Pro AVL MEA November–December 2022

Welcome

It was great to finally get back out into the region recently for the first time in a while. Back in September I made my first trip to Cairo, where the country is in the midst of slowly preparing for the opening of the new Grand Egyptian Museum near to the pyramids sometime early next year and the culmination of efforts to create a new administrative capital on the outskirts of the city. Barely having unpacked and I was then off to Dubai, where the magnitude of GITEX meant the city became increasingly more challenging to navigate. The new season promises to be a winner for the events industry, with a plethora of interesting upcoming fixtures taking place across the region, not least of which being the World Cup kicking off in Qatar on 20 November.

GITEX was a roaring success for the handful of AV companies participating (see p.48 for a full report), and the organisers will be branching out next year with a new satellite show in Morocco. IBC similarly was considered to be a successful, if somewhat scaled back, outing (see pp.42–44). Which leaves us with just a handful of weeks before we all head back out to Barcelona again for ISE. Somehow it feels like we were only just there. The cover story for this issue is the Atatürk Cultural Centre (pp.34–35), which having quite literally risen from the ashes following a fire in the 1970s, now occupies pride of place in Istanbul’s Taksim Square. Acoustics played a central role in the auditorium’s reconstruction and the venue now stands ready to embark on fully immersive

HOLOPLOT enters global partnership with Electrosonic

WORLD

Electrosonic has announced a new strategic partnership with Berlin-based pro audio company HOLOPLOT in a bid to create revolutionary immersive audio environments in experiential spaces around the globe. Electrosonic claims that with the release of HOLOPLOT’s X1 product line, users are granted a previously impossible level of control over sound, which will only enhance the partnership and its capabilities further.

“Partnerships with companies as well regarded as Electrosonic are vital to the continued international growth of HOLOPLOT and the fulfilment of our mission to push the boundaries of what

is possible with professional audio. Their experience providing the right technology and services for complex audiovisual deployments makes them a perfect match for HOLOPLOT as we develop our hardware and software to solve otherwise unsolvable challenges for partners worldwide,” said Ryan Penny, head of sales at HOLOPLOT.

Previously, the two companies cooperated on the build-out of Illuminarium, a nextgeneration entertainment venue, along with other partners. Illuminarium has been recognised throughout the industry as a “groundbreaking” entertainment venue. “HOLOPLOT’s revolutionary technology

combined with our experience delivering immersive environments creates a unique advantage in the industry,” said Ryan Poe, director of technology solutions at Electrosonic. “When we work together, our

combined expertise will provide unique and memorable experiences for any guest.”

www.electrosonic.com www.holoplot.com

DAS Audio brings versatility to Amman Academy

installations, was commissioned to bring the academy’s ambitious vision to life.

The Amman Academy’s intention was to create a versatile theatre venue, equipped with state-of-the-art audiovisual technology capable of creating an immersive experience for the audience and, most importantly, be able to adapt to the different needs of every show. In addition, the academy required an adjacent multipurpose room that could be used for meetings or as a lounge for the staff. In terms of sound, INTE felt DAS Audio ticked all the boxes.

Haitham Nazzal, INTE project manager, said: “The difference between the first and the back row is less than 3dB: the human ear cannot even perceive it. The sound is exceptionally clear, which is one of the most important aspects to consider in a theatre hosting drama and music performances. DASAim technology has been employed to optimise SPL distribution, tonality and frequency response throughout the audience area. Audio is distributed using a Cat7 cable and managed with the DASNet software and the DSP-2060A.”

For over 30 years, the Amman Academy has been known as one of the most prestigious institutions in the region. To expand its educational and commercial activities, a new building has recently

been added to the site to host theatre performances, which includes a multipurpose room for meetings and other events. International New Technical Est. (INTE), an integrator firm specialising in theatre

With a seating capacity for around 437 people, the theatre’s main sound system was built around four Aero-20A and Aero-20 12A, as well as four Artec-508A systems as front fill. These were augmented by four LX-118A line array subwoofers and 120-inch and 15-inch Road loudspeakers.

Robe iSpiiders hold up in the Blyde River Canyon for I’m A Celeb

JORDAN SOUTH AFRICA

Robe’s new IP65-rated iSpiider LED wash moving lights are the latest campmates in I’m A Celebrity Get Me Out of Here Germany, which was recorded at Blyde River Canyon in Hoedspruit, Limpopo Province, South Africa. Lighting was supplied by Blond Productions and designed by Mauritz Neethling for production company, Triosphere, who facilitated the series for franchisee ITV.

Previously, Australian and French versions of the show have been recorded at the same South African location, and Blond has been a production supplier for the last six years, over which time they have refined the lighting and the processes involved. The iSpiiders were a new purchase specifically for this show at the start of 2022, following a site recce in late 2021 when Neethling met the German team, including director Michael Maier and DoP Roberto Piersanti.

With South Africa’s time zone being so close to Europe’s, everything needed to be lit for nighttime transmission. The iSpiiders were used for the show’s studio segment that facilitated the live link-up, providing location

lighting over large distances and bringing the contoured valleys and bush environment into the foreground and background shots, even incorporating a waterfall approximately 800m away.

Adjacent to the theatre is Amman Academy’s multipurpose room, designed to provide management and production teams a space to hold meetings for up to 75 people. Eight CL-6T and two ARTEC-315.96 loudspeakers were installed in the ceiling and wall respectively, supported by PA-1500 and PA-900 amplifiers.

www.dasaudio.com

Triopshere used HMI fixtures to illuminate the background and furthest parts of the bush, with the iSpiiders positioned for lighting of the closer backgrounds that were between 10–30m away from the presenters in the studio. The lighting control position was around 1km away with no direct line-ofsight to the studio.

Three iSpiiders were deployed on the studio roof, two were positioned behind the studio in trees, with one on the jib platform immediately facing the studio. The lights were all purchased with the wireless DMX modules so data can be daisy-chained from the first one, saving in cable and time during setup.

The iSpiiders were chosen for their IP rating, meaning production didn’t have to worry about rain and other environmental challenges in exposed positions on the studio roof and in the trees.

Neethling said: “I love the versatility, the accuracy of the colour rendering, the indexable moves and the fact they just work perfectly for television.”

AWR equips main broadcast studio with AEQ

SOUTH AFRICA

Adventist World Radio (AWR), a private radio station in South Africa under the Southern Africa-Indian Ocean Division (SID) with offices in Pretoria, offers a wide variety of programming, including religious news and local music. AWR has traditionally worked with analogue material, but the technical management of the station has decided to upgrade one of its studios with digital technology, placing an AEQ CAPITOL IP console at the heart of the system. AWR was looking for equipment that would offer the maximum audio quality with the latest

Burna Boy lights up the room

ZIMBABWE

Belgravia Sports Club was packed with fans when Afrobeats singer Burna Boy performed as part of his Space Drift Tour. The event, organised by Hidden Culture, was a production and lighting design by Events Evolution. Blending lighting and video, the company’s design team, led by Blessing Bero and Tatenda Gaylord Rushwaya, turned the temporary outdoor stage with its high trim into a light box bathed in warm colours.

Helping to create this inviting panorama were 40 Chauvet Professional fixtures from Events Evolution’s own inventory. Featured in this mix were 11 Maverick MK2 Spot and eight COLORado 2-Quad Zoom fixtures, as well as a collection of Rogues that included seven R1 Beam, four R2 Beam, six R2 Spot and three R2 Wash units.

Positioning the wash fixtures on vertically oriented structures on either side of the stage as well as on upstage overhead truss, the designers ensured that the performance area could be covered in uniform blankets of colours – often monochromatic reds, blues and greens. Images shown on the large videowall that ran across the back of the stage, as well as two square vertical walls on either side, tended to match the colour scheme of the lighting.

Part of the engagement effect also involved audience lighting. The design team provided this with blinders flown in three horizontal

formations, one over the stage and two over the side videowalls. The rig’s Maverick MK2 Spot fixtures, which were arranged on the downstage deck and flown overhead, were also used to light the crowd, in a more subtle fashion. The designers varied the source of crowd lighting between the blinders and the spots throughout the 90-minute show to create different looks.

digital technology available, but always guaranteeing a very user-friendly operation and especially working in a robust way given the large geographical isolation of the country.

AEQ CAPITOL IP is an eight-channel fixed configuration digital audio mixing console. The implementation of IP connectivity is based on a single module of 16 input and 16 output channels, incorporated in its core.

www.aeq.eu

Technology students graduate in style with Audiosure

SOUTH AFRICA

The Audiosure team, together with Sound X Perience, has installed a compact Martin Audio line array system with an Allen & Heath SQ digital mixing system and AKG microphones at the newly built hall at the Ga-Rankuwa campus of the Tshwane iversity of Technology. The system is designed to be used for graduation ceremonies and events at the hall and is

Martin Audio ASF14020 eight-port network switch connecting all three amps to the network. Audio power is harnessed, controlled and mixed with an Allen & Heath SQ5 digital mixer at FOH, connected to two AB168 stageboxes via Cat5 cable. The primary AB168 is located upstairs in the control room above the stage where it is near the wireless microphones and IK digital amplifiers. The

The contribution made by the Maverick MK2 Spot units went beyond audience lighting, with Bero and Rushwaya relying on the 440W blinder to create aerial effects. They often direct light just over the crowd to engender excitement while also reinforcing a sense of intimacy. Flown on two rows of overhead truss as well as on truss that bordered the main videowall, the Rogue fixtures were used for aerial effects as well as to light the stage and runway.

made sure that there was plenty of power required for music entertainment if needed. The installation in the hall consists of six WPM boxes per side and two SX218 double 18-inch Bassbins flown from anchor points in the wall. The WPM boxes have dual 6.5-inch LF drivers inside with three 1.4-inch aluminium dome HF drivers. Two passive Blackline X12s are positioned on the front of the stage as front fills and a single Blackline X12 Powered is set up as an onstage monitor. At the rear of the venue, two CDD12s are pole mounted and dropped from the high ceiling to cover the upper balcony seating area and a further three CDD8s are mounted underneath the balcony.

The entire rig is driven by three of Martin Audio’s IK42 Dante-enabled amps with a

Chauvet Pro and Eve fixtures are installed on the three lighting bars in the hall. The front bar has 16 EVE P140VW variable whites and four EVE P130RGB with barndoors and the bar on the back of the stage has six P130RGBs. The lights are routed to the Chauvet Pro Net X II DMX distributor and controlled by a ChamSys QuickQ 20. Four channels of wireless were needed for the venue. AKG WMS470 wireless systems were selected, comprising two handheld transmitters featuring a D5 capsule and two instrument sets – one with a CK99L lapel microphone and the other with a C555L headset system.

Adamson CS-Series loudspeakers gain Milan certification

Ensuring interoperability with all other certified devices on the same network regardless of manufacturer, Adamson’s CS-Series of intelligent loudspeakers is now Milan Certified. The Canadian manufacturer explains that due to the complexity of the CS-Series network topology, which was designed to allow end users to set up their system in a manner similar to current industryleading passive systems, certification required the advancement of the Avnu Test Tool, of which Adamson has been a key partner in developing over the last 18 months.

“We’re thrilled to be a part of the group that defined the parameters of the Avnu test tool,” stated Brian Fraser, head of product and technology with Adamson. “With the

approval of the CS-Series line of products using this tool, we can now offer the industry’s first Milan Certified line array products that allow the user to daisy-chain networked audio between enclosures, while adhering to defined presentation time limits.”

Adamson has been a major benefactor behind the development, verification and validation of the Milan compliance test tool known as Avnu Express Test Suite (AETS) for Milan Advanced Certification. The work behind this has included participating in weekly review meetings in a work group, running interim releases of AETS on in-house test benches, validating tests that passed, analysing packet capture logs for tests that failed, bug reporting and updating working Avnu documents.

Adamson’s Brajendra K Singh, who has been integral to the development of the AETS, said: “I, and everyone at Adamson, are appreciative to be a part of such an important initiative. Everyone was quite supportive in solving the

issues that were identified during verification and validation of test cases for Milan Advanced Certification.”

www.adamsonsystems.com

Complex meeting rooms made simple

WORLD

M4250

when installing Shure Microflex Ecosystem products with Netgear AV Line M4250 switches.

“We understand integrators’ and customers’ time is valuable,” said Chad Wiggins, associate vice president of global product management and innovation at Shure. “By working with Netgear, users who install Microflex Ecosystem products in conference rooms on an enterprise network can deploy our solutions faster than ever.

Shure is committed to continuing optimal compatibility for the M4250 line and improving the overall experience for every user.”

audio and Shure control traffic, to provide a more seamless installation experience for integrators.

“Netgear has continued to recognise the evolution taking place in the pro AV world and specifically the advancements in AV-over-IP installations that are changing what is possible in our industry,” said Laurent Masia, director of product line management for managed switches at Netgear. “We are pleased to be working with a market leader like Shure to make installations as simple and seamless as possible.”

Microphone manufacturer Shure is partnering with Netgear with the aim of removing the increasingly steep learning curve required to facilitate seamless meetings, by providing “faster

switches come preinstalled with two Shure profiles to optimise switch settings and customise VLANs for control and audio when deploying Microflex Ecosystem devices. The switch

DAS Audio introduces the INTEGRAL series. A complete solution that addresses the needs of the commercial and professional installation markets, based on multi-zone matrixes and matrix amplifiers with integrated multichannel DSP.

Blond Productions calls on Robe for Noot vir Noot

integrated into the set. This reportedly gave Lombard some new scope for creativity. All 18 episodes were shot over a six-day period divided into two parts. The contestant and elimination rounds took place first, followed by a very tight changeover, then all the live band performance segments were recorded in the same space over two hectic days. Skilfully interspliced in the edit, it is impossible to tell from the broadcast that everything is not happening contemporaneously.

The ESPRITES provided key lighting of the four contestants and two presenters and also proved ideal for handling with some of the more idiosyncratic angles needed to get light onto faces. The LEDWash 300s are a favourite go-to of Lombard for back lighting, and the miniPointes are also another regular fixture for eye and camera candy.

“With these three fixture types I really have everything covered,” the lighting designer added.

Blond Productions has supplied the lighting equipment for Noot vir Noot (Note for Note), a popular Afrikaans language TV music-based gameshow broadcast recently on SABC 2. The show returned to screens after a two-year break due to Covid, with edition 40 featuring a reimagined version of the set designed by Michael Gill and built by SDS

for the fully visually revamped 2019 season.

Blond Productions’ Ryan Lombard specified Robe ESPRITES for the first time on this show, together with Robe LEDWash 300s and the miniPointes.

Filming of the series took place at South Africa’s Urban Brew Studios, where the lighting and visual elements have now been fully

Desert cinema set to be a hit with K-array and Visiotek

Procom Middle East has recently worked on an outdoor desert cinema requiring a solution that had to not only meet viewing requirements but could also withstand the climate conditions that come with the location. The nature of the environment and its vastness presented a challenge in selecting the right products, with high humidity, intense heat and sand being risks taken into account.

A 12m x 7m Visiotek LED screen was used for the main screen of the open-air cinema. The screen is controlled with a NovaStar MCTRL4K LED display controller. Five smaller 1m x 3m screens were provided for the entrance to the cinema, linked to additional processors. The screens can withstand high levels of temperature and humidity and offer good resolution and brightness.

The main audio system consisted of K-array Firenze-KH7 speakers. The electronic beam control and weather-resistant materials reportedly made the K-array Firenze system ideal for this application. The use of electronic

beam steering in the systems allows the directivity of the system to be changed electronically to improve coverage, without the presence of mechanical alignment, or angles of inclination and tilt. The KS5 from the Thunder line was selected as the system’s subwoofer to redefine the sound experience. These subwoofers are incredibly resistant to harsh weather conditions, making them suited for this location.

Power was supplied via Power Distros SB163-06B stageboxes to power the systems and system control was from a Symetrix Jupiter 4 connected to the Arc-2EW remote control for quick operation.

www.k-array.com www.procom-me.com

Lighting therefore had to be dynamic and flexible to accommodate these two different required styles for the separate parts of the programme, for which the studio floor was marked up in advance so the band sets could be installed quickly. Six ESPRITES were specified, joining 12 Robe LEDWash 300s used mainly for back lighting and 12 miniPointes – six on the floor and six in the ceiling – used for effects and excitement when moving in and out of different show segments and commercial breaks. “My starting point with lighting was always how to complement the set and help pull all the visual pieces together,” Lombard explained.

Lombard programmed and ran his grandMA2 console and worked alongside Alasdair Richards, who co-ordinated all the generic lighting and ensured that contestants and presenters had the correct keys and colour temperatures, leaving Lombard to focus on the effects and the more cosmetic set and environment dressing. “It’s a great way to work,” he noted. “I enjoy the collaboration, and it was fantastic to see another great-looking series of Noot vir Noot hit the airwaves after Covid-19.”

www.robe.cz

ECLER provides the hymn of the sea in KSA

SAUDI ARABIA

As part of a project dedicated to entertainment and creating new places for visitors, with new vision and new ideas, Jeddah Grand Project – Yacht Club and Promenade – was established with a total area of about 214,000m2. To cater to the new site, a sound system would need to be sufficient for both PA calls and national holidays or fireworks, with visitors exceeding 70,000 per day.

The supervisory authority selected EKTAR International, headed by Muammar AlOwaidi, who obtained approval to establish, supply and install the audio system. It was going to be a challenge with a goal of 5km of sound, but engineer Khaled Bouajaja and his technical team were given a lot of flexibility with distribution of sound and the places and rooms in which to place parts of the system.

The connection was provided by fibre optics and Dante technology. ECLER speakers were selected, given it is exclusively represented by EKTAR International in Saudi

Promenade area. The client can connect to the PA systems via the multiple theatres located on the site, as well as the Yacht Club and Promenade.

www.ecler.com www.ektar-avl.com

Khaled Bouajaja and his technical team

The Middle East gears up for the future with the Hybrid Work Lab

Al Zubair Group, a Microsoft Gold Partner along with the Microsoft EMEA Team, has created the Hybrid Work Lab experience which ties in everything from audio, visual and furniture to create an experience using technologies from around the world, including Microsoft, Poly, Lenovo, Yealink, Neat, Epson, Jupiter, Sennheiser, Q-SYS Epos Logitech and Benne, bringing collaborative and certified solutions under one roof. The Hybrid Work Lab is spread over 93m 2 and is divided into sections showcasing different meeting scenarios in the hybrid work environment and giving a real and visual sense of how the experience is going to be.

reports states, hybrid work is already up seven points yearover-year (to 38%), and 53% of people are likely to consider transitioning to a hybrid model in the year ahead. While POLY research, specific to the UAE region states, shows that while more than half (54%) of UAE organisations are fully prepared for hybrid working (as opposed to 48% globally), only 34% are ready in the short term.

In the era of hybrid work, largely unwarranted anxiety about efficiency, or “productivity phobia”, is sweeping global organisations, and people who are likely to consider transitioning to a hybrid model in the year ahead increasingly seek new horizons for a workplace that develops their abilities and supports a more social atmosphere. Studies carried out by Microsoft suggests that around 87% of employees have reported that they are productive at work, while 12% of leaders have full confidence that their team is productive.

“Companies globally are implementing hybrid work solutions, which has undoubtedly led to more demand for video-enabled meeting rooms. With this Hybrid Work Lab, Al Zubair showcases the art of the

inclusivity, collaboration and productivity,” said Annbritt Steen Andersen, EMEA director, Teams and Teams Devices, Microsoft. In recent years, employees value flexibility and well-being on a much greater level, and these new but growing expectations create an opportunity for every organisation to reimagine hybrid work environments.

“Today employees are defining hybrid work, they are supportive of organisations that offer more flexibility to work and support them with the right technologic tools. So, organisations need to gear up for hybrid work to stay competitive, so building the right hybrid work environment and transforming the organisation is just the beginning. While investing in technology, making decisions is not easy and that is where the Hybrid Work Lab comes in and removes the complexity, by offering highly recommended and reliable choices and a place to experience it,” said Jose Thadayus, MD, Al Zubair Group.

Anyone can book a visit to the Hybrid Work Lab and experience solution demonstrations across various meeting scenarios.

Radio Moletsi has chosen an AEQ BRAVO mixer for its new mobile studio, with integrator Buck Broadcast in charge of the installation of the console.

Radio Moletsi is the largest regional radio station in the Lompopo province of South Africa. It is a radio station with a strong local accent where its programming reflects the reality of its community, with a variety of information, entertainment, events and sports programmes. The Lompopo region is located in the north of the country bordering Botswana, Zimbabwe and Mozambique, with a population of over 5m inhabitants and with the capital in Polokwane from where Radio Molotsi

Located in the Iskele area, Pera Mackenzie Restaurant and Beach Club sits on the sandy shores of Northern Cyprus, offering unique tastes to its valued guests, accompanied by a panoramic view of the Mediterranean with its sparkling turquoise sea stretching out in front of guests.

Owners of Pera Mackenzie turned to FBT’s Turkish distributor, Hec Pro, for the audio system installation.

Pera Mackenzie Beach strives to be an elegant haven, unique in its location and service concept. This idea has driven the entire audio project, inspiring every decision made about the installation. The FBT system selected included eight Muse 210LA, two Vertus 406.2A, five Vertus

broadcasts on FM98.6 and also online from its website.

With Lompopo’s population very dispersed, the management of Radio Molotsi decided to build a mobile radio unit to bring the medium closer to the most remote communities. Radio Moletsi was looking for compact, complete, very easy to operate and especially robust equipment to withstand the harsh conditions of working in remote and difficult to access locations, and the AEQ BRAVO audio console ticked all of the boxes.

www.buckbroadcast.com www.moletsifm.co.za

www.fbt.it www.hecpro.net

Introducing … Integrate Middle East!

From 16–18 May 2023, The Dubai World Trade Centre is hosting the brandnew Integrate Middle East alongside CABSAT in an effort to create business synergies. Integrate Middle East is a forum and sourcing platform for the AV and media technology community, aiming to connect technology leaders with integrated solution buyers for education, media, entertainment, hospitality, retail and communication. Integrate Middle East will have several special zones: Digital Art Experience, Lighting Show, Multi Conferencing Demo Area and Smart Homes Simulator.

As strong growth potential in the AV industry is driven by global trends like

hybrid/remote working, AV-over-IP and the metaverse, pro AV technology and talent are moving beyond traditional broadcasting, becoming key in delivering immersive and emotional audience experiences across a broad range of contexts.

As such, Integrate Middle East 2023 launches a special focus into the realm of pro AV to support this professional community and foster its integration into the broader entertainment industry and several vertical markets.

Visitors can explore products and services from the entire AV technology provider universe, including digital signage, command and control rooms

and live event solutions. There’s also the opportunity to learn from industry experts, with an in-show conference covering key topic themes of smart buildings, drive for

sustainability, metaverse and enhancing the future of work.

www.integrateme.com

Leyard LED displays ranked first in the global market, research says

In September 2022, Futuresource Consulting, an international authoritative research institute, released the latest global LED display market research report entitled Global LED display market report . The report shows that Leyard has ranked first in global LED displays, small-pitch displays and indoor LED displays in terms of market share for six consecutive years.

In addition, the market share of Leyard’s fixed-installation LED displays has reportedly won first place again.

growth rate of 21% between 2021 and 2026.

With the wide application of data, the Internet of Things and the accelerated development of the digital economy and smart cities, the entire smart display industry is developing rapidly. Leyard continues to promote the industrialisation of technologies, not only in the development of 5G+8K ultra-high-definition displays but in the construction of Metaverse ecology.

www.leyard.com

Trusty Lectrosonics kit does a world of good

WHETHER HIS CAREER TAKES HIM TO the Sahara Desert or the Amazon Jungle, Igor Marlot relies on his Lectrosonics inventory of two UM400 frequency-agile UHF digital hybrid beltpack transmitters, two SMQV dual-battery digital hybrid wireless beltpack transmitters and two SRc dual-channel slot-mount ENG receivers.

Having started in sound as a young teenager, working in the rock and alternative scene in his home country of Switzerland, Marlot learned to use sound boards, patch lists and also how to get the most out of cheap and DIY gear. He then went exploring in Western Africa for a few years and landed his first shoot wrangling cables for an African telenovela.

student projects and developed interests in immersive audio, virtual reality and Ambisonics techniques.

“I read about Lectrosonics reliability online,” Marlot explained. “I had been ‘nerding’ a lot,

spending countless hours reading reviews, comparing specs and manuals of different products. I saw that everywhere in the world, serious setups used Lectrosonics stuff.”

He saved his money and bought his first SRc receiver and two second-hand UM400 transmitters. Later, he added another SRc and two SMQV transmitters to his sound arsenal.

He added: “I wanted to get into serious action and Lectrosonics was the way – no doubt!”

Marlot’s documentary work has taken him to the Arctic Circle, southern Asia, Scandinavia, the African bush, Barrios in Guatemala, the Sahara Desert and many other fascinating locations. Working sound in the wild so far afield presents challenges that seldom come

up in studios – for example, there’s isn’t a way to get spare parts or replacement units, so everything has to work and continue to work for the duration of the project. Marlot said his Lectrosonics gear has the qualities and performance to meet his needs. “Oh yes, range and solidity! It gives me peace of mind.”

He insisted the transmitters, which he typically pairs up with DPA lavalier mics, can take a serious beating and will still work, adding that sometimes the talent may accidentally drop one of his transmitters on the floor. He admitted that such incidents make him worry needlessly, but he is always pleased that the Lectrosonics pieces keep on sounding “perfect”.

Marlot confessed the documentary project Cosmic Birds in the Amazonian jungles, shot in VR, was his most challenging. The conditions were very difficult, with humidity and insects. Still, he said his Lectrosonics equipment delivered without fail. “I’ve had lots of luck during my young career and I’ve travelled a lot,” he said. “I have seen lots of amazing places and met super interesting people – indigenous tribes, Masai people and Tuareg people in the Sahara.”

He described the Tuareg as a tribe of welcoming, proud and absolutely great people whom he got to know very closely during a late 2021 shoot in the Sahara for a yet-untitled documentary. The Niger government granted permission to shoot there on the condition that the crew would be constantly escorted by heavily armed soldiers to prevent any possible kidnapping or even assassination. The guards accompanied them in four heavily armoured vehicles, two of which were armed with a large machine gun mounted on the back. But Marlot remembers the sky at night, as well as the people. They had some very deep and beautiful moments, like impromptu concerts of Tuareg guitar. Comparing his world with the one he was visiting, he concluded: “These men have all been in serious action. My tools are mics, booms, poles and wireless; theirs are rifles, knives and surviving in one of the harshest regions in the world.”

New adventures await Marlot and his Lectrosonics kit, as he revealed that his upcoming documentary project will bring him to Turkey.

Marlot in action

Working in Norway

The right technology partner is key when going global

PSNI executive director Chris Miller explains how collaboration and shared resources are at the heart of the alliance as well as why choosing the right global partner is now more important than ever

The PSNI model appears to run smoothly in uniting this expertise – what’s your secret?

THE PHRASE “STRONGER TOGETHER” has never been more acutely demonstrated than in recent years, where pooled resources, knowledge and combined expertise have often been the winning recipe when overcoming challenges. The past 20 months have been a challenge in all aspects of business, education and government operations, especially with AV/UCC integration and remote support. But for the PSNI Global Alliance, it has afforded the opportunity to demonstrate how aligning

skilled expertise can overcome local, regional and global hurdles.

PSNI’s network of Certified Solution Providers (CSP), and manufacturing, distributing and service partners, have witnessed how combined strengths and shared experience can overcome almost any AV/UCC challenge laid before them. In the Middle East, in particular, large projects often require combining resources from different technology ecosystems and expertise.

The appearance of running smoothly is a testament to the high-calibre companies and vendor partners that make up PSNI. In reality, delivering technology solutions locally or globally is all about building the right teams with a defined business process and a collective commitment to quality and excellence that makes it work. All end users are important to all alliance CSPs – all the time. I’ve studied the alliance model for years – what makes some work and others fail. Successful alliances exist in every industry today for a purpose to reach and do more – efficiently and profitably. For PSNI, our strategic alliance combines the best of both worlds of resources and expertise which, in turn, drives innovation and delivers solutions with local experts across a global footprint.

What do you think makes PSNI the right choice when selecting a global provider – particularly for a Middle East project that requires the highest standards of working practices?

We have added new CSPs in key global markets but it’s a small number of those

that enquire and apply that are approved by their peers. Once they hear or compete with our CSPs’ engagement process and structure and how we are positioned for the future as a global technology service provider, they want to be a part of our unique alliance approach. But we are not focused on numbers of partners – we’re committed to the right companies in the right locations worldwide that align with key global business centres. We are also hyper-focused on complimentary vertical markets covered and how our companies enhance and expand the technology ecosystem that end users require today.

The benefit for our clients in the Middle East or beyond is that as their global solutions provider they can trust that each integrator is part of a worldwide network that can fill any gaps in experience, expertise, knowledge or location. We provide reliable service in 200 of the world’s largest cities, can serve as a single point of contact no matter how many integrators are involved, can deliver global standards for every deployment and work collaboratively to deliver any capability, anywhere.

The PSNI model has more than 220 service-centric offices worldwide. While the

How important is service to enterprise applications today?

