGNED TO enhance video clips with clean and crisp audio, Sennheiser has added the MKE 200 to its por tfolio of audio-for-video microphones. Measuring 69mm x 60mm x 39mm and featuring a fully integrated shock mount with a builtin windscreen, the mini-microphone is designed for easy on-camera use with DSLRs and mirrorless cameras in addition to mobile devices. The MKE 200 features a directional design to capture the sound of the subject while rejecting unwanted background noise.

Minimising any handling and wind noise, the microphone comes with an internal shock mount which acoustically decouples the capsule from the housing and a layer of protective mesh within. Outdoor protection is fur ther enhanced with an inclusive furr y windshield. The batter yfree operation and 48g lightweight design of the prepolarised condenser repor tedly promotes optimal gimbal per formance. www.sennheiser.com

and homogeneous audio performance”. The coaxial component is said to allow an extended low-end reproduction of the MF and an off-axis coherence, with all the benefits coming from the woofer’s direct radiation. Each VIO L1610 acoustic engine is driven by a Digipro G4 Class-D amplifier module featuring 1,600W RMS. The Digipro G4 amp comes with a modular slot for expansion cards and features a special floating audio input allowing a digital optical isolation, reportedly resulting in an even, interference-free input signal. The Digipro G4 also includes IPOS (Intelligent Power-On Sequence), a circuit that controls the sequence in which the

main power supplies of all units within an array ramp up. As a result, each module is switched on in a different timeframe, keeping the overall system’s inrush current low, even in very big PA system deployments. The amp allows users to run a test on electronics and transducers before, during and after use. The system takes advantage of lowlatency processing resulting from the DSP which features linear phase FIR filters. As a default, the VIO L1610 is equipped with dBTechnologies’ RD-Net card for real-time remote control via Aurora Net software. The system is also ready for upgrades with Audinate Dante protocol for digital audio streaming as well as real-time control purposes. Each cabinet is equipped with a nearfield communication system and a frontal LED used to recognise each single module within Aurora Net. Onboard controls (two rotary encoders) allows DSP presets for speaker coupling and highfrequency compensation. The VIO L1610 comes with the VIO series’ three-point rigging system and the two front links are said to easily connect the modules. The back central rigging strand is equipped with a ring-type link, allowing users to set the relative splay angles ranging from 1–10° thanks to a single pin. It has been designed to be compatible with other VIO products, such as down fill for large VIO L212 systems. www.dbtechnologies.com

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PRODUCTS

L-Acoustics scales K3 L-ACOUSTICS HAS conducted its first-ever completely online product launch to unveil the K3 loudspeaker to the world. Designed to bridge the gap between the French manufacturer’s full-range line arrays – the K1 and K2 – and the smaller Kiva II and Kara II, the K3 enclosure delivers the same sonic signature and frequency contours as the larger models. An updated version of Soundvision software, V3.2, has also been made available. Operating within a frequency response of 42Hz – 20kHz (–10dB), the dual 12inch line array cabinet boasts a footprint of a dual 10-inch enclosure. Capable of producing a maximum SPL of 143dB, the bass response is extended to 25Hz (110dB) when paired with the SB28 subwoofer. Suitable for audiences between 1,000 and 10,000 at festivals, theatres and arenas, the K3 is joined by the K3i install version that incorporates the same driver and electro-acoustic characteristics but comes equipped with install mounting hardware. Weighing 43kg, the Baltic birch plywood cabinet integrates the manufacturer’s Pan Flex Technology, offering four dispersion options from the single enclosure. With Panflex and inter-element angles ranging from 0–10°, K3 line source coverage can be tailored to fit any audience geometry. Like the K2, the K3 features an ergonomic

The K3 fits between the K2 and Kara II four-point captive rigging system that integrates large handles and provides visual safety assessment. Weatherised to achieve an IP55 rating for outdoor operations, K3 transportation and rigging accessories are available to facilitate onsite deployment.

The contour characteristics of the fullrange enclosure match the K1 and K2 models. To maximise low-frequency power, laminar venting technology found in the KS21 and KS28 reference subwoofers has been integrated into the design of the K3 cabinet. Improving the output and audio quality in the low-frequency domain, the side panels of the K3 are moulded to prevent turbulent airflow at the exit of the ports. Matching the additional low-frequency power, the cabinet is fitted with a pair of high-output 4-inch compression drivers mounted to a dedicated DOSC waveguide. This in turn feeds into a Pan Flex element capable of producing one of four dispersion patterns: 110° symmetrical, 70° symmetrical or 90° asymmetrical left or right. Combined with the electronic presets, the manufacturer claims a dispersion control down to 350Hz. The installation version, the K3i, switches this with a pair of install-centric bumpers for hangs that can be permanently mounted in a similar way and with the same splay angle options. Up to six of the two-way active WST cabinets can be driven by a single LA-RAK II amplified controller, ensuring that a single LA-RAK AVB unit can drive up to 18 K3s. www.l-acoustics.com

HK Audio upgrades to Premium COMPRISING FIVE DSP-controlled, full-range, multifunctional speakers, HK Audio has unveiled the Premium PR:O D2 family of loudspeakers. Consisting of the PR:O 110 XD2, PR:O 112 FD2, PR:O 112 XD2, PR:O 115 FD2 and PR:O 115 XD2 models, the PR:O D2 series incorporates DSP electronics with advanced FIR filtering. The speakers are capable of producing a maximum SPL of 132dB.

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reproduction are required. The PR:O D2 models can be used together with Premium PR:O legacy speakers. The next-generation Premium PR:O D2 line-up has been given a design overhaul with metal front grilles, MultiGrip handles and tilt brackets. The PR:O 110 XD2, PR:O 112 XD2 and PR:O 115 XD2 are classed as all-rounders by the German manufacturer for use as satellites, compact full-range speakers or low-profile stage monitors. Their wellbalanced frequency response reportedly ensures low feedback for adoption in various applications using the Music/ Speech controller. The PR:O 112 FD2 and PR:O 115 FD2 are active full-range speakers in the classic 12/1-inch and 15/1-inch formats, providing a well-balanced sound pattern, speech intelligibility and high SPL readings. Both are ideal as a satellite in

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Polar 12 PR:O 112 FD2 Housed in low-resonance wooden cabinets, the two-way designs can be flexibly combined from standalone, 2.1 and monitor setups to full-stack applications where speech intelligibility and transparent

PR:O 118 Sub D2

combination with the PR:O 118 SUB D2 subwoofer, although the PR:O 115 FD2 can be deployed for standalone use without an additional subwoofer. The single 18-inch PR:O 118 SUB D2 and dual 10-inch PR:O 210 SUB D2 subwoofers feature stereo preamps and corresponding outputs for use in diverse applications.

In other news, following on from the Polar 10, HK Audio has developed a bigger brother in the Polar 12 for musicians, entertainers, DJs, presentations, schools and audiovisual applications. Consisting of a 12-inch subwoofer and two 825mm-high columnar elements, the Polar 12 is a plugand-play, active system. The subwoofer’s birch plywood 22.1kg enclosure incorporates a 2,000W amplifier with 24-bit DSP and a 12-inch long excursion woofer that is capable of operating down to 35Hz (±10dB). Designed to enhance portability, the midrange/HF column comes in two sections. Optimised for powerful midrange response, the top section is loaded with six 3-inch neodymium midrange drivers and a low-distortion, 1-inch constant directivity horn. Tuned to project a 120° throw pattern and impede feedback, the Polar 12 can also be adopted as a stage monitor. A four-channel mixer offers two mic/line channels, one instrument channel and one aux channel for music players. The mixer’s settings can be stored in five presets for future access and audio streams can also be rendered wirelessly via Bluetooth 5.0. The system comes complete with a padded gig bag for the columnar elements and a padded cover to protect the subwoofer in transit. www.hkaudio.com

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d&b audiotechnik drives new 44S to market DESIGNED TO deliver high-performance audio in nearfield applications with a wide range of flexible mounting options, the 44S is d&b audiotechnik’s first ever flush-mountable cabinet. The speakers comprise dual 4.5-inch neodymium LF drivers together with dual 1.25-inch HF dome tweeters mounted on a rotatable constant directivity horn to

44S create a rotatable dispersion characteristic of 90° x 30°. An optional d&b 44S back box can be used for flush mounting the loudspeaker into ceilings or walls, in both horizontal and vertical positions. The 3.6kg (6.2kg with back box) loudspeaker can be used as a standalone system or supplemented by actively

driven d&b subwoofers. Measuring 390mm x 128mm x 150mm (WxHxD), the asymmetric cabinet design and the optional back box promotes adjustments of ±20° in 5° increments for different listening heights. Powered by 10D or 30D installation amplifiers, the passive 44S can produce a maximum SPL of 121dB and 123dB output, respectively. The compact, point source, two-way design incorporates an intelligent, rotatable waveguide and baffle design that the German manufacturer claims to deliver smooth horizontal and tightly focused vertical dispersion between 90Hz and 17kHz (–5dB). The injection-moulded enclosure is finished in a resistant paint and further protected by a rigid metal grille. Two M8 threaded inserts are incorporated into the back panel to connect to different rigging accessories. The loudspeaker cabinet and most accessories are also available with the Special Colour (SC) option that can be executed in all RAL colours. www.dbaudio.com

