Pro AVL MEA November–December 2023

Editor’s Letter

Fresh off the back of a long-overdue trip to Johannesburg in September, I’ve made the decision to include two prominent South African live concerts in this issue, yet they couldn’t be more different from each other if they tried. One is set in a somewhat tranquil park in central Johannesburg (pp38–39) and the other a full in-the-round, high-energy stadium extravaganza (pp36–37) over in Pretoria. Given the years-long set of obstacles the local industry has had to overcome to bring shows of this scale back to the masses in South Africa, it felt appropriate to celebrate such a milestone.

A couple of weeks later, I headed over to Dubai where, as you will see in our

the platform had its sights set on bigger things having launched GITEX Africa in Morocco last year, but not many expected the launch of another spin-off in Berlin of all places, in 2025.

It must be the resumption of full-on travel schedules, but it’s hard to believe we’re already at the end of another year. 2023 has absolutely flown by from my perspective with too many highlights to single any one thing out. That leaves us once again just a few months away from the industry conglomerating in Barcelona for ISE. I wonder what unexpected surprises 2024 will have in store for the AV industry?

Email: sluckhurst@proavl-mea.com

Richard

Caroline

Nick

Sue

sgould@proavl-mea.com

Karen

Libby

Sue

DiGiCo acquires Fourier Audio

UK-based live sound developer and manufacturer Fourier Audio has been acquired by audio console manufacturer DiGiCo. Building on its acquisition of KLANG:technologies in 2018, DiGiCo says the latest deal further strengthens its investment in live sound innovation. Over the last 24 months, the Fourier Audio team has been developing a new

platform, bringing the power of studio audio software plugins to live engineers, codenamed “Project Core”. It was recently presented for the first time on the DiGiCo booth at AES New York at the end of October.

“At DiGiCo, we are always looking at how we can enhance our customers’ ability to provide new and exciting possibilities in live

B&C Speakers purchases Eminence Speaker

B&C Speakers has announced that it has acquired 100% of the share capital of Eminence Speaker US by Eminence, also under the control of Eminence Holdings, a significant part of its assets through a Newco entirely owned by B&C.

Eminence Speaker has around 90 members of staff and is active in the sector of design and production of electroacoustic

transducers for professional use intended for the musical instrument market, alarm systems and after-market car audio. The company was founded in 1966 on the initiative of Bob Gault and has established itself since the 1990s, under

performance audio,” said DiGiCo MD, Austin Freshwater. “With Fourier Audio, we are investing in a team that will soon launch an integrated plugin processing engine, ‘Project Core’, bringing new opportunities for DiGiCo to work with third-party software providers, truly plugging in the world of live sound on a platform our clients can trust.”

The latest addition to the Audiotonix family sees Fourier Audio join a growing roster of pro audio brands that includes Allen & Heath, Calrec, DiGiGrid, KLANG:technologies, Harrison, Slate Digital, sonible, Sound Devices, Solid State Logic and DiGiCo.

“Knowing first-hand how successful and well-regarded DiGiCo and the wider Audiotonix family are in the live market, this is a fantastic next step in Fourier’s growth,” commented Fourier Audio founders Henry Harrod (CEO), Peter Bridgman (CTO) and Gareth Owen (CCO). “Being part of a global network of partners and clients that are at the top of their game – in live events, touring and installed audio – gives us the opportunity to rapidly change the way that engineers and artists shape their shows. It’s an exciting time to be in an invigorated live market and we can’t wait to dream big with our new colleagues.”

James Gordon, Audiotonix CEO, added: “We are always looking for the next audio innovators that are a good technology and cultural fit, and with Fourier I’m pleased to say we have found both. Bringing this talented team into the Audiotonix fold under DiGiCo will allow us to give live sound users access to a wider range of our own and other third-party developers’ plugins. At AES New York, we invited all plugin manufacturers to come and have a frank and open discussion, and it was exciting to talk to these plugin brands about how we will be able to open the live sound market to their unique tools.”

www.digico.biz

www.fourieraudio.com

50 countries, mainly through the OEM channel.

Lorenzo Coppini, CEO of B&C Speakers, commented: “This acquisition allows us to strengthen our international presence, and also offers the opportunity to relaunch and enhance an iconic American brand. By joining forces, strong synergies can be leveraged, as we saw with the acquisition of Eighteen Sound in 2018. We can offer our customers a broader range of world-class products and produce them where they need them.”

www.bcspeakers.com

www.eminence.com

MAILA debuts in Dubai with PRO LAB

Together with LD Systems’ sales partner PRO LAB, Adam Hall Group invited attendees to a one-day partner and customer event at the PRO LAB headquarters on 7 September for LD Systems Day. The highlight was said to be the first hands-on demonstration of LD Systems’ MAILA system in the United Arab Emirates.