The PSNI team

Chris Miller

goal is to solve issues remotely, where possible, with help desk and system monitoring, there are times when having onsite support is necessary. We continue to evaluate and leverage the experiences of our CSPs to recommend and help build global service solutions that align with what our users need. We operate from Dubai to Kuwait, and Abu Dhabi to Cairo but, being a global alliance, we have the partners and talent to reinforce projects from further afield if required.

How important is it to have a standardised process across the alliance and how do you manage the many different cultural differences?

With 35+ years’ experience, that’s a question that we are well-placed to answer. Experience, standards and processes are the core DNA of the alliance. Each and every one of our partners is committed to a principal, PSNI-standardised approach, ensuring that the quality and integrity of the consultancy, integration, training and post-sales support is uppermost wherever they are in the world. But there are many other factors that partners look for when selecting a global technology partner, and we have worked hard to deliver on those requirements. We trust them to know their territory better than anyone, both from a culture and best practice perspective.

It’s important that certain processes and standards are uniform across the world but combined with the important cultural influence that already makes our partners the successes that they are.

What

do Middle East

partners

typically require from PSNI?

Our CSPs want to know that we have vetted and selected – with their approval –the very best technology solutions partners in each key trade market in the world. The underpinning of the alliance is trust and reliability. Utilising industry experts in local compliance, currency, logistics, customs, taxation issues and, of course, the technology itself, all helps towards better business outcomes in every market around the world. When choosing a global technology partner, you want to know as much about the skillset

of that business – its expertise and its support capabilities – as its hardware. Our partners tell us they want subject matter experts, which makes perfect sense. Understanding the recommendations for the house of worship market for example, is very different to what might be proposed in education or government environments. It’s also essential to work with partners who share in your success and strive for the best possible outcome and are there for you in the long run.

It’s no secret that ME projects can often involve large installations and some huge numbers. How important is pricing in securing business in the region?

The one thing that we hear over and over – and more common in recent

times – is that price is not always the deciding factor on global projects. The Middle East is no different. When it is the only factor, the results may – and I stress may – have long-lasting negative implications. It’s always a factor, not just the only factor. The more business and environmental variables and overall risk that are involved, the less price should be the deciding factor. Risk has a price.

In two words: choose wisely! To be more comprehensive, we have recently published an online guide as a free download that tackles that exact question, our Guide to Choosing the Right Provider for your Global Deployments When considering global technology deployment, a sobering fact remains: no single AV or IT integrator or service provider has a physical location in every major city around the world. Every integrator will need an alignment with partners. Making the right choice is vital to a successful outcome and, as you’d probably expect me to say, that right choice is likely to be with PSNI. We represent over 220 licensed service and integration offices around the world, covering all six continents.

www.psni.org

What advice would you give to Middle East companies who require a global technology partner?

Riedel acquires dynamic duo

Riedel Communications has expanded its competence team in the area of realtime IP network orchestration and Software Defined Networks (SDN) control, enriching its developing range of video solutions, with the acquisition of SDNsquare.

SDNsquare is a technology provider of SDN solutions for complex and demanding IP-based media installations. Its technology has been proven in numerous IP-based projects and deployed by its customers in major sporting events, such as the Tokyo Games, Roland Garros and European Athletics Munich.

“SDNsquare is a recognised innovator when it comes to Software Defined Network orchestration in media,” said Rik Hoerée, CEO product division at Riedel. “We are very excited to welcome the SDNsquare team to the Riedel family, integrate their technology into our future products and grow its capabilities to help make IP simple for our customers.”

Henry Alexander, CEO at SDNsquare, commented: “Being part of the Riedel family

Ross Video has agreed terms to acquire the broadcast cable camera solutions supplier, Spidercam. Having made its television debut in 2005, Austrian-based Spidercam focuses on cable camera

head to provide HD or 4K video. System rentals include an accompanying technician, pilot and camera operator. More recently, the company launched a fixed mini solution for smaller internal production environments.

solutions. Notable Spidercam production work includes major international sports leagues and tournaments, award shows, entertainment events and esports competitions.

“Spidercam’s technology creates visuals that are simply spectacular, and we’re thrilled to integrate them into our production universe,” commented Ross Video CEO, David Ross. “We’re committed to continuing Spidercam’s excellent customer experience as a part of Ross while offering more capabilities to even more customers. On a personal level, I just love cable cameras, they’re such an awe-inspiring and dramatic technology.”

Suspended on four cables with winches that navigate a camera dolly in 3D space, the Spidercam system incorporates a stabilised

“Becoming part of Ross Video is an incredible opportunity to truly unlock the potential of Spidercam,” added Spidercam CEO, Herbert Neff from his Feistritz im Rosental headquarters. “We are looking forward to the benefits of integrating our camera systems and services offering into a highly innovative, true end-to-end live production company. We’ve already been working together to produce live augmented reality with the combinations of our technology and Ross’s and there is a lot more we will be able to do in the future. Our camera solutions extend the current robotic solutions from Ross Video by offering unique and creative images.”

www.rossvideo.com www.spidercam.tv

“This is a great day in the history of Riedel, and an important step for our product division and the entire Riedel Group,” concluded Thomas Riedel, CEO, Riedel Group. “I am very much looking forward to welcoming the SimplyLive team at Riedel and together changing the way events are produced, attracting more viewers.”

www.riedel.net

Labs

Mobius Labs has partnered with Nomad Media, the developer of a cloud-based content and asset management platform for on-demand and live video. The integration of Mobius AI technology into the Nomad Media platform brings an extended range of AI services, including advanced face recognition, video tagging and speech to text, enabling content owners to upload, search and manage the thousands of media files in their content libraries and discover new value hidden within their assets.

“The partnership between Nomad Media and Mobius Labs ushers in a new artificial intelligence era where powerful video and

image analysis along with speech to text conversion is the foundation of every content catalogue,” said Adam Miller, co-founder and CEO of Nomad Media. “In addition, this new AIpowered catalogue foundation will futureproof an organisation’s content for emerging and innovative new AI services.”

Appu Shaji, CEO and chief scientist at Mobius Labs, added: “Through our partnership with Nomad, they will now have access to powerful new tools that enable them to maximise monetisation opportunities for their content.”

www.mobiuslabs.com www.nomad-cms.com

Vizrt Group goes with Flowics

Vizrt Group has announced the acquisition of Flowics, a provider of cloudnative, browser-based, live and interactive graphics platforms for content producers. With the addition of Flowics, customers of all three trading brands – NewTek, NDI, and Vizrt – can advance their content creation capabilities through nimble HTML5 graphics and rich live data integrations.

“In Flowics, we recognise our own passion for helping customers deliver more stories, better told,” said Michael Hallén, CEO of Vizrt Group.

“The Flowics software-as-a-service offer reinforces the leadership position Vizrt Group enjoys by providing content creators even more creative flexibility across all their channels and platforms.”

Gabriel Baños, CEO and founder of Flowics, said: “We are delighted that the Flowics platform will become a powerful extension to the group’s offering. NDI and TriCaster

were already a significant part of the Flowics story, so being able to build on that, as well as adding in Vizrt, means we can reach even more visual storytellers than ever before.”

Hallén continued: “This acquisition gives content creators the right tools to engage and interact with their audiences as they pioneer fresh content formats in new and emerging channels. Together, we offer the most comprehensive graphics solutions for storytellers as they seek to captivate their audiences.”

www.flowics.com www.vizrtgroup.com

L–R: Thomas Riedel, Luc Doneux and Rik Hoerée

L–R: Henry Alexander and Rik Hoerée seal the deal

Audiotonix has announced the acquisition of Slate Digital, a software plug-in developer for audio creation and production. With a brand portfolio that includes Allen & Heath, Calrec, DiGiCo, DiGiGrid, Group One, KLANG:technologies, Solid State Logic and Sound Devices, the transaction aims to further enhance the group’s presence in the professional audio creation and production markets.

Slate Digital was co-founded in 2008 by Steven Slate and Fabrice Gabriel, with a mission to create digital audio tools

MultiDyne Fiber Optic Solutions has acquired Niagara Video Corporation, a supplier of compression, streaming and IPTB solutions for broadcast and commercial AV. The acquisition aims to strengthen MultiDyne’s value proposition for softwaredefined video transport and aims to position the company as a full-service provider of hardware and software solutions for moving video over any distance or network architecture.

Black Pearl Management Group, owned and operated by the wellknown Bob McAlpine, facilitated the acquisition process on behalf of both companies. Mike Galli, CEO of Niagara Video Corporation, will join the company as VP of streaming products, and MultiDyne will retain Niagara’s existing staff.

“We can help MultiDyne establish a robust streaming portfolio and bring them into the compression world with greater authority. And we at Niagara have always looked for the right partner to complete our vision. MultiDyne’s global presence, business reputation and the range of customers and applications they support are all phenomenal,” concluded Galli.

www.multidyne.com www.niagara-video.com

for professional producers, mixers and engineers.

“The Slate Digital team share many of the key attributes we have across all our brands –great technology combined with committed staff with a real energy and passion for what they do,” commented James Gordon, CEO of Audiotonix. “Their history and reputation for building stellar software tools is second to none and, from a business perspective, their success in building a strong subscription model adds another bow in how we grow in the audio creation market.”

Slate added: “Audiotonix shares the passion for pushing the boundaries within the industry and I look forward to seeing how Slate Digital unlocks even more possibilities for music creators. The products that will soon be released in this new chapter are the company’s most bold and innovative to date. I believe our loyal Slate Digital customers will be thrilled at what is to come.”

www.audiotonix.com www.slatedigital.com

Bose

Dubai reconnects

The Bose Professional Dubai team held a trio of in-person events across the region in order to connect with its local partners, distributors and potential customers. These

moving over to the SLS Hotel in Business Bay, where the Bose FY22 Distributor Partner Recognition Night Celebrations were underway on the hotel’s 75th floor. There, the distributors were recognised with Bose trophies across various categories, followed by dinner and networking at Carna, Dubai.

The very next day, the Bose Dubai team were back out with consultants and end users as part of the Bose Technology Enthusiasts Event taking place at Dubai’s Mandarin Oriental Hotel. With approximately 160 people in attendance, the evening provided showcases and demonstrations of Bose’s latest solutions for various applications, followed by drinks, dinner and networking.

CTME showcases X1 Matrix Array to industry friends and partners

Creative Technology Middle East (CTME)

invited Berlin-based HOLOPLOT to demo the X1 Matrix Array for clients, partners and friends at its UAE headquarters. The HOLOPLOT X1 Matrix Array has been praised for its ability to cater to performing arts, immersive spaces, conferences, museums and more.

“We are proud to have been the first in the GCC to have demonstrated the revolutionary capabilities of the HOLOPLOT X1. After a very successful Open Day last week at our headquarters in Dubai, the feedback we have received from our valued clients and colleagues

“CT Middle East’s X1 Open Day was a milestone moment for HOLOPLOT as we debuted the powers of X1 to AV industry professionals in the GCC. The CTME team, their clients and partners showed a genuine appetite for audio innovation, matching too with our ambitions to be best in class. Whether delivering unparalleled coverage and intelligibility in challenging acoustic spaces or unlocking new levels of creative potential, we’re confident that with CT Middle East, X1 has an exciting future in the region,” added Ryan Penny, head of sales at

kicked off with the Pro Distributors Connect Event in June for its GCC export partners, held at the Hyatt Regency Creekside Hotel in Dubai.

The Pro Distributors Connect Event at the Hyatt saw more than 30 attendees focus on strategy for the 2023 fiscal year, before

Nittin Dargan, Bose regional manager EMEA exports, said: “We thank all the end users and consultants for joining us to experience innovative technologies as offered by Bose Professional for various applications. We would also like to congratulate all the partners on very well-deserved recognitions and driving the success of Bose Professional in their regions as always. We are looking forward to many such events in the coming years.”

pro.bose.com

A successful two days training

Masterpiece, the regional distributor for the Harman product range, took the opportunity of a recent dealer network event to officially welcome two new brands into its portfolio. The lunchtime event at the Hyatt Regency Hotel in Dubai welcomed over 200 attendees who were able to listen to presentations from representatives of MAXHUB and LG.

As a result of the distribution deals, Masterpiece will take responsibility for the screen element of MAXHUB’s sales, while on the LG side it will focus on the projector segment and look after sales throughout UAE.

“We are excited to join hands with Masterpiece, an accomplished AV distributor partner with a strong channel network and business acumen. With this strategic partnership, we look forward

to working closely with the Masterpiece team with shared values and synergy to strengthen channel penetration and to reach out to end customers more efficiently with tailored projection solutions,” said Afzal Aboobacker, sales manager at LG.

“Masterpiece has traditionally always been known for its audio offering, but we wanted to put on an event like this, not just because it’s been a while since we’ve been able to do something but also just to let clients know that we’re here to support them with video as well,” added sales manager, Filippos Degaitas.

The distributor already has a number of projects in the pipeline incorporating the new lines.

Mid-September saw the end of a twoday training session held by Meyer Sound and Venuetech at the Dubai World Trade Centre (DWTC). The sessions were headed by senior technical support and education specialist, Merliin Van Veen and Sana Romanos, technical services specialist, Middle East and Africa. Audio systems specialists, sound engineers and technicians from the UAE as well as Saudi Arabia and India travelled to Dubai to participate.

Addressing the attendees at the onset of the training course, Ismat Assafiri, systems architect and audio specialist at Venuetech, commented: “The release of MAPP 3D is a significant juncture in the development

of sound systems design. We are excited to bring this knowledge to our fellow audio specialists in the region through our partnership with Meyer Sound.”

Andrea Granata, sales manager of Middle East and Africa at Meyer Sound, commented on the event: “The response of the room, filled with a mix of experienced engineers and young audio enthusiasts, demonstrates that the education that Meyer Sound offers has no equal in the industry.”

The training session explored the relationship between the predictive of the MAPP 3D Sound System Design Tool and actual sound system performance as measured with FFT-based transferfunction analysers. The participants of the training gained insight into generating and comparing data using both MAPP 3D and Compass, in order to help them better understand the correlation between the two. The training was followed by a Q&A session with Van Veen and Romanos.

www.meyersound.com www.venuetech.ae

Dubai’s Mandarin Oriental event

L–R: Ryan Penny and Andy Reardon

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welcomes draftsman Jade Manicom NMK expands Video division with Lloyd Platt

Jade Manicom, a creative individual known for her lighting design, programming and drawing skills, has been appointed draftsman at DWR Distribution. The role of draftsman at DWR formerly belonged to Dylan Jones, who is now taking on a new position in the sales team. Manicom initially joined the live events industry as a freelancer and then took up a role with Keystone Productions.

Robert Izzett of DWR said: “We’ve known Jade for years, especially with all her work at Keystone Productions. It’s wonderful to have another lighting person join the team. Her experience in lighting shows will be invaluable to DWR going forward.”

In other new hires at DWR, the company has announced that Darren Durbach has joined its sales team, bringing a wealth

NMK Electronics Trading has appointed Lloyd Platt as business manager, where he will assume responsibility of key growth strategies across projection, LCD, LED, signage and the technical video division.

Platt has over 16 years of industry experience, having come from the UK arm of the Midwich Group. He has a wealth of commercial and business development experience and aims to implement growth plans across an array of technologies by working closely with partners, resellers and integrators.

Platt said of his appointment: “I’m thrilled to be working alongside the NMK team developing and growing an exciting division with strategic vendors that I’ve had the pleasure of working with for many years. I want to say thanks for the support support and trust from Alex and www.nmkelectronics.com

AtlasIED welcomes industry veterans

AtlasIED has strengthened its expertise by appointing Graham Hendry as VP of loudspeaker strategy, Mike Ulrich as VP of specialty acoustic projects, Riccardo Balistreri as director of acoustical engineering and Kim Porter who will serve as director of mechanical engineering, designing and delivering the company’s new audio and security hardware products.

With more than 25 years in premium audio in engineering, business development and leadership, Hendry will lead all facets of the company’s loudspeaker business strategy. During his career at Northern Light, Tannoy and Renkus-Heinz, Hendry served in multiple leadership positions.

Ulrich will lead engineering and design for specialty acoustical projects. He carries over 20 years managing R&D operations and leading consumer electronics.

Balistreri has over 20 years of experience in loudspeaker design and will direct acoustical

engineering efforts for the loudspeaker business.

With over two decades of experience in mechanical engineering, product design and leadership, Porter is responsible for creating and managing new product conceptualisation. Reporting to vice president of engineering, Simon Broadley, she will be instrumental in leading AtlasIED’s

TSL names new CEO as Exelby serves as executive chairman

Matthew Quade has been named CEO of TSL. Chris Exelby, who was named managing director in 2007, will remain on the company’s board of directors as executive chairman and will continue to work with TSL in a senior advisory role.

Quade steps into his new position after working with TSL on a project basis for over six years, including leading implementation of the company’s M&A strategy. More recently, he held the role of COO and is already a well-respected and valued member of the TSL team. “With getting to know the TSL team and the broadcast

mechanical engineering team as they focus on new product development.

AtlasIED executive vice president, Matt Czyzewski, said: “I am excited for the opportunity to work closely with all of them to advance the loudspeaker sector of our business.”

www.atlasied.com

industry over the last few years, the opportunity to lead the business through its next ambitious phase of growth and technology development was a hugely attractive proposition,” said Quade. “I look forward to working with Chris and the rest of the team to lead TSL into this next exciting chapter.”

“After spending several years alongside a great team at TSL, building the business and creating the exceptional products the brand is known for, I’m pleased to hand over the day-to-day management to Matthew,” said Chris Exelby, managing director at TSL Products. “He has played an integral role in the business planning and goals at TSL for many years and I am confident his leadership will support the company’s growth.”

Lloyd Platt

Jade Manicom

Graham Hendry

Mike Ulrich

Kim Porter

Riccardo Balistreri

Chris Exelby

Matthew Quade

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Avid hires David Toomey for Audio & Music

Avid has announced the appointment of music and media technology executive David Toomey to senior vice president and GM of Audio & Music Solutions. Toomey has experience in operations leadership of subscription businesses, digital commerce platforms and digital go-to-market strategies, making notable contributions to music recording labels, technology providers and their clients.

Toomey joins Avid following six years with Adobe, most recently serving as senior practice director for media and entertainment and Telco markets.

Previously serving as senior vice president

of operations for Warner Music Group, Toomey led operations for hundreds of global recording artist brand websites and artist ecommerce sites. Earlier, as Sony Music Entertainment’s vice president of international marketing, he devised and ran global marketing campaigns for numerous recording artists, including Celine Dion, John Mayer and Wyclef Jean.

Jeff Rosica, Avid’s CEO and president, said: “Surrounding our core competency in media creation and media management technology with David’s crucial digital go-tomarket skills, plus his innate knowledge of the music industry, will let Avid go further

SurgeX appoints John Dodson as MENA agent

SurgeX has appointed John Dodson as

the

Middle East and Africa to develop sales opportunities and greater establish SurgeX in the region.

Dodson previously worked as general manager for the Bose Corporation in the Middle East and Africa, and he also served at both Bose UK and Yamaha UK. He said: “I am really looking forward to working with systems integrators, distributors as well as the consulting fraternity across the Middle East and Africa region to deliver SurgeX power management and power protection products to the market.”

Justin Peyton, SurgeX director of sales, EMEA and APAC, said: “John has an outstanding network of contacts which can only benefit SurgeX. We’re excited to develop our market position in the MENA region with his support.”

and go faster to empower more creators and accelerate the company’s strategic growth plans for our Audio & Music Solutions business area.”

Toomey said: “As we continue the company’s progress in subscription delivery, seamless customer experiences and high-impact innovation, we’ll more effectively provide many more people with their essential engines for creativity and professional achievement, and for enterprises or organisations to deliver on their objectives.”

www.avid.com

Wohler Technologies selects Hammad for ME

MIDDLE EAST

Wohler Technologies has announced that Mohamed Hammad will be joining as a regional sales manager representing Wohler across the Middle East region. Hammad comes from a leadership position at Riedel, has more than 17 years of experience in the region and brings a wealth of sales and marketing expertise to Wohler.

With a strong sales background, Hammad will continue to drive Wohler’s solutions for the broadcast and associated industries across the Middle East, operating out of Dubai. “We welcome Mohamed to our sales team and look forward to having him help us rapidly expand out footprint in the Middle East region,” said Kim Templeman Holmes, VP of sales and marketing at Wohler.

“Wohler is well-positioned to rapidly expand and grow in the Middle East, with exciting market-leading products and solutions,” Hammad said. “As the industry transitions

Siegfried Hermann covers EMEA business for Lightware

welcomed Siegfried Hermann, who has been appointed vice president of business development for the EMEA region. Hermann’s responsibilities will embrace the further expansion of Lightware into EMEA, the development of new partnerships with global corporations and strategic planning of the company’s presence in the region.

Hermann has been in leading positions in the AV industry for almost 25 years, with nearly two decades at Crestron, including six years managing the DACH region with sales and personnel responsibility. One of his key duties throughout his career has been the development of new business areas and sales strategies in the AV industry.

“After being in contact with the Lightware management for several

years, I am very pleased to join this unique and private-owned European company in this new position. I am sure that my experience in the AV business will help us to drive the further development of Lightware in the years to come to make Lightware a leader in the EMEA AV environment,” said Hermann.

“I am honoured to welcome Siegfried to our team at Lightware. He has a successful and proven track record in business development and will be instrumental to strengthen and build further our presence across the EMEA region and support Lightware’s continued growth globally,” added Szabolcs Turi, executive director, business development at Lightware. www.lightware.com

to IP workflows, I look forward to building on this momentum and working closely with our customers in this part of the world, to offer the next generation of innovative, scalable monitoring products.”

www.wohler.com

Steve Badham to EAW

Eastern Acoustic Works (EAW) has announced that Steve Badham will be returning to the company covering technical sales throughout Europe, the Middle East and Africa. Badham has a long history in the professional audio industry and with EAW.

“We are excited to welcome Steve back to the EAW family,” said TJ Smith, president, EAW. “Steve’s experience, product knowledge and technical savvy make him a great addition back to our team. With Steve’s contributions and hard work, we look forward to continuing to grow the EAW brand in the EMEA territories.”

In his new role, Badham will be instrumental in the sales process, as the EAW sales team will rely on him for technical expertise and consultation. As a liaison, Badham will also directly advise customers on product features and configurations.

He said: “I firmly agree with EAW’s core design philosophies such as focusing,

EMEA

its agency representative within

MENA

John Dodson

Siegfried Hermann

Mohamed Hammad

David Toomey

Nik Gledic joins Adam Hall as global sales director

The Adam Hall Group has appointed Gledic to a newly created global management position. He is now global sales director for the strategic orientation and implementation of the worldwide sales division of the event technology company based in Neu-Anspach, Germany. Among the focal points of the position are the strengthening of the core market, the expansion of international business and the successful implementation of the AV installation segment. Gledic gained many years of experience at Shure Germany and Shure Europe in management positions in sales and marketing and, most recently, as senior director retail for the Western European business of the US pro audio manufacturer.

“The development of the Adam Hall Group as an international key player in the field of event technology has impressed me for many years,” explained Gledic. “For this reason, I am all the more pleased to follow this path and to shape it even more successfully in the future. At Adam Hall, I encounter an extremely human, modern and open corporate culture with a highly motivated team that is eager to continue driving growth and success with passion. This ultimately convinced me that the newly created position of global sales director at Adam Hall is the right challenge for me.”

Markus Jahnel, COO Adam Hall Group, said: “Nik is an extremely experienced sales professional with whom we can implement our strategic vision for the global sales area even more comprehensively in practice. We have ambitious goals and want to make the Adam Hall brand – as well as our individual Cameo, LD Systems, Palmer and Gravity brands – synonymous worldwide with

control, and the broad product range gives me an enormous audio toolbox to work with. It’s fantastic to be working with this talented and passionate group of professionals once again.”

innovative event technology solutions, reliable partnerships and customer orientation. In his role as global sales director, Nik will be a key part of this.”

Gledic will report directly to management. Marcel Mieger will continue to be responsible for the European market as sales director Europe. Gabriel Medrano is responsible for the North American market as COO of Adam Hall North America. Alessio Foti continues to lead international business development as global business development manager.

www.adamhall.com

Nik Gledic

Steve Badham

partnership in Turkey

Barco and Deltoid Technology have announced the extension of their existing partnership. The new distribution agreement for the Barco projection and image processing solutions leverages on an already strong partnership for the past decade and is aimed at strengthening the position of both companies in the growing Immersive Experiences market in Turkey. Going forward, the companies wish to extend the collaboration into the

Adam Hall Group has signed a distribution deal with Dubai’s PRO LAB for the GCC region, which will see the audio and lighting equipment specialist in PA and conference systems, studios, stages, rigging and DJ gear carry the LD Systems and the Palmer brands in its portfolio.

“LD Systems’ audio brand comes with an extensive range of product lines and definitely meets all the standards to be successful in the GCC region – from the creation of advanced high-quality audio

entertainment market, including museums, theme parks and visitor attractions.

Serkan Kaya, general manager at Deltoid Technology, said: “Deltoid sees the rise

of these new immersive experiences as an important revenue growth opportunity. Barco’s expertise with global immersive experiences and strong projection portfolio

will allow us to offer a great solution package to our partners and customers.”

“We are convinced that together we can leverage the success of our collaboration in the control rooms sector and take it into the growing entertainment and immersive markets,” concluded Ta Loong Gan, global sales VP for immersive experiences at Barco.

www.barco.com www.deltoid.com.tr

NMK Electronics has signed a distribution deal with Neat, meaning it can now distribute Neat’s full portfolio of products in the GCC.

“NMK Electronics is excited about this partnership with Neat. It enhances our UC&C portfolio by enabling us to deliver the best video experiences for our Zoom and Microsoft Teams customers,” said Subhash Gedda, brand manager at NMK.

equipment to superior sound performance. Palmer is meticulously considered synonymous with sonic purity for studio professionals and home studio users,

which is the best of both worlds,” said Rami Harber, managing director at PRO LAB. “The GCC market offers an enormous potential for LD Systems and Palmer,” added Glenn Lin, business development manager, Asia Pacific for Adam Hall Group. “For Adam Hall Group, with the support of PRO LAB, there are further opportunities for LD Systems and Palmer to expand market positions and demonstrate the exceptional reliability of our products to a wide range of customers. We believe we

are very well-positioned and will continue to expand our local presence, both in the event and installation markets with PRO LAB.”

PRO LAB also recently partnered with Minuit Une, a French manufacturer and lighting specialist based in Paris, to be its exclusive distributor in the GCC region.

www.ld-systems.com www.palmer-germany.com www.prolabllc.com

Real-time visual processing technology provider for live performance, architectural installations, LED applications and broadcast, ArKaos, has appointed DWR Distribution as a reseller in the South African market.

In October 2020, InMusic announced the acquisition of ArKaos and has continued to focus on engineering advancements, design and technology. With an emphasis on customer expectations, DWR Distribution’s appointment includes sales, service and support.

“When ArKaos changed management, it opened the doors for communication, and we are very excited to reinstate DWR as the official distributor in South Africa,” said Nils de Laeter, brand manager at ArKaos. Duncan Riley of DWR said: “ArKaos is respected

Commenting on the new partnership, Wayne Mason, distribution lead for international at Neat, said: “Partnering with NMK is a match because they share our commitment to providing customers with richer, more meaningful and engaging video meeting experiences for their modern hybrid workforce.”

www.neat.no www.nmkelectronics.com

Venuetech has announced its new distribution deal with Colorlight, a global LED display control systems solutions provider. Venuetech will distribute Colorlight’s extensive range of solutions that include 8K and 4K LED controllers, video splicers, 4K senders, 5G receiving cards, media servers and multifunction cards.

“We are excited to bring a leading global market player in LED display controllers like Colorlight to the Middle East. With the influx of LED display solutions providers in the market, we have seen a remarkable increase in the demand for LED displays. We believe Colorlight will be an impressive complement to the

current market conditions,” said Abdul Assafiri, COO of Venuetech.

www.colorlight-led.com www.venuetech.ae

our market, allowing us to offer quality, functionality and affordability.”

www.arkaos.com www.dwrdistribution.co.za

Thomsun Trading has been appointed by Waves Audio as the new distributor for the GCC. As one of the longest-running AV distributors in the region, Thomsun’s distribution network is extensive and spans operations in retail, dealer/reseller networks, commercial AV, live events and rental as well as the production and broadcast industries across the GCC and MENA. It represents brands such as Yamaha, TOA, Taiden and Neumann.

General manager at Thomsun, Davis Varkey, said: “Thomsun has been a name that is synonymous with providing the best-

in-class audio solutions in the UAE and we are proud to announce that we just expanded our list of solutions offered.”

Vinod George, regional sales manager at Waves Audio, added: “We are delighted to engage with an accomplished distributor who not only possesses a long-serving heritage, but strong and mature business acumen as well. We would like to welcome Davis Varkey and the entire Thomsun team to the Waves family.”

www.thomsunmusic.com www.waves.com

Redington takes on exclusive distribution for ECLER in Middle East

MIDDLE EAST

Redington Gulf, a distributor of IT, lifestyle, telecommunications and AV products in the Middle East has taken on exclusive distribution for Spanish audio manufacturer ECLER in the UAE, Kuwait, Bahrain, Qatar and Oman. Traditionally focused on the IT sector, Redington’s new relationship expands the distributor’s offering further into the audiovisual sector as demand in the region grows for technology solutions that can support hybrid workplaces. ECLER joins other AV brands in Redington’s portfolio that includes Lenovo, Mersive, Samsung Professional Displays, Peerless-AV and ClearOne.