Amate Audio turns to point source THE X102FD has been developed by Amate Audio to offer a powerful, high-output, highly efficient point source alternative to line arrays, in medium- and smaller-sized environments. The compact, V-shaped internal geometry cabinet features a symmetrical dual 10-inch LF driver arrangement and a 3-inch titanium diaphragm, 1.4-inch neodymium HF driver with an aluminium rotatable horn. With the latest iteration of the company’s Active+ integrated power and control platform producing 3,000W of two-way amplification, the X102FD is capable of 136dB continuous SPL output. Active+ system presets with advanced FIR filters reportedly configure and 0° phase-align the X102FD in a matter of seconds. Partnered with the X218WF sub-bass, the X102FD offers customers a ready phase-aligned, fullrange, plug-and-play sound system that will “deliver a lot of power without

having to move a lot of weight around”. In terms of costs, manpower and time-scale efficiencies, Amate Audio believes that it is far ahead of any compact line array solution for venues and events of up to 1,000 people. The X102FD can be deployed both vertically and horizontally, due to its rotatable horn with a simple “no tools required” pull, turn and release mechanism. In vertical FOH applications, the horn provides 80° x 60° (HxV) dispersion (in its default position). In the horizontal plane – for applications such as front fills within a large-scale line array system, or close to the ceiling hanging in an auditorium – quick rotation of the horn maintains the same dispersion. Likewise, 60° x 80° (HxV) coverage can be obtained in either plane. Active+ also provides Dante audio networking on the X102FD via the two rear-panel Ethernet ports. www.amateaudio.com

Outline extends hybrid powered solutions NOW COMPRISING five separate pre-configured rigs, Outline has extended the V-Series range of por table loudspeakers. Providing a maximum output of 3,000W, the compact V6.5 system weighs under 40kg and consists of two Vegas 6.5 speakers, a SUB 110 10-inch subwoofer, an L3000 amplifier and cabling. Including two SUB 118-SP12 subwoofers and two Vegas 15 full-range enclosures, the most power ful V15 12,000W combination can be set up by

a single person. Housed in a birch ply construction, the cabinets are finished in a polyurea coating. By sharing the same sonic fingerprint as the rest of the Outline range, a customised system can be created by adding other Outline components and units for larger events. The V8CX, V10 and V24 BGM combinations complete the current lineup of rigs. www.outline.it

ATEO2 clicks into place AUDAC HAS further enhanced and developed the ATEO2 click-and-play compact loudspeaker solution. The ATEO2S wall models incorporate the ClickMount mounting system, which is specifically designed to simplify mounting the speakers in corners. With ClickMount technology, a speaker cabinet clicks onto its mounting bracket either horizontally or vertically via a 6.3mm jack connector. Following installation, the angle can be adjusted by using the bracket arm, allowing the 2-inch aluminium cone driver speaker to be inclined in any direction. Designed for various fixed indoor applications including residential environments, retail spaces and offices, the ATEO2S blends into its surroundings with the aim of creating a subtle but effective solution. Bundling both the speaker and mounting system together, a ceiling-mount bracket can be used where walls are not suitable. Housed in ABS and finished in either black or white, the 10W RMS model is available in 8Ω and 16Ω variants and both incorporate an internal

self-resetting network for optimal overload protection. Designed to create virtual zones by linking multiple TouchLink compatible devices with each other, the Belgian manufacturer has

TouchLink technology

ATEO2S

integrated TouchLink technology into the AMP203 Dante mini stereo amplifier. Within the Audac Touch 2 app, multiple devices or amplifier channels can be selected to operate as one zone. When they are virtually linked, all devices or amplifier channels with the same TouchLink assigned zone follow the same settings, including volume, input and muting. A wall panel physically connected to one of the linked devices can automatically control them all.

Additionally, a number of software updates are now available for download, including v1.13.1 for the MMP40 media player and recorder. The module can now support iTunes AAC M4A files and hosts a synchronised display and web folder order. The MTX professional modular audio system and MTX zone matrix have also been updated with a number of enhancements with respective v1.5.4 and v3.2 introductions. www.audac.eu

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PRODUCTS

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DESIGNED TO complement the VTX fullrange sound reinforcement systems, JBL Professional has created a next-generation dual 18-inch subwoofer. Differential Drive technology endows the drivers with increased performance and SlipStream port technology offers improved airflow and reduced audible turbulence at any operating level. Following in the footsteps of the A8 and A12 rigging designs, the B28 is housed within an integrated rigging system for suspension in omnidirectional or cardioid arrays of up to 16 enclosures. The rigging and a comprehensive collection of accessories extend its flexibility within mobile and installation applications.

Integrating with HiQNet Performance Manager and Line Array Calculator (LAC) software, the B28 sports the same industrial design as A- and B-Series loudspeakers. Engineered for improved linearity, efficiency and extra-long excursion, two JBL Differential Drive 2288H-M 18-inch woofers lie at the core of the B28. The combination of the 2288H-M drivers and the large, central, flared port deliver LF output without distortion or artefacts. FEA-optimised integral bracing eliminates inter-cabinet standing waves, improves rigidity and simplifies the structural design. Mounting and configuration enhances versatility options. Avoiding traditional quick release pins and retaining cables that can get damaged or lost, the two-point rigging system uses integrated levers and locks. This enables the B28 to be stacked vertically or horizontally, using the independent sets of feet on the bottom and sides, while the spring-loaded design is said to ensure there is no rattling during operation. Universal M20 mounts interface with supported VTX accessories for constructing complete ground-stacked arrays. NL4 connectors on both the front and rear of the unit enable convenient wiring in standard or cardioid configurations.

The S-10 subwoofer

Fresh out of Reggio Emilia DESIGNED AS low-frequency complements for RCF speakers, the S Series of compact subwoofers feature high power precision transducers that can produce fast and controlled bass reproduction. Capable of producing 400W AES power handling with a maximum SPL of 125dB SPL, the S 10 and S 12 are 10- and 12-inch woofers with 2.5-inch voice coils. Capable of extending the LF range down to 50Hz and 40Hz, respectively, both models are suited to music playback in multimedia and venue applications. Constructed in plywood, the

processing control and monitoring options on the entire screen, while programs can be recalled and stored to and from the PC hard drive. Various crossover modes are available and up to 30 programs and settings can be stored. Eight equalisers are available for each input and output together with limiters, levels, polarity and delay settings. Dedicated for smaller rack- or wallmounted EN 54-16 certified applications, the MX 3500 is the master unit of the DXT 3000 voice alarm system. Comprising Class-D amplifiers providing up to 500W

pro.harman.com

Nexo’s smallest loudspeaker to date NEXO HAS followed up on the back plate holds two the success of its ID24 speakON connectors. cabinet with the launch Designed to overcome of the ID14 and the architectural challenges companion IDS108 in historic buildings, while subwoofer joining the providing unobtrusive highexisting IDS110 and power performance, the IDS210 models. The ID14 is ideal for surround dual concentric design sound and immersive audio features a coaxial 4-inch applications. LF driver with a 1.3-inch voice The recommended coil and a 1.4-inch diaphragm amplification solution is the The ID14 and IDS108 NXAMP4x1Mk2 Powered for the high frequencies. Two directivity options can be applied TDController, which can power up in the form of a standard 100° x 100° horn or to eight ID14s per channel. A dedicated setup an asymmetric alternative offering 90° x 140° for each directivity is available on the NXAMP, dispersion. Manufactured in France, the reportedly ensuring perfect coverage at any ID14 is capable of producing a peak output frequency. Additionally, the DTDAMP4x0.7, of 116dB with a frequency response of paired with a DTDcontroller, can power up to 120Hz – 20kHz (–6dB). When paired with the four ID14s per channel. IDS108 8-inch bass-reflex subwoofer, lowwww.nexo-sa.com frequency extension to 63Hz can be attained. Available in black, white or any RAL colour, the IP55-rated, weather-resistant cabinet comes with a comprehensive range of accessories. The rear of the fully symmetric design incorporates two M6 inserts for wall-mount applications and a dedicated U bracket can be added for installing on a microphone stand. Sharing the same acoustic components, two versions of the ID14 are available. The Installation version features an acoustic fabric-fitted front grille and there is a cable gland with two-core cable for audio input offering IP55 protection. The Touring version The ID14 is available in various colours of the ID14 uses a Magnelis steel grille and

WMF 33EN S Series cabinets are equipped with steel front grilles, top-loaded M20 standard pole mounts and four-pole Euroblock connectors with an audio input and parallel link output. The Italian innovator has also devised a two-way wall-mount speaker designed for broadcasting BGM within commercial spaces. Designed to be installed horizontally and vertically, the WMF 33EN is engineered to produce intelligible voice reproduction. Housed in a black ABS cabinet, the speaker comes with a steel magnetic grille and a smart support system for ease of install with connections integrated in the wall support. Conforming to EN 54-24 certification, the terminal connection blocks for input and output flameproof cables are made of ceramic material, while a thermal fuse protects the integrity of the line in case of heat affecting the speaker. Comprising dual 3-inch transducers with a 1-inch dome tweeter, 70V/100V power can be selected at 40W, 20W, 10W, 5W and 2.5W tappings. Featuring a plastic cabinet with steel magnetic grille, the MF 33EN is a two-way ceiling speaker variant designed for recess installation into ceilings or panels. Incorporating 40-bit floating point DSP and a 96kHz sampling rate, the DX 2006 is a two-in/six-out loudspeaker management processor for optimising passive speakers. Providing flexible routing, signal processing and equalisation, the front panel is equipped with LCD, controls and LED indicators, while the USB and RS-232 ports on the rear of the unit extend remote PC management. The Xlink PC GUI application extends digital

of power, up to six independent zones can be managed with a facility for a spare amplifier. The EN 54-4 certified internal power supply comes with back-up batteries, while integrated DSP further optimises environmental EQ, maximises intelligibility and BGM performance. Optional BM 3804, BM 3804FM and ME 3801 emergency microphone consoles, together with BE 3806 button extensions, promote live broadcasting functionality. Emergency messages are stored on a monitored SD card. www.rcf.it