After an introduction of the Adam Hall Group and its long history in the field of event technology, Viktor Wiesner, senior product manager, pro audio, guided the numerous attendees through the LD Systems portfolio, followed by an in-depth product demonstration of the MAILA system by LD Systems’ field application engineer, Jens Kleinhuis. After the MAILA live sound and touring solution, the focus was on LD Integrated

Systems products for the AV fixed installation sector. In addition to the QUESTRA planning and management a detailed overview of LD Systems’ mixing

amplifiers and matrix processors. The LD Systems Day was rounded off by accompanying audio tools and stand solutions from Palmer and Gravity.

“The LD Systems Day was a complete success,” explained Markus Jahnel, COO, Adam Hall Group. “Together with our sales partner PRO LAB, we created an all-round successful event for our partners, customers and interested parties in the GCC region. We were particularly pleased that we were able to demonstrate our MAILA system in detail for the first time in Dubai. The reactions were positive throughout, and we are very excited to see and hear about MAILA in Dubai and the region in the near future. At this point, we would like to thank the entire PRO LAB team and all visitors of the LD Systems Day. We are already looking forward to the next edition.”

www.adamhall.com

www.ld-systems.com

www.prolabllc.com

Lorenzo Coppini, CEO of B&C Speakers

L–R: Gareth Owen, Peter Bridgman, James Gordon, Austin Freshwater and Henry Harrod

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FBT gathers the industry to celebrate 60 years

Mengascini, the oldest FBT employee hired in 1963 as well as Augusto Pierucci, the company’s acoustic designer employed from the early days. Having first joined the company in 1990, Mataloni travels extensively, overseeing a solid, global distribution network for the company. Recognising the value of those relationships and connections, he added: “Of course, there have been ups and downs just like in any family. But that’s the point, FBT is a true family. I always say it’s an expanded family because it’s run and owned by a family. But the people that work with them and around them are truly collaborators and they have devoted their life to this company. You don’t see a lot of staff turnover here, it’s an incredibly stable company with expertise and knowledge that has developed over the years.”

During the evening, guests had the opportunity to listen to a variety of artists

and musical genres, including an upbeat set from La Compagnia di Musicultura, local heavy-metal band and winners of Sanremo Rock 2022, Dionysian, a renowned Italian vocalist and a DJ set closing proceedings in the early hours of the morning. To support this, the system consisted of L-R arrays of 12 Myra214L each as main hangs and eight Myra218S as ground-stacked subwoofers in cardioid configuration. The entire system was powered by four Myrack, each comprising three 20,000W amplifiers. On top of the subs, four Muse 210LN provided front fill, while side fill and drum fill were managed by four Horizon VHA 406LN and two Horizon VHA 118SN respectively. Stage monitoring was handled by eight Ventis 115MA.

www.fbt.it

To celebrate its 60th anniversary, Italian loudspeaker manufacturer FBT hosted a lavish dinner with live entertainment at its Recanati HQ. Around 500 guests comprising international distributors, domestic customers and sales reps from the Italian market, past and present staff members along with local dignitaries and suppliers mingled in the balmy Adriatic evening sunshine.

With factory tours incorporated prior to the festivities, such a large-scale event had never been undertaken before in the company’s history but, as Roberto Mataloni, FBT’s export manager, explained: “It was important to mark this date, because in my opinion when you reach 60, you can look back and see what’s been achieved,

and last night listening to the presentations, seeing everyone, looking at what we’ve done, to be with the staff and celebrate with the people from where it started from and where we are today, it was emotional. It’s incredibly rewarding, and it makes you feel proud that you’ve done a good job.”

From the large stage setup in the grounds of the HQ, owners Bruno and Mauro Tanoni gave the guests a walk-through of the history of FBT, which started from a small garage. Staff members with more than 40 years of service then joined them and were presented with framed certificates thanking them for their loyalty. Many of them had worked with founders Bruno Baldoni and Vinicio Tanoni, including Edelwais

L-Acoustics amplifies the sound at Terra Solis

Nestled amidst picturesque Arabian sand dunes, Terra Solis is