“Redington is a leading IT distributor and have shown a keen interest to increase their

business in the AV front as well. To grow in this sector, they have hired various resources with prior experience in ECLER and other pro AV products and solutions taking responsibility for sales and promotion in this region. This team is guided by Jeetendra Berry, president at Redington’s IT Volume distribution, MEA and is aiming now to be among the top-value AV distributors in MEA. They are approaching

AV from an IT background as opposed to the other way around. We came to an agreement easily and are really excited about this new partnership,” explained ECLER area manager, Jan Pages. “Realising that the whole audiovisual market and ECLER’s own developments are becoming ever tighter and more intertwined with the IT world, having a partner that is already an expert in IT and

is growing in the pro AV space seems like a winner to us.”

“We have been following ECLER products and are convinced with the brand’s growing influence in the commercial audio segment. Partnering with ECLER will further strengthen our engagement with partners in the commercial AV sector. Redington will work closely with ECLER to fast-track adoption of the latest tech in the segment,” added Viswanath Pallasena, chief executive officer for Middle East and Africa at Redington Gulf

www.ecler.com www.redingtongroup.com

Procom partners with Adamson Systems Engineering

MIDDLE EAST

Adamson Systems Engineering has appointed Procom Middle East as its distributor in the UAE and Saudi Arabia. As part of the agreement, Procom will take responsibility of the marketing, sales and support of Adamson’s products in the region. Procom will carry in its inventory the full range of products, including line array, subwoofer and point source cabinets. Procom will have a number of demo systems in Dubai, including a fully installed 3D immersive audio installation.

“Adamson has strong brand recognition among audio professionals in the region. This potential can be unlocked with hands-on product demonstration, support, training and, last but not least,

Engineering’s education and applications engineer for the Middle East, Africa and Turkey, will be working closely with Procom on training, design and system implementation.

Jasper Ravesteijn, Adamson’s EMEA sales director, said: “Initially, we began working with Procom for Saudi Arabia. Their professional attitude and limitless enthusiasm made us expand the partnership to include the UAE as well. We at Adamson are all excited to work with Procom and expand our network of satisfied users in the

L–R: Raja Harfouche, Jasper Ravesteijn, Rami Harfouch and Anro Schroeder

All in on SI

CREATIVE TECHNOLOGY IS KNOWN GLOBALLY AS A provider of AV solutions for events, but that image is changing rapidly. Having secured the AV tender for Al Wasl Dome, the pinnacle of Dubai Expo 2020 where the biggest shows were held across the six-month event, Creative Technology is now making a global commitment to the systems integration market. However, as Reardon explains, the company has a lot more expertise in this regard than many realise.

What has driven this move to expand into systems integration?

A big challenge with the Middle East market is its seasonal nature – until recently, things would go from feast to famine every six months. Nothing happened during the summer or Ramadan, and there were other times of the year when things were slow. I was looking at other avenues to cover these quiet periods and establish a steady flow of business throughout the year. I started to look at the world of permanent installations. Most people immediately think of us as a live events company, but we’ve been involved in the systems integration business for quite some time. There were several things that kicked this off – Expo, of course, was one. When we first became aware of the Al Wasl project for Expo 2020, I recognised there was huge potential to expand our business in this direction. At that point, we didn’t think of it specifically as systems integration; we have an incredible range of skills within CT, so we treated Expo just like we would any other project.

What previous experience does CT have in this regard?

Our first major project in the Middle East was in 2019 with the mammoth museum space, Qasr Al Watan Palace, in Abu Dhabi. Creative Technology was contracted to provide technical design, installation and integration of the AVL systems for the Palace in Motion show. The project made me realise that this was a great space to be in and we developed the integration business from there, leading to the projects we delivered at Expo. Our work at Al Wasl Dome has won several awards, but not everyone knows that we also delivered several of the pavilions at Expo – the USA Pavilion, ENOC Pavilion and DP World – plus our events division took charge of the visual requirements for each of the official performance stages. Our global systems integration business is growing rapidly, and we’ve already been involved in other interesting projects.

delivery is very different. Systems integration projects usually have much longer gestation periods. Each step in a project’s cycle requires unique skills and we have the advantage, as a live events company, of knowing how the clients would like their final system to be configured. Our policy for any project is always that client on-boarding and off-boarding should be as good as each other; it’s important to have a consistent level of service and support from signing a contract to completing it.

What unique benefits does CT bring to the SI market?

There aren’t many companies that have the global reach that CT has. We have multiple locations and around 220 staff globally focused purely on integration. Even though we’re relatively unknown in this world, we’ve been doing this worldwide for nearly 20 years, and that has created what is now a US$100m systems integration business. We also have the financial stability of our parent company, NEP, behind us and there’s no doubt that this solid foundation gets us into a diverse set of projects. We’re not centralised to one location, language or culture. Our diversity is one of our biggest strengths.

Yes, we have created a dedicated department which sits on its own vertical within our business. Systems integration is a bigger animal than live events in terms of the layers of people within the structure. We’ve recruited hugely in recent years due to the volume of work and have a technical team, procurement managers, dedicated finance, document controllers/administration, CAD designers, commissioning engineers, project managers and contracting managers.

What role does the wider group have in Middle East operations?

There’s a huge amount of support available from within the group. Generally, the individual countries get calls for certain design work, but then they also have access to a central pool of talent, and extra resources to assist with design or anything else that’s needed. A good example is Expo’s Emirates Pavilion where we worked with our Irish colleagues. Our thought process, strategy and direction are the same throughout the group, so it makes sense to play to our strengths. We are continuing to formalise the business structure and bring our global teams together even more. We conduct regular meetings between the various country offices to pass on knowledge and contacts, ensuring our clients always get the same level of service.

What are the next steps for CT with systems integration?

We’re continuing our push into professional systems integration with new branding and a new website. We’ll be exhibiting at the ISE Show in Barcelona for the first time next year; the booth is dedicated to our SI business. From here on, we will be working hard to let the market know that Creative Technology Systems Integration is expanding. We’re very keen for existing and potential clients to come and see us at ISE.

Creative Technology Middle East’s managing director Andy Reardon unveils the expansion of the company’s existing systems integration business

CT secured the AV tender for Al Wasl Dome

Making a mark

An elaborate lighting scheme by Martin Pro Middle East has transformed the façade of New El Alamein’s five-star hotel, Regal Heights, into a shining beacon of light

ALONGSIDE THE CONSTRUCTION OF THE NEW Administrative Capital outside old Cairo, Egypt’s al-Sisi government has been embarking on a swathe of development across the country in recent years. One of these megaprojects has seen the North Coast resort of New El Alamein (previously El Alamein City) being completely rebuilt to become a prime tourist hotspot. The 20,000-hectare project, still partly under construction, sees New Alamein conceived as the regional hub for tourism, education and government. New Alamein will have its own presidential palace and ministry building, and construction is ongoing for three universities, 15 skyscrapers and high-rise towers and more than 10,000 hotel rooms. The master plan upon completion is to hold 12,000 residential units with up-scale hotels set to rival those of Dubai, making El Alamein able to host both international concerts and top-tier events.

One of the first hotel developments to be completed in preparation for Egypt’s hosting of the global COP27 Summit in November is Regal Heights, a new five-star destination described as the “jewel in the crown” of New El Alamein. Truly fit for royalty, the hotel has already hosted UAE President Sheikh Mohamed, Egyptian President Abdel Fattah El Sisi, King Hamad of Bahrain, King Abdullah II of Jordan and Mustafa Al Kadhimi, Prime Minister of Iraq during recent diplomatic tours of the area.

The impressive skyscraper is located on a private 400m stretch of the Mediterranean coastline, offering travellers a luxury waterfront setting. A marble-clad lobby greets visitors, and all rooms offer views of the surrounding ocean, the swimming pool or the city, with spacious balconies allowing guests to make the most of the vistas.

The building’s six towers are quite an imposing sight on the city skyline, and the hotel management was keen to use these architectural attributes to their advantage.

Dubai-based lighting specialist Martin Pro Middle East (MPME) responded to a design brief to clad the exterior of

the building in a variety of luminaires that could transform the building into an “ever-present beacon” on the horizon.

“There was a design tender for the project and we bid based on that design, developing a series of renders of how the building would look using our fixtures, but with the proposed design from their lighting designers,” recalls MPME project manager Salem Haddad. “The hotel’s main contractor, Orascom, handled the physical installation, and we provided them with support onsite via drawings and methods of installation. We handled all of the programming and commissioning, and we’ve had guys at the site regularly throughout to supervise the installation as well.

“Securing the tender was a lengthy process,” Haddad continues. “There was a lot of back and forth about pricing, but at the same time they were understanding that everything must be marine-grade and not simply weather resistant.

Historically, the city has been a busy summer destination but during the winter it’s a ghost town. Everything has to be able to last across these long periods of downtime and neglect.”

Co-located on the edge of the Mediterranean with the O’Mall shopping centre, the building is formed of six long columns

that serve as the centrepiece of the façade lightshow. “Since the early 1990s, this area has been a summer destination for Egypt’s high society and one of the most expensive places to summer vacation in Egypt,” explains Haddad. “The government’s target with the megaproject here is to have people move out and start occupying this new area. There’s a presidential palace that overlooks Regal Heights, and the hotel is kind of the crown jewel of the whole area. There is no light pollution whatsoever nearby, and no other high-rise buildings.”

For MPME, the project was divided into four phases. The hotel is housed within the first two towers, with the other four being a mix of hotel apartments and apartments available for purchase. The first two columns are connected at the top with a cap floor. “In phase one, each of the balconies were outfitted with LED Linear fixtures, requiring the use of more than 2,000 Adonis RGB HD20 strip lights,” says the project manager. “There’s a groove in the cladding on each balcony for the fixture to be integrated. For phase two, there are four pillars on the side of each building, and we are washing them each in light with SGM P5s from bottom to top, including the area on the bottom of the cap floor.”

Phase three of the project saw the creation of a massive digital light canvas sprawling across the façade of the building that has been formed from 6,810 Martin Professional Exterior Dot-HPs. “We’re using these on a separate system from the rest of the lighting DMX, connected to a Green Hippo Karst+ (DVI-DL) media server to run the content along with two Datapath Fx4 multifaceted standalone display controllers,” explains Haddad. “While the video matrix is quite low in resolution, it affords the ability to display coloured animated sequences and patterns that can sweep across its surface and which stand out brilliantly at a distance.”

At the rear of the building, on the mall side, an additional large space connects the mall and hotel with swimming pools, an outdoor gym and a play area for children. “In that

area, we have supplied another 90 SGM P2 ultra-compact wash fixtures and 16 I-5 RGBW lights to wash this side of the columns,” notes Haddad. With final work still ongoing, phase four of the project sees the team ready to deploy a further 12 Elation Proteus Hybrid fixtures on the top of the hotel to create nighttime beam effects.

“While this type of project is quite common for us, trying to convince the consultant of what you are doing and the method of how to do it when they’ve never worked on something like this before can be a challenge,” the project manager explains. “While they are not really considered to be cheap products, the client understood that they are necessary for the task required. Elation and SGM are in our opinion the best outdoor-rated brands available on the market, and this is based on our experience of using them in extreme environments over the past 25 years. We were adamant that they should be used.”

Despite MPME becoming aware of the initial elements of the Regal Heights project in early 2020, its portion of the work has been drawn out over a very protracted period of time. “We actually started work in early 2020,” Haddad

confirms. “I was onsite there in February 2020 but had to leave because I had reached the limit on my visa. That, personally, turned out to be quite fortunate as about a week later the lockdown was put in place and everything was put on hold. But the design didn’t really change through this time so, once we were able to get back onsite again, everything continued as previously planned.”

With three of the four phrases of the project completed and the hotel doors open in anticipation of the COP27 Summit, the Regal Heights nighttime light show shines as an ever-present beacon on the horizon from as far as 40km away. For the hotel management, all of the project’s requirements have been met. “The building can be seen from absolutely everywhere now, so it was very important that we got the lighting side of things right,” concludes Haddad. “It might have taken several years to reach this point, but I think the result that we have delivered looks brilliant. And it should serve the hotel for many years to come.”

www.martinpro-me.com

ROE Visual - Proven Technology for Virtual Production LED panels are the ideal solution

portray set and backgrounds created in virtual reality. Creating the right canvas is not just building any

Picture: ARRI LED Volume Event by Ian Wallman

The hotel is connected to O’Mall via a large outdoor space illuminated by SGM SGM P2s and I-5s

The Martin Dot-HP matrix allows for patterns to sweep across the building façade

Istanbul’s acoustic mise-en-scène

Atatürk Cultural Centre in Istanbul is the newest multifunctional venue in Europe, designed and built with great responsibility upon its impressive history

WHEN THE WRAPS WERE REMOVED FROM THE NEWLY constructed Atatürk Culture Centre (AKM) in October 2021, the gasps of amazement and delight resonated far beyond Istanbul’s Taksim Square. The visual sensation of the huge interior globe adorned with 15,000 red ceramic pieces would be exceeded by the aural delights that lie beyond.

Following a major fire in 1970, the cultural centre designed by Hayati Tabanlıoğlu had become increasingly dysfunctional to the point that it was closed for renovations in 2008. Abandoned for the next nine years, President Erdoğan was prompted to state that the disused AKM would be demolished and rebuilt in 2017. Following in the footsteps of his father Hayati, who designed the original cultural centre, Murat Tabanlıoğlu was named as the architect for a project that would command a budget of US$162m. Desmus Architecture was also appointed to design the stage engineering, acoustics and all of the AVL systems and infrastructure required for this state of the art AKM rebuild. The complete renovation focused on the 2,040-capacity National Opera House together with a 781-capacity theatre, two recording studios, multiple rehearsal halls, several production ateliers and a cinema. With the opera company sharing the hall with the state symphony orchestra and a ballet company, equal consideration to all parties was essential. To accommodate the heavily programmed spaces, the room acoustics and the ability for quick turnarounds were deemed as vital requirements. Crucially, the client’s directive also stipulated that all the seats in the main venues have clear sightlines of the stage.

Working closely with Tabanlıoğlu Architects, Desmus Architecture sub-contracted ADA-AMC to provide additional acoustic design services, including detailed room and building acoustic plans for the main opera hall, theatre and

the recording studios. To attain very low background noise levels, recommendations were made to improve the noise control of mechanical services and to add further sound isolation between spaces. Ultimately, the challenge to cater for reverberation times of 1.7s and 1.5s in the opera and theatre halls, respectively, was finally successfully achieved. Beyond the main entrance facing Taksim Square, the primary component of AKM’s front façade is the Opera Hall with its 125m2 pit area capable of accommodating an 85-piece orchestra. Although opera performances demand natural acoustics, an option to stage symphonic concerts and electroacoustic performances is made possible through the state-of-the-art technology that has been implemented accordingly.

The Atempo Group of Companies was awarded the contract to supply and install the bulk of the technical audio and lighting equipment throughout. The Opera Hall is reinforced with a main LCR configuration of d&b audiotechnik V Series V8 and V12 enclosures supplemented by B22SUB and VSUB low-frequency extensions. More compact Y8 and Y12 enclosures have been installed as side fills together with a large complement of E8 speakers that serve as delays and a surround sound system. Onstage, d&b M4, M6 and Max2 cabinets were specified for their high-power, low-profile monitoring capabilities.

With the introduction of a d&b audiotechnik DS100 audio processor, it’s possible to provide algorithm-based control of up to 64 loudspeakers, based on output locations and their assignment to function groups. The DS100 64x64 matrix can accommodate up to 64 AES3 microphone inputs, and interfaces with the Dante network by way of a DS10 audio network bridge. Power is from 30D and 10D amplifiers.

The DS100 receives Dante multichannel audio from the

AKM at night as observed from Taksim Square

AKM audio technician Enez Donmez mixes on the Soundcraft Vi2000 control surface

Soundcraft Vi7000 console located in the rear control room. Inserted with a Vio/D21 Cat5 MADI card, the Vi7000 console receives up to 48 mic inputs from a ViLR-48C5 Cat5 local rack and up to three Vi SB 48/24 stageboxes via a single Cat5 connection. In addition to the Dante audio network that operates over category cabling routed to Luminex switches, Atempo Group of Companies also provided an extensive broadcasting infrastructure. Custommade patch panels, stage facility panels, stage manager desks and cue light systems are connected over Belden, Canare, Fischer and Lynx-Technik cabling to patch panels and OB outlets.

Specified for their wide tuning range, reliability and precision, the Opera Hall relies on Shure Axient and Sennheiser wireless microphone systems. In-house wired and wireless communications take advantage of the same Dante audio network courtesy of installed RTS Odin32 and Odin64 management systems.

Designed primarily to stage plays, in addition to concerts and dance shows, the theatre is located adjacent to the Opera Hall. Despite being smaller in size, the venue boasts a balcony and a wide foyer of its own. The foyer serves as a pre-reception point for arriving guests who are soothed musically or kept informed courtesy of six JBL Professional Intellivox DS115

into the wooden panels. Within the venue and below the 27m x 17m (WxD) stage are several workshops, including a smithery where all the pre-production decorations are created.

Sound engineers manage the audio parameters from a rear control room equipped with another 28-fader

audiotechnik audio system, which is connected to the Dante network. Fixed above the proscenium, three hangs of Y8 and Y12 cabinets are supplemented in the lower frequencies by L-R hangs of three YSUB subwoofers in a cardioid configuration together with four B22SUB subwoofers below the stage. The system is backed by 30D and 10D amplifiers, with the addition of a DS100 processor and D10 network bridge.

Next to the superb audio inventory, an impressive lighting solution has also been supplied inside the theatre, including an extensive catalogue of ETC fixtures such as all operated from ETC Eos Ti and MA Lighting grandMA control interfaces. Moving heads include premium models from Robe, Martin Professional and Claypaky, while Robert Juliat Followspots ensure the performers are suitably highlighted when required.

In addition to AKG microphones, an additional 38 Intellivox DS115 column speakers, Pioneer DJ equipment and five Soundcraft digital consoles for AKM’s requirements have been provided by Ertekin Electronic. Beyond the two main theatres, venue-wide digital signage and IPTV is transmitted over the IP network courtesy of Exterity encoders and transcoders. Ease-of-use facility management dictated that zoned back of house AV parameters would be controlled from Cue IP-enabled touch panels and keypads.

The Stage Engineering systems at the opera hall and the theatre were designed by Desmus Architecture, supplied by Waagner-Biro and installed by Astel Project. The solution inside the opera hall includes a 77 flybar system with 35m-deep stage elevators housing double deck and tilt functions. The state-of-the-art software running the huge machinery is specified as SIL3, the highest safety standards.

All of this has created an enviable environment for AKM’s busy technicians, who describe the new infrastructure as absolute joy to work with. No surprise given the world-class audio and lighting technology housed within. In fact, the only internal resonations experienced within the theatres appear to be the gasps of the audience.

www.astelproje.com www.akmistanbul.gov.tr www.atempo.com.tr www.desmus.com.tr www.ertekin.com.tr www.tabanlioglu.com www.waagner-biro.com

The red globe integrating 15,000 red ceramic pieces adorns AKM’s Entrance Foyer ADA-AMC provided full acoustic design services for the Opera Hall

d&b audiotechnik Y8 and Y12 cabinets augmented by Y Subs fixed above the theatre proscenium

The theatre hall’s Y-series speaker system connects to the Dante network

New to AV

AS

A REAL-ESTATE START-UP FOCUSED ON THE MORTGAGE

market, Huspy, like many companies in recent years, has faced a new set of challenges to overcome in the traditional office environment. Having decided after much deliberation to move its headquarters to a new and more central location in Dubai, the company was ready to embrace novel uses of audio and video technology to enable its 300-strong workforce within the various multinational arms of its business to better collaborate across distance.

The company has grown surprisingly quickly in a highly congested market by placing a focus on technology to provide a more transparent and easy-to-navigate experience for buyers. Within just one year of operations, it had grown to become the UAE’s number one mortgage provider with an annual rate of more than US$1b.

“We were founded back in 2020, right before the pandemic,” explains Huspy’s Natalie Klein. “We had our first hire in just March 2020 but since then we have grown to encompass more than 300 employees. This left us split over four different offices, all of them in Business Bay in Dubai. It got to the point that we outgrew every single office that we came into. So, we decided to opt for a new space where we could house all of the employees in a single place, fostering better collaboration and encouraging the way they interact and work with each other.”

The new open-plan space was perfect for modern collaboration and larger-scale meetings but less so for small intimate meetings. “What made us fall in love with this specific floor in the Bay Gate building was the fact that we have this central space like a winter garden,” furthers Klein. “From the beginning, we understood that it would be important to have a seminar space, a space for our employees to interact, to make better use of the cafeteria and to ensure that we have the proper infrastructure to host big events.”

Being such a new company, Huspy was unfamiliar with the best approach to take and quickly looked to the market for advice while trialling potential solutions. Having moved into the new Business Bay office, the company initially rented a screen and stage to test out different deployment ideas and whether these systems would suit the team’s configuration. “It was really important for us, being completely unknowledgeable about any of these aspects, to be able to count on a team of specialists that help us work out the best solution for our needs.”

Local security solutions and AV integrator Syslab was brought on board and provided its expertise in the visual domain, deferring to long-term close partner and Yamaha’s UAE distributor

Thomsun Trading for a “modern and upscale” audio solution. “Our involvement in this project came through Syslab,” recalls Mikhail Sujan, technical sales at Thomsun Trading. “For them, it was important for the solutions chosen to be visually sleek and also something quite high-end. We naturally proposed the Yamaha VXL speakers. Since the area where they’re installed is a very long space, we integrated four VXL16s running off two amplifiers in combination with a Yamaha MTX3 matrix processor.”

manual control, and a Sennheiser XS Wireless 1-835 all-in-one microphone system is on hand for use by meeting presenters with the option of either handheld or headset mics. At the other end of the space, section two features a second screen in the form of a MAXHUB 75-inch interactive LED display that can be moved as required.

For Huspy’s management team, despite the AV solution being relatively simplistic in nature, being walked through all stages of the process by experienced professionals was hugely appreciated. “It was really useful to have the support of a specialist telling us things like, what is a good resolution, what is a good size of screen and where should we place it, or what is a good sound system to accompany it,” notes Klein. “Choosing something that we wouldn’t later be able to scale wasn’t an option. The moment we decided to make an investment in something, it needs to be able to work for us for the long run.”

Having completed the integration of new collaboration pods in less than two weeks, both the Syslab and Thomsun teams remain at Huspy’s disposal should any unforeseen circumstances arise. “They’re having their two-year anniversary for Huspy in a few days, which will be the first proper chance that the entire setup will be used,” explains Sujan. “Our tech guys and Syslab’s video techs will be present just to make sure that everything is running as smoothly as possible, as they’re planning to do a live broadcast with the Spanish head office and it’s very important that goes off without a hitch. Then, once this event has concluded, I don’t foresee they’ll need anything more for us in the future for quite some time. But nevertheless, we’ll be ready to

Thomsun has helped ease the moving pains for Huspy by taking charge of the office’s new working requirements

A Yamaha VXL1W-16 reinforces the large open-plan space while remaining out of sight

The team gathers in the main open-plan space for a large presentation

Assume nothing.

It takes very little time for the A-Series to reveal its true colors: Coverage options to spare. Extra clever acoustic control. More flexibility. Fewer compromises. Approach sound reinforcement from a different angle: dbaudio.com/a-series

More art. Less noise.

Taking truss to the extreme

as South Africa’s Switchblade Films increasingly demonstrates, one man’s awkward rigging system is another man’s opportunity to get creative.

Established in 2011 to support the increase in reality TV productions taking place globally, Switchblade Films, also known as Pyranha Reality, is a Cape Town-based company specialising in rigging solutions for TV in tandem with its sister company, Pyranha Stunts, which specialises in movie stunt work, also in addition to rigging. Pyranha Stunts started out small by deploying basic stunt and rigging equipment from the home garages of partners Grant Hulley and Franz Spilhaus, but quickly grew and assembled a dynamic team that has enabled the company to offer a professional service with a commitment to every production. The result is that Pyranha Stunts has become one of the biggest preeminent stunt companies of its kind in South Africa. Today, it works both nationally and internationally, providing professional stunt teams, rigging and necessary related equipment to the feature film industry. Meanwhile, sister company Switchblade Films offers similar services specifically for reality TV productions. The two companies share resources and service both industries separately as the demands are not the same for TV and movies.

“Dermot [Brogan, stunt and rigging coordinator] and myself –who both come from a river guiding and outdoor background –run the company’s reality TV projects together with Johann Spilhaus,” explains stunt and rigging coordinator Francois Grobbelaar. “Dermot is an avid rock climber and I worked for an outdoor adventure company before joining the industry. We have both been rigging and coordinating for over 20 years and both did many years of stunt work as well. There is a very close bond between stunts and rigging and it made sense to pursue both careers from the start.”

design the build around that. On other occasions we see a great location and then think of a nice stunt that we can do there. We also sometimes get ideas from things we’ve spotted on other shows and tweak them, or we take two stunts and combine them into something new. Every show and every country has different stunts and the client usually has some ideas of their own that we then design the build around.”

South Africa might not seem the obvious choice for onlocation filming but, as Grobbelaar explains, a combination of unique factors provides a convincing argument for international productions: “South Africa, and Cape Town in particular, has amazing crew and equipment, which is a big reason for so many productions coming here,” he says. “Cape Town has a lot to offer when it comes to unique locations and, because we are in the Southern Hemisphere, it means our summer attracts a lot of shoots when it is too cold elsewhere. The exchange rate is also in our favour when it comes to international productions coming to shoot here.”

A firm belief in staying at the cutting edge has seen the team consistently developing and investing in the latest equipment, ranging from cable cams to fully programmable winches and a wide variety of camera gear. As one might expect, Switchblade’s focus on stunt shooting sees it deploying truss in ever more intriguing ways, and the pair’s outdoor backgrounds also bring a unique perspective for on-location filming. What many probably don’t appreciate is just how integral trussing has become to these operations when, because of the safety element at play, choosing the right solution becomes paramount.

“We brought our first Prolyte truss in 2011 after landing a Fear Factor India contract,” recalls Grobbelaar. “Prolyte was the obvious choice after assessing all the options, and the fact that DWR was the distributor in South Africa made it a lot easier to get hold of stock. When it comes to shows such

as Fear Factor, trussing forms the foundation of most of our stunts and all our builds are designed around the structure. Whether it is suspended off a crane, standing on the ground or hanging off the side of a building or moving vehicle, we massively rely on Prolyte to set up the stunts safely.”

Following the pandemic, the on-location film industry in South Africa has been enjoying a huge surge in popularity which has seen members of the Switchblade team hanging from bridges, mountains and sky-high buildings in a bid to capture that picture-perfect shot for TV. “Some particularly unique builds that we’ve created include one where we needed the structure to look like an asterix symbol,” Grobbelaar furthers. “The only way we were able to achieve that was to fabricate offset steel plates that bolted onto the Prolyte corner blocks between the levels. This allowed us to still keep the entire structure locked together, thus strong and stable. A lot of our build requires moving or rotating platforms and we have to therefore build all our motors into aluminium and steel structures that bolt straight onto the Prolyte truss sections. This way we are able to hold it together as a single solid structure.”

“We also did a very interesting build for a German show called Global Gladiators which was filmed on-location at Vingerklip Lodge in Namibia,” recalls Brogan. “Contestants were pushed towards the drop-off on a captive track which was secured to a Prolyte base. Their safety line was attached to the helicopter

above them, so when they reached the end of the track they went into a drop before getting lifted by the helicopter. To create the curved track we fabricated steel truss sections that connected to the Prolyte truss by means of truss eggs and pins, and fabricated pivot plates used along with truss to give us two back braces from the end of the structure to the wall/cliff face of the mountain. This was needed to support the weight and prevent flex on the trussing with the big overhang.”

This sudden burst in filming has seen the company increase its already sizable stock of Prolyte equipment, the largest orders of which include 16m x 3m, 9m x 2m, 13m x 1.5m, 8m x 1m and 1m x 50cm sections. “In total, we now hold more than 40 corner blocks and 30 0.5m, 1m, 1.5m, 2m and 2.5m sections each,” notes Grobbelaar.

“Safety always comes first as no risk is worth our careers, and this is one area where Prolyte shines above the competition,” adds Brogan. “It is very easy for us to look at the Prolyte manual, catalogues and website to check the loads and therefore we’re always able to stay within the safety specs. And we are always able to pick up the phone and call someone at DWR to discuss any concerns we have with damaged truss, certain builds and loads. If we can’t get the information from the catalogue, they are always ready to assist.”

www.dwrdistribution.co.za www.prolyte.com www.pyranhastunts.co.za

With team members and contestants often precariously placed, safety is paramount

A letter from America

Is contemporary Christian music the next target for private equity, asks Dan Daley

DAVID

BOWIE, BOB DYLAN, BRUCE SPRINGSTEEN,

Barry Manilow, Shakira, Fleetwood Mac. These and dozens more hitmakers from the past five decades have joined the trend of selling their publishing and/or master recordings rights to a handful of well-capitalised ventures, such as the Hipgnosis Songs Fund and Primary Wave, which have collectively invested tens of billions of dollars in these classic songs and recordings.