The MX 3500 voice alarm master unit

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RenkusHeinz extends ICC Series FOLLOWING THE launch of the 12/3-RN single array module, Renkus-Heinz has added a third family member to the Iconyx Compact (ICC) Series. Bringing the benefits of the Iconyx family to a smaller footprint array, the ICC 24/3-RN has been developed for medium-sized installations. It is characterised by an unobtrusive cabinet that is almost 40% smaller than the classic Iconyx. Measuring 2m x 111mm x 121mm (HxWxD), the folded aluminium housing can be finished in black, white or customised RAL colours. In terms of performance, the vertical directivity can help overcome architecturally sensitive spaces. Beams can be digitally steered and directed from 400Hz and 200Hz, respectively. Vertical computer-adjustable opening angles vary between –30° to +30°. RHAON II beamsteering incorporates URGO beam algorithms, a movable acoustic centre, multiple beam-opening angles and high-pass filtering of individual beams. Each of the 24 3-inch, full-range paper cone drivers are powered by dedicated 40W @ 8Ω digital amplifiers, and individual DSP parameters including EQ, filters and delays up to 340ms can be configured. In addition to analogue and AES inputs, the rear panel includes two RJ45 Ethernet together with looping Ethernet, RHAON or optional Dante connectors. www.renkus-heinz.com

Juno withstands the elements DESIGNED FOR indoor and outdoor applications, the Juno Series from Lynx Pro Audio comprises weather-resistant, two-way, full-range speakers. The JN-6T comprises one 6-inch low/mid-woofer with one 1-inch HF driver, while the JN-8T comes with one 8-inch low/mid-woofer and one 1-inch HF driver. The cabinets have a sturdy structure and IP-rated system, with their discreet design making them suitable for beach clubs, pools, cruise ships and terraces along with meeting rooms and commercial centres. The speakers can be set up either vertically or horizontally. The body is made of engineered plastic injection moulding and polypropylene to reportedly guarantee protection against ultraviolet rays. The grille is perforated aluminium, internally covered in waterproof fabric and open cell expanded polyurethane. The system conforms to the IP46 international standard and the cabinets are equipped with a multitap transformer. www.lynxproaudio.com

LDA unveils five speaker models

CH-32TN

ceilings. Finished in either red or white and operating within a frequency range of 100Hz – 20kHz, the 6W RMS-rated CH-32TN and CH-42TN can produce a maximum SPL (1W/1m) output of 84dB and 92dB (±3dB), respectively. The DS-60TN 5-inch ceiling speaker is designed for installation within both ceiling and wall surfaces. In addition to a ceramic terminal and insulation fuse, the metal cabinet provides further protection from fire and vandalism.

SPANISH MANUFACTURER LDA Audio Tech has added several EN 54-24 certified models to its catalogue of ceiling and acoustic projector speakers. Encased in metal housings, the CH-32TN and CH-42TN 3- and 6-inch ceiling speakers have been designed for intelligible speech and music reproduction in 70V/100V line applications. Enhancing their evacuation credentials, both IP44-rated speakers come with a fire dome and are equipped with ceramic terminals and an isolation fuse. Inclusive springs offer ease of fitting and the reduced dimensions promote installation in limited depth false

DS-60TN

www.lda-audiotech.com

settings pushed directly into multiple Galaxy processors. In addition to traditional calibration test signal sources, MAPP 3D determines the maximum linear SPL for music, offering an accurate prediction of a sound system’s maximum capability when reproducing music. The combination of a streamlined interface and integration with Galaxy processors

together with the importation of SketchUp (SKP) and AutoCAD (DXF) files is said to afford time and cost savings in both systems design and onsite optimisation. With multiple views and fingertip control of a free rotation tool, audience areas can be quickly defined within complex architecture. Line arrays can be configured and automatically splayed for uniform coverage. MAPP 3D also enables virtual system optimisation in the design phase. The inclusion of virtual Galaxy signal processors allows processors to be added, prediction results to be analysed and settings synchronised directly to the hardware processors onsite. Complete output processing functions of all Galaxy processor

models are available. Because MAPP 3D includes precise sensitivity data for all Meyer Sound loudspeakers, it can display predictions as real-world SPL as well as attenuation. The inclusion of sensitivity coupled with M-Noise compatibility reportedly provides accurate predictions of system headroom. MAPP 3D loudspeaker performance is based on more than 65,000 three-dimensional measurement points, taken in 1/48th-octave resolution in the Meyer Sound anechoic chamber. The predictions are accurate across the full bandwidth of all loudspeakers, down to 12.5Hz for the very low-frequency control element.

PCM-20TN are equipped with anti-vandal and IP65-rated weather protection features. Matching the white finish of the speaker casing, steel U brackets can be adjusted for inclination. Both 20W (RMS)-rated speakers operate within a frequency range of 130Hz – 20kHz.

MAPP 3D adds new dimensions FOLLOWING THE introduction of the MAPP Online software program in 2001, Meyer Sound has conducted the most extensive upgrade to its systems design tool. Using local processing with no internet connection required, MAPP 3D works on both the Mac and Windows platforms as a free download from the Meyer Sound website. Creating a continuous workflow from initial design to onsite tuning, MAPP 3D provides 3D renderings of predicted sound system performance within wire-frame venue drawings and complete integration with the Galaxy Network Platform and Compass control software. Comprehensive processing parameters can be optimised using MAPP 3D predictions, with the resulting processor

The PCM-20TN and PCP-20TN acoustic projectors incorporate five-inch transducers for use in 70V/100V applications. Housed in a 3mm thick aluminium casing with a steel grille, both firerated projectors

www.meyersound.com

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Genelec RAW

Easy on the eye. Easy on the environment. Introducing RAW, an eco-friendly reimagining of our most iconic studio, AV and home audio models. Featuring a distinctive, recycled-aluminium MDE enclosure design, RAW loudspeakers require no painting and less intensive finishing than standard models. The result is a unique design aesthetic that allows the raw beauty of the aluminium to shine through. And because it’s Genelec, you know it will sound as good as it looks – in any setting. We will be donating a percentage of every RAW speaker sold to the Audio Engineering Society’s fundraising initiative – helping this much-loved organisation continue its valuable work throughout the current COVID-19 crisis.

For more information visit genelec.com/raw

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PRODUCTS

Clear-Com develops lightweight wrap-around headset AS A result of increasingly stringent safety regulations, the CC-70 headset from Clear-Com is a lightweight wrap-around dual-ear headset that can be worn under a helmet, hard hat or personal protective equipment. The headset runs behind the neck and over the ears, finishing with the mic boom near the mouth, making it compatible with protective headwear. Audio is delivered through comfortable and flexible noise-attenuating, in-ear buds; users can either wear a single in-ear bud to listen to channel communications and still be aware of ambient conversation, or in louder environments users can wear both in-ear buds to concentrate fully on headset communication. The CC-70’s dynamic range allows users to hear a full spectrum of audio, without the excessive noise and signal distortion that can lead to aural fatigue. Weighing just 2oz, the headset is comfortable to wear for long periods of time. In addition, since the headset wraps around the back of the neck, there is no interference with the user’s hair, which makes it an ideal solution for onscreen presenters in noisy environments. The CC-70 uses a four-pin female connector which can be used with a variety of Clear-Com devices, including FreeSpeak II, FreeSpeak

Edge, HelixNet beltpacks and V-Series Iris panels. With the development of an EHX version 12 software update, Clear-Com’s Eclipse HX digital matrix intercom now supports SMPTE ST2110-30 and AES67 interoperability. The all-IP intercom allows bidirectional communication for small or large collaborative work teams. The same update also allows the configuration and integration of FreeSpeak Edge 5GHz wireless beltpacks to further extend the existing FreeSpeak II 1.9GHz and 2.4GHz solutions within the same EHX managed system. The Eclipse HX system enables direct, point-to-point and one-to-many group and partyline audio/ data signal distributions and connections. All systems intelligently trunk over redundant fibre or through trunks based on IP (Dante, AES67 and native), MADI and audio Cat-5, reportedly without compromising audio quality or performance. For very large systems, Eclipse HX v12 also includes a Cross Ring IP Bridge (CRIB), which is a new trunking scheme that links separate, distant Eclipse HX intelligent fibre rings over IP bridging trunks.

VERSION 8 of Pyramix 64 has been introduced by CEDAR Audio which, in addition to a number of other improvements, brings the benefits of machine learning and AI to the platform. These are put to work in CEDAR’s spectral editing engine. In the past, users would remove unwanted sounds in a track by identifying each event individually and then defining it manually. Now, with v8, users can mark one of the offending sounds and then ask the machine learning algorithm in Retouch 8 to find all of the other instances

within the recording. They can then be eliminated individually or as a group using the appropriate Retouch tool. In addition to this, the AI in the new Repair tool can reportedly identify, suppress or reveal sounds while leaving the background in a marked region untouched. CEDAR says that unlike other spectral editing tools, only the significant signal within the region is processed – all low-level signals as well as the ambience are left unaffected.

Version 8 of Pyramix 64 gets smart

EASE Focus supports extended GLL plug-in

CC-70 The US company has also developed comprehensive kits for the effective sanitisation of five of their most popular headset models: the CC-300, CC-400, CC-110, CC-220 and CC-26K. The new kits consist of replacement ear pads, replacement pop filters, sanitising wipes, ear sock covers and temple pads in a cloth headset kit bag. User replaceable items for each kit differ slightly based on the structure of the headset – single or dual ears – and the headset series.