The investments have paid off. Just look at Kobalt Music, which Google Venture capital funds pumped US$60m a couple of years back, and which manages $3.5b in publishing assets for Paul McCartney, Prince, Dave Grohl and others. Kobalt’s annual revenue growth has averaged 40% over the past decade. However, they also may be hitting the last of the most valuable toys in the toybox: most of the hits from the ’60s, ’70s, ’80s and ’90s have by now been scooped up and, quite frankly, EDM, hip hop and other more recent genres haven’t exactly been turning out the same kind of durable classics in recent years. So music catalogues have proven their value in the capital markets but, if the well that spawned them may be starting to run dry, where else to look? Church, perhaps. On a corporate level, Christian music has been in play,

and lucratively, for some time, but mostly to the trade. For instance, a decade ago, Universal Music Publishing Group acquired the music publishing assets of Maranatha! Music, the world’s largest Christian music publishing catalogue as well as the second-largest evangelically styled choral music catalogue, and included the catalogues of leading Christian label, Sparrow Records. Since then, other highlevel acquisitions have taken place, including Curb Records’ acquisition of Word Entertainment, a huge Christian faith-based entertainment company. But, in what may be a portent, Primary Wave has this year acquired a stake in the publishing and master royalties of Matt Redman, who has won Grammy awards for the Best Contemporary Christian Music Song and Best Contemporary Christian Music Performance.

“Retail” Christianity, of the sort practised in the US evangelical universe, has never been averse to mingling music, money and the message, and never less so than lately. I’ve previously looked at how the house of worship sector has grown as a percentage of the installed AV market, but the numbers become even more interesting (when you can find them; the Gospel Music Association, its main trade group, is notoriously stingy with data) when you

A letter from Europe

look at the music being pumped through those speakers and from those stages. What we do know is that Christian music accounts for over $350m: 3.6% of the nearly $10b US music market. While that’s a bit more than what Sony Music paid for just Dylan’s publishing catalogue, some context puts it into perspective: they’re apparently not making any more Dylans; meanwhile, 68% of Americans listened to Christian music in a given month. And the demographics are as attractive: while classic rock’s cohort, the target of most of the catalogue acquisitions in recent years, continues to age out, the Christian music enthusiast keeps getting younger and more female, and who buys more music than men. And contemporary Christian music (CCM), the core of the industry, has its own institutionalised development and marketing infrastructure in the form of hundreds of megachurches throughout the country, virtually all of which offer one or more contemporary worship service each week.

In other words, as the remarkable run of so-called legacy music catalogues reaches towards its inevitable conclusion, there may be an as-yet untapped reservoir ready to soak up those dollars. Matt Redman may be just the first of many in his genre to pick up that glorious paycheque.

Phil Ward views the vast strides being made in the realm of virtual reality through the prism of Sennheiser’s Merging Technologies acquisition

OK, IT’S SATURDAY AFTERNOON AND YOU’RE itching to unlock Ancient Egypt by exploring hieroglyphs. No? How about printmaking in Prague? Isn’t it time you brushed up on art from the court of Rudolf II? Ah, hang on, here we are. Step aside, everyone, because here comes The Woodpecking Factory: Victorian Illustrations by the Brothers Dalziel. Pack the hard-boiled eggs in kerchiefs, Ethel, we’re going to the British Museum.

These and other arcane experiences hide a secret, and it’s a secret that, believe it or not, gives a special metal-detector beep to the news that Sennheiser – home of Dear Reality, Ambeo and Neumann – has added Swiss DAW gem Merging Technologies to the portfolio. Merging, you will need no reminding, gave the world the Pyramix digital audio workstation and, while it never matched Pro Tools as an industry standard, it has spawned an ecosystem of network-ready interfaces, terminals and clocks that would set the sprinklers off in the Rolex factory.

The words of Georg Neumann CEO Ralf Oehl, in the press statement, for once elevate the PR to authentic import. Regarding Merging, he says: “We plan to strengthen Neumann’s offering, particularly in the area of digital workstreams, in order to provide our customers with holistic audio solutions in studio

quality.” The key phrase is “studio quality” because these are workstreams and holistic solutions that will end up far beyond the studio. Yes, Neumann will benefit from Merging’s prowess in studio production. But at the same time Sennheiser, already striding into new markets with the courage of the archaeologists who prised open King Tut’s tomb, can continue to shape a future in which every ticketed experience will hide a timecoded catacomb behind its kaleidoscope of sensations.

At the moment, the British Museum relies on an AV backbone controlled by Q-SYS, the software-based control system for audio, video and control developed by QSC over the past 13 years. In fact, the institution has just completed a new installation of it courtesy of London-based Autograph Sound, another pioneer carrying theatre techniques into places not used to this kind of drama. Access to hugely sophisticated programme material has been made simpler and more effective than ever before, such that personnel with no experience of sound engineering can maintain a high standard of dynamic presentation that never allows the dust to settle on ancient artefacts.

But museums are only a small sector in a rapidly expanding market of “experience design”, where almost anything

can be transformed by AV sequences that range from subtle background enhancements to a complete show in which venues from Las Vegas to Macau are drilled through mesmerising spectacles. One new venue in London has been created expressly for this purpose: in this instance, a timecoded tribute to Abba, Sweden’s most enduring pop export and Tutankhamen’s main rivals for longevity beyond the grave. The ancients would have killed for the immortality conferred by the digital video avatars created for the ABBA show by motion capture using, thankfully, all four members of ABBA and their very-much-alive faces and bodies. True, lithe young dancers were also used for the more exerting sequences, which is exactly what the Egyptians would have done. The point is, though, that the entire AV programme of ABBA Voyage is driven by a timecode host called Ovation made, you guessed it, by Merging Technologies. The entire mix is a unified AV sequence, with space even for dynamic overlays by a live band. Q-SYS is in there as well, handling extra audio level control.

So, everything is becoming a managed experience, and Sennheiser now has the tools for waking the dead. Honestly, I’m not sure dear old “reality” will survive.

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WHEN QUESTIONED ABOUT HOW IBC 2022 HAD FARED,

Lawo marketing director Andreas Hilmer summed up the mood for many. “This is 3D immersive with real people and real customers, talking about real projects, all creatively interacting without a screen,” he declared. His observations were echoed –in slightly different ways – throughout Amsterdam’s RAI, where an in-person format after two years of going virtual was characterised by packed halls, standing room only in theatres, bustling networking events and full meeting schedules.

The visitor count may have been 35% down on the previous 2019 edition, but it mattered not one bit. Exhibitors including Adobe, Amazon Web Services (AWS), Avid, Google and Sony, together with a host of familiar industry brands and companies, firmly extinguished the shadow of Covid-19 that plagued this exhibition in 2020 and 2021.

Although the pandemic accelerated the rate of change, it appeared to be business as usual for many exhibitors who seemingly carried on where they had left off – in many cases in the same locations. Many booths were showing 4K, 6K and 8K cameras and monitors including ARRI (Alexa35), Canon, Grass Valley (LDX 135), Ikegami (UHK-X750), Panasonic and Sony. As in previous years, Ross Video and Riedel – which premiered the Ultrix FR12 hyperconverged platform – announced acquisitions, this time of Spidercam and SDNSquare, respectively, on the eve of the show.

Conversations about 5G continued, joined by topics including remote production and augmented reality. The pandemic could arguably be credited with promoting PTZ camera development, with Marshall (CV730 and NDI|HX3), MRMC (Arc360), PTZOptics (G3 4K) and Sony (FR7) showing the latest highresolution, 4K and networkable models. Talk among audio exhibitors extended from stereo upmixes to immersive to AoiP. Cloaked “Argonauts” lifted gold wraps from the latest Argo control surfaces on the Calrec booth, while Lawo networked on its Black Forest-themed stand. Designed for remote and modular radio productions, Wheatstone’s Strata 32 console was shown alongside the Blade4 I/O unit and GSX console surface for the WheatNet-IP network. Solid State Logic highlighted broadcast

From the show floor

IP-based Avatus E console and the portable Nexus Compact. The buzz of making up for lost time was particularly noticeable in halls 1, 2 and 7, but the traditionally peripheral halls were not spared the visitor rush. While DPA, Lectrosonics, Microtech Gefell, Schoeps and Sennheiser enticed a mix of new and traditional broadcasters seeking microphone technologies, the Clear-Com (Arcadia), Altair (IPCom), Pliant (Crewcom), Riedel (Bolero 2.4GHz), RTS (Omneo IP) and AEQ (X-Peak and X-Core) booths premiered their latest IP comms.

The IP video revolution continues to have a dramatic effect on broadcasting and media operations, with problem-solving collaborations in evidence, such as the openGear modular frame system designed by Ross Video, which supports a diverse range of third-party terminal products. Audinate, whose roll call of licensed video partners reached 26 in June, revealed the latest Dante AV-H and Dante Studio.

As manufacturers continue to juggle record order books with supply chain challenges that define the current era, they could use the long wait at Schiphol Airport to reflect on an IBC that had delivered the goods.

2022 Dates: 9 – 12 September

2023 Dates: 15 – 18 September

Venue: RAI Amsterdam

Total exhibitors: 1,000+

Attendance: 37,071

Francesco Martinez, Altair:

“We’re exhibiting at IBC for the first time with IPCom, a new IP-based intercom system for broadcast environments, and we wanted to test out the exhibition by talking to end users and distributors. Broadcast has never been our traditional market, but we’ve had a good show. Coming from the professional audio market and dealing with rental companies and installers, IBC is more of a show that draws decision makers who are looking to conduct business. We normally exhibit at ISE, and you can tell that AV and broadcast are converging as an increasing number of products operate over IP, such as Dante. Cameras, data, video and audio share the same networks, so the integration of video and broadcast is the future.”

to YouTubers. Most of our customers want a solution that doesn’t break the bank and they want to keep it simple. As a result, we design smart, simple-to-use, cost-effective technology that is exemplified by several new products, such as the Showcast 100, which allows people not trained in video productions to create professional content by simply tapping a touchscreen. As a solutions-based company we are in the cloud, and we collaborate with other manufacturers such as Sony and Panasonic to extend those solutions.”

Samer

Mouwanes, Clear-Com:

“With Arcadia Station we are more focused on IP as everything is in the cloud and everyone is using IP networks. During lockdown we spent our time developing existing products in addition to new ones and listening to our customers. Prior to travelling from Dubai, I expected few customers from the Middle East, but I was reassured when I boarded the plane as half of the passengers were broadcast people. Compared to other shows I have attended, IBC feels like a return to normal. The crowds have returned, so we can talk normally and see facial expressions, which is very important during meetings. After two years of video conferencing, I’ve really enjoyed having face-to-face meetings and after-show dinners.”

L–R: Altair’s Francisco Martinez, Sergio Martin, Antonio Ruiz and Miguel Gimenez

Datavideo’s Valentijn Diemel

Clear-Com Middle East’s Samer Mouwanes presenting Arcadia 1

Richard Lawn reports from the first IBC tradeshow to return to Amsterdam in three years

Dave Letson, Calrec:

“We were unsure how many people would come to IBC this year, but it has more than surpassed our expectations. The launch of our new flagship console, Argo, has brought the crowds in and it has been fabulous to see so many people again including a lot of our distributors from APAC, who have brought new faces to the stand. It’s a slightly smaller show than three years ago but we’ve had more appointments and a huge number of walk-on visitors. Over the last three years we’ve experienced a lot of changes. In 2018 we started to look at remote production, but during lockdown that really accelerated with the huge shift towards remote production. Our consoles now connect to calls over long distances. We witnessed many customers attempting to adopt their current architectures and workflows towards remote production, so we were fortunate to be able to offer that.”

“At IBC we have introduced Ambeo as two-channel spatial audio. The concept is to output Dolby Atmos content to viewers with two channels on their TV, iPad and mobile phone in addition to headphones. It’s received a very positive response because a large majority of our visitors’ customers are still listening to stereo content. We’ve had a lot of feedback from sports producers and other broadcasters. During the past three years we’ve missed these conversations. We previously exhibited to receive interest from customers but, today, we are more eager to learn about problems in their workflows before recommending solutions and improvements. The Neumann Berlin business unit of Sennheiser recently acquired Merging Technologies, which adds to a complete AES67 workflow starting with Neumann microphones before being converted by Merging, processed by Dear Reality plugins and output from our latest loudspeakers. By separating the business into three distinct units, we can focus efficiently on the customer’s needs rather than going back and forth between different markets.”

Tom Murphy, ARRI:

“Since IBC 2019, ARRI has taken a keen interest in virtual production and can now offer remote control solutions. At IBC 2022 we have launched our smallest fully featured production camera, Alexa 35. It’s a 4.6K Super 35 sensor with 17 stops of dynamic range, which could take the streaming mandates. The goal is to elevate live multicam broadcast productions to a more cinematic level. Although there have been a couple of other tradeshows since the pandemic, IBC has felt like the first one where we’ve had a real international mix. After three years of Teams and Zoom, the importance of meeting customers face-to-face cannot be underestimated.”

Renato Pellegrini, Sennheiser/ProLabs:

L–R: Calrec’s Gareth Frimston and Dave Letson presented the new Argo console

Sennheiser’s Renato Pelligrini demonstrated Ambeo’s two-channel spatial AV 4

ARRI’s Tom Murphy with the latest Alexa 35 production camera

From

“We’ve focused on our latest device, ColorBox: an advanced inline colour transform box. Leading into IBC I had good expectations but, honestly, these have been exceeded; the energy is unbelievable. Traditionally, this is a tough five-day event, but [dropping to four days this year] I’d welcome another day because I’ve had so many good conversations. I’m seeing all my friends here again, talking shop and giving out a lot of hugs. Employees aren’t working in centralised facilities anymore; it’s now available at home. Editors prefer to work in the cloud using their own home setup and tools connected to cloud storage. AJA is responding to this trend and our partnership with Discover Data allows creators to work and collaborate remotely. Another reason we exhibit is to educate as many people as possible, because so much has changed since IBC 2019. There’s so much emphasis on data rather than baseband video because everything is file-based, stored in the cloud and accessed online. There’s been a big shift, with a lot of new, accompanying tools and methods. We’re aiming to simplify workflows and make lives easier for customers in addition to receiving feedback for our next round of developments.”

“It’s great to be at IBC; it finally feels like we’re back to real life. The main priority has been to engage and network with our customers and that mission has been fulfilled.

We added some new features to Home software, such as health monitoring, and our new partners such as DirectOut and Merging want to become native citizens on the platform. In addition to debuting the .edge hyper-density SDI-toIP conversion device, we added a new software module to provide jpeg access compression to the We Matrix software-defined processing platform. We’ve also revealed the latest software features within the mc2 production and added hardware I/O devices to complement Power Core. As our products are IP-native, we could assist broadcasters transition to remote practices and workflows at the start of the pandemic. It went further with our factory acceptance and site configuration tests as we remotely supported our clients; this would never have been accepted prior to Covid.

I am proud that Lawo could contribute towards maintaining the continuous flow of media and news. IBC 2022 turned out to be more global than expected, with visitors coming from beyond Europe including North America, Latin America, APAC and the Middle East. In an age when technical progress is so fast, standards are changing and there is a degree of uncertainty, we place our trust in relationships.

And you cannot trust what you can’t touch and what you can’t see, so it’s essential to renew those relationships. IBC is like a big community with frenemies, competitors and customers with alternative choices coming together.”

if it’s right for you. Our technical specialists come to IBC to understand what the customer is trying to do. With any purchase, you’re buying a product to solve a problem or improve workflows, so we need to listen as the conversation has changed since the last time we exhibited. You don’t get the level of engagement on a videoconferencing call as you do here at IBC. Resolve always attracts headlines: I stood in this hall in 2009 when the Resolve Ultimatte system was on sale for US$650,000. Today, we offer a version that you can download for free which is not watermarked and does not time out after 30 days. We continue to find different ways of doing things, including collaboration. The Blackmagic Cloud has attracted a lot of interest as it allows users such as a colourist in London, an editor in Madrid and a VFX artist in Los Angeles to collaborate on a project in real time, and the media is then synchronised to a local 20TB storage device.”

Abe Adt, AJA:

Andreas Hilmer, Lawo:

IBC 2022 appeared to be business as usual for many

AJA’s Abe Abt promotes the virtues of Colorbox

Andreas Hilmer from Lawo

Blackmagic Design’s Simon Westland

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Enjoying a 25% increase in floorspace which saw it spill out of the DWTC’s 23 halls and into makeshift tents outside, while simultaneously enjoying a makeup comprised of an impressive 52% of new exhibitors, the 42nd edition was considered a roaring success by all benchmarks.

In total, GITEX hosted more than 5,000 exhibitors from across 90 countries with a special focus on the Web3.0 economy played out over several themes. In reality, the lines on the 185,000m2 show floor were less distinct, and visitors were greeted by everything from cybersecurity to smart facilities, cloud and teleconferencing solutions, depending on which way they happened to turn. Such a disparate collection of technology has earned the show the moniker of being a more enterprise-focused CES, the massive Consumer Electronics Show held annually in Las Vegas. Perhaps because GITEX managed to hold onto its traditional date where other shows have shifted haphazardly around the calendar, all aspects of the exhibition this year were back to pre-pandemic levels. The buzz and enthusiasm on the show floor was palpable despite the sheer numbers of visitors making the tightly packed aisles often hard and slow to navigate.

Although GITEX is massive in all regards, audiovisual companies are few and far between. Yet, ever since the days of InfoComm MEA – which ultimately shut its doors in 2017 – being hosted alongside it, there has been a small but reliable and consistent AV presence. One of those is distributor Venuetech, which has settled on the tried-andtested formula of displaying a slice of each of its brand’s varied offerings to an often unfamiliar crowd, and this year brought newly distributed brands Meyer Sound, Auravision and Colorlight to the exhibition for their inaugural showing. The Dubai-based distributor for the first time hosted live demonstrations of Sennheiser’s TeamConnect solutions in an acoustically isolated booth that proved highly popular, giving visitors the chance to assess the products away from the hustle and bustle of the show floor. Other regular AV exhibitors present in their own right included the likes of Aten, Jabra, Kramer, Navori, Poly and Shure.

From an AV perspective, there are two main reasons for exhibiting. One is simply a lack of other effective pro AV tradeshows in the region, something that could potentially change with the announcement of the new Integrate Middle East exhibition to be co-located alongside CABSAT in May next year. But the far more compelling reason is that it exposes brands to an entirely new – but increasingly

of those AV companies that do attend, it’s somewhat surprising that uptake over the years hasn’t been higher, a sentiment echoed on the show floor.

Regardless, several new companies took the plunge in 2022, including AV-over-IP specialist WyreStorm alongside its distributor Mersive Technologies and Thomsun, the Dubai-based distributor for the likes of AEQ, Lightshark, Lumens, Yamaha, Neumann, Optoma, Røde and from the opening of GITEX onwards, also Univox. Fledgling conferencing solutions manufacturer Neat also decided that now was the right time for it to try and make a name in the local market. “We’re a new start-up from Oslo and in the last two to three years we’ve grown rapidly, but mainly in the west,” offered Neat partner, Middle East and Africa, Chicco Hiranandani. “With GITEX being one of the largest shows in the region, it made sense to be here this year to mark our entrance into this market and the show has been an overwhelming success.”

Having recently partnered with Redington Gulf, Spanish audio manufacturer ECLER enjoyed its first taste of the world of IT. “It’s great to be one of the first AV manufacturers with a presence here and to open the door to this new world,” commented ECLER’s Jan Pagès. “We’ve been having conversations with people we wouldn’t normally get to meet, and it’s been very interesting to learn how the worlds of AV and IT can better serve each other.”

AV brands that do take part consistently extol the virtues of doing so, and are enamoured by the unique

makeup of GITEX attendees – brand-new faces from entirely different sectors where AV is increasingly playing a role. As a result, every exhibitor Pro AVL MEA spoke to on the show floor expects to be back again next year. At the end of a very busy week, exhibitors seemed highly satisfied with the impressive attendance which included people from all corners of the Middle East and Africa. The latter is a region the organiser has now identified as being worthy of its own GITEX platform, with the inaugural GITEX Africa to be held in Marrakech from 31 May –2 June 2023. Will the launch of this, and the Integrate Middle East show in May, be enough to take some of the shine off GITEX for AV companies in 2023?

Mig Cardamone from Sennheiser with the TeamConnect Ceiling 2 array

L–R: Shure’s Anish Samuel, Cyril Matar and Antony Lovell

The Jabra team

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Warming up the Middle East

they could own, or that they were using in plugin format, but made it sound really good and at a price that wasn’t as ridiculous or as expensive as they thought it should be.”

PLACING A PARTICULAR FOCUS ON ANALOGUE EQUIPMENT

is a popular trend in the world of professional audio, and one that seems to ebb in and out of favour over time. It’s typically the same names that keep cropping up time and time again: vintage brands whose products have gone on to enter the pro audio hall of fame. But this is not always so.

At just over a decade old, Warm Audio lacks the extensive audio heritage of a vintage brand. The fledging company’s success has instead come through extolling the value of authentic hardware recreations of classic recording equipment since being established in 2011 by owner Bryce Young.

“I first got into recording my band when I was 16 years old,” Young recalls. “We recorded in a local studio that had okay gear, but we weren’t very happy with the result; it just didn’t sound good. I was shocked because my whole life I’d listened to records on the radio and they all sounded great. We found another and, again, the result just wasn’t very good, so I started experimenting. I bought one of those Roland all-in-one recorders where you could record eight tracks in total. Then, I got a USB interface and started recording myself and other people, worked at a local studio and also mixed a lot of people throughout college. Over time, I started to become fascinated with the gear.”

These trials and tribulations led Young to develop a deep appreciation for the sometimes subtle differences in recording equipment and, upon plugging his low-cost microphones into his college’s Avalon VT-737 mixing console for the first time, a new world opened up. “It sounded completely different from

what I’d experienced before – bigger, fatter, juicier and just more professional,” he explains. “Ever since that moment, I wanted to chase the professional sound. Around 2007, I started purchasing kits to build my own mic preamps and sold them on eBay. People were buying them and I quickly came to the realisation that if I was going to go down this path, I would need to go big and manufacture the first 100 all at once.”

Such unexpected initial demand quickly led to the creation of the Warm Audio brand and the company has since gone from strength to strength with little effort, gradually branching out from its US base in Austin, Texas, to saturate music stores across the country. Over the last decade, the American manufacturer has also built up an impressive product selection of more than 20 mic preamplifiers, compressors, equalisers and microphones that are all designed, developed and tested in-house in Texas and have made appearances around the globe in major live music venues, commercial recording studios, broadcasting control rooms, houses of worship and on live tour and festival sound rigs.

So, how did an unknown start-up manage to penetrate a dwindling analogue recording market in less than a decade? “Getting in with good distribution up front was incredibly helpful in growing the name,” notes the founder. “We picked a distributor in the United States that had connections to MI retailers such as Guitar Center, Musician’s Friend and Sweetwater, and our products were also readily available online. What makes us unique was we replicated all the gear people already wished

Despite Young’s confidence in this endeavour, which was based on the strong initial demand his recreations received, not everyone in the industry was so sure it was a clever move. “When we first started out, a lot of the distributors were telling me that the world was moving away from this stuff, that they were moving to digital,” he says. “It was like, well, they’re moving to digital because they can’t afford a $4,000 compressor or a $9,000 microphone. But when they hear that ours sound as good as a $9,000 product at a significantly lower price, they’re going to wonder if they really do want that digital equivalent or the real thing. We’re finding, and the numbers are proving, that people actually want the real thing.

“At their core,” he adds, “most are chasing vintage tone and that nostalgia of classic recordings. If they’re using plugins, almost all plugins now are emulating vintage tube gear, old circuits and old designs. There is a sort of fanaticism for vintage analogue tone.”

Having become a household name in the US, the next stage in the company’s growth plans include establishing Warm Audio as a global household name for quality analogue recording equipment that doesn’t break the bank. In the Middle East, the reins have been handed to Dubaibased distributor Dalma Electronics as the exclusive partner to help grow its name in the MENA region.

“We became aware of Dalma through a mutual colleague,” explains Paul O’Brien, head of business development for Europe and the Middle East. “Warm products have been sold in around 90 countries, but we didn’t have a particularly large presence in the Middle East up until this point. There

The team at NAMM 2022

The Warm Audio HQ in Austin, Texas

While many components are sourced abroad, the products are manufactured and assembled in Texas

were some things going on in Egypt, but nothing in the UAE and the immediate surrounding areas. We definitely view this step as a major expansion into the Middle East.”

Since assuming ownership of the brand locally, Dalma’s Tahir D Muhammad has been personally leading the charge. “Our goal is to bring back the classic methods of recording in today’s technological world by introducing Warm’s range of classic, vintage-style microphone preamplifiers, compressors, equalisers and microphones. We are growing day by day, the presence is increasing and the overall brand visibility is getting better and better. Once people hear the results and price, compared to other options in the market, they are pleasantly surprised.”

At the onset of the pandemic, many companies in the recording and studio sector got an unexpected boost as the world went into lockdown which quickly led to a flurry of desperate sales. Counterintuitively, Warm found this adjustment period challenging. “It actually made life a lot harder for us because sales went up dramatically and everything became much harder to source,” explains Young. “But we never changed our formula. We always kept using the same brands for components, we just had to place larger orders to prepare for the future and be more aggressive by making payments to manufacturers in advance. We pushed hard but it paid off. We sold more units in 2021 than ever before and roughly tripled the size of the company during that time. This year, a lot of AV companies are having supply issues with chip sourcing but, being a mostly analogue manufacturer, we don’t use a lot of chips.”

Looking to the future, Young seems confident that the successful formula he’s developed over the last decade will continue to pay dividends in the post-pandemic world. “There’s a couple of messages that we’re focusing on, moving forwards,” he says. “One is that our only competition for this type of product is the original product. We see that our products are as good as, or in some cases better than, a 60-year-old microphone, and we accept the challenge to be compared against the greatest products of all time. The

other thing is we think that more people can benefit from analogue over digital in general, even if not for everything. We want them to consider that instead of using a virtual mic pre, give a real one a shot and see if or how it changes your mixes. Try to breathe some real analogue tone into your digital world and see if it makes a difference.”

These are concepts that are tricky to convey with words, but easy to understand when allowing a potential customer to thoroughly listen to and experience a product. As such, Dalma’s primary focus in the Middle East is giving everybody the chance to experience Warm Audio products first-

hand. “It’s not about just trying to sell the products or box shifting; studios really want to listen to the products and experience them,” says Muhammad. “They also need to be able to test how they perform thoroughly. We have plenty of sample units on hand for potential customers and provide a generous testing period for them to get to know the product. Typically, once someone experiences the product, our work is already done.”

www.dalma.ae www.warmaudio.com

To demonstrate the quality of its products, Warm opened a state-of-the-art recording facility at its HQ in 2019

Down to earth

WHEN AUDIO ENGINEER DAVID BLACKMER SOLD dbx to BSR in 1979, he had no intention of starting another professional audio company. By 1995 however, after several years’ consultancy with dbx and a move with his family to rural New England, that was exactly what he was doing.

Blackmer started on his country sojourn by adding a hydroelectric dam to an old mill on land he had purchased, acquiring the large trucks and tractors that gave his original company the Earthworks name. However, his passion for audio shone through. As Mike Dias, VP of global sales and marketing, explains: “David was driven by the idea of transferring the realistic experience of intimate live acoustic sound to loudspeakers. He could perceive differences in low frequencies depending on which high frequency driver he was using, and this information helps with time cohesion and phase linearity. He was hearing these fundamentals, but he couldn’t accurately explain why, so he started with the measurement mics to prove this supposition to himself. This led him down a path of exploration: trying to understand what our human physiology is capable of hearing and looking to meet those needs in full, with better technology.”

At this point in time, the closest any of his new employees came to having a background in audio were those running the kitchen at the café he owned, who also played in a local band. Having tried out a prototype measurement mic that Blackmer had designed to test his speakers, they encouraged him to go further and start building his own range of microphones. The TC30K was the first microphone manufactured by Earthworks, which sold its first one in 1995 before ramping up production the following year. The M30 measurement mic followed in 1997. “Our measurement microphones were the first product category that gave a glimpse of what happens when you design the performance

product that he’d been conceiving – was released in early 2004. After David’s demise, Earthworks Inc reincorporated under the leadership of his wife, Heidi Blackmer. It was her desire to continue Earthworks to honour her husband’s legacy and so that their son Daniel Blackmer, who was working part-time at Earthworks while still at school, could continue in the family business. By 2011 he had joined fulltime as VP of engineering, helping the company move into podium and lectern voice microphones. This focus on vocals has seen the podium mics being used for huge gatherings

including recent outings with the Pope and President

Caroline Moss discovers how a retreat to the New England countryside several decades ago led to the formation of a homegrown microphone brand

The Earthworks M30 measurement mic launched in 1997

The Ethos broadcasting mic

Earthworks’ HQ, the original mill building purchased by David Blackmer

Mike Dias, Earthworks’ VP of global sales and marketing

Biden as well as for the Mecca and Medina religious pilgrimages. They have also been deployed on major sporting events including the Super Bowl.

In 2016, Gareth Krausser, who had grown up with Heidi and David Blackmer, was appointed as Earthworks’ CEO, a position he holds to this day. A year later he was behind the launch of the DK7 drum mic system, which has gone on to tour with acts including Justin Bieber, Olivia Rodrigo, Santana and The 1975. Then, in 2019, Krausser launched the SR314 vocal microphone which was to set the look, feel and tone for the streaming products that followed in late 2020 in response to the changing working practices created by the pandemic, as well as an understanding of the need for connection when separated and isolated. These combined the core technology from the podium mics with the visual appearance of the SR314.

First up was the stainless steel Icon USB microphone geared towards music students forced to study online due to the pandemic. This was rapidly followed by the Icon Pro XLR version for gamers and streamers and, in late 2021, the Ethos broadcasting microphone was launched. While enthusiastically received by the broadcast community, its US$699 price tag meant it wasn’t widely accessible. Earthworks took note, announcing in September 2022 that it was reducing the price to $399 until the end of the year, or while stocks last.

As Earthworks president, Heidi Blackmer continues to directly oversee the growth and direction of the company. Thanks to her ongoing stewardship, Earthworks holds WBENC (Women’s Business Enterprise National Council) certification, awarded to companies that are at least 51% owned by one or more women. The company still operates from the original mill building in Milford, New Hampshire, designing, tuning, assembling and testing the microphones here as well as machining nearly all the core components.

“The DNA of the company is machining,” explains Dias. “Most microphones start their life as 12ft bars of stainless steel or aluminium and they are cut, machined and hand-assembled into the tools and

instruments that you see all over the world. There are certain ideals that we strive for that start with our domestic workforce, including the desire to create sustainable and rewarding careers in the manufacturing sector here in the US. It is for that reason that we continue to design, assemble and tune all of our products here. That said, we do recognise that we don’t have a monopoly on quality components, so we continue to leverage a global supply chain and foster relationships with international partners.”

Around 20 people are employed in production, split between the machine shop, quality control, packing/shipping and assembly. A further 10 staff are employed in engineering, sales, marketing and finance roles. Manufacturing jobs have been created for over 30 local families and many original employees are still onboard, reinforcing the belief in human potential that Earthworks has embodied since the early days of teaching truck drivers and line cooks how to transition to crafting microphones.

The company’s belief in human potential also extends to its clients. “Earthworks Audio has always been about amplifying voices,” says Dias. “We firmly believe that everyone has something to say and that everyone is a creator. This belief is at the heart of our human-centred audio approach. We are constantly looking to expand the human potential and to give creators better and more accessible tools. This is the criteria that we use when exploring any new product development opportunities.”

Dias points to the company’s ethos of revitalising this vision of human-centred audio, which originated with David Blackmer. “That process will always be ongoing as we evolve as an organisation, but the way in which a brand communicates visually, sonically or otherwise is simply a manifestation of that vision,” he says, pointing out some recent changes to new branding and company logo. “It represents everything that Earthworks stands for: clean and unobstructed; bold, fast and professional – just like everything else that we do.”

The PM40 piano mic was David Blackmer’s last design

Taking control

SINCE LINE ARRAY TECHNOLOGY WAS INTRODUCED in 1992, most innovations have been focused on incremental improvements to acoustic performance and coverage control by way of software-based solutions and digital signal processing (DSP). While such refinements have undoubtedly improved some of the limitations of line array systems, it comes at a cost: specifically, a diluted output quality and efficiency.

These limitations inspired the team here in Calgary at PK Sound to build on the advantages of line source technology, creating a solution that enables vertical and horizontal adjustments to the soundfield in real time via integrated robotics. The Trinity series was the first robotically controlled line source system when it was introduced in 2015, allowing variable multi-axis coverage adjustments to be made, even after an array is flown. Users can adapt to varying room widths, avoid reflective surfaces, reduce SPLs outside the target area and, ultimately, avoid the compromise to acoustic performance inherent in digital beam steering and other DSP-based systems. Today, that technology is available in the medium-format T10 line source element, augmented by PK’s latest V4 DSP presets for the Trinity series.

One of the patents awarded to PK is for a robotic mounting and adjustment solution that enables the vertical and horizontal angles of the soundfield to be adjusted remotely and automatically – even after the system is flown. Each T10 module in the array is connected to a vertically adjacent counterpart via a rigging assembly on each side that controls the angle between cabinets. A linear actuator within each assembly enables control down to 0.1° of resolution in the vertical plane. This increase in the accuracy of an

pollution – particularly relevant in areas surrounding outdoor events sites.

Another plus is that unlike conventional line source systems, which are limited to symmetrical directivity and almost always flown parallel to the stage, leaving part of the audience without an appreciable stereo image, variable

Andrew King, global brand support at PK Sound, explains the technology behind the Canadian manufacturer’s robotically controlled line source system

PK Sound’s Andrew King

The patented Coherent Midrange Integrator waveguide on the T10 enables variable horizontal coverage control

asymmetric horizontal coverage options can provide a better stereo image for a larger percentage of the audience. Since its introduction, the Trinity series has undergone upgrades to enhance its performance, capabilities and operational efficiencies. The most recent of these DSP- and firmware-based overhauls was developed together with a team of experts including Paul Bauman of PdB Sound Design Associates, who co-authored a paper titled Wavefront Sculpture Technology for the Journal of the Audio Engineering Society. “The concept of variable horizontal coverage and the need for it has always been there, and this is a very good execution of that concept –especially in the design of the cabinet itself,” comments Bauman. “The main advantage of this technology – apart from the speed of installation – is the resolution of what you can achieve in terms of coverage angles. You have 0.1° of resolution between boxes instead of fixed angles, so you have the potential to do more sophisticated coverage shaping in the vertical plane. Plus, powered speakers offer single-cabinet control, which opens up even more possibilities to optimise coverage and throw. On top of that, instead of two or maybe three discrete angles, you’ve got virtually continuous control of the horizontal plane, so the potential to do sophisticated beam forming with tapered arrays combined with the physical optimisation of horizontal coverage is a pretty powerful base to build on.”

The Trinity series’ V4 DSP presets involved extensive work to optimise the consistency and quality of output across the full spectrum of symmetric and asymmetric horizontal coverage options in each array element. T10 modules running the latest presets have a high output-to-size ratio, with measurements of 145.6dBA and 146dBC at 1m for the M-Noise test signal and virtually uniform polar patterns across 60°, 90° and 120° horizontal configurations. They will also be the first to be controlled by PK Sound’s .dynamics software application, which can handle everything from system design and venue simulation to coverage configurations, measurement, tuning, live monitoring and diagnostics. The software also integrates safety features based on load calculations, which limit the motion of the array

to maintain safety parameters in tandem with the inclinometers onboard each loudspeaker.

Variable multi-axis coverage control is an applicable solution for virtually any live sound reinforcement application, but how does it translate to real-world acoustic and operational advantages for users? Predictive simulation work is often rendered obsolete because of the last-minute changes inherent in live events, such as obstructions to suspension points, incorrect or outdated rigging plots, blocks of seating being opened or closed at the last minute and any other factors that can arise beyond an audio provider’s control. In many cases, there’s simply not enough time to adjust and re-hang a conventional line array system and technicians are forced to work with DSP to compensate for inaccurate physical design.

One of the fundamental principles of audio is: the less manipulation of the source signal, the better. Acoustic engineering is a complex and painstaking process, but ensuring

the basic attributes of physical design are correct before digitally addressing a problem results in a better experience with fewer compromises. Even practically, variable multi-axis control offers operational advantages for owners and users: flying an array straight and then making the necessary angular adjustments remotely is faster, easier and safer.

The primary concern, however, is acoustic performance. The T10’s variable multi-axis coverage control allows users to tailor a system in three dimensions and make decisions that positively impact the sound quality in virtually any indoor or outdoor application. It does so without the need for drastic DSP, instead increasing coherency and output by mechanically directing sound only where it’s intended, avoiding reflections and spillage into nearby areas and, ultimately, offering a rewarding live sound experience for audiences and engineers alike.

www.pksound.ca

DESIGNED TO simplify digital workflows by delivering a scalable UHF system, Sennheiser has expanded the Evolution Wireless digital microphone series. Aiming to remove the complexities of wireless, the EW-DX has been engineered to not generate any significant intermodulation products. At the press of a button, the Auto Scan function can automatically assign frequencies using an equidistant tuning grid that allows more channels to be packed into a given frequency window. Transmitters are synchronised via Bluetooth Low Energy.

Adding to the single-channel receiver, the EW-DX offers three receiver versions: a two-channel receiver in a half-rack size with and without Dante together with a four-channel Dante receiver housed in a full 19-inch rack. The Dante versions offer various network modes to flexibly integrate into existing workflows. The receivers have a switching bandwidth of up to 88MHz, which can translate with Sennheiser’s equidistant

spacing up to 146 channels in standard mode and up to 293 in link density mode.

The EW-DX offers a choice of two bodypacks, two handhelds and two tabletop transmitters. Offering output power of 10mW for a range of up to 100m, all units benefit from the same audio input dynamic range as the existing EW-D models. In addition, the handhelds and bodypacks feature a trim control to adapt individual transmitters alternating on the same receiver channel.

The handheld and bodypack transmitters feature e-ink displays, so that should a transmitter be switched off, essential device data can still be read. Both transmitter types are fitted with in-device charging contacts and, with a dedicated BA rechargeable battery pack, can operate for approximately 12 hours. Available with either three-pin or 3.5mm jack microphone connectors, the bodypack can be used with all digital-proof Sennheiser clip-on and headset mics, Neumann miniature mics and instrument cables. Other features include

a programmable mute switch and cable emulation for guitarists and bassists. Available in two versions, the handheld transmitter comes with an optional, programmable mute switch (RF mute, AF mute, no function). Fitted with Sennheiser’s standard capsule interface, the handheld can be connected to 14 Sennheiser and Neumann microphone heads. The tabletop transmitter comes with an XLR-3 connector for standard gooseneck microphones and an XLR-5 connector for gooseneck mics with a light ring. The tabletop can be recharged inductively with the CHG 2W charging unit for 11 hours on a single charge. In ad dition to plugins for third-party control software, the EW-DX is integrated into the Sennheiser Control Cockpit software, Wireless Systems Manager desktop software and Smart Assist App.

www.sennheiser.com

1 Sound Contour CT28 61

ADJ Focus Flex 81

AEA TRP500 64

Alcons Audio LR7/LR7B 62

Allen & Heath Avantis V1.2 71

ARRI Orbiter LiOS2 update 81

ASI Audio 3DME Gen2 70

ATEN KX9970 77

AtlasIED 571 Mic Station 58

Atlona Captivate AT-CAP-FC110 75

Audac DMP42 SourceCon 64

Audinate Dante Video TX 67

Austrian Audio OD303 58

Blackmagic Design Pocket Cinema Camera 6K 74

Bosch Praesensa V1.5 71

BrightSign XC5 series 74

CEDAR Audio CEDAR Studio 9 72

Chauvet Professional Maverick Storm 2 BeamWash 81

Christie Griffyn 4K50-RGB 78

Claypaky Volero Batten Aqua 80

Clear-Com Arcadia Central Station update 68

Clockaudio CDT 100 MK3 68

CODA Audio System Optimiser v0.6 72

Crest Audio CPL T S eries 60

Crestron Sightline 73

DiGiCo V3.0 software for S-Series 71

disguise vx 4+ 74

Elation Proteus Rayzor Blade 80

Equipson Athos R 60

Focusrite FAST Balancer 71

Fulcrum Acoustic AHC 2 Series 60

Hall Technologies Discovery 76

High

HK Audio Polar 8 61

Hortus Audio LVT-128 62

Ikegami UHK-X750 75

JBL Control 68HP 59

Just

Lawo HOME-native .edge 64

LEA Professional Connect Series 1504 64

Listen Technologies LWR-1020 66

Lumens VC-A51P/VC-A51PN 78

LYNX Technik SRV 1000 79

Marshall Electronics POV and PTZ updates 75

Matrox ConvertIP/ConductIP 77 MC2 Audio i-64/i-68 63

MediaMatrix

The

FOLLOWING THE OC7 and OC16 condensers, Austrian Audio has engineered a price-sensitive dynamic vocal microphone for musicians.

Described as well-balanced and open, the OD303 incorporates Open Acoustic technology to deliver an optimally shaped super cardioid polar pattern across a wide frequency

wireless microphone antennas or equipment housed in cupboards, RF Venue has introduced a troubleshooting two-channel Remote Antenna Kit, designed to enhance the signal quality of smaller wireless systems by bringing receive antennas to the front of the rack or to the outside of equipment cupboards.

Including a pair of 1⁄2 -wave antennas designed for front rack panel mounting using the included BNC passthrough connectors or for remote mounting using

band. The open design

minimal changes in sound and feedback behaviour when holding the die-cast capsule close to the head grille. In addition, the proprietary 3D Pop Noise Diffuser reduces noise caused by explosive sounds

AtlasIED charts further airport expansions

the included bracket hardware, the Remote Antenna Kit contributes to dropout-free wireless microphone performance. Allowing connection to the antenna inputs of a pair of wireless microphone receivers, six 600mm coaxial cables are included for connecting antennas to the two-way splitters. The kits are available in the 470–530MHz, 500–570MHz and 530–608MHz frequency bands.

www.rfvenue.com

DEVELOPED FOR critical life safety and mass communications systems such as airports, AtlasIED has developed the GlobalCom-enabled 571 Mic Station. Available in both CobraNet- and Dantesupported models, the 571 Mic Station is a programmable touchscreen device that promotes audio paging and messages with GlobalCom Series announcement control systems.

The 571 Mic Station comes equipped with a touchscreen interface that can be configured with template options and security restrictions. In addition, the handheld microphone includes an omnidirectional element eliminating the proximity effect, maintaining audio intelligibility when the user is holding the microphone in close attendance. The mic station can be used with one of three mounting kits, allowing for desktop use, flush mounting and surface mounting. In addition, the touchscreen can be orientated either vertically or horizontally. Developed to deliver visual content for multisensory airport communications,

Synect has created the LookHear digital signage solution in collaboration with AtlasIED. This is the first visual digital signage display to incorporate AtlasIED’s GlobalCom enterprise-wide communications system. LookHear offers airport branding, messaging and efficient deployment of urgent communications in a custom-designed digital signage endpoint.

The natively integrated digital signage endpoint supplements urgent communications and wayfinding protocols with optional animations, moving graphics, scrolling announcements and visual warning systems. The display system threads into AtlasIED’s GlobalCom mass communication and emergency platform. By adopting voice-over-IP (VoIP) and audio-over-Ethernet (AoE) protocols simultaneously over a single IP-based network infrastructure, the communications platform can integrate within an airport’s existing network infrastructure.

www.atlasied.com www.synectmedia.com

FURTHERING K-ARRAY’S integration of its latest technologies, the Mugello line of compact line array units combine high power with intelligibility and performance control. The compact designs of the KH2, KH3 and KH5 enclosures are based on Slim Array Technology (SAT). The implementation of Electronic Beam Steering (EBS) technology in Mugello systems allows the directivity to be electronically modified to improve audience coverage, even in the absence of correct mechanical alignment. This feature allows extreme configurations where the array is hung perfectly straight, without

The Pinnacle series of loudspeakers can be adapted to discreetly blend into any space. A simple modular configuration allows elements to be added and aggregated in the creation of complex large systems. The Pinnacle-KR2 (Link) is made up of Kobra columns with 2-inch transducers, the Pinnacle-KR4 (Link) combines 3.15-inch Python models and the Pinnacle-KR8 (Link) consists of Kayman columns with 4-inch transducers. All three models comprise Thunder subwoofers in their KS1, KS2, KS3, KS4 and KS5 variants.

The adoption of K-array’s Pure Array Technology (PAT) maximises homogeneity of diffusion across the listening field. The compact Pinnacle enclosures incorporate a self-centring system that allows up to eight units to be mounted in a short space of time. Incorporating Class-D amplifiers with DSP processors, the electronics deliver the power signal to the subwoofer in addition to three further channels of amplification and processing to an entire stereo system using only one active unit. The

manages the entire ecosystem controlling the main functions of the DSP directly from the device. The remote control of subwoofers is enabled using one of three types of software, including the K-framework for Windows and Mac. The Kobra, Python and Kayman chassis are partly handcrafted from a bespoke stainlesssteel sheet, cut, folded and welded with precision to minimise vibrations and unwanted resonances. The metal can be subjected to galvanic treatments, including a 24k gold-plated finish or brushing/polishing.

that benefit PAT, the Vypers are the flattest speakers in the K-array portfolio. Available in custom RAL colours, the Vypers are housed in discreet, slim aluminium frames that incorporate a simpler mounting installation and a magnetic grille that can be removed without screws. The Italian innovator has now developed a 1m version with a high SPL rating that provides a longer throw and even coverage.

THE LATEST version of the PAcalculate Android and iOS app sponsored by RCF introduces several new features for modelling subwoofer arrays. The software comprises over 30 calculators, reference info and utilities for sound reinforcement and lighting professionals.

Version 1.3.2 boasts in-line and broadside subwoofer array calculators. The former allows for the simulation of end-fire and gradient arrays, including an obscure four-element topology originally proposed by Harry Olson. The broadside section features independent mechanical and electronic arcing and steering, with the possibility of adding a gradient line, or several end-fire lines, a type of subwoofer configuration that has become widespread to achieve wide uniform subwoofer coverage with reduced stage leakage. Frequency response graphs (front-to-back ratio as well as multi-angle responses), an isobar display, polar plots and coverage maps provide a comprehensive set of graphics for analysis of design alternatives. Up to 96 elements (sound sources) can be simulated, 48+48 in L-R mode. A table is displayed with coordinates and settings (delay, polarity) that can be emailed for reference. A

footer alerts the user if the specific configuration requires delay tuning on top of the results calculated (such as for gradient arrays).

PAcalculate can be downloaded for free and supports eight different languages, including English, Spanish, Italian and

Designed for use as a standalone speaker, flown, coupled with another NX 985-A or combined with a subwoofer, the NX 985-A features a 1.75-inch neodymium compression driver with a constant directivity waveguide, 8-inch midrange on a phase-coherent waveguide and a 15-inch LF woofer.

Offering consistent 100° x 60° coverage and operating within a 40Hz–20kHz (–10dB) linear frequency response, the three-way design can produce a maximum SPL of 138dB. Loaded with a 2,100W Class-D amplifier, the NX 985-A also incorporates FiRPHASE and Bass Motion Control DSP processing. Finished in a durable outer texture, the wooden cabinet with ergonomic handles on each side can be coupled for improved coverage, in addition to being flown or truss-mounted using the

RCF unveils PAcalculate version 1.3.2 JBL’s Control Contractor Series blends in

included M10 rigging points and accessories. Designed as a multipurpose, two-way, full-range series of loudspeakers suitable for a wide range of sound reinforcement applications including stage monitoring, RCF has launched the Compact A Series. The Compact A 10 combines a 10-inch woofer, a 1.75-inch compression driver and a constant directivity True Resistive Waveguide to produce 100° x 60° coverage. The 16.2kg polypropylene composite cabinet benefits from M-brace internal reinforcement, for

secure flown, pole-, wall- or truss-mounted installation using the multiple rigging points and available accessories. The 350W power handling model can produce up to 128dB SPL, within a 60Hz–20kHz (–10dB) frequency

Based on the same build, components and dispersion characteristics, the larger Compact A 12 and A 15 models distinguish themselves with 12- and 15-inch woofers respectively. Weighing 18.8kg, the 400W Compact A 12 version can produce deeper bass to 55Hz (–10dB), while the 450W Compact A 15 is capable of producing 130dB SPL down to 50Hz (–10B).

In brief, a Dante version of the XPS 16K has been released. The XPS 16KD is equipped with a Dante board that makes eight additional digital inputs available.

www.rcf.it

JBL PROFESSIONAL has extended its Control Contractor Series with wall-mounted, pendant and landscape loudspeakers in addition to three subwoofers. Intended to provide versatility when designing new systems or when adding to legacy setups, the latest additions feature multitap transformers for use in distributed systems, which are switchable for direct operation.

The Control 68HP has been designed to provide clarity and consistent coverage in open-architecture ceiling applications and rooms with challenging acoustics requiring especially high SPL capability from a pendant loudspeaker. Incorporating an 8-inch LF woofer and a coaxially mounted 1-inch HF compression driver, the two-way pendant incorporates a 68W multi-tap transformer for 70V/100V distributed loudspeaker lines and is switchable for 8Ω direct operation.

Providing a 110° constant directivity dispersion pattern, the Control 68HP ships with a secure mounting system including main and safety suspension cables and an included 4.5m-high tensile galvanised steel wire rope with spring clips and UL-listed cable fasteners.

Featuring 3- and 4-inch drivers respectively, the SLP12/T and SLP14/T low-profile, fullrange enclosures are equipped with 15W and 25W multi-tap transformers for use in

70V/100V systems and are switchable for direct 8Ω operation. With similar voicing to the JBL Control 12C/T and 14C/T ceiling speakers, the 40W and 50W coaxial models include a slide-in wall bracket and the 15°

down-tilted coverage allows flush-mounting against a wall. Finished in either black or white, an inclusive rain cover protects the terminal compartment in outdoor applications.

Primarily designed for outdoor commercial use, the GSF3 and GSF6 landscape loudspeakers offer wide coverage with respective two-way 3- and 6.5-inch coaxial drivers. Featuring 15W and 30W multi-tap transformers for use on 70V/100V distributed systems, switchable for 8Ω direct operation, both models are available in hunter green and tan finishes. Mounting options include a ground stake and an L-bracket for secure mounting on either horizontal or vertical

By adding GSB8 or GSB12 in-ground landscape subwoofers, extended bass response down to 39Hz (–3dB) is catered for with a steep, multiple-slope low-pass filter. Augmenting the Control 80 Series landscape speaker series, the Control 89MS aboveground landscape IP56-rated subwoofer features an 8-inch driver that can deliver 115dB (peak) of bass down to 40Hz. The builtin low-pass crossover features a dual-slope filter, creating a balanced subwoofer transition, regardless of whether the speaker is driven from a full-range or a dedicated subwoofer amplifier channel. The dedicated subwoofer band multi-tap transformer and tap selector with 8Ω bypass promote its use in 70V and 100V distributed systems.

www.jblpro.com

New wave of Crest Audio speakers hits the ceiling

OFFERING A low-recessed profile and widely distributed audio coverage, Crest Audio has launched the CPL T Series of ceiling speakers. The two-way, flushmounting series with back cans currently consists of the 4-inch CPL 4T with 40W of

Athos R adds to Equipson’s green credentials

Fulcrum balances compact form factor with high output

RETAINING THE compact enclosures and associated features of the original AH series while incorporating upgraded drivers capable of higher output, Fulcrum Acoustic has released the AHC2 high-output coaxial horn.

CPL 6T with 50W and the 8-inch CPL 8T with 90W. Each model integrates a 1-inch soft dome tweeter with titanium membrane, which can be aimed towards the listening area.

Located at the speaker face and behind the front grille, a five-step Tap selectable switch can be adjusted before and after installation for both 70V or 100V Hi-Z distributed speaker lines and up to 90W selectable. The injectionmoulded plastic units are housed in a steel fire-rated back can equipped with four-pin screw terminal daisy-chain wiring terminations. In addition, the magnetically attached front grille in a white finish can be painted to suit any interior.

www.peaveycommercialaudio.com

DEVELOPED AS a more environmentally friendly loudspeaker range, Equipson has performed a “green” redesign by adapting eco-friendly polymer cabinets. More efficiently manufactured and as durable as fibreglass for outdoor environments, the enclosures are more biodegradable towards the end of their useful life. Manufactured to resemble wood, the material improves the acoustic performance of the loudspeakers. The 250W Athos 6R, the 300W Athos 8R and the 400W Athos 10R make up the existing passive Athos R Series. Created for outdoor applications with sealed connections on the rear panel, the enclosures can be equipped with U, X, Y and fixed position brackets to enhance installation options. The Athos R series front panel now resembles the Entar loudspeaker series.

The Spanish manufacturer has also updated the Pro Zenith amplifier series from its Work range, with a switching power supply. Designed to improve airflow, the four Class-D amplifiers sport a remodelled front panel. Operating in stereo, bridge and parallel modes, with power levels between 2x500W @ 4Ω and 2x1,750W @ 4Ω, the amplifiers

are equipped with balanced connections, an input signal sensitivity selector and protections.

The WFS 5 CX two-way loudspeaker incorporates a 10-inch coaxial bass-reflex woofer and a 1-inch tweeter. A covered rear panel is equipped with five power tap positions from 12.5W to 200W for 70V/100V line systems in high-impedance applications. Finished in black or white, the IP66-rated ABS material enclosure makes it suitable for a multitude of indoor and outdoor applications.

Comprising physical faders, encoders and a separate DMX engine capable of supporting up to five devices simultaneously, the LightShark range of lighting consoles has received a major software update. The LS-Core and the LS-1 consoles integrate wirelessly with the Lightshark software engine via web-based user interfaces including PCs, smartphones and tablets. The latest software updates include Autosave, an Exclude Fixture, a Freeze Fixture, a Focus Active Cue, Playback exclusion from control by the Grand Master and various improvements to Cue controls.

www.equipson.es

Wharfedale Pro focuses on natural sound

THE GPL Series from Wharfedale Pro is a range of 12 compact point source birch plywood cabinets including bass-reflex and band-pass subwoofers. Integrating coaxial drive units and an original waveguide horn design, the full-range models provide spherical or 80° x 40° (HQ models) dispersion options. The unique horn allows the high-frequency range to be addressed directly to the audience and the HQ models are equipped with a turntable constant directivity horn for more accurate asymmetrical coverage. Available in a black or white finish, the multiple mounting options include yoke brackets, while the rear panel features speakON compatible and barrier strip connections. FIR preset libraries are also available for download. The UK manufacturer has also refreshed its Sigma series of installation loudspeakers featuring rotatable HF waveguides. Enhancing their installation credentials, the nine Sigma-X enclosures feature speakON and barrier strip

Providing broadband pattern control to below 400Hz and low-frequency extension to below 80Hz, the AHC2 products are available in multiple horn patterns and incorporate two high-power 10-inch woofers and one coaxial mid/high compression driver. The length of the low-frequency horn is extended while the cabinet depth is minimised with Fulcrum Acoustic’s Compression Head horn architecture and Oculus Phase Plugs.

connections, mounting and rigging options and newly designed front grilles. Also available as a Hi-Z 70V/100V format, the Sigma-XV5 and XV9 columns feature HF compression drivers coupled to a mini-EVO-Fold waveguide utilised in the WLA-1 Hybrid Curvature Array system.

EASE GLL files, FIR presets and system diagrams are available for download. Designed primarily for mobile performers, the IS-48 is an active entertainment system that comprises three interlocking column elements and an 8-inch active subwoofer. In

Fulcrum Acoustic’s proprietary Temporal Equalisation ensures clarity and precise transient response, even at high sound pressure levels. The AHC2 Series currently comprises the AHC295 (90° x 45°), AHC296 (90° x 60°), AHC265 (60° x 45°) and AHC266 (60° x 60°).

www.fulcrum-acoustic.com

addition to hosting the internal amplification, the subwoofer powers the full-range column element and incorporates an internal mixer and media player module. Two of the column elements include LED lighting effects with four modes. The plug-and-play system incorporates SD card, USB and Bluetooth inputs together with an IR Remote control and TWS system pairing for wirelessly connecting two IS units for a full stereo system.

Providing four input and eight output channels, the SC-48 FIR Versadrive processor delivers routing and distribution for loudspeaker networks. Independent control of magnitude, EQ and phase optimisation is included with FIR filtering. Remote control editing is possible from a PC via USB connection, a D-sub connector (RS-232/RS-485) and an RJ45 interface by downloading the inclusive software.

The Athos R family

1 Sound sculpts a compact Contour

WITH THE launch of the Contour CT28, 1 Sound has added a three-way, passive, hornloaded point source speaker to its growing catalogue.

and four M6 points, the CT28’s versatility

settings with a wide range of accessories,

HK forecasts Polar front extension

DESIGNED TO deliver optimal sound in confined spaces and for smaller stages, HK Audio has developed the Polar 8 as a highly portable, smaller addition to the Polar 12 and Polar 10 speaker systems. The subwoofer’s birch plywood 13kg enclosure incorporates a 1,200W amplifier with 24-bit DSP and an 8-inch long-excursion woofer that is capable of operating down to 50Hz (±10dB). Optimised for a powerful midrange response, the top section is loaded with six 2.5-inch neodymium midrange drivers with a 1-inch voice coil in a curved column arrangement. Tuned to project a 120° throw pattern and impede feedback, the Polar 8 can also be adopted as a stage monitor.

Capable of delivering a maximum SPL of 145dB and a bass response down to 70Hz (–6dB), the Contour CT28 maintains its directionality in the far field with a consistent 100° x 50° coverage pattern down to 200Hz.