AN EXTENSION has been added to EASE Focus 3, resulting in the release of GLL plug-in API version 1.1. This version includes a new module supporting access to the geometric data of audience areas in EASE Focus 3 projects. By retrieving this data, loudspeaker-specific aiming algorithms can be implemented to set line array splay angles and electronic filters. For beamsteering loudspeakers, the filter configuration can be computed automatically in order to optimally cover selected areas of the venue. This new version 1.1 of the GLL plug-in is already supported by EASE Focus 3.1.12. The manufacturer now urges EASE Focus 3 users to look at their preferred loudspeaker brands and models to see if there are any key features that are missing in the software, with the likelihood that those features can be implemented via the GLL plug-in API. The corresponding software development kit is available for any interested loudspeaker manufacturer. www.afmg.eu

www.cedar-audio.com

simultaneously allows users to respond to feedback quickly and ensure time onsite is maximised. With the Object Assignment Hotkeys feature, workflows can be tailored for speed and ease of use by assigning custom keyboard shortcuts for supported objects. “There’s never a time I’m not trying to select two things at the same time,” commented Wyatt Bartel, senior technical director at Lux Machina, who had early access to the software. “The new release should help end onsite frustration and build better relationships with directors. It also has real-world impact when time is of the essence.” The software update is available to download from the manufacturer’s website. sequencing and simplifying workflows by assigning common parameter values

across layers. The ability to select multiple layers and keyframe values to layers

www.disguise.one

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Speeding up workflows with disguise

THE LATEST disguise software has introduced a number of new key features intended to make workflows more streamlined and efficient post-lockdown. These include Indirections, Multi-layer Editing, Object Assignment Hotkeys and Crossfaded Loop Section Mode, as well as a number of improvements and bug fixes. The standout new feature of the r17.3 software release is Indirections, which gives more flexibility by allowing users to change keyframe objects out quickly. This includes objects such as mappings, video clips, textures and configurations remotely via third-party protocols such as OSC, DMX or a dedicated API. According to disguise, this creates new potential workflows for esports, for example, by making changes to the visual experience in response to gameplay. The new Multi-layer Editing feature allows users to edit multiple layers, saving time

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PRODUCTS

Lawo tightens security LAWO RADIO products have gained new security remote functionality via the German broadcast manufacturer’s latest software release. Radio Software v6.6 is a new licence package for the Power Core DSP miking/routing engine, Power Core Edge. It provides an entry-level configuration for deployment as a high-capacity audio gateway where a mixing surface control is not required. The licence supports two MADI interfaces with 128 audio channels and up to 64 Ravenna/AES67 streams with a maximum channel count of 128. There’s a 1,280x1,280 routing matrix and the ability to expand with up to eight rear-panel I/O

Console L, Console XL and MAX licences; and a loopback add-on for Edge, SAN, Console L, Console XL and MAX licences that provides 128 loopbacks per free eightchannel I/O slot. Several new security features have also been introduced to mitigate the vulnerabilities of remote operation and control. They include an EMBER+ whitelist to allow connections only from authorised sources, an option to limit control data to specific interfaces, upgraded protection against denial of service data flows on the network, SSL support for remote access and enhanced network traffic logging for inspection and debugging operations.

ation o ue.

XP CONNECT is Martin Audio’s first-ever iOS app for the control and streaming of its popular self-powered portable series, BlacklineX Powered. When BlacklineX Powered launched, users were able to access the built-in three-channel mixer and on-board Bluetooth streaming by utilising the rotary panel controls on the back of the loudspeakers. The aim of the app is to provide users with all the functionality of the back panel in an intuitive format. The manufacturer describes the app as a quick and easy way for users to set up their speakers and deliver a low-scale mix using simple controls, such as input and output faders and high-pass filters. Dan Orton, Martin Audio’s product group manager, explained: “If the Bluetooth pairing on the loudspeaker is activated, it will automatically find the speaker and ask if you want to connect. Alternatively,

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Martin Audio announces first iOS app

cards. Power Core Edge can be controlled with the Lawo VisTool user interface application, which supports as many as 128 patchable audio PPM and/or loudness meters onscreen. It can also be controlled with KSC control panels and the EMBER+ network protocol. Additional features include an 8x8 GPIO add-on package for the Edge and SAN (Super Audio Node) licences, an add-on with 64 Mini-Mixers and selectable talkback inputs for the SAN, Console L, Console XL and MAX licences; an N-1 (Mix-Minus) add-on with 64 return feeds for the SAN,

Other notable features include “Make before break” functionality for Ravenna/ AES67 stream switching to help eliminate audio interruptions during live switching of network audio streams, improved snapshot timing and load speed in Power Core, integration of de-essing and AutoMix functions within the main DSP structure, and Power Core support for the newly released AES-3id I/O card, with four unbalanced digital stereo inputs and outputs using HD-BNC connectors. www.lawo.com

Pliant gives it up for CrewCom

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A V1.8 firmware download from Pliant Technologies includes several significant improvements for its CrewCom wireless intercom systems and devices. The update

features a new group management feature in CrewWare and a two-level user rights feature. With a roaming bias option for CrewCom Radio Packs in addition to the ability to connect or disconnect configured CrewCom devices without power cycling the system, the 1.8 firmware offers improved battery monitoring for the system’s devices. Additionally, users no longer need to power cycle remote devices when power cycling the system’s control unit. The firmware update also adds mixed band options on 900MHz transceivers and enables use of GPO relays.

in Demo mode, the user will be presented with a screen with faders – two channels, Bluetooth the main output fader for the loudspeaker and a clearly visible EQ button. You can set them up as stereo loudspeakers or allow them to work in zones.” According to Orton, this means that a single connected BlacklineX Powered will allow mute control of all inputs and outputs, with signal level visualisation and access to EQ and settings. Two connected enclosures will additionally offer the choice of Stereo or Zone modes, with three-band EQ and the high-pass filters. It allows setup of the XP12 and XP15 in three modes: full range, with sub added in and with floor monitors. The app has further advantages in that it allows the user to store and recall three different snapshots if set up for a FOH application. www.martin-audio.com

Version 1.11 upgrades Model 12 features TWO YEARS on since its launch, Tascam has added a Vamp Playback Function to the Model 12 live and recording mixer. Downloaded as part of the version 1.10 and 1.11 firmware updates, new features for the metronome have also been incorporated. The control precision of faders and knobs has been increased and made easier to use. On the tempo change menu page, the click can be activated for easier adjustment, three volume options are available for the accented click note and there is a new sound pattern with four bars for the count-in. With the builtin recorder of the Tascam Model 12, a Vamp playback function allows up to 10 such phrases per song to be marked for repeated playing during playback. This

allows the musician to better practise difficult passages or to extend solos and interactions with the audience during a live performance. The repetition of individual intervals starts either automatically or manually and can be interrupted by pressing a button or footswitch. www.tascam.com

www.plianttechnologies.com

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System T v3.0 addresses AoIP routing THE LATEST software update for the System T broadcast platform from Solid State Logic addresses many of the ongoing AoIP routing and security challenges associated with current broadcast audio production. Supporting Dante, AES67 and ST 2110 on the same hardware interfaces, System T comes with full discovery and dynamic routing of any Dante-enabled devices directly from the console GUI. New functionality across the whole System T console range, including the S500, S500m, S300 and TCR, is now provided with the v3.0 release. Previous enhancements including NGA and immersive audio together with DAW and

dynamic automation aimed at entertainment programming and events have been extended. V3.0 further enhances IP integration with visibility and routing of ST 2110-30 or AES67 RTP streams from the console GUI. With additional support for TeamViewer, the consoles can also now be remotely accessed, enabling remote support, configuration and control. Other v3.0 feature updates include the on-board Effects Rack that now comes with a new reverb and degenerative noise controls, a 10-band parametric EQ with FFT overlay plus an overhaul of channel and bus path presets. www.solidstatelogic.com

Updates aplenty for Ross LAUNCHED IN 2019 and in a modular openGear form factor, Gator Toolbox offers UHD up/down/cross and HDR conversion, standards conversion and frame synchronisation for UHD workflows over 12G-SDI. A V2 software update now adds SQD (quad-link gearbox in or out) and user presets to enable operators to quickly recall common configurations. In addition, V2 supports new hardware, including discreet AES

Preview feature allows operators to view video streams in the user interface. An inverted S2 Lift is available for the Furio SkyDolly ceiling-mounted, rail-based robotic camera system. Providing camera motion shots from above, the S2 Lift can support a full-size camera and prompter, creating dolly shots with up to 48.3cm of vertical lift and net payloads of up to 30kg. The two-stage lift mechanism limits solutions. The interface is said to present a variety of digital media into venue videoboards, such as real-time video clips, “fill+matte” stills and animations, surround-sound audio and sponsored adverts. Furthermore, Kiva reportedly enables operators to create playlists containing all these different media with flexible

Gator Toolbox V2 audio embedding/de-embedding and support for fibre. Software updates to both the Raptor and Newt IP gateway and conversion solutions can also be downloaded. The latest versions of OverDrive (V19.3) and Caprica (V6.3) are now available. The Audio Lock feature enables operators to lock or unlock specific audio channels so that automation events can be overridden during breaking news or unexpected interview situations. In addition, new Virtual Keyers and Inputs allow for up to 32 external display devices to be controlled by a single template, without using any primary switcher resources. Bus-based custom controls have been added to simplify the process of triggering devices without intervention. A Live

flex and minimises sway, while the linear rail design means that the SkyDolly can be used in virtual set applications. A free control system for Furio and CamBot pan/tilt heads and pivot PTZ cameras is available as a plug-in to the Ross DashBoard control system. Operators can store, recall and manage their robotic presets, and all axes are controllable onscreen without the need for a physical joystick. Key settings such as joystick limits, colour balance, exposure and streaming settings are all accessible. The Kiva live presentation server is the most recent addition to the manufacturer’s range of server solutions and complements the existing Tria production server and Mira replay server

playout control. It has been developed as a resource for broadcast and corporate studios using both “live” and “live to disk” workflows. In brief, the live production real-time graphics platform, XPression, has been updated to V10, including a multi-threaded video codec that supports UHD, HDR and Wide Colour Gamut. Ross has also tightened the integration between its XPression real-time graphics platform and Stats Perform, a leading provider of data in the world of sports. An updated Stats Perform SGL interface with a new dedicated connection option for XPression provides access to Stats Perform data which can be downloaded directly into the XPression engine. www.rossvideo.com

The Kiva live presentation server

New firmware announcements from Roland

VR-50HD MK II multi-format AV mixer FOLLOWING THE 2019 launch of the VR-50HD MK II multi-format AV mixer, Roland has upgraded its feature set with a significant product firmware update.