Two 8-inch LF drivers together with a 4-inch and 2-inch coaxial mid-high frequency driver form the electroacoustic components within the 345mm x 345mm x 510mm (WxDxH) birch cabinet. In addition to the eight integrated M5

system and tube mount. Weighing 20kg, the compact enclosure is available in black, white or RAL custom colours with a protective magnetic front grille that can be removed from the front of the IP55-rated cabinet.

www.1-sound.com

The input panel comprises two mic/ line channels, one aux channel for music players and TWS Bluetooth for connecting two Polar 8s to form a fully fledged stereo system. 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

Events draw on ribbon-cutting solutions from Alcons

EXTENDING ITS catalogue of line array solutions, Alcons Audio has created a two-way micro array for both portable and fixed installations that can be deployed as a vertical array, either in stacked or flown configurations. In addition to the 6.5-inch LF woofer, the LR7 is loaded with a RBN401 pro-ribbon driver on a Morpher lens which creates a cylindrical wavefront resulting in high throw efficiency and projection control. Available in 90° and 120° configurations, the LR7 exerts consistent horizontal dispersion within a 74Hz–20kHz (±3dB) frequency response range. Weighing 8kg, up to five enclosures can be pole mounted for plug-and-play use and bass extension can be provided with the companion LR7B line array bass module. Driven by the Sentinel amplified loudspeaker controller, optimisation of the system’s response is via LR7-specific drive processing and feedback for each array, including presets for phasematched LF extensions. The Androgyn flying hardware enables an acoustically

symmetric L-R system with the asymmetric LR module.

The Dutch innovator has extended the VR series with the creation of the VR8 as a fullrange PA, stage monitor or an under-balcony

Hortus Audio adds to LVT series

THE LVT-128 from Hortus Audio features 100° horizontal directivity, two-way integrated amplification and built-in DSP. The line array comes with a 1,550W bass complemented by 800W mid loudspeakers and a 200W treble. It consists of a phase correlating system that can effectively increase the cut-off frequency limit of the midrange loudspeakers and significantly improve the reproduction of frequency responses.

The LVT-128 frequency range of 60Hz–18kHz (±3dB) and nominal sound pressure

level of 135dB flow from the bass section’s 6th-order bandpass enclosure as well as from its 1,300W AES 12-inch loudspeaker. While the 700W medium section has a bass reflex of 2 x 8 inches regulated by top notch phasing signal controllers, the 120W treble section is powered by a 1.5-inch dual compression driver. The LVT-128 box is made out of Baltic birch wood and the line array is also available as a two-way passive version.

www.hortusaudio.eu

VR8 features the RBN401 pro-ribbon driver mounted on a rotatable 90° x 40° waveguide for projecting “real 90” horizontal dispersion up to 20kHz. An 8-inch mid-bass transducer with a 2-inch voice coil motor structure and treated cone extend the LF range down to 74Hz (–3dB).

Available in a mirrored version in the form of the VR8M (mirrored asymmetric cabinet and baffle configuration) for symmetrical monitor pairing, the Durotect-coated asymmetrical enclosure design promotes flexible mounting on ceilings and walls. Increasing response accuracy regardless of cable length and system impedance with accurate mid and bass response, Signal Integrity Sensing (SIS) pre-wiring ensures complete cable-connector compensation between the VR8 and the ALC controller amplifier.

Designed to offer a high output and accurate sub-bass when extending the LF response of any Alcons pro-ribbon system deployed in permanent and portable ground-stacked applications, the BC332 is a self-contained cardioid subwoofer. The front and rear located woofer configuration together with dedicated processing promote selectable cardioid LF pattern control and up to 42dB rear rejection without the need for additional cabinets.

www.alconsaudio.com

Vaddio highlights in-room audio solutions

THROUGH ITS

robotic PTZ camera and camera control systems company Vaddio has developed products that integrate into new or existing systems to deliver high-quality audio.

The new offering includes the EasyIP Ceiling Speaker D, EasyIP AMP D and EasyIP CeilingMIC/ AMP D. The EasyIP AMP D powers passive speakers and brings Dante-networked audio to any space. For more convenience, the EasyIP CeilingMIC/AMP D features Vaddio’s Dante ceiling microphone with a built-in amplifier for powering nearby analogue speakers from a single PoE Ethernet connection.

The new audio offerings join other AVoIP audio solutions from Vaddio, such as the EasyIP ceiling and table microphones,

EasyIP Mixer and AV Bridge 2x1. The EasyIP Mixer features a Dante audio matrix that allows installers to combine Dante audio sources with EasyIP cameras, making it a simple production switcher, while the AV Bridge 2x1 combines Dante audio with analogue video mixing functionality in a single device. Away from audio, the manufacturer has announced a new PTZ camera specifically engineered and certified for use in Microsoft Teams Rooms. The camera features 30x zoom with 70.2° field of view and is equipped with Vaddio’s IntelliFrame auto-framing technology. Rather than rely on facial recognition alone, which can fail with facial coverings or falsely identify objects like posters on the wall as people, IntelliFrame

uses a combination of sensitive motion detection and complex algorithms to deliver participant framing.

IntelliSHOT-M also allows for fine-tuning the camera’s speed for following a presenter and how tight the shot should be around the instructor. The integrator can adjust the wait time before framing additional people up at a whiteboard, how often the auto-framer resizes the image and limit how much zoom is allowed. If time is of the essence, the camera

it fast to install and configure without compromising performance.

IntelliSHOT-M is PoE+ powered and network connectivity allows IT administrators and tech staff to manage and control the camera remotely via Vaddio’s web-based user interface. They can select Vaddio IntelliSHOT-M cameras from the network, choose an action like rebooting the device or conduct mass firmware updates on hundreds of devices all at once, saving time for corporate or educational campus staff with hundreds of rooms to oversee.

LR7

EasyIP Ceiling Speaker D

A SECOND generation of Yamaha’s STAGEPAS 1K portable PA system has been unveiled by the Japanese manufacturer and is complemented by the launch of the DXL1K, a user-requested sister system that omits the onboard mixer.

Featuring a high-frequency array of 10 1.5-inch speakers and a 12-inch bass-reflex subwoofer, all driven by an integrated Class‐D amplifier, the STAGEPAS 1K is an all‐in‐one portable PA that provides professional audio performance from a small footprint and slimline vertical profile. The new mkII variant adds enhanced sound pressure levels and more flexible remote control capabilities.

A fully redesigned, 1,100W Class-D amplifier delivers 125dB SPL, while functionality is enhanced with STAGEPAS Controller, a new software application that allows users to remotely control all STAGEPAS 1K mkII parameters using an Android or iOS device. In addition, a scene recall feature allows for the saving and recalling of settings for individual songs or applications, reducing the setup time during rehearsals or performances.

The DXL1K shares an identical power amplifier, speaker arrays, cabinet construction and slimline profile, without the onboard mixer. In addition to being suitable for use as a standalone powered speaker system with a separate audio mixer, linking STAGEPAS 1K mkII and DXL1K systems provides increased coverage and output power for larger‐scale events. A 1:1 system can be set up to deliver either stereo or mono sound.

If the STAGEPAS 1K mkII is set to deliver mono audio, the inputs of the DXL1K and STAGEPAS 1K mkII can both be used, meaning up to five mono inputs plus one stereo input are available. Similarly, two DXL1K can be used with two STAGEPAS 1K mkII – or three DXL1K with one STAGEPAS 1K mkII – to cover www.yamaha.com/proaudio

DENEB and DUBHE increase RAM capacity

WITH THE advent of the DENEB series, RAM Audio has developed a four-channel amplification platform. Capable of outputting up to 9,600W over 2Ω, 4Ω and 8Ω impedances, the DENEB-2.5Q, 5Q and 10Q models can also operate in 35V, 50V, 70V and 100V line mode. The Class-D models incorporate 96kHz DSP functionalities including peak dynamic control, an input EQ user section with up to 20 presets, an IIR EQ section with crossover, gain, delay and seven EQ filters, together with an FIR EQ section with linear phase crossover and EQ filters that can be customised up to 1,000 taps.

DSP management can be accessed via the RAM OCS or via the IPS capacitive touch panel interface. The rear panel of the 2U chassis incorporates Phoenix connectors for inputs and outputs, in addition to two Ethernet ports for optional Dante networking (AES67) and AES3 digital inputs. A USB port is located on the front

panel for easy access DSP control. Weighing 7kg and designed upside down to avoid fan dust accumulation, other DENEB features include universal power supply with PFC, RAM Audio advanced Power Control Management (PCM) and a temperature controlled, front-toback cooling fan.

Dedicated to the fixed installation sector, the DUBHE Series are four-channel amplifiers for connecting loads in low and high impedance. Incorporating input and output Phoenix connectors together with output level control potentiometers in the rear panel, the amplifiers can be configured according to specific needs in bridge mode, subsonic filter, channel power limiter and signal link. Further equipped with a GPIO connection to interface with a third-party control system, the DUBHE amplifiers can meet the power requirements ranging from 300–2,500W per channel.

MC2 provides quick rear-panel configuration

CREATED TO offer customisation and scalability across a variety of types, the Q-SYS SPA-Q Series provides multiple I/O options for room for pairing with smaller Q-SYS Cores, including the Q-SYS Core Nano for decoupling the I/O from the processor.

The convection-cooled Q-SYS SPA-Q 100-2f (two channels x 60W) and Q-SYS SPA-Q 200-4f (four channels x 60W) amplifiers provide bidirectional GPIO

in height, the latest amplifiers include hardware for multiple mounting options.

www.qsc.com

MC2 AUDIO has launched two new amplifier models – the i-64 and i-68 – aimed at satisfying the needs of contractors requiring quick rearpanel configuration of 70V/100V line sources. Low impedance and bridging mean the same models are able to cover subs in clubs, ceiling loudspeakers or high-end residential cinema requirements. They deliver scalable power with changes in load of 325W@8Ω, 650W@4Ω and 750W@2.7Ω, with 500W@100V and 600W@70V. The models have universal power supplies, barrier strip speaker outputs and phoenix-type analogue inputs, while integration is made possible with GPIO for control and monitoring by a third-party control system or simply a remote switch. Load monitoring, a Dante option and an auto-sleep mode complete the feature set.

XTA and MC2 have also announced a major collaboration with globcon alongside the launch of two new multichannel installation amplifiers.

globcon is a global control software platform for the management of professional entertainment production equipment that already controls DirectOut products. XTA, MC2 and globcon have partnered to produce a new software control module for XTA DPA and MC2 Delta DSP amplifiers that allows MC2 and XTA amps to be monitored and controlled along with DirectOut products and the Rational Acoustics Smaart measurement system.

This will enable XTA and MC2 users the benefit of control via PCs and Macs, multiple window control and floating faders. The XTA/MC2 grouping system gets a major upgrade as well, adding a crosspoint matrix for quick group assignment and group spill feature, allowing an engineer to drill down quickly to individual members of groups.

www.mc2-audio.co.uk www.xta.co.uk

DENEB

LEA PROFESSIONAL is shipping its Connect Series 1504. The four-channel 1504 model drives up to 1,500W per channel (into two, four and eight in addition to 70V and 100V RMS) and is available in network connect (1504) and Dante connect versions (1504D). The 1504 and 1504D feature advanced DSP that includes linear phase FIR filters and up to 4s of delay. Enhancing flexibility, the Smart Power Bridge feature consists of two Smart Power Bridge channels for transforming the amplifier into a dual 3,000W model. Network connection can be made through the integrated Wi-Fi access point, by connecting to an existing Wi-Fi network or by utilising an LAN Ethernet connection.

Providing secure remote monitoring and control capabilities allowing SIs to work remotely, the Connect Series models boast built-in Amazon Web Services (AWS) IoT Core via the LEA Cloud Unique. Furthermore, the Connect Series has access to the LEA Professional web UI providing a clear status check of every amplifier connected to the network and a status of every channel on any given amplifier to monitor channel performance. The platform can be used to view and adjust channel settings such as input settings, signal generator, crossover, equaliser, limiter and load monitoring.

www.leaprofessional.com

AEA reveals 3G 500 Series preamp

RIBBON MICROPHONE and preamplifier producer Audio Engineering Associates (AEA) has unveiled the first product in its third generation of microphone preamps. The US brand claims that the slightly neutral TRP500 is unlike other clean preamps owing to its rich and musical tonality. Optimised for ribbon mics, the single channel 500 Series format offers up to 85dB of gain for any microphone.

ACCOMMODATING A variety of optional modules, the XMP44 SourceCon modular audio system has benefitted a multitude of installations with its four interface card slots since its release in 2016. Designed and manufactured by Audac, the variety of available modules ranges from FM tuners to DAB+ tuners, internet radio tuners and voice file interfaces. Simultaneous operation for all four modules is said to ensure that the multi-source system can be appropriately expanded for any multi-zone audio system. With the launch of the DMP42 SourceCon DAB/DAB+ and FM tuner module, the Belgian developer is providing access to a wider selection of radio stations.

When inserted into a supporting slot, the module is instantly installed, discovered and ready for operation. Stations can be selected manually or

Based on the circuit and topology of the original AEA TRP preamp, the TRP500 exerts low noise, musical sonics, high gain and high impedance (100,000Ω) qualities. Other features include up to 85dB of DC-coupled gain, minimal path architecture and a switchable 115Hz or 230Hz high-pass filter.

LAWO HAS introduced the HOME-native .edge hyper-density SDI/IP conversion and routing platform. Each rear I/O blade integrates 48 HD-BNC connectors in

infrastructure management solution, which is officially labelled as NMOS IS-04 and IS-05 compatible in the controller and registry category. Through the API-based “lives@HOME”

automatically, with up to 10 preferred channels that can be internally stored and recalled. Radio station information carried by RDS/ Radiotext can be retrieved, while functions such as mono/stereo switching (FM) reportedly provide optimum audio clarity. Enhancing the intelligibility for low volumes in applications with high BGM levels, the signal output level is user-configurable and the dynamic range compression (DRC) is supported. Signal reception strength can be retrieved from the module and indicated on the graphical interface of the controlling device.

rep lacement and hyper-density conversion unit for IP and hybrid infrastructures provides full support for the SMPTE ST 2110 suite in addition to ST 2022-7 redundancy and seamless protection switching of audio, video and ancillary data streams in both local and wide-area network operations. The evolving V__matrix platform has been expanded with the addition of the vm_jpegXS

network. Other additions to the HOME feature set include Signal Rights Management for audio parameters and system health, which provides status information regarding components with centrally logged information, warning and error entries. With the addition of C100 processing blades, Lawo’s LCU commentary unit and the Nova73 router to the HOME inventory, the inclusion of the entire Lawo product portfolio nears completion.

The Audio I/O Extender (AIOX) is a softwaredefined DSP mixing and I/O engine for the Power Core gateway that bridges baseband audio formats and AES67 IP media networks.

Each AIOX 1U unit provides up to eight additional I/O card slots delivering up to 64 additional channels of I/O. Up to 20 AIOX units can connect to one Power Core via coax, twisted pair or fibre, providing

compliant TicoXS codec, the vm_jpegXS app provides full ST 2110 compatibility for interoperability while offering higher video compression ratios. Supporting compression ratios between 5:1 and 36:1, the vm_jpegXS offers four encoding and four decoding from and to JPEG XS (ST 2110-22). Uncompressed signals can be interfaced with SMPTE ST 2110, ST 2022-6 or SDI.

The German brand has engineered features including health monitoring and native support for third-party devices for the HOME IP

with signal ownership groups, health monitoring and user lists to the available feature set with the latest v10.4 software update. Signal ownership groups arbitrate resources shared on a network and signals originating from a variety of devices or locations can be combined into logical groups. In production environments, control assignments can be isolated to avoid accidental overrides by other networked consoles.

HIGH-POWER 4-CHANNEL DSP AMPLIFIERS

Listen Everywhere further extends its reach

LISTEN TECHNOLOGIES CORPORATION

has extended the Listen Everywhere audio over Wi-Fi series with the development of a dedicated receiver. By streaming audio over Wi-Fi, personal smart devices can function as receivers by allowing guests to listen to venue audio from their smartphones using headphones. Alternatively, audio can be transmitted directly to Bluetooth-enabled speakers, headphones or hearing aids.

Developed for guests who prefer not to use their own smartphone to stream real-time audio, the Listen Everywhere receivers support hearing aid telecoils when used with a neck loop. Compliant with the Americans with Disabilities Act (ADA), the LWR-1020 receiver is available as an add-on to existing Listen Everywhere servers. Available in a bundled ADA-compliant assistive listening system, the SKU (LWS-10) includes a two-channel server, rack mount kit, two LWR-1020 receivers, two

protective receiver cases, two neck loops, two ear speakers and a signage kit.

The Listen Everywhere series has been further enhanced with a Dante-enabled Wi-Fi audio server. The LW-150P-D two-channel server promotes the routing and management of Listen Everywhere audio via Dante Controller software. Integrating existing IT infrastructures, Dante enables monitoring and user access controls. The two-channel server is available with or without Dante in an SKU (LWS-10-D) bundle that includes a rack mount kit, two LWR1020 receivers with protective cases, two neck loops, two ear speakers and a signage kit.

www.listentech.com

Tascam and Atomos announce wireless synchronisation

TASCAM AND Atomos have jointly made wireless Bluetooth synchronisation available for the Tascam Portacapture X8. With the addition of the optional Tascam AK-BT1 Bluetooth dongle for the Portacapture X8 and either the Atomos Connect devices, AtomX SYNC or Ultrasync Blue timecode sync adapters, the Portacapture X8’s eight-track recording capability can be wirelessly synchronised using 192kHz/32-bit float point recording technology with a wide array of video cameras.

Portacapture X8

used as the Master Timecode source, a more sophisticated camera setup can receive a direct timecode feed while the Ultrasync One wirelessly sends timecode to the Ultrasync Blue, which in turn wirelessly feeds the Tascam Portacapture X8/AK-BT1.

For production environments using either the Atomos Shogun Connect, Ninja V or Ninja V+ to record and monitor onset, the Atomos AtomX Sync connects multiple Atomos devices, cameras and audio recorders by adopting RF wireless technology.

for each of the Mixcast 4’s eight sound pads. Now, each individual pad including the pre-assigned Bleep tone can have its own user-defined output level for volume. This new function enables complete control by the user for the sound pad mix – to adjust the volume of individual pads to constitute a wellbalanced podcast.

www.tascam.com

Syncing via timecode enhances the post-editing process by aligning files on a time basis, particularly on projects using multiple cameras or recorders. Used as the master timecode device, the Atomos Ultrasync Blue is a wireless timecode adapter that can synchronise any compatible camera and the Portacapture X8/AK-BT1 using Atomos AirGlu connectivity. With wireless Bluetooth transmission operating up to 30m for up to six Offering the flexibility to function either as a transmitter timecode server or as a receiver client device, the setup can be expanded by adding the Atomos Ultrasync One. When

To facilitate wireless timecode synchronisation via Bluetooth, the Portacapture X8 control app has been updated to include the tools necessary to operate the wireless sync

In other news, version 1.30 firmware for the Tascam Mixcast 4 Podcast Station has introduced several new functions for streamlining the process of content creation. The upgrade includes the addition of level adjustment

Lavoce finds a new voice

WITH THE unveiling of the BF10.10LA, Lavoce Italiana has made the professional transducer manufacturer’s first entry into the compression tweeter category. Including a compact integral horn, the BF10.10LA is a ferrite magnet compression tweeter designed for projecting high frequencies to a multiway audio system using one or multiple

devices. Alternatively, it can also be integrated as the HF section of a bass guitar cabinet or combo. The BF10.10LA uses a one-piece aluminium diaphragm and surround with a 1-inch copper-clad aluminium voice coil on a Kapton former. With a 20W AES power rating and 106dB sensitivity, the BF10.10LA operates within

Mixcast 4

a 5kHz recommended crossover point. Like all Lavoce high-frequency devices, the BF10.10LA has been designed and optimised using proprietary FEA software applications to produce an accurate device with low distortion and a linear frequency response.

www.lavocespeakers.com

WyreStorm unveils smarter 4K HDR 1:8 HDMI splitter

WITH THE release of the SP-0108-SCL, WyreStorm Technologies has upgraded the HDMI splitter to replace the SP-618. Purporting to be smarter and more p owerful, the 1:8 4K HDR HDMI splitter comes with scaling outputs, audio breakout, EDID management and CEC. Providing added tools for troubleshooting, such as testing API commands and the uploading of EDID files, the downloadable PC software

eliminates the need for a control system. Allowing for mixed resolution displays to be used simultaneously without suffering from compatibility limitations, each of the eight HDMI outputs has a 4K to 1080p down-scaling capability. Featuring both an analogue and digital S/PDIF, HDMI input audio can be de-embedded to a secondary audio distribution system without external adapters or converters.

Audinate bolsters Dante Studio software

WITH DANTE Video TX and Dante Video Viewer, Audinate has added two new tools to its Dante Studio software to further advance AV production capabilities. As an application within the Dante AV ecosystem, Dante Studio integrates PC applications with AV-over-IP. Created to provide a complete networkable AV workflow, the Dante Video TX virtual transmitter works with the standalone Dante Video Viewer application to monitor video signals coming from products on the AV network, bypassing the need for a dedicated video-related application.

for broadcast applications requiring the lowest latency and completely synchronised audio and video, the original Dante AV module has been renamed Dante AV-Ultra and is the highestperforming solution in the new Dante AV family. Providing the opportunity for OEMs to incorporate Dante control into existing H.264based IP video product designs, Audinate has developed the Dante AV-H software solution. As one of the most used compression standards today, H.26x is available on products that use H.26x codecs available on most Systems on a Chip (SoC).

Waves heads to the cloud

Dante AV-H into AV production workflows. Capable of monitoring all Dante AV cameras and sources on a network, Dante Studio allows the use of high-resolution, low-latency Dante AV video directly in AV production applications, such as OBS (Open Broadcaster Software) or platforms such as Teams and Zoom.

By adopting Dante Video TX, a Dante video stream can be transmitted directly from a PC by capturing the Windows display output, for sharing on the entire PC screen as a Dante AV flow to the network. Capable of supporting 4K video, the receiving Dante Video RX channel enables Windows PCs to receive video from any Dante AV-enabled source. Dante Video RX and TX supports 1080p resolution, 60fps and system timing and synchronisation, together with separate routing of video and audio elements.

In addition, Audinate has expanded Dante AV variants with new partners for different streaming bandwidths to deliver networked video over standard Gigabit networks. Designed

video product designs, including PTZ cameras, encoders and decoders using Dante Domain Manager. It integrates Dante audio into AVover-IP products, for independently routing audio and video to wherever it is needed using Dante Controller software. All Dante AV family products use a single application to manage both audio and video for enhanced ease of use. Interoperable with more than 3,500 Dante products on the market, Dante AV can be separated into routable streams for audio and video, making integration with sound and recording systems simpler.

In brief, the manufacturer has announced the release of the Dante Brooklyn 3 audio networking module and Dante Fremont 3 AV networking module. The new units are pincompatible replacements for Dante Brooklyn 2 and Dante Fremont modules and have been redesigned to ensure continuous availability while delivering support for current and future Dante features.

www.audinate.com

WAVES AUDIO has adopted NDI (Network Device Interface) for cloud-based productions with the Waves Cloud MX audio mixer. The NDI network protocol for transporting media streams over Ethernet allows video and audio sources to be shared bidirectionally across a network. Operating within NDI-based environments, the NDI-compatible mixer is also deployed on AWS. Broadcast and media production teams can add the Waves’ Cloud MX audio mixer directly within the cloud workflow for routing audio inputs and outputs via NDI. With the introduction of the Waves CA3000MX, Waves has developed an install-ready commercial audio mixer and processing engine for deployment in single-room and multi-zone AV installations. Housed in a half-width 2U rack-mountable chassis, the CA3000-MX combines a digital audio processing engine with an install-ready version of the Waves eMotion LV1 mixer for supporting up to 32 stereo inputs, 24 stereo aux mix outputs and a 12x8 stereo matrix. The CA3000-MX integrates either with standard ASIO-compatible (USB or Ethernet) audio device drivers or with a Dante Virtual Soundcard (DVS) for audio networking. Specific processing customisation can be added to the CA3000-MX in the form of Wave plugins including feedback suppression, dynamics control, source levelling, noise

reduction, acoustic response, broadcast streaming and optimisation. Built-in USB and HDMI/DisplayPort assists system configuration. Venues requiring automatic mixing of multiple live microphones can optionally add the Waves Dugan Speech plugin to automatically control the gains of multiple microphones in real time.

Preconfigured, fully customised audio settings can be managed using the Waves mRecall audio scene recall app.

Featuring 64 stereo/mono input channels, 44 bus/return channels and eight FX auxes (stereo/mono), the Cloud MX is a broadcastready, cloud-based audio mixer with a doubleprecision 32-bit float mixing engine offering full Waves plugin integration. Chains of up to eight cloud-licensed plugins are available directly on any channel inside the mixer itself. The mixer packages come with cloud-licensed eMo D5 Dynamics, eMo F2 Filter and eMo Q4 Equaliser plugins. An upgrade to Cloud MX audio mixer premium adds over 150 cloudlicensed plugins, including 11 extra cloudlicensed plugins such as Primary Source Expander for automatic mic bleed elimination and the Renaissance Vox vocal compressor. Control options include multiple touchscreen support, Waves FIT controller and MIDI controllers.

TVU keeps ransomware attacks at bay

DESCRIBED AS

“first

threat protection

Shipping with mounting brackets, the more compact SP-0108-SCL HDMI splitter can be discreetly mounted locally close to the source within digital signage, education, retail and hospitality settings. Retail electronics showrooms can distribute the same HD content over eight simultaneous display outputs. The splitter supports full 18Gbps 4K60 4:4:4 video content compatible with the

latest HDR video standards, including HDR10, HDR10+ Dolby Vision and HLG. As part of WyreStorm’s increasingly environmentally sustainable product line-up, the splitter adopts 12V 1A DC power, which utilises a fraction of its predecessor’s power consumption, and releases less heat.

www.wyrestorm.com

broadcasters”, TVU Networks has unveiled Channel Ready, a cloud-native platform that lets broadcasters run stations remotely from a single interface on a laptop or tablet. Using the solution, operators can instantly control 100% of their stations’ upcoming live and pre-recorded programming, commercial content, crawl capabilities and captioning.

According to TVU Networks, stations’ ability to continuously broadcast critical information has never before seen the size and scope of the threats present today.

TVU Channel can reportedly relaunch a compromised station across all distribution platforms within 2–5 minutes from TVU Networks’ stand-by mode option or in as little as 3s via the 24/7/365 always-on offering.

the

cloud-native, 24/7/365, critical

solution for

Dante Studio

Cloud MX

One cable, multiple applications

TASKER’S TSK1038 DMX cable has a nominal section of 2x0.35mm² with a

First, the TSK1038 LSZH is available with or without homologation for low

regulation and tested by an independent

TSK1038 PUR has an outer polyurethane sheath which is flame retardant, halogen free and resistant to friction, treading,

Clear-Com arrival of HelixNet at Arcadia Central Station

operative temperature Tasker, these characteristics make this cable the best solution for outdoor mobile use, even for permanent

water at a maximum depth of 50m. Lastly, the TSK1038 AR has a special

underground installation, even in presence

CLEAR-COM HAS announced new features for the Arcadia Central Station including integration with HelixNet Partyline Digital. Capable of providing an intercom system that can support over 100 beltpacks and 180 ports of mixing capability, the 1U package combines wireless analogue and digital intercoms in addition to Dante connectivity.

The latest features include a 5GHz scanning tool for FreeSpeak Edge systems, together with increased beltpack capacity for FreeSpeak systems and an increase in licensed port capacity. With support for up to 64 HelixNet endpoints – including HelixNet Remote Stations and speaker Stations – over 24 HelixNet-

enabled channels, Arcadia can equip large networks. The wireless system can be deployed without interference from other Wi-Fi device traffic with the 5GHz scanning tool as it displays and promotes open-frequency channels for FreeSpeak Edge transceivers and beltpacks. Expanding on the existing 96 IP port capacity, Arcadia now offers an extra 32 IP ports for an additional eight FreeSpeak beltpacks and up to 24 ports for HelixNet channels, while providing additional intercom access through eight fourwire ports, four two-wire ports and up to 64 Dante audio ports.

www.clearcom.com

Clockaudio transports Dante

THE CDT 100 MK3 Dante transporter from Clockaudio is described as an advanced professional Dante communications product which combines audio and control transport using the network-based Dante protocol. By taking advantage of the advanced Dante technology and based on the high performance and pre-configurable hardware platform, the CDT 100 MK3 transfers audio and control signals via Ethernet. It has a variety of uses, including but not limited to boardrooms, conference rooms, videoconference rooms and any place where multiple table microphones and control devices are connected back to the AV equipment cabinet. Features include four audio inputs with gain control and high-pass filter, while multiple units can be daisychained (a maximum of six units on a single

unmute, latching mute and push to mute modes and VU metering for microphone gain setup via TS buttons. It is a compact aluminium enclosure with flange mounts and comes with an optional 12V external supply.

The CUB-33 plug-and-play tabletop USB microphone uses the same technology developed for the CUI-2 but in a “no holes required” tabletop version. It adds an LCD capacitive touchscreen that can be used as a mute button and a multi-stage VU meter. For privacy, the CUB-33’s mute is local, meaning the audio never leaves the microphone if muted and cannot be unmuted by a hacker that gains access to a computer without knowledge. It is driverless and also mute sync compatible with the Zoom meetings app. www.clockaudio.com

are also available in single mode (12x 9/125µm, OS2), assembled with a FiberFlex ULTRA F12US11A cable. Allowing mixed use of connectors in a signal chain, the SmartBeam connectors with two, four, eight and 12 channels are compatible with each other, as well as with MIL-DTL-83526/20 connectors. A matching breakout box, the FiberExplorer, is available on request.

Suitable for analogue and digital audio signals, the cable manufacturer has added

foil and dense braid double shield. The triple shielding and EN50575 flame test ensure that the OmniFIX is interference free with lowloss signal transfer. The LSZH materials used for the pair and outer jacket emit no toxic or halogen-containing gases with very little smoke in the event of a fire. The foil shields and pair jackets of the OX22GHB are bonded together for quicker processing.

www.klotz-ais.com

Cat5). Phantom power is provided for each mic input and the four RJ45 touch switch ports are compatible with all logic-enabled Clockaudio devices.

The 24-bit/48kHz CUI-2 USB stereo microphone preamp interface has been designed for working from home. It is described as easy to install with under-table mounting and comes with a low noise design, optimised for Clockaudio microphones. Features include 10–50dB gain control, 48V phantom power, a touch switch port for use with Clockaudio capacitive touch switches, LED brightness control, RGB colour selection for mute and

SmartBeam Dodeka

M45 SHORTGUN

AIMABLE CEILING MIC

The M45 is a miniaturized shotgun condenser microphone with a swivel-and-pivot base for convenient positioning. The M45 is optimized for vocal intelligibility and offers high sensitivity, an integrated preamp, immunity from RF interference, and is easy to install in a 1-1/2” hole with no additional tools required.

Audix offers a complete range of ceiling microphones, enabling flexible and scalable designs that are easy to deploy and commission. Available in both analog and Dante/AES67 versions, Audix ceiling microphones share a common voicing and are optimized for maximum speech intelligibility.

DESCRIBED AS the world’s most powerful all-in-one audio solution for content creators, the RØDECaster Pro II offers users four studio-grade Neutrik combo inputs for connecting microphones and instruments, with each input featuring RØDE’s ultra-lownoise, high-gain Revolution Preamps. The device features a full suite of studio-quality APHEX audio processors that have been completely overhauled from the original RØDECaster Pro and remodelled using component-level analysis of analogue units. RØDE claims that the unit’s highperformance quad-core audio engine delivers “significantly more processing power than any other content creation console on the market”, while onboard effects allow users to craft their own sound. The highdefinition colour touchscreen combines with tactile rotary encoders for control. Even for those with no prior audio experience,

ASI AUDIO x Sensaphonics has announced its second-generation 3DME Gen2 Active Ambient Monitoring System, which features ASI Audio app and beltpack enhancements to expand the system feature set based on user requests and customer needs, along with extended battery life. The core remains

the 3DME system’s application of patented Active Ambient technology to give users a high-fidelity in-ear monitor mix with natural room sound from their bandmates and the audience. The 3DME Gen2 allows the Monitor In signal to bypass the limiting and EQ stages to enable professional monitor

engineers to maintain full unimpeded control over the mix they deliver, plus the system has been optimised for use with either the standard full-range, dual-driver earpiece or the new Custom Pro quad-driver earpiece. The internal limiter’s lowest Limiter Threshold setting has been stretched down from 84dB SPL to 76dB SPL for those with especially sensitive hearing, along with subtle improvements in the attack characteristic of the limiter and the linearity of extremely high frequencies. The selectable Start-Up Squeal Suppressor (formerly called the Safety Limiter) eliminates the rare, unharmful feedback squeal that was possible when a user covered the ambient microphone with their finger while inserting the earpieces with the system powered. Similarly, turn-on and turn-off “thumps” heard when powering the system with earpieces inserted are now greatly reduced. For musicians and other end users who can hear very little in one ear – single-sided deafness (SSD) or unilateral hearing loss, which creates a head shadowing effect that negatively impacts clarity and timing – the CROS (Crosslateral Routing of Signal) option restores intelligibility by combining the binaural signals and removing all sound to the impaired ear.

reverb, echo, robot and pitch effects – and sending MIDI commands to external software and hardware, to activating automated mixer

In terms of output connectivity, the console has four high-power headphone outputs and ¼-inch balanced line outputs for connecting speakers for monitoring and playback.

Dual USB-C interfaces accommodate the connection of two computers or mobile devices simultaneously, with an extra virtual USB channel for connecting chat applications.

The RØDECaster Pro II also offers Advanced Bluetooth connectivity with wide-band speech for high-quality audio transfer between mobile devices, in addition to Wi-Fi and Ethernet connections. Users can record in stereo or multitrack either to an onboard microSD, computer or external storage device.

www.rode.com

The second-generation system consists of Active Ambient earphones with embedded binaural MEMS ambient microphones, a bodypack mixer/controller/DSP processor/ headphone amplifier and the Bluetoothenabled ASI Audio app for control. The free ASI Audio app allows untethered adjustment of the system’s seven-band stereo EQ and limiter threshold. The app also offers an Audio Seal Test to confirm the best IEM fit and allows the saving and recall of User Presets to ensure repeat access to preferred sound signatures. In operation, after locking in the preferred EQ and limiter settings, up/down switches on the bodypack make it easy to add the perfect amount of ambience to the monitor mix, so the performer can hear exactly what they want, no matter the style of music or type of venue. When used without a monitor mix, the 3DME functions as variable-level, high-fidelity earplugs. The universal-fit earphones supplied with the 3DME can be converted to custom fit with silicone sleeves from Sensaphonics or upgraded to Custom Pro earpieces. www.asiaudio.com

IN RESPONSE to high customer demand for its 718AVP and 749AVP transmitters at a time when the solutions’ Dolby downmixing chipset was in short supply, Just Add Power has introduced 718KVM and 749KVM transmitter models. The new models provide both stereo audio breakout as well as KVM. The transmitters will reportedly be field-modifiable in the future to have all features of the 718AVP/749AVP once chips become more readily available. The 718KVM and the rackmount 749KVM will replace the out-of-stock 718AVP and 749AVP indefinitely. Like the AVP models, the new PoE transmitters encode a 4K or lowerresolution source device into an IP signal and send it over the network with ultra-low latency

and instant switching. They also support HDCP 2.2 and USB 2.0, and feature image pull, as well as stereo audio output 3.5mm with adjustable delay and RS-232, IR and CEC control of sources. Once available, the upgrade will enable Dolby DSP, re-encoding

Dolby Digital 5.1 as Dolby Pro Logic II for HDMI distribution to both multichannel and stereo audio zones, providing two analogue audio inputs that are mixable with HDMI audio.

IMPROVING THE user experience while enhancing connectivity – particularly for large installations that require multiple controllers and subsystems – has been the focus for Bosch with the V1.5 software release for the Praesensa public address and voice alarm system.

As a result of the release, it’s now possible to directly assign multiple controllers in large networks with subnets. Up to 3,000 networked devices and 10,000 audio zones can be managed by a total of up to 20 system controllers, while both master controllers and subsystem controllers can be optionally deployed for controller redundancy.

The EN 54-certified networked solution allows high-level priority calls from fireman microphones to any zone or group throughout the entire Praesensa system, optimising security and fallback options. In case of a connection failure of a subsystem controller to the master controller, the subsystem controllers will continue to operate as an independent, self-sufficient system. The

latest software allows the user to activate push-to-talk (PTT) messages more quickly when the call station is in idle mode, with a single push of a button. This is especially convenient when no extension keypad is connected and a handheld microphone is being used.

All Praesensa network components now come with EN 54-16 certification, including the Cisco IE 5000 industrial Ethernet switch, which can be used as a backbone switch in larger Praesensa installations. Both switches –Praesensa PRA-ES8P2S and Cisco IE 5000 –can be supervised via SNMP (Simple Network Management Protocol) for direct fault reporting and daisy-chained for greater flexibility in network designs. In addition, overall network performance has been improved by Bosch’s OMN-ARNIE and OMN-ARNIS audio routing interfaces, contributing to a fully EN 54-16-certified Dante audio routing solution for multiple subnets.

www.boschsecurity.com

Allen & Heath debuts V1.2 firmware for Avantis

V1.2 FIRMWARE for Allen & Heath’s Avantis mixing consoles has introduced new tools to the platform, including a nextgeneration RTA engine, Sennheiser wireless integration and a trio of new dPack bundles of DEEP processors.

V1.2 features the new RTA engine, which has been built around a 61-band bar or line display

and Threshold Expander is for challenging env ironments where expert audio control is required. Ad ditionally, the existing OptTronik compressor has been updated to include Model B for a new flavour of classic 2A-style optical compression. Existing dPack owners receive all new dPack updates and models free of charge.

VERSION 3.0 software has been developed by DiGiCo to increase the power of its small footprint S-Series consoles. The update offers an optional software expansion that increases the channel count from 48 to 60 flexi channels and 24 flexi busses, turning S-Series consoles into an S21+ or an S31+. Version 3.0 also includes two new Master Bus configurations: LCR (Left Centre Right) or LRM (Left Right Mono), providing additional control on the channels over the LCR blend or the LRM Mono Gain. LCR or LRM are suitable for running an expanded speaker setup or sending out a mono mix alongside a stereo mix.

Software version 2.2 introduced OSC Control of Snapshots. Version 3.0 extends the OSC control capabilities to channel processing controls. With the ability to control many aspects of channel and bus processing, including EQ and dynamics, the update adds flexibility when integrating an S-Series console with external remote-control systems. Version 3.0 also adds compatibility for MADI Sample Rate Conversion on the DMI-MADI-B and DMI-MADI-C. SRC allows the S21 or S31 to run at a different sample rate to connected MADI devices, providing flexibility when connecting to external MADI devices. This is commonly used for recording and virtual soundchecks, and, for maximum compatibility,

both Hi-Speed and SMUX 96k MADI modes are supported.

Compatibility for DiGiCo’s Dante-based DQ Rack is also included. When connecting an S-Series console via a Dante64@96 DMI Card, this provides cost-effective expansion, suitable for both touring and installation applications.

The S-Series now makes use of GPIO, with both the S21 and S31 featuring a ¼-inch GPI and ¼-inch GPO on the back for connection to external devices.

which can be displayed behind the parametric EQ curve to enable swift and accurate EQ decisions. Additionally, a sonogram view is provided, making it simpler to identify room resonances or mix imbalances. With all RTA views also visible on an iPad and Director, engineers can access visual feedback anywhere in the venue.

The dPack bundle in V1.2 has been expanded to include three new DEEP processors from the manufacturer’s flagship dLive system. Bus is modelled on a legendary hardware compressor renowned for its ability to glue together mixes, Source Expander of fers quick control of threshold and depth for set-and-forget operation

Avantis’s wireless integration has been extended to include Sennheiser’s 300/500, 2000 and 2050 wireless microphones, which can now be monitored from both the mixer and Director software. Key wireless information, including mutes, signal level and battery bars, is visible from the Bank view, with detailed information and control accessible via the Preamp page. The firmware release is rounded off with multiple workflow improvements, including extended functionality for the iOS apps, enhanced DCA spill functionality and new SoftKey options.

www.allen-heath.com

FOCUSRITE’S FAST Balancer plugin is an AI-powered EQ that claims to be capable of delivering the ideal EQ setting for both vocals and instruments with just a single click. FAST Balancer joins a suite of tools from the manufacturer that are all geared around offering very quick and simplified control.

The AI-powered plugin has been trained on over 500,000 real-world audio files stemming from vocals, electric and acoustic guitar, bass, drums and more. The user sets the tone that’s right for the instrument, then selects how much of FAST Balancer’s EQ to apply with the Intensity slider. Users can choose between Warm, Neutral and Bright to add an instant flavour to their instruments.

www.focusrite.com

THE LATEST version of System Optimiser includes the addition of the manufacturer’s proprietary realSPL technology. CODA realSPL helps users to predict the achievable sound pressure level of CODA loudspeaker setups more accurately. It uses a combined hybrid timeand-frequencydomain approach and creates a digital twin of the loudspeaker setup to precisely calculate the behaviour of the entire signal chain. Users are presented with a detailed analysis of both peak and RMS headroom for a collection of industrystandard stimuli, such as Pink Noise, White

Noise, AES75-2022 or Speech Noise, together with advanced post-processing features. This allows for improving the fidelity for every listener at concerts or designing safer EVAC systems in fixed installations.

To coincide with the release, the manufacturer has also announced that all documentation is now available online at codasystemoptimiser.com. Documentation for offline use as well as full release notes for v0.6 can be accessed on the site.

www.codaaudio.com

NEXO updates NS-1 software to integrate Yamaha speakers

THE LATEST version of NEXO’s NS-1 system configuration and simulation software supports a wide range of Yamaha professional audio speakers and includes AFC Design Assistant, which works closely with Yamaha’s AFC Image to deliver high-end immersive audio. NS-1 allows users of NEXO speaker systems to optimise performance and ensure uniform SPL coverage.

NUGEN AUDIO has released updates to its SigMod plugin that include mono and split-mono modes, as well as a new

SigMod software provides custom, simple signal architecture with 13 singleprocess modules to enhance plugin and DAW functionality. It allows users to easily insert, swap and move modules to fit to the correction, conversion and tweaking of audio. Included among the available modules are Mid/Side, Protect, Tap, Crossover, Insert, Mute/Solo, Trim, Switch, DC Off-Set, Mono, Phase and Delay.

“Split” module

Several of these modules offer easy access to functionality that is often either missing or difficult to access in certain DAWs. The software is available in AAX, VST3, AU and AudioSuite formats in 64-bit, and is available on both Mac and Windows OS.

www.nugenaudio.com

NS-1 version 4 supports several Yamaha professional audio speakers, from the VXL line array, VXS surface mount and VXC ceiling speakers to the CZR, CHR, CBR and CXS ranges of speakers and subwoofers. The Yamaha speaker data includes all the necessary information, such as maximum SPL, giving systems designers the tools they need to choose from a much greater range of NEXO and Yamaha speakers for different applications.

This latest update also includes AFC Design Assistant, giving NEXO users the resources to work with Yamaha’s AFC Enhance and AFC Image immersive audio systems. When the user specifies parameters such as venue dimensions, stage dimensions and aisle width, AFC Design Assistant provides the necessary guidelines for the required number and placement of speakers to provide a full immersive audio experience for an entire audience. When the system design is complete, the design file can be exported from NS-1 and imported to AFC Image Editor, making the whole process from studio design through to venue performance as quick, easy and accurate as possible. www.nexo-sa.com

THE FOURTH plugin release in the Complete Bundle from British manufacturer Solid State Logic has been announced as X-Gate, which builds upon the company’s knowledge in hardware gates. The plugin is suitable for music and content creators alike and delivers a range of features for extended sound sculpting, such as for sound design, audio restoration and mixing.

In addition to Apple M1 processor compatibility, X-Gate also introduces variable lookahead times and zero additional plugin latency at the lowest setting, making it a useful tool for tracking situations where mic bleed can distract from the primary source material. Meanwhile, its EXP and DUCK modes allow for either transparent gating or

threshold, and this can be used in conjunction with a DAW’s sidechain function for intelligent ducking.

www.solidstatelogic.com

PREVIOUSLY AVAILABLE for Mac only, CEDAR Audio has announced the availability of CEDAR Studio 9 noise suppression and audio restoration plugins for PC. The latest version of the audio processing and restoration suite for AAX Native, VST2, VST3 and AU formats includes the latest version of Retouch with its machinelearning Matching and AI-driven Repair

resampling and noise shaping capabilities and integrated metering, is available as a separate package. The CEDAR Studio 9 DNS includes both DNS One and DNS Two for dialogue noise suppression requirements in post, whereas Studio 9 Restore incorporates the Declick, Decrackle, Auto Dehiss, Declip 2, Debuzz, Adaptive Limiter and Manual Declick algorithms for audio

capabilities. Previously licensed on the PC using the CEDAR HSP dongle, CEDAR Studio 9 is now iLok compatible with PCs and Macs, bypassing the requirement for a specialist dongle.

Designed for mixing, final mastering and other creative duties, the CEDAR Studio Adaptive Limiter with its peak and oversampling modes, advanced

restorations. With Studio 9 Retouch, the Cambridge-based developer has improved the speed and user-friendliness of the software, while Studio 9 Complete contains all 11 processes from the other CEDAR Studio 9 packages for noise suppression and restoration.

that will allow users to switch between stereo and split-mono formats, providing greater flexibility within the signal architecture.

Crestron sets it sights on an inclusive hybrid work experience

TO CREATE the ideal hybrid meeting experience, Crestron has developed Sightline by grouping core platforms including Crestron Flex digital workplace technologies together with DigitalMedia content distribution and control.

Intelligent video solutions play a central role within the Crestron Sightline room. Speakers are actively tracked and framed, with multiple displays improving visibility of remote participants, creating more immersive calls. The fundamentals of Sightline can be applied to scale different rooms, especially in larger and more specialised settings. In a Sightline setup, key Crestron Flex technologies are employed to deliver an equitable meeting experience. These include multi-camera intelligent video (such as 1 Beyond Automate VX) that draws multiple standalone camera solutions into a fully automated experience. Multiple camera technologies are said to ensure the right frame is always available with 1 Beyond AutoTracker tracing the presenter and 1 Beyond AutoFramer framing the participants. Crestron Flex solutions provide a dedicated Microsoft Teams or Zoom Rooms meeting experience, while Crestron AirMedia wireless presentation simplifies the process for participants to instantly connect and share content.

To transmit video feeds and content to multiple displays throughout the room or

Sightline

over the network, DigitalMedia content distribution includes Crestron DM NVX AV-over-IP technology. In addition, Sightline draws upon control and management technologies including occupancy sensors that determine when there is someone in the room. Crestron XiO Cloud technology operations provide monitoring and management of all workplace technologies. Additionally, environmental control for lighting, shades and temperature can be manually input or pre-programmed for optimal room comfort and scene management delivers configuration for any type of meeting environment.

The portfolio of Microsoft Teams-certified devices has been expanded with Crestron Flex Conference Systems featuring Jabra PanaCast 50 video bars. Designed for smaller spaces, the Jabra PanaCast 50

provides AI-based audio and video features together with an 180° area of view around the table. Features include Intelligent Zoom which automatically adjusts the video stream to follow the flow of the meeting and Virtual Director which naturally follows the flow of conversation. In a collaboration with

Microsoft, Dynamic Composition enables Teams users joining in meetings remotely to view up to four of the most recent speakers face-to-face, matching the view of frontfacing personal videoconferencing cameras.

www.crestron.com

The Jabra PanaCast 50 includes Intelligent Zoom

NUREVA HAS announced an extension of its device management platform to include remote monitoring of third-party cameras. The latest functionality in Nureva Console allows IT managers to monitor both the status of Nureva audio devices and third-party cameras from a single cloud-based platform, to ensure the devices are functioning properly in their meeting rooms and classrooms.

Third-party remote camera monitoring player line-up

Traditional audio solutions often require multiple applications to manage different

products in the room, creating complexity and inefficiencies associated with application switching. Nureva Console reportedly makes it easier to monitor the audio and video experience in every space, from anywhere, regardless of the camera manufacturer. IT managers get the benefit of simplified device management combined with the freedom to select the best audio and camera products for their spaces. Nureva Console automatically detects a USB camera and prompts the Nureva Console account admin to add it as a monitored device. Admins can then see device details locally, monitor their readiness status and know when a device needs attention.

Adding support for third-party cameras is part of the manufacturer’s broader strategy to work with leading camera companies on unique integration opportunities made possible by its

A new era of

entertainment

DISGUISE HAS released a “new era of infinitely scalable, immersive entertainment” with the vx 4+. Designed for technically demanding productions, installations and shows, the vx 4+ has the capability to handle twice the amount of video layers than its predecessor and improves on storage performance, with up to 100GbE in bandwidth for higher-resolution live video.

Integral to the disguise modular ecosystem and working with disguise VFC cards, rx render nodes and preconfigured network switch fabric, the vx 4+ is designed for projects in need of a robust and scalable solution. The inclusion of two 100GbE

DIGITAL SIGNAGE media player manufacturer BrightSign has added two models to the XC5 player line-up. The XC2055 and XC4055 are the brand’s first players to be launched in two years.

Both models offer the company’s most powerful HTML5/graphics engine to date, which boasts a graphics performance

support 8K output – one offering dual HDMI-out (up to two 4K or one 8K) and the other offering quad HDMI-out (up to four 4K or one 8K). The XC5 models represent an upwards expansion of the manufacturer’s media player portfolio, as the LS, HD, XD and XT models will continue to be sold.

www.brightsign.biz

ensures that the vx 4+ video playback and compositing performance is unrivalled. When combined, the vx 4+ enables additional capacity to meet performance expectations, while also keeping video latency to a minimum.

The vx 4+ is compatible with disguise’s upcoming IP Video Format Conversion (VFC) cards. IP-VFC is an industry-first and patented technology that enables users to change the video output signal from their disguise media server to a SMPTE 2110 video output.

www.disguise.one

Pocket Cinema Camera 6K unveiled by Blackmagic

THE NEXT generation of Blackmagic Design’s Pocket Cinema Camera 6K has been debuted and features an adjustable screen, larger battery and an optional

to create cinematic images with shallower depth of field.

A large, bright 5-inch touchscreen helps to frame shots and accurately focus, while onscreen overlays show status and record parameters, histogram, focus peaking indicators, levels, frame guides and more. The Pocket Cinema Camera 6K G2 LCD monitor is a more advanced display that can be tilted up and down to monitor a shot from any position. Both the G2 and existing models can now use larger NP-F570 batteries for longer shooting times, without needing to change or charge.

The DeckLink Mini Recorder HD and DeckLink Mini Monitor HD feature advanced high-quality video technology that supports uncompressed and compressed capture and playback at the highest 10 bit SD and HD quality. Both models support broadcast-quality 10 bit YUV and 12 bit RGB 4:4:4 for “pixel perfect capture and playback”. Replacing the previous 1.5G SDI models, the update to 3G SDI has allowed more features to be added, as well as support for RGB video formats.

The DeckLink Mini Recorder HD lets customers capture broadcast-quality video from 3G SDI and HDMI sources with any PCIe computer. Customers can capture from virtually any SD or HD source including HDCAM, D5, SDCAM and Digital Betacam. The DeckLink Mini Recorder HD also works with popular video streaming software, such as OBS, so customers can capture from cameras or live production switchers and integrate the

viewfinder. The new model shares the majority of the original G1’s core feature set, but adds a larger 6144x3456 Super 35 sensor and EF lens mount, allowing users

The manufacturer has also released its DeckLink Mini Monitor HD and DeckLink Mini Recorder HD, new models of PCIe capture and playback solutions SDI and HDMI connections. These updated models of the manufacturer’s DeckLink Mini cards support video formats up to 1080p60 and 2Kp60 DCI, and are designed to work with advanced colour spaces such as Rec. 2020 for deep colour and higher dynamic range.

The models are low-profile 1 lane Gen 2 PCI Express cards that fit easily into either desktop or rackmount server-style computers with the included full height and low-profile PCIe shields. They can capture from decks, cameras and live video sources, and output to monitors, projectors, media servers and more. They can be used for editing, compositing, graphics production and unlimited broadcast and postproduction situations where the highest-quality video and true versatility are demanded.

Atlona expands videoconferencing solutions

ATLONA HAS unveiled its latest camera for modern communications and collaboration.

The Captivate AT-CAP-FC110 is an enterprisegrade ePTZ (electronic pan-tilt-zoom) camera suitable for use in videoconferencing, distance learning and other AV applications in huddle rooms and small- to medium-sized meeting spaces. It is the second product in the Captivate family, joining the AT-CAP-SP100 speakerphone.

Universal PC and Mac compatibility through standard UVC 1.1 drivers is said to enable simple, plug-and-play operation with popular soft codec conferencing and UC platforms,

The CAP-FC110 delivers high-quality imaging at resolutions up to 4K@30Hz, with a 110° wide horizontal field of view for coverage of compact spaces such as huddle rooms. The camera’s 1/2.8-inch CMOS sensor preserves fine detail and colour fidelity, while its dualelement microphone array provides a 5m audio pickup range. The CAP-FC110 can automatically reframe the image based on detection of up to six participants and continually adjusts as participants enter or leave the space. This means that in-room attendees are always prominently captured and centred in-frame to better replicate in-person meeting experiences

The manufacturer has also launched a new service for its Velocity AV control systems that simplifies and improves all remote configuration, management and control responsibilities via an online resource. Available in three annually renewable tiers, Velocity Premier Services Remote Gateway (AT-VPS-RG) streamlines important tasks, including system setup, device configuration and troubleshooting, as well as credential and firmware updates from any device with a browser or internet connection. The result is described as a more efficient and reliable

Ikegami strikes a balance with the UHK-X750

extended its range of broadcast production cameras with the UHK-X750. Integrated into a robust metal housing, the full studio and OB camera includes high frame-rate capture for slow motion applications, global shutter sensors and versatile connectivity. Distinguishing elements of the UHK-X750 include a lower centre-of-gravity and easier staging compared to a portable camera and an optimum weight balance for operation in combination with a large lens. Weighing 19kg and measuring 315mm x 329mm x 398mm (WxHxD), the camera’s low body height brings the accompanying VFL-701D

Incorporated into the optical front end of the UHK-X750, three 2⁄3 -inch CMOS UHD sensors come with a global shutter to minimise artefacts when shooting LED screens or scenes illuminated with flash or strobe lighting. Full HDR/ SDR support is included, plus the ability to choose between BT.2020 and BT.709 colour spaces. High frame rate shooting at up to 2x speed in UHD or up to 8x in HD via the base station is an option. Five neutral density filters and four chroma filters

Marshall extends POV and PTZ functionality

IN DIRECT response to customer requirements, Marshall Electronics has updated and added features to its POV and PTZ camera models which include accessory add-ons and easy fieldupgradable firmware.

Marshall now offers three levels of NeutralDensity (ND) filters for its IP67-rated CV226 all-weather lipstick camera and CV503-WP allweather miniature HD camera. In photography and optics, an ND filter reduces or modifies the intensity of all wavelengths or colours of light equally, giving no changes in hue of colour rendition. It can be a colourless (clear) or grey filter, and is denoted by Wratten number 96, a labelling system for optical filters. The purpose of a standard photographic ND filter is to reduce the amount of light entering the lens. Doing so allows the photographer to select combinations of aperture, exposure

method to service and support end users remotely. The VPS-RG establishes a secure proxy connection between a server and the gateway over the internet. This allows resellers, integrators or IT administrators to remotely configure systems and manage devices without having to directly access the corporate network, reducing costs associated with onsite visits and truck rolls, as well as increasing responsiveness for support issues.

www.atlona.com

(3200, 4300, 6300 and cross) are included. When combined with the Ikegami BSX-100 base station or CCU-X100 CCU, the UHK-X750 supports simultaneous output in UHD and HD video formats. IP interface of video, audio and intercom inputs and outputs conforming to SMPTE 2110 and NMOS standards is available as

Marshall has also added Color Matrix to the CV566, CV568, CV366 and CV368 cameras, which aims to create a more accurate colour representation with master level, master phase, colour level and colour phase enhancements, controllable remotely with Visca over RS-485 from Marshall RCP controllers, camera control software or third-party control decks such as Cyanview, Skaarhoj and others.

Additional new camera features from Marshall include support for the CGI command control function, enhanced vMix integration, new OBS plugins/docks and constant performance improvements of AF and Zoom tracking on all PTZ models. New firmware is available as a free download on each product page on the Marshall website.

an option at the base station or CCU.

PRE-CONFIGURED WITH the nWare platform ControlManager software suite, the sControl Nano network processor offers control and monitoring functionality across PA, media control and monitoring applications. Based on an Intel Celeron N3350 Apollo Lake processor with HD graphics 500, the sControl Nano comes with 32GB eMMC

compliant intelligent touchscreen. With the incorporation of a responsive Projective Capacitive (PCAP) anti-UV touch control interface, the screen has a resolution of 1024x600 and a 16:9 aspect ratio. Network connectivity is enabled via two GbE RJ45 interfaces or optional Wi-Fi, and multiple USB-2 and USB-3 ports provide control and monitoring courtesy of MediaMatrix nWare and the Kiosk2Go AV and control software suite. A power switch and reset button are included on the back panel controls.

(embedded multi-media card) storage and 4GB LPDDR4 RAM (low-power double data rate). Housed within an IP50-rated fan-less chassis measuring 112mm x 80mm x 32mm (LxWxH), the processor can be custom configured as a network edge controller using nWare open-architecture programming and a control GUI design suite. Both the Kiosk2Go and Kiosk GUI applications can be utilised on any smart device or directly to an optional touchscreen. Supporting video resolutions of up to 3840x2160 at 60Hz via two mini display ports and integrating two gigabit Ethernet RJ45 ports, the sControl Nano can support up to 16 network connected devices via the control software GUI suite. Providing control and monitoring requirements, the sTouch 7 controller incorporates a PoE 7-inch diagonal IP65-

In brief, the sTouch 55 wall-mounted touchscreen panel is a 5.5-inch diagonal GUI that can be mounted in multiple locations. A responsive IPS (In-Plane Switching) LCD captive touchscreen produces rich colour graphics on the 720x1280-pixel display. And, finally, the sWALL 2x2 is an audio network interface panel with Dante and AES67 audio-over-IP network compatibility. The interface converts analogue devices to a digital signal for transmission across the IP network to mixers, speakers and other Dante or AES67-enabled components.

www.peaveycommercialaudio.com

WITH THE launch of the GX4pro, RGBlink has created a 2K video processor providing no gap scaling and control. The device offers multiple test pattern output resolution options. In addition to HDMI (with loop), CVBS, VGA, VI and analogue audio connector inputs, the GX4Pro integrates a vacant module slot for additional HDMI, DP, DVI, SDI, VGA, CVBS and USB input modules. The flexible input capabilities enhance the GX4pro’s feature set, including PIP (dual pictures), synchronised video with audio control and seamless switching between the different inputs. The Extended Display Identification Data (EDID management) provides consistency of display, and the connection panel is further equipped with two DVI outputs offering resolution up to 2048x1152@60.