Available to download, the version 2.0 update adds Adaptive Noise Reduction and Loudness AGC in addition to LAN-based PTZ camera control. Functionality has also

been added to enable the operation of video cameras that support VISCA-over-IP, including Sony, PTZOptics and Avonic PTZ cameras. Support has also been added for new frame rates in SDI and HDMI inputs. Designed to improve workflow and add audio output delay to auxiliary outputs for livestreaming, the V-8HD eightchannel video switcher has been upgraded with a version 1.10 firmware update. The transition of all effects layers can now be synchronised and the number of saved assignable preset memories has been expanded from 16 to 24. In addition, support for importing JPEG files has been added, as

well as a function to save still images stored in the V-8HD to a USB flash drive. proav.roland.com

V-8HD

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ArKaos MediaMaster adds HDR capability ARKAOS HAS teamed up with Novastar to offer an HDR playback solution based on its MediaMaster 6 video control software platform. The MediaMaster 6 preview version is now available free of charge to all MediaMaster 5 users for three months, after which a paid update will be available. MediaMaster users can now benefit from

all the visual advantages that NovaStar’s HDR display technologies bring to their work. MediaMaster 6 connects directly to the NovaStar MCTRL 4K Controller – whereas previously, an additional piece of hardware was needed, at extra cost. This smart integration simplifies the HDR video setups for live events, performance

ANALOG WAY has released software version 2 for its LivePremier range of 4K/8K multi-screen presentation systems and videowall processors. The update includes multiple new features and enhancements for all Aquilon systems, including real-time SDR/ HDR conversion, boosted input and output capabilities, improved multiviewer and auxiliary functionalities and a more intuitive and efficient Web RCS user interface. All LivePremier systems are now compatible with the BT.2020 Wide Colour Gamut (WCG) as well as the HDR10 and HLG standards. They accept simultaneous sources of different types (SDR, HLG or HDR10) and convert them without any added latency to the desired standard. This conversion allows all the sources to appear correct and to mix HDR and SDR content in the same screen

without requiring any additional outboard converters and adding any latency. A new input and output group management reportedly allows significant savings in processing resources. The number of layers available can be more than doubled for large displays combining several outputs in full HD (LED walls or multi-projector panoramic displays). Supporting 4K input and output signals over one, two or four cables allows the internal processing to use a unique 4K pipeline instead of four HD pipelines. For example, a single 4K source can be used as the background for a group of four HD outputs.

LivePremier updated

shows and presentations of all types, explains ArKaos, by directly importing the file settings from the LED screen into

the media server, making the process quicker and more straightforward for AV technicians. To aid video mapping, MediaMaster 6 can read direct mapping files generated by the SmartLCT software. Once the setup of the wall is completed with SmartLCT, the information is imported into the MediaMaster 6 video mapper. The HDR output is available on the Windows version of MediaMaster and needs a recent AMD or Nvidia GPU. www.arkaos.com

processor, allowing a DisplayPort 4K60 output signal to be converted to four independent full HD outputs. In the case of a large display application requiring multiple HD outputs, combining the DPH104 with an Aquilon will reportedly save processing layer resources and increase the number of synchronised full HD outputs directly controlled by a single chassis (up to 48 full HD outputs in the same screen for a fully loaded Aquilon C+). Further features have also been added to the on-board HTML5-based user interface in order to make it “even more intuitive and efficient”. Among the new features, version 2 of the Web RCS now offers simplified configuration, password protection, resizable workspaces and custom views memories.

The LivePremier Series The LivePremier systems are now compatible with the DPH104, Analog Way’s 4K video

www.analogway.com

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Working as a family

YAMAHA HAS designed the Adecia family of communication products to work together to provide a complete and customisable audio solution for any enterprise or meeting space. The conferencing solution consists of the RM-CG ceiling microphone and RM-CR audio processor, together with PoE switches and VXL Series line array speakers. Adecia reportedly enables organisations to overcome implementation, configuration and room acoustic challenges by providing all the equipment required for a successful installation with the highest audio quality. The microphones, speakers and networking equipment automatically integrate to reduce time, costs and installation complexities. The solution detects all system components and configures them to be optimised for the room environment, accounting for the location

KRAM series matri 4K@6 and d curre (6x6) 88H2 and e dedic sourc all the The A 4K@6 HDCP to eig HDMI outpu Featu Equal signa longe An E Funct Kram allow active once press comm prese while the s autom on pr conne the 1 equip lock a

of speakers and microphones, reverberation and echo behaviour. Setting up a room is conducted via the system’s configurator in four steps. With USB, Bluetooth, Dante and analogue connections, Adecia supports multi-beam tracking technology, human voice activity detection, noise reduction algorithms, speaker tracking and adaptive acoustic echo cancellation. In brief, Yamaha has also partnered with Sharp Business Systems to produce the Remote Concierge Station solution which brings together Sharp’s 40- or 50-inch flatscreen and Yamaha’s CS-700 video sound bar in a mobile stand to provide organisations the ability to staff key locations during the current pandemic without having an employee onsite. uc.yamaha.com

Flex MM extends office locations PROVIDING A consistent user experience with one-touch Microsoft Teams and Zoom conferencing, the Crestron Flex MM has been developed as a compact tabletop video conferencing system. Primarily designed for converted or dedicated small workspaces both in the corporate office and the home office, the tabletop meeting and collaboration unit integrates native Microsoft Teams or Zoom Rooms software. Work from anywhere has become a widely accepted concept as employers seek ways to encourage interaction and support

productivity. As such, Crestron forecasts a bigger investment in small-footprint, high-performance UC devices that further develop enterprise-level professional AV conferencing solutions. Incorporating a 7-inch touchscreen, the Flex MM offers enterprise-grade network security that can be remotely managed and controlled. The microphone pick-up range extends to 3m and a wide-angle HD camera provides a 150° diagonal field of view. www.crestron.com

Extron increases AV control THREE NEW series of touchpanels have been unveiled by Extron. The TLP Pro 1225, TLP Pro 1525 and TLP Pro 1725 Series are designed to handle today’s AV control needs but, with their quad core processing and increased memory size, they are also “ready for whatever AV demands lie ahead”. The 12-, 15- and 17-inch touchpanels come in both tabletop and wall-mount form factors and have edge-to-edge glass touchscreens with 24-bit colour. They feature video preview inputs that support high-resolution video from HDCP-compliant HDMI sources and Extron XTP devices. The products have been designed for control applications that require customisable touchpanels with flexible mounting options, large control surfaces and multi-source video previews with annotation support. Extron LinkLicense for TouchLink Control and the TLCA 1 TouchLink Control Adapter transform wall-mount, tabletop and Cable Cubby TouchLink Pro touchpanels into all-in-one

control systems. They are said to add flexibility and power to the manufacturer’s TouchLink Pro

touchpanels, including the TLP Pro 525 Series, TLP Pro 725 Series, TLP Pro 1025 Series

The TLP Pro Series

and TLP Pro 300M. With LinkLicense, users can control AV devices via Ethernet directly from the Ethernet port on the touchpanel. The TLCA 1 features two bidirectional serial ports, one digital input, one IR port and two relays for control of sources, directly at the touchpanel. The SF 26CT LP is a low-profile, 6.5-inch twoway ceiling speaker featuring a 4.2-inch deep composite back can for use in restricted height plenum environments. The driver complement includes a 6.5-inch woofer coupled to a ¾-inch ferrofluid-cooled dome tweeter. The speaker offers both direct 8Ω and 70V/100V operation with a behind-the-grille, six-position power selector switch. With high impedance taps at 8W, 16W, 32W and 64W, the SF 26CT LP has been developed for applications that require a high-power distributed speaker system in plenum spaces that will not accommodate a taller back can.

KRT-4

www.extron.com

NewTek unleashes TriCaster 2 Elite NEWTEK HAS designed the TriCaster 2 Elite video production platform for both video-overIP and more traditional SDI operations. The system reportedly enables large-scale campuses to harness nearly every major video calling application in use today, delivering them a myriad of creative options. “More than ever, HOWs tell us they are adopting broadcast techniques to communicate their message to their world more

effectively as they seek to stay relevant in a rapidly changing environment,” said Dr Andrew Cross, president of R&D for the Vizrt Group. At the heart of TriCaster 2 Elite is a high-speed 60x45 video crosspoint with 32 external inputs that automatically determine video format and resolutions up to 4Kp60. Unlike conventional routing switchers, each input includes proc amp tools, independent keying and cropping

for crisper video plus triggers for automation. TriCaster 2 Elite incorporates eight configurable mix outputs in HD or two in 4Kp60, direct NDI outs of media players, multiple streaming encoders, continuous NDI conversion of all eight SDI inputs together with eight independently selectable recorders for immediate replay. The

platform can be used to produce simultaneous mixes, deliver multiple 4K streams to different places at once, feed videowalls and accommodate separate branding and language packages.