With the installation of universal sender cards, the GX4pro can operate as an LED display controller, with two slots accommodating one 2.6 megapixel or two 1.3 megapixel cards. Providing 2.3 megapixels of display up to 3840 pixels horizontally or 1920 pixels vertically through four RJ45 ports, the RGBlink Subito NX Quatro is a dedicated sender card module that can control the LED display. Designed to provide HDBaseT long-distance transmission for 2K signals via DVI, HDMI, SDI and USB, the FLEX4ml multi-layer videowall processor has

also been launched by RGBlink. Supporting up to eight inputs ranging from 4K@60, together with four independent DVI outputs and four backup DVI outputs, the video processor is ideal for commercial display systems, 4K stage performances, hotel conferencing and back-of-house theatre applications.

The four DVI outputs support 4K pixel-topixel splicing output for both LED and LCD screens so that multi-view splicing can be customised across the various outputs. Negating the requirement for an extra redundant LED processor, four independent DVI outputs together with four backup DVI outputs ensure that independent and backup outputs can be synchronised. Furthermore, a Genlock Y allows the output source of the FLEX4ml to be synchronised with an input source from another processor. The adoption of either the desktop XPOSE or RGBlink OpenAPI platforms extends digital control and management of the FLEX4ml over standard Ethernet.

www.rgblink.com

DESIGNED TO address signal extension for multiple participants in classrooms, huddle spaces or conference rooms, Hall Technologies has created the Discovery Series. Created for videoconferencing and audio extraction applications including Zoom, Teams, Skype and WebEx, the kits provide 4K extension with USB and HDMI capabilities. The HDBaseT wall plate transmitter and receiver kit pair natively with soft-codec videoconferencing applications. Discovery extenders support both remote and in-person learning, while USB peripherals including cameras and speakerphones simplify communication in conference room applications. US and UK 1 Gang and 2 Gang wall-plate transmitter options are available for pairing with a universal Discovery receiver.

The manufacturer has also unveiled the EMCEE200 tool for managing the challenges inherent in videoconferencing, collaboration, lecture and remote learning for education and training, and livestreaming for YouTube,

Facebook and OBS platforms. With picturein-picture (PIP) and picture-over-picture (POP) capabilities, the seamless multiview presentation switcher and scaler features a built-in dual MIC mixer and can process up to four 4K@60 video sources with zero latency. The EMCEE can not only record the presentation to an external storage device, but also provides USB3.0 4K capture to stream live with no additional hardware.

Hall Technologies has added a line of in-ceiling and surface-mount speakers to complement its end-to-end solutions. The loudspeaker outputs offer even sound

coverage, intelligibility and aesthetical designs for blending into educational and corporate meeting environments. Available in white, the SPK-OW6 is a surface-mount, 40W loudspeaker that includes taps for 8Ω, 100V and 70V audio applications. The SPK-IC6 is a 40W in-ceiling speaker that incorporates a 1-inch titanium dome tweeter with a 6.5-inch graphite cone driver with rubber surround. Like the surface-mount model, the SPK-IC6 includes taps for 8Ω, 100V and 70V audio installations and comes in a plenum fire-rated back box.

BUILT TO facilitate open, interoperable infrastructures that support compressed and uncompressed 4K IP signal transport over ST 2110 and IPMX-ready networks, the ConvertIP series of transmitters and receivers from Matrox is a new family of standards-based IP devices that enable broadcast and pro AV professionals to transform standard and existing infrastructures into interoperable, costefficient and scalable 1GbE, 2.5GbE or 10/25GbE networks to support a wide range of compressed and uncompressed 4K AV-over-IP applications and workflows. In tandem with the launch of ConvertIP is the company’s ConductIP signal routing software. Designed to simplify content distribution in AV networks of any size, the industry’s first IPMX-ready signal routing platform features a customisable, 360°

view of all devices and media flows to discover, monitor and route any NMOSenabled ST 2110 and IPMX-ready audio, video and ancillary signal on the network. The ConvertIP transmitters and receivers are built on ST 2110, the NMOS suite of open APIs and IPMX-ready industrystandard-based technologies. Combined with pro AV, JPEG XS and uncompressed codec support, the manufacturer claims they are the most flexible and interoperable IP devices on the market today, allowing broadcast and pro AV professionals to use existing 12G-SDI, HDMI and HDBaseT hardware to deliver lightly compressed and uncompressed 4K AV-over-IP transport with sub-frame to zero latency performance.

www.matrox.com

DESIGNED TO enable real-time KVM-overIP extension across long distances with 5K lossless video compression, zero-latency transmission and colour depth up to 12 bits, ATEN has launched the 5K DisplayPort KVMover-IP transmitter and receiver. The KX9970 features transcendent 5K audiovisual performance, real-time KVM-over-IP data transmission on up to 10Gbps networks and fast peripheral data sharing, making it suited for diverse control room applications, including broadcast centres, air traffic control and esports applications.

In order to meet the demands for professional TV broadcast postproduction of high-definition video, the KX9970

provides 5K up to 5120x1440@60 (4:4:4), 5120x2880@30 (4:4:4) and 4096x2160@60 (4:4:4) image quality.

As far esports applications are concerned, the device’s support for 1920x1080@240Hz/2560x1440@144Hz

allows broadcasting producers to seamlessly switch live between onscene players and gaming feeds without experiencing any impactful lag or interruption. Furthermore, the KX9970 can improve work efficiency at missioncritical ATC centres with its ability to display zero-latency and colour-accurate video on 2048x2048 monitors.

In addition, in tandem with CCKM (KVMover-IP Matrix Manager), the operator at each remote console connected to a KX9970 receiver can benefit from ATEN’s Panel Array Mode which enables simultaneous viewing of video sources from multiple transmitters from 2x2 up to a 6x6 multiview layout on one screen.

Christie unveils “most compact and lightweight” 50,000-lumen projector

THE GRIFFYN 4K50-RGB is the latest all-inone pure laser projector from Christie, boasting a 50,000-lumen output and 98% of the Rec. 2020 colour space, making it suitable for use in projection mapping, themed entertainment and live events. At 89.3kg, the unit is said to be the most compact and lightweight 50,000-lumen model on the market. The Griffyn 4K50-RGB sports

Christie’s integrated TruLife+ connectivity, which eliminates the hassle of removeable options cards. Furthermore, with the manufacturer’s new Electronic Colour Convergence (ECC), users can adjust red, green or blue individually via remote control for ideal colour alignment. The projector integrates Christie Twist for warping and blending, which enables compatibility with the Mystique automated camera-

Lumens launches new

TWO 20X HD PTZ cameras have joined the fold at Lumens Digital Optics, one capable of delivering secure IP streaming (VC-A51P) and the other with NDI|HX for networked production (VC-A51PN). Both models feature a high

for teachers and presenters. The DC132U HD/2K document camera is a portable device and, building on the success of its predecessor, the DC125, forms the manufacturer’s new standard USB visualiser. The new model

auto-white balance algorithms, the cameras are said to produce sharp and well-exposed video, even in low light environments. They also integrate a new motorised mechanism for fluid three-axis motion and movement at up to 300° per second.

For integration into traditional AV and video workflows, both models incorporate 3G-SDI and HDMI ports, as well as multiple IP control and streaming protocols, including RTMPS and RTMP, in order to work seamlessly with popular streaming services, such as YouTube, Twitch and Facebook. Incorporating SRT, the cameras offer broadcasters secure remote production over the internet at low latency.

The cameras support RTSP output for compatibility with IP-based production and streaming platforms. The VC-A51PN adds the high-efficiency NDI|HX protocol for low-latency video networking using NewTek’s popular open standard, enabling live video distribution and production over 1GBit and 10GBit IP networks. The VC-A51P and VC-A51PN replace Lumens’

the DC132U connects to a PC or Mac via USB to capture, share and display images. The device’s joint-free, flexible gooseneck enables 360° viewing angles and extreme close-ups where visualising detail is crucial.

The DC-F20 HD/2K is a USB document camera that is foldable, portable and lightweight, delivering images with video output of 1080p resolution and higher (up to 2K). With the included Ladibug software, users can easily position and zoom the lens position, apply on-screen annotation and highlight parts of the document. Both of the new document cameras can connect to remote guests using popular conferencing platforms, such as Zoom, Meet, Skype or Teams.

based alignment and recalibration solution to quickly install, align, calibrate and maintain multi-projection systems. For applications that require higher frame rates, such as themed attractions, the 4K50-RGB can achieve 4K resolution at 120Hz and up to 480Hz with

www.christiedigital.com

unforgettable visual experiences

and museum exhibition applications, the 6,000-lumen PT-FRQ60U projector produces 4K images and supports high-speed frame rates with minimal latency. Two HDMI inputs supporting CEC commands from compatible devices are included and a Digital Link connection promotes 4K video and controlsignal transmission over long distances. Preactivated Geometry Manager Pro upgrade kits enable masking functions and simultaneous multi-screen calibration for streamlining edge blending and projection mapping.

DESIGNED TO add flexibility within production environments, interactive projection mapping technology and streamline workflow production, Panasonic Connect’s AV portfolio has been expanded with several turnkey immersive solutions.

Heralded as the world’s smallest and lightest 20,000-lumen 3-Chip DLP 4K laser projector, the PT-RQ25KU Series 4K model can host live events and concerts, in addition to theme park and location-based entertainment attractions. Around 40% smaller and 35% lighter than its predecessor, the PT-RQ25KU delivers up to 20,000 lumens of brightness at 4K resolution (3840x2400). Designed for maintenance-free reliability for over 20,000 hours, it is Panasonic Connect’s first projector to be Intel Smart Display Module (SDM) ready for the integration of preferred interfaces via compatible thirdparty modules and optional terminal boards, including the 12G-SDI Digital Link. Making it easy to read and change basic setups, the Smart Projector Control application and Near Field Communication (NFC) function are activated by holding a mobile device against the projector’s touchpoint.

With the launch of the PT-FRQ60, Panasonic has added Quad Pixel Drive to its 1-Chip DLP Solid Shine laser projection technology. Designed for education, corporate, art

In brief, the EQ2U Series of professional displays offers 500cd/m² brightness and is available in six screen sizes (86, 75, 65, 55, 50 and 43 inches). The displays offer an anti-glare panel that suppresses the reflected

glare of surrounding natural and artificial lighting, producing optimal colour regardless of the viewing angle. And, finally, the 32-inch EF2U display can be installed vertically, horizontally or tilted up to a 20° angle. The USB memory stick eliminates the need to configure settings when deploying signage on multiple displays.

PT-RQ25KU

VC-A5IP

Sony unveils BRAVIA displays for digital signage

SONY HAS added 4K HDR, 8K HDR, OLED and QD models to its range of BRAVIA displays in sizes ranging from 42–85 inches for professional installations. The new models – Z9K, A95K, A90K, A80K, X80K, X81K, X85K and X95K – include features suited for a corporate office, university campus or retail store.

The latest BRAVIA line-up includes the Z9K 8K HDR in sizes from 75–85 inches. The Z9K promises to deliver high contrast from an 8K Mini LED screen that’s controlled by Sony’s XR Backlight Master Drive technology. The A95K QD-OLED takes advantage of the new OLED (QD-OLED) panel with XR Triluminous Max and Cognitive Processor XR technology to deliver high-contrast 4K images. The Z9K and A95K models will both be equipped with BRAVIA CAM, the manufacturer’s newly developed original camera device which

DESIGNED AS a companion product to the company’s RCT 1012 rack controller, LYNX Technik has unveiled its SRV 1000 server module for its yellobrik products. With both units working together, users can control all yellobriks that are located at different sites from a central location. This enhanced functionality is said to provide facilities with a streamlined interface to control yellobriks centrally, reduce technical onboarding and support time, and ensure centralised yellobrik monitoring, reporting and other status

indicators, for both small and large yellobrik systems.

The SRV 1000 operates as a central control module for yellobrik installations and applications and is scalable in nature, supporting a single rack to hundreds of racks deployed across many facilities. The control topology is all accessed through the complimentary LYNX Technik software, LynxCentraal application. A single SRV 1000 server module can extend the control of up to 256 rack controller yellobriks, which in

reduced

AN EXPANSION of the VuWall PAK Video Wall Node family has resulted in a new PAK 20 model that sports the same hardware as the existing PAK 10 but with support for two 1920x1080@60Hz outputs or a single 3840x2160@60Hz output, along with multi-format decoding. As a result, the range gives integrators the ability to specify anything from one 1080p60 up to four HDp60 outputs.

The A90K 4K OLED reportedly promises spectacular imagery with XR Triluminous Pro, paired with Acoustic Surface Audio+ for cinematic sound, available in 42 inches or 48 inches. Combining bright OLED 4K image quality with Cognitive Processor XR, the A80K 4K OLED can add impact to digital signage visuals with a 55-, 65- or 77-inch screen, making it a valued addition to corporate, education or retail environments.

The X95K 4K Mini LED unites picture and sound with a 65-, 75- or 85-inch 4K HDR screen. Finally, the X80K, X81K and X85K 4K HDR screens are said to deliver richly coloured and high-contrast 4K HDR images with 4K X-Reality PRO. The X80K is available in sizes from 43–65 inches, the X81K is available in 75 inches and the X85K in 85 inches.

configurations, including curved setups from concave 15° to convex 10° in addition to large outdoor LED displays. Owing to the

volumes are within grasp.

environmental conditions maintaining the LED panels are built as a structurally combined with the T4 or Air Frame support systems.

www.roevisual.com

PAK can operate as a standalone device or can be stitched with other PAK nodes to build an IP-based videowall that is “infinitely” scalable, while also simplifying videowall deployments by reducing the number of connections and eliminating a single point of failure – reducing project risk and offering improved reliability. In addition to variable output support, PAK

turn can each connect to up to 12 yellobrik modules.

The SRV 1000 is also designed to be used with the yellobrik Rack Frame and provides Ethernet LAN connectivity to a yellobrik system for enhanced control (remote or local) from several computers (Mac or PC) or thirdparty applications. It provides remote control, status monitoring and event error reporting for all yellobrik modules in a system.

www.lynx-technik.com

features multi-format decoding of up to 32 HD streams per device, including H.264, NDI and remote desktops, or virtualised browsers using VNC.

Designed for multi-room visualisation, situational awareness, control rooms and corporate workspaces, PAK is managed by the company’s TRx centralised management platform. The TRx platform distributes AV-over-IP signals and provides fully featured videowall management software. The PAK 20’s design boasts a compact form factor and low power consumption, making it is small enough to be mounted behind monitors, saving rack space and reducing extended video cable runs.

www.vuwall.com

recognises where users are sitting and optimises the picture and sound accordingly.

BRAVIA CAM also offers gesture controls, video chat and other new experiences.

pro.sony

Bring On Your Glass Walls.

After nearly half a century, Renkus-Heinz loudspeaker engineers know how to build The Sound Solution that works for your space.

We accept your challenge and raise you: The Sound Solution.

The ICONYX Gen 5 arrays from Renkus-Heinz provide an elegant solution to long-standing acoustic challenges.

Tom Bradley International Terminal at LAX renkus-heinz.com/LAX

Proteus and KL series’ extensions uplift Elation

ELATION PROFESSIONAL has expanded the Proteus and KL series of luminaires with the development of the Proteus Rayzor Blade and KL Profile FC.

Housed in an IP65 linear fixture, the Proteus Rayzor Blade is a combination of linear wash, high-intensity strobe line and SparkLED FX. Available with six or 12 independently controlled 60W RGBW LEDs, Proteus Rayzor Blade provides mid-air beams up to 12,500 lumens or wide and even wash coverage. In addition to wide zoom and dynamic tilt axis, two strobe lines of cool white LED dots along with Elation’s exclusive SparkLED effects add depth and visual impact.

Incorporating a 305W RGBMA LED engine, the KL Profile FC is a full-colour ellipsoidal framing fixture with a 7–50° zoom. Designed for a wide array of precision lighting applications and capable of outputting 10,000 lumens, the fixture

requires no additional lens tubes. A 16-bit rotating gobo slot and full blackout framing system are included with an optional Fresnel wash conversion kit.

www.elationlighting.com

SolaPix shines for High End

THE HIGH End Systems SolaPix 19 XT wash luminaire is an IP65-rated SolaPix 19 designed specifically for indoor and outdoor events. It uses a weatherproof housing and sealed glass front lens to deter the ingress of dust, water and other liquids. With a wide variety of looks to help set the mood, SolaPix features an additive LED, RGBW colour-mixing system for powerful saturated colours and tunable white control, a versatile 4.5–60° zoom range, FleX Effects Engine and Pixel mapping on all models.

www.etcconnect.com

Claypaky launches Volero line

THE FIRST product in Claypaky’s Volero line of LED bars is the Volero Batten Aqua, suitable for outdoor use in all weathers. Designed to stand out from other moving battens, the light source is made up of 10 60W Osram RGBW LEDs, which Claypaky reports makes the Volero Batten Aqua capable of emitting a much higher light power than most of the LED bars on the market. Each LED adopts 80mm x 80mm lenses, which is described as an unusual width that allows users more versatility with focusing the power of the LEDs and optimising their luminous efficiency and resolution.

The unit allows separate control of the zoom in two groups from five adjacent lenses to create a dynamic movement of the light beam. In addition, the Volero Batten Aqua also offers Advanced Layers Management, with which the operator can choose to use different levels of effects simultaneously. With its IP66 protection rating, optional Wireless DMX control and a large amount of effects and built-in macros, the Volero Batten Aqua is suited for both touring and installation markets and works equally well for both indoor and outdoor applications.

Claypaky’s Tambora Flash is a three-in-one LED bar that is said to be the only hybrid fixture on the market that can simultaneously act as a strobe, wash and blinder. The Tambora Flash was conceived and developed with the idea of making several product units combinable

horizontally and vertically, in order to obtain clusters that are conceptually like audio line arrays systems.

The fixture’s strobe section is based on two strips of very powerful white LEDs and a large beam angle aperture. The blinder and the wash functions are obtained thanks to four large central RGBWW LED reflectors of 100W each, individually controllable in each function through Advanced Layers Management. The presence of warm white LEDs allows for the “warm” effect typical of blinders. However, the blinder effect can also be obtained by using coloured LEDs, for a more dramatic effect than usual. Both strobe and blinder effects are reportedly

Obsidian offers no-compromise ONYX experience

is the latest ONYX platform lighting controller from Obsidian Control Systems, promising users the complete ONYX experience without compromises in an ultra-compact package. Utilising the manufacturer’s ONYX operating system and lighting control platform, the NX1 includes a high-

boot times, instant operation and the ability to process eight universes directly inside the console. With four DMX ports, a Gigabit network port for up to eight universes of Art-Net, sACN plus the ONYX X-Net protocol, the NX1 has connectivity and power for a wide variety of shows and applications. One additional touch monitor is supported for

encoders, 10 fully motorised playbacks (with four freely assignable buttons plus an extra playback and function key hybrid array). A dedicated Master Go section rounds out an efficient front-panel design. Nestled at the heart of the NX1 is a new Intel processor, high-speed NVMe SSD drive and 8GB of DDR4 RAM, allowing for fast

motorised playback wing, while a magnetic alignment system allows attachment on either side of the NX1. The keypad and playback wing are part of the ONYX platform and can be utilised with all other NX devices or ONYX on any PC system.

www.obsidiancontrol.com

powerful enough that the unit can be used in concerts and live events in broad daylight, and even in bright sunlight.

The Tambora Flash’s core unit is suitable for smaller venues and is contained in a modular design that can be quickly connected together to create larger units for use in bigger venues. The unit offers two quick coupling modes and the adjustment of each single fixture within the cluster on a 30° angle, in order to adapt to every application. The fixture offers an IP66 degree of protection, permitting its use in outdoor applications.

www.claypaky.it

Volero Batten Aqua

Tambora Flash

Proteus Rayzor Blade

ADJ keeps it focus

THE FOCUS Flex from ADJ Lighting is a versatile moving head luminaire capable of creating wash, beam and pixel effects. Designed to provide lighting designers with both flexibility and creative potential, it is suitable for event production and rental applications as well as for permanent installations. The fixture is powered by an array of seven 40W four-in-one RGBW colour-mixing LEDs, each of which can be controlled independently. Through mixing the intensity of the primary LED colours, a large variety of output colours can be created to suit any mood or desired look. The fixture features a convenient Virtual CMY mode, which allows control alongside native CMY colour-mixing fixtures using hardware/software CMY colour picker/pallete tools.

The COB Cannon LP200ST is a wash lighting fixture that can be used for a wide variety of

applications. It harnesses the power of an efficient 200W COB RGBAL LED light source, which generates an even output with no colour shadows. The unit has a variable colour temperature of between 2,300K and 9,900K. The inclusion of the lime LED chip is said to help certain colours appear more vivid and also boosts the CRI to in excess of 90. Offering a wide native beam angle of 80°, the fixture is also supplied with a lens kit. This comprises both 40° and 50° lens options, which securely clip to the front of the fixture to provide a narrower beam angle when required.

In brief, the Hydro Beam X12 is a moving head beam fixture with an IP65 rating. Incorporating the latest Philips Platinum 12R LL MSD Discharge Lamp technology, the unit creates a piercing beam of light with a tight 2° beam angle. And, finally, the Encore LP32IP is

multi-functional LED wash lighting fixture with an IP65-rated casing. It is part of ADJ’s Lime Par Series of LED fixtures utilising high output four-in-one colour-mixing LEDs that each include individually controllable red, green, blue and lime elements.

www.adj.com

ARRI’S ORBITER LiOS2 software update for the Orbiter LED luminaire aids synergy between cameras and lighting by incorporating three new operation modes –Sync Mode, Cue Mode and Optics Audio Adjust Mode. The three new modes establish new possibilities for crews to work and cooperate both faster and smarter.

The first of the three modes, Sync Mode, allows the lighting parameters to be enabled or changed in sync with the camera frames –frame brightness or CCT range can be changed to accommodate new creative ideas. Exact timing is key for capturing dynamic images and Cue Mode enables precise lighting control on the spot. Besides variable timing and working options, the new Cue Mode even allows for fluid and easy light changes in different lighting

LiOS2 upgrade promises better workflows Maverick Storm warning from Chauvet

ADDING TO catalogue of allweather fixtures, Chauvet Professional has developed a range of IP65-rated moving heads in the form of Maverick Storm 2 BeamWash, Maverick Storm 4 Profile and Maverick Storm 2 Profile.

Promoting its use for stadium and amphitheatre applications, the Maverick Storm 2 BeamWash is characterised by its bright output of almost 10,000 lumens. The 18kg fixture features 19 50W RGBW LEDs in its centre pixel array and an outer ring of 0.2W RGB LEDs. The wide zoom range from 3.6–53.4° can create a multitude of designs from tight aerial beams to wide washes.

The versatility of the BeamWash is enhanced with a pixel-mappable

outer ring that offers

under a stealth filter, the outer ring is easier to incorporate into a wide range of designs. Built-in foreground and background LED macros facilitate the creation of pixel-mapped effects. Smooth fades result from its 16-bit dimming, and six distinct dimming modes and the fixture’s user-selectable 7,500K calibrated white together with the pan and tilt movements add further creative possibilities.

www.chauvetprofessional.com

modes. The transition can be selected from five different options, already known from SkyPanel.

The Optics Auto Adjust Mode offers colour stability with any optic and any focus.

Utilising the accessory recognition of Orbiter’s QLM (Quick 2 Lighting Mount), the ARRI Spectra light engine is modified to maintain the maximum colour stability

no matter which configuration is used, including textiles such as Softboxes or Domes, a reflector in Open Face or lenses such as the new Orbiter Fresnel Lens. Also, with the Fresnel Lens, LiOS2 ensures the colour rendition across its entire zoom range. This gives the camera crew time to focus on other important settings.

Network and remote control are becoming essential on more and more productions and the new DMX Mode Spec V5 allows for more convenient network operation and additional features within the LiOS2 update. For example, the zoom range of the Orbiter Fresnel Lens can be operated, allowing for Extended Colour Control (ECC). All elements are also addressable via RDM.

www.arri.com

Vari-Lite announces largescale, IP-rated luminaire

DESIGNED TO withstand inclement weather, yet with weight and size comparable with similar non-weatherproof fixtures, the VL3600 Profile IP comes with a 1,000W monochromatic light engine producing 85,000 source lumens. Thanks to a CMY+CTO colour wheel mixing system, the fixture produces a wide range of rich colours while eliminating the appearance of blades in the lens, improving direct view applications. With dedicated CRI

created so that designers no longer need to choose between lighter, non-weatherised fixtures or heavier IP-rated ones, reducing the budget and environmental impact of event or installation. The VL3600 Profile IP includes the manufacturer’s VL*FX animation wheel, as well as gobo wheels, a dual prism and frost, framing system, iris, zoom and focus. The lighter weight and V*Track Calibration System are said to reduce the tension in the suspension and

Maverick Storm 2 BeamWash

Focus Flex

COB Cannon LP200ST

Learning curve

TWO OF LIFE’S TRUISMS – THINGS THAT ARE BORNE out by evidence and are reliable foundations for meaningful discussion – are as follows. Firstly, that education is essential: no matter how we learn, most of the skills we need for survival aren’t innate. Education can come in different forms, from trial-and-error experimentation to formal study, but we have to actively acquire knowledge in order to thrive. Secondly, while social media may not be a great place to find truth, you can certainly find out how people feel about a topic. These two axioms converge in a surprising way whenever the topic of industry certification comes up. While posts proclaiming: “Hey, I just learned this great new trick” are met with general approval, posts of: “Hey, I just got certified” commonly produce a negative visceral reaction. As both a member of the professional audio community and a lifelong educator, I’ve been shocked by some of the reactions to formal study vs real-world experience. Those opinions aren’t entirely wrong – real-world experience is an effective way to gain the skills you need but, thankfully, it’s no longer the only way to start or grow a career.

Before the advent of university curricula and industry certification in our field, the traditional way to gain experience was through apprenticeship. While those who have apprenticed deserve respect for their hard work, anyone who’s gone down that path knows that a sizeable amount of time is devoted to tasks unrelated to the professional skills being sought.

In response to a growing demand for quality media education, universities began introducing a wide variety of courses and degree programmes. When done right, these courses give students professional-level experience on the kind of equipment that they’ll see after graduation in a penalty-free environment that gives the student the flexibility to experiment – and inevitably make mistakes – without bringing a professional facility

dues-paying” qualities of an apprenticeship, and they’re right, but that doesn’t invalidate the fact that universities offer the potential to gain in months what might take others years to learn in the school of hard knocks.

Along with university courses, many businesses have developed educational content, with some organising that material into certification programmes. These

with leading colleges and universities and certified instructors. No matter how the guidance is delivered, the mission is the same – to help master the products being

While it’s possible that some of the resistance to more traditional study and its accolades is sour grapes from an older generation towards new professionals with opportunities that they never had, that’s not the whole story. The cold reality is that there are good and not-so-good courses of study, and their relative newness compared with more traditional disciplines means that if a student isn’t careful, they could easily invest their time and money

So how can we determine which programmes are worthwhile, and which ones to skip? Here are some (admittedly subjective) thoughts on what to look for: Dedicated training teams. One of the biggest criticisms of industry certification is that it’s simply reused marketing material. It’s a fair criticism in many cases, so make sure that the folks creating the material are dedicated to a mission of education and have the skills to unlock learning

Product or production? Industry certification created by manufacturers is by design focused on the use of their products so that students can make the most of the gear at hand. If you’re an experienced professional aiming to upskill or fill skillset gaps, these can be fine, but for those less experienced, this kind of focus might not be the best route. Look for a college or university that – in addition to the industry certification you’re interested in – offers comprehensive training to provide a well-rounded foundation.

Judicious online study. A common reaction to achieving certification is that all you need is “YouTube University”, meaning that everything is available on that platform for free. It’s hard to know where to begin with YouTube; yes, you can find some excellent material there, but there’s also a danger of being miseducated by content that is just plain wrong. It can be a great resource if you’re looking for specific information, but maintaining a discerning eye towards what’s posted there will serve you well.

The power of mentorship. Another thing that YouTube (or any self-initiated quest for knowledge) lacks is guidance. One of the strengths of cohesive training programmes, especially those with a live instructor, is that it will take you out of your comfort zone, showing you things that you never knew you always wanted to learn.

Though on the face of it these programmes might be a great replacement for (or even improvement upon) the traditional path of apprenticeship, don’t be fooled: even the best academic environments are professional “safe spaces”. While on one hand that means you can make mistakes without the kinds of penalties that you’d face in the professional world, it also means that in an academic or online environment, you’re missing out on the pressure that real-world experience applies. It’s important to remember that all the technical training and certification in the world can’t impress upon you the finer points of working with others in a high-stakes environment. If you opt for an academic path, make sure that after you get your degrees and certification, you make as much of an effort to learn the practical skills of your field as you did the technical.

The bottom line is that whatever road you choose, the efforts that you take to learn the tools of your trade are to be applauded. Learn well!

Avid’s audio curriculum manager Andy Hagerman discusses the

evolving educational pathways into professional audio

Andy Hagerman, audio curriculum manager at Avid

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