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PRODUCTS

Craving Kramer KRAMER HAS devised a new series of high-performance matrix switchers for routing 4K@60Hz (4:4:4) HDR video and digital audio signals. The current VS-48H2 (4x8), VS-66H2 (6x6), VS-84H2 (8x4) and VS88H2A (8x8) switchers re-clock and equalise the signals from dedicated HDMI, HDCP-compliant sources before routing to any or all the outputs simultaneously. The AV matrix switches eight 4K@60Hz (4:4:4), HDR, HDMI, HDCP (2.2/1.4)-compliant signals to eight 4K@60Hz (4:4:4), HDR, HDMI, HDCP (2.2/1.4)-compliant outputs at up to 18G data rate. Featuring Kramer re-Klocking and Equalisation Technology, the digital signal can be rebuilt to travel longer distances. An Easy Step-In Collaboration Function can be combined with a Kramer Step-In enabled switcher, allowing a device to become the active signal on the main display once the Step-In button has been pressed. With quick access to common configurations, up to 16 preset configurations can be saved, while Smart Switching detects the source and acceptor with an automatic input selection based on priority selection or the last connected input. The front panel of the 1U rack-mountable chassis is equipped with switching, memory, lock and EDID buttons, together

VS-88H2A with I/O LED displays. Distance control from embedded web pages via the Ethernet, ProtocolÂ 3000 API and RS-232 serial commands can be transmitted from a PC, touchscreen or serial controller. Extending up to 1.8m in length, the KRT-4 cable retractor is now available for HDMI, VGA, audio (3.5mm), LAN, USB and DisplayPort connectors. For installation in a TBUS or as a standalone, the KRT-4 is designed for meeting room and classroom applications where it automatically locks into position to the desired length before retracting into the housing when desired. A gentle retraction feature extends the life of the cable and connector. Including multichannel DSP and a user-friendly graphic interface, the AFM-20DSP-LE is an audio matrix switcher with 20 analogue ports that can be configured as inputs or outputs according to preset I/O

configurations. The switcher maintains the quality of the original audio signal with selectable sampling rates up to 96kHz. DSP enables simultaneous processing of all input and output signals, while users can control signal routing, volume and other basic settings using API commands via RS-232 communication transmitted by a PC, touchscreen system or other serial controller. The AFM-20DSP-LE supports up to 10 global presets per I/O configuration plus 10 mixer snapshot presets.

In brief, VIA firmware 3.0 is now available. VIA Versa has been added to first- and second-generation VIA Campus and VIA Campus Plus, while VIA Connect Plus has received Microsoft Teams support. Miracast has been enhanced for VIA Campus2 and VIA Campus2 Plus users and additional customisation options have been added for VIA Screen Editor. www.kramerav.com

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The TriCaster control API and automation tools are interoperable with existing equipment such as control room systems, videowalls, multiviewers and media platforms. Other features include frame sync on every input, animated GIF support in buffers, social media publishing, audio mixing and routing.

In related news, parent company the Vizrt Group has announced the introduction of Teams integration with NDI technology to provide versatile video workflows through a Teams meeting and give storytellers a new level of creative possibilities. www.newtek.com

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PRODUCTS

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Lights, Panasonic, Action

INCORPORATING AN 11-megapixel 4K image sensor to achieve a horizontal and vertical resolution of 2,000 TV lines, Panasonic has launched the AK-UC3300. Built with a similar feature set to the AK-UC4000 studio camera, the camera system is suited for live remote and studio production and supports various inter faces, including 12G-SDI output, 4K over 3G-SDI output (TICO) and SMPTE ST 2110. Including a full simultaneous

HDR/SDR feature set, built-in ND filter and expanded multi-format capability, the HD resolution provides detailed imagery in indoor and outdoor settings. With high sensitivity of F10 (2,000 lux), it enables high-quality video shooting including 2160/59.94p and 1080/59.94p with low noise while maintaining a S/N ratio of 62dB or higher. Accessorising the UC3300, the AK-HRP1015GJ remote operation panel offers operability and the AJ-CVF70GJ serves as a 0.7-inch full HD OLED colour viewfinder. When paired with the AK-UCU600 camera control unit, the AK-UC3300 helps manage and deliver live and on-demand video with its 12G-SDI, two independent intercom switches, and multiple fixed return video and prompter channels. www.panasonic.com

Ikegami masters 4K DEVELOPED FROM Ikegami’s highdefinition HDL-F3000, the UHL-F4000 has been designed for content creators seeking to future-proof their work by mastering in 4K. Capable of delivering HD cut-out images in addition to 2160p59.94 or 50Hz 4K, the image sensor unit uses three CMOS global shutter elements to ensure no rolling shutter distortion, even in aerial imaging applications where subjects are constantly moving in parallel. Measuring 100mm x 128mm x 90mm (WxHxD) and weighing 1.1kg, the UHL-F4000’s digital zoom is capable of magnifying from 1.01x to 10x, including gradual acceleration. A focus-assist function places the edge components of the 4K image on the high-definition monitor output feed. Further refinements include a variable contrast control that can be used during reduced visibility such as fog or smoke. When shooting at night, the camera can be adjusted for optimum noise reduction with high gain, while a vertical image reversal mode allows upside-down mounting. Aberration correction can be performed using data from the lens servo block, even if the servo block is removed from the lens to be used in the limited space of a

BSX-100

Modulo Pi auto-calibration makes alignment a breeze A NEW multi-projector auto-calibration module has been announced by media server manufacturer Modulo Pi as an option for its Modulo Player and Modulo Kinetic media servers. The dongle-based module allows users to automatically align and handle softedge blending between multiple projectors on planar, curved and dome surfaces. The result, according to the manufacturer, is that precision edge blending, warping and media playback between multiple projectors can be achieved within minutes and with zero latency. Working with Modulo Player, up to one server can be supported, up to six WQXGA outputs or

four 4K outputs. Working with Modulo Kinetic, the auto-calibration option supports multiserver configuration, creating an unlimited number of outputs and resolution support. The system’s auto-calibration function can handle independent calibration groups, as well as stacked video projectors. In addition, a masking feature ensures a fine-tuned projection. Fully developed by Modulo Pi, the autocalibration module relies on PoE cameras to offer fast and simplified cabling. www.modulo-pi.com

AJA expands Mini-Convertor family

LED the min man by a scre

UHL-F4000 gimbal. The camera head consumes very low power as all video processing is performed in a separate base station. A 40Gbps duplex optical fibre connection communicates between the camera head and base station for positioning up to 10km apart. The optical fibre can be integrated into one bidirectional core via an optical circulator and passed through a single-core optical rotary joint used for a small gimbal. The BSX-100 is a 3G fibre base station offering a coherent upgrade path for users as they progress from SDI to IP, from SDR to HDR and from HD into HD/4K dual-format workflows. Designed to be fully compatible with Ikegami Unicam HD system cameras, including the HDK-99 and HDK-73 models, the base station provides 3G-SDI/HD-SDI HD output. SMPTE ST 2110 media-over-IP interfacing is available as an option for use across 10GbE and 25GbE networks, in addition to a 4K output software key allowing use of HD cameras in a variety of configurations, including simultaneous production in HD and 4K resolutions. Complementary 12G-SDI/3G-SDI quad link interfaces are also available. Housed in a 3U, half-rack, low-mass unit, the base station optionally includes HDR to SDR conversion.

AJA’S FAMILY of 12G-SDI Mini-Converters has been expanded with several new models that extend fibre connectivity over long distances (up to 10km) via a single optical cable. The FiDO-T-12G-ST and FiDO-R-12G-ST provide single-channel conversion between 12G-SDI and ST Fibre. The FiDO-T-12G-ST is a singlechannel 12G-SDI to single-mode ST Fibre transmitter, with 12G-SDI loop out, while the FiDO-R-12G-ST is a single-channel, singlemode ST Fibre to 12G-SDI receiver, featuring dual 12G-SDI outputs. All models include ST connectors and feature compact profiles for small spaces. The HA5-12G-T-ST and Hi5-12G-R-ST support conversion between HDMI 2.0 and 12G-SDI and ST Fibre. The HA5-12G-T-ST converts HDMI 2.0 to 12G-SDI for 4K/UltraHD single link outputs and includes 12G ST Fibre connectivity for transporting signals over long distances, while the Hi5-12G-R-ST is a 12G-SDI

to HDMI 2.0 Mini-Converter featuring 12G ST Fibre connectivity that supports up to 60p for 4K/UltraHD. HDR support includes HDR10 metadata in accordance with HDMI 2.0/CTA861.3, as well as HLG over HDMI. The new 12G-AMA facilitates 12G-SDI analogue audio embedding/disembedding, with a range of model variations available for transmitting and receiving signals over 12G-SDI BNC, LC Fibre or ST Fibre. It is a four-channel analogue audio embedder/disembedder with support for 12G-SDI BNC input and output up to 4K/UltraHD. Both the embed and disembed functions are simultaneously active, and the supplied breakout cable offers four-channel balanced XLR input and output. The 12G-AMA is also available with 12G LC Fibre transmitter, receiver and transceiver models, as well as 12G ST Fibre transmitters and receivers. www.aja.com

www.ikegami.de

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PRODUCTS

etic,

Green Hippo scales new mountains

Expanded support for Mac platform

WITH THE advent of the Hippotizer Nevis+, Green Hippo has added a “small yet powerful” media server to its range. Housed in a small, purpose-built chassis that can fit within carry-on luggage, Nevis+ has been developed in response to an ever-increasing use of visual displays in live entertainment and fixed installations. Including all of Hippotizer’s software features as standard, Nevis+ is described as an affordable solution for use in video creation, visualisation and playback. The half-rack or wall-mount

MAGEWELL HAS extended support for Macs The SDK provides APIs based on the with a new SDK for the manufacturer’s PCI macOS AVFoundation framework for all three Express capture cards and plug-and-play, product families, while custom Magewell external capture devices. The Mac SDK APIs for Pro Capture lets third-party developers directly PCIe cards access the advanced reportedly capabilities enable of Magewell deeper capture control devices over capture in their parameters, macOS and access to ancillary OS X software applications. metadata and lower latency The company’s USB Capture for capturing video up to 4K Pro Capture Dual SDI 4K Plus at 60fps. Example GUI-based Gen 2, USB Capture Plus and Pro Capture products are already and command line tools are said to help compatible with OS X and macOS software developers get up to speed quickly. through native operating system support or www.magewell.com universal drivers.

unit offers one display port 1.2 output with software-based EDID management, two network ports and the latest versions of Hippotizer’s tools, including Shape 3D Mapping, PixelMapper and the multipurpose pre-visualisation tool, all built into its Hippotizer V4 software. Designed for a broad range of less demanding applications, Nevis+ broadens its appeal where logistical and budget restrictions are evident. www.green-hippo.com

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AOTO keeps it slim LED MANUFACTURER AOTO has released the CV Series, a slim version of its mini LED technology. According to the manufacturer, the series is characterised by a smaller LED chip, more stable screen robustness and better sealing

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and optical design. This reportedly avoids the problem of damage to ultra-fine pitch LED screens and inaccessible onsite maintenance. The screen benefits from AOTO’s mini LED, HDR boost, Moiré reduction and 110% NTSC ultra-wide colour gamut technologies. Users can place the screen in a large variety of positions thanks to its wide viewing angle of 180°. By adopting six-direction adjustment technology, the screen sur face is described as extremely flat and smooth, bringing a more comfortable viewing experience. Manufactured with low-level blue light, the CV Series incorporates “power ful” eye protection and features a lightweight structure design. The cabinet is 38mm thick and weighs 5kg, lowering transportation and installation costs. www.aoto.com

Prepared for the elements MARTIN PROFESSIONAL has expanded the ELP Series of LED ellipsoidal fixtures with IP65-rated models. The Martin ELP WW IP (warm white) fixture provides colour rendering and brightness, while the ELP CL IP (colour) delivers saturated colours. Providing the same quality of light and performance, the IP65-rated variants now offer water resistance and dust protection. The ELP WW IP delivers 7,000 lumens of output and 97 CRI at 3,000K colour temperature, while the ELP CL IP offers 6,900 lumens and a CRI of 85 in high-output mode and 5,900 lumens and 90 CRI in high-quality mode with a colour temperature of 6,000K (open white). Both models offer flicker-free operation for consistent light output on and off camera. Other features include a gear-based Fine Focus adjustment knob and Fast Focus, which allows fixtures to be focused without data flowing to it. ELP IP also offers 16-bit

ELP CL IP

dimming with four selectable curves and 26 colour presets that match colour filters. Available in black or white, ELP IP fixtures can be configured from a choice of four Martin lens tubes with static beam widths or two zoom lenses. www.martin.com

Lighting on command MA LIGHTING has launched a new member of its grandMA3 onPC solutions range. The grandMA3 onPC command wing XT is described as a versatile solution for smaller and mid-sized installations. It uses the same inter face as other grandMA3 consoles and allows new users to learn the MA user inter face and later switch between this solution and other grandMA3 consoles. The grandMA3 onPC command wing XT enables users to program, play back or back up within the grandMA3 world. It comes with 10 motorised faders, 40 physical playbacks, 16 assignable x-keys and a dedicated master playback section. The solution incorporates the command section of grandMA3 consoles to reportedly make it easier to use the grandMA3 onPC software. All inputs and outputs of

a grandMA3 console are available to the user. DMX, MIDI, Ethernet, Timecode and Remote Control are all on hand directly.

Additionally, it has four individual monitor outputs, allowing users to tailor it to best suit their needs.

The solution provides the maximum number of parameters available for grandMA3 onPC solutions: 4,096 parameters with two DMX outputs and two Ethernet Gigabit connectors included for DMX over Ethernet protocols. A total of 1,024 DMX universes can be assigned to any of the physical DMX outputs or transmitted via MA-Net, sACN or Art-Net. Alongside the grandMA3 onPC command wing XT, there are two onPC options: the grandMA3 onPC command wing, said to offer the best grandMA3 mobile solution, and the grandMA3 onPC xPort Nodes, which reportedly provide a more costeffective DMX output solution for softwareonly show control. www.malighting.com

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PRODUCTS

Chauvet unleashes the imagination WITH THE introduction of the F6 Strip IP F series panels, allowing it to display the linear video panel, Chauvet Professional same images as other video pieces on the reports that designers will have more stage. It works with the VIP Drive freedom to create video displays in a 83R Nova, using the wider variety of configurations. Measuring NovaStar 1m x 3.45cm x 6.82cm (WxDxH), the outdoor-ready product can reportedly fit in tight spaces, add an extra dimension to set pieces and be arranged in control protocol. The VIP unique patterns, making it suited Drive 83R Nova can auto-detect for applications such as drive-in F6 Strip IPs when they’re plugged F6 Strip IP shows and livestream productions. in, making it easy to drag-andA high-resolution 6.9mm pitch strip, the F6 drop into the mapping software. The strip’s Strip IP is compatible with all of Chauvet’s black-body LEDs reproduce video at 15-bit

grayscale. Other features include a 5,000:1 contrast ratio and a 5.94kHz refresh rate, as well as stealth and soft white diffusion filters. The F6 Strip IP maintains its pixel pitch for 0° end-to-end linking, as well as for mounting units next to one another. A viewing angle of 160°/155° (H/V) and a resilient LED mask design reportedly present clear images to audiences from any seat in the house and a 5,500 NITS output is said to ensure that

images can be seen easily, even during daylight hours. The panel features rugged aluminium extrusion housing and is easy to install thanks to its flexible mounting options, which include adjustable brackets on each side. Up to four strips can be suspended from a single rig point using the end brackets. In addition to its IP65 rating, the F6 Strip IP includes panels that are convection cooled to optimise heat dissipation for even colour distribution. It also has a dedicated compact power supply for enhanced stability over extended use. www.chauvetprofessional.com

Elation adds to KL series A FULL-COLOUR-SPECTRUM soft light has been added to Elation Professional’s KL series of LED luminaires. The KL Panel has been optimised for the colour temperatureadjustable requirements of live productions and is described as an ideal key and fill light source for any situation requiring outstanding performance and colour quality. The KL Panel uses a 295W RGBW + Lime + Cyan LED array to produce soft white or full-colour washes up to 24,000 field lumens at a 100° half-peak angle. It has a CRI of over 95 and colour temperature is adjustable from 2,000–10,000K. Additional colour tuning is possible through a green-shift adjustment and virtual gel library. Other features include smooth 16-bit dimming all the way to zero and 16-bit selectable dimming curve modes for

KL Panel

ETC extends ColorSource family

programming ease, as well as electronic strobe. Adjustable and removable eight-leaf barn doors allow for customised shaping of the beam for more precise illumination and less light spill. It also has a 900Hz – 25kHz LED refresh rate adjustment for flicker-free operation. The luminaire can be mounted on a stand or suspended using any standard clamp or the included Junior pin adapter. The fixture can be powered remotely through its integrated four-pin XLR 24– 36 VDC battery input (battery not included). Professional

control options include DMX, Art-Net and sACN. It can also be controlled manually using the included encoders and OLED display, reportedly providing instant control of intensity, colour temperature, green shift and other settings. The integration of Elation’s E-Fly wireless DMX system is said to allow for even more flexibility of use. To complement its growing line of special effects machines, sister company Magmatic has unveiled a new line of fluid called Atmosity. The universal fluid has been specially formulated for use in Magmatic’s Magma and Thermatic haze and fog machines, Polar snow machines, Rocket CO2 cryogenic simulation effects and other specialty effects products. www.elationlighting.com

Flooding the stage with light DESIGNED IN a low-profile form factor to meet applications at both the front and sides of the stage, the EclCyclorama 100 from Prolights is a soft-edge, linear cyclorama and floodlight equipped with a custom and calibrated RGB + warm white LED source. It is capable of delivering a

of control possibilities, such as DMX, RDM, Art-Net, sACN and wireless DMX. It has a slim design at 12cm high and comes with tilt angle adjustment, beam control and flexible hanging and stacking options.

EclCyclorama 100

WEIGHING JUST 5.5kg, ColorSource Spot jr is nearly half the weight of a full-sized ColorSource Spot fixture. Spot jr is available in two array options: Original for subtle pastels and white light to enhance skin tones, and Deep Blue, for more saturated, dramatic colours. Like all ColorSource fixtures, Spot jr includes ETC’s colour integrity technologies, which, according to the manufacturer, ensure that colours set in rehearsal are the same colours in the show. This includes thermal droop compensation, third-party lifetime testing and factory colour

calibration. ColorSource luminaires feature a four-colour mixing system said to offer “bright, vibrant colours and perfectly mixed pastels”. Spot jr has a built-in 25–50° zoom, which is ideal for small stages or installations. ETC reports that longer throws and short trim heights make this an all-purpose luminaire. The manufacturer is providing a five-year warranty on the entire fixture and a 10-year warranty on the LED array.

linear and high-quality white reproduction of the entire spectrum with high CRI, TLCI and TM30 performances. The optical system has been designed to offer a wide asymetric beam angle. Prolights reports that the EclCyclorama 100 is a very flexible solution, suitable for applications where fixtures are connected to each other or separated by a considerable distance, without the worry of dark edges or gaps. The floodlight is described as user-friendly and reportedly offers a multitude

With all the characteristics of its sibling, the EclCyclorama 050 is a 170W linear soft CYC and floodlight with RGB + warm white colour mixing. www.prolights.it

EclCyclorama 050

www.etcconnect.com

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PRODUCTS

Ayrton starts a Domino effect AS THE first fixture in Ayrton’s new series of LT (Long Throw) products dedicated to long-range applications, the Karif-LT is an ultra-compact 300W LED beamspot. Equipped with a 168mm frontal lens offering a zoom ratio of 17:1 and a 2.8–47° zoom range, the narrowness is a distinguishable feature of this LED. The high-efficiency, low-etendue, compact LED module delivers an intense beam which, calibrated at 8,500K, can reportedly generate metallic white light and deep, vivid colours. Karif-LT has an overall output of 13,000 lumens at a colour temperature of 7,500K and a centre-beam luminous intensity of 3.5 million candelas. Other features include a CMY colour mixing system, a multi-position CTO wheel with seven different colour correction filters, a wheel of 13 complementary colours for infinite pastel hues and saturated colours, nine interchangeable rotating HD glass gobos and a wheel with 39 fixed gobos. Karif-LT also has a glass monochrome multi-position, bidirectional effects wheel and a prism effects system comprising four combinable rotating prisms for creating complex effects. Standard features also include light and heavy frost filters, a dynamic animation effect with speed and fade adjustment and an electronic dimmer for perfect fades.

Karif-LT

Domino

Capable of delivering 51,000 lumens from a 1,000W LED source, Domino combines the output and optics of Huracán-X in an IP65-rated body for outdoor applications. Equipped with a

liquid-cooling system of six IP68-rated submersible fans outside its weatherproof enclosure, the fixture is fitted with a 178mm frontal lens. Its optical system uses 13 lenses, producing a 10:1 zoom

ratio and a zoom range of 6–60°. The optics deliver a uniform flat beam with no hot-spot to reproduce high-definition images over the entire zoom range. Domino comes with a subtractive CMY colour mixing system combined with a variable CTO and a wheel with six colours for pastel and saturated colours. The framing section allows accurate positioning of each of its four shutter blades across a 100% sur face area, while the image section includes 14 interchangeable HD glass gobos on two wheels. The effects section contains two dynamic effects wheels with continuous movement in both directions, a CMY multilayered wheel for creating multi-coloured effects, a standard monochromatic effects wheel, a 15-blade iris diaphragm, two frost filters, CRI and TM30 optimising filters, two rotating prisms, a dynamic sparkle effect with speed and fade adjustment and an electronic dimmer. The 52kg fixture is available in S and TC versions – the former delivers metallic white light at a colour temperature of 7,000K, while the latter is calibrated at a colour temperature of 6,000K with a CRI greater than 90 and high TM30 readings. www.ayrton.eu

Daniel drives and supports your customers. He understands sales, distribution and your solutions.

Behind every great business is a Daniel.

Daniel understands industry technologies and their application. He cultivates strong relationships to develop your business. Interfacio connects professionals with world-leading pro AVL brands.

China Sales Manager

Touring, recording and installed sound.

Contact: bardy@interfacio.com www.interfacio.com Int: +44 208 986 5002 USA: 1-800 578 0144 @interfacio

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BUSINESS: ANALYSIS

Remotest ideas

Calrec’s VP of sales, David Letson, discusses the challenges presented by 2020 and quickly adopting different business practices, including assisting broadcast customers transition to remote working maintained a core of production and engineering staff to ensure that customers have received the same support as ever.

What about the installation and commissioning process?

Two Calrec Type Rs at RTHK were installed and commissioned remotely

Covid-19 has given us new ways to support customers in the field, and installation and commissioning are a great example of that. Not being able to travel has forced us to adopt new techniques, and we’ve been able to support customers remotely over IP. For example, working alongside Andy Leung of Jolly Pro Audio, our distribution partner in Hong Kong, we were able to install and commission two 18-fader Type R systems for Radio Television Hong Kong. This covered hardware installation, network fault-finding, configuring switches and setting up PTP settings, culminating in remote technical training for the RTHK team. We’ve also been able to upgrade entire IP networks, such as a 12-console network for RTCG in Montenegro, with three Artemis and nine Type R consoles. These things we would normally do onsite, so this has been quite the learning experience for us.

When did you begin to realise that things would have to be done differently this year?

Do you think you will adopt some of these measures permanently?

The turning point for us was NAB – it sent a very clear message and things happened very quickly after that. When different parts of the world started to lock down, the nature of the phone calls we were dealing with changed very quickly. We expected to get a lot of questions about remote production as our RP1 remote production product was already very mature, but most questions were about helping broadcasters move to remote working environments. The difference is all about where you are sat. Where remote production uses an established mixing environment to mix local DSP at an event in another part of the world, remote working is about mixing a programme remotely from the processing core of the console: in your bedroom, in your kitchen or even in your garage. We’ve helped customers adopt virtualised tools such as Calrec’s Assist web interface to allow them to log into consoles remotely. We’ve helped install VP2 virtual systems for remote control over Assist; we’ve had broadcasters use physical Type R surfaces in their homes to mix live daily talkshows; we’ve helped broadcasters sitting at a desk in a production studio to pair with a desk in an OB truck parked at a football stadium; and we’ve even seen our compact Brio consoles in garages and in VW campervans mix live programmes while remaining socially distant. Things are being done very differently this year, and there is no one-size-fits-all solution.

How has the lack of travel affected interactions with your customers and distributors? As an industry, we travel a lot. We travel to demos and tradeshows, we do onsite training and commissioning, we provide network upgrades onsite – we are a very sociable industry. Also, mixing consoles are very tactile – they are not software interfaces, they are physical surfaces. Not only do they have to fit in perfectly with customer workflows, it is important that customers are across the ergonomics: how easy they are to drive, how quickly can one access the functions and the actual physical size of it in a given environment. When live mixing from a preview monitor, operators often aren’t even looking at the surfaces, so feel is very important. As a company, and an industry, we like to get hands-on, and the lack of exhibitions and customer visits has been one of the most difficult things to adjust to. We still miss

going to see customers and talking through their requirements, sitting at a desk and demonstrating how it can be flexed to meet specific requirements and shooting the breeze at a bar with operators and business leaders.

How have you adapted to this? How have your sales and marketing activities had to change? Like many others, we have had to find other ways of communicating. We’ve had an opportunity to invest in training resources, so we now have Brio, Type R and AoIP training on the Calrec website, and we’ve been able to invest more time in ensuring our distributor network is kept informed of developments. In that respect, we’ve had a fantastic opportunity to connect. We’ve also been able to provide access to consoles and equipment remotely. Early on, we launched a series of demos using our Calrec Assist web interface to log directly into a Type R core at the Mill in Hebden Bridge, so customers can make live adjustments and see the effect on the hardware in real time. As we started to move into more and more virtualised and remote operations, these early demos were quite powerful. We’ve also been demoing remotely using webcams, but we’ve had most success demoing a hybrid model, purely because of the tactile nature of our equipment. We’ve had a fantastic response from customers when we’ve been able to ship a console to their location, and communicate from a console located in our demo room in Hebden Bridge. We use webcams to connect to the customer, and they can get handson with it at the same time. This also gives us an opportunity to show how our equipment integrates with our remote working products, like Calrec Assist.

We all will! This has been a period of rapidly accelerated thought and, as an industry, we’ve all been very open-minded to figure out the best tools that we can. We could do a lot of this before, but broadcasters must now insist on the ability to be more flexible when something like this happens again. We need to provide broadcasters with equipment that is capable of being creative and flexible when they need to be. More importantly, customers are also reconsidering long-established work practices. Future builds, particularly around OB products, need careful consideration; having 50 people in close proximity in an OB truck needs to be reconsidered. Many are considering different approaches. This is a period of huge innovation and, in some respects, the timing is perfect for people to maximise the use of emerging IP solutions like Calrec’s ImPulse processing and routing engine. www.calrec.com

Once you have made a sale, how do you carry it forward? We have a very robust production system where the emphasis is on communication. Post-sale, customers have a dedicated project engineer for all engineering and build queries. We’ve

Calrec’s VP of sales, David Letson

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STUDIOLIVE SERIES III ECOSYSTEM AVB-Networked Hardware for Live and Studio

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BUSINESS MUSIC

COMPLETE AUDIO SOLUTIONS

RCF Business Music offers a complete range of products to design audio systems for background and foreground music in public spaces. High audio quality and a flexible architecture, allowing the distribution of different audio programs in multiple environments, each with specific acoustic requirements. From small to large systems, the RCF Business Music line provides the smartest solution, blending uncompromised sound quality, full processing features, exceptional power, easy configuration, and high scalability.

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www.rcf.it

26/10/2020 11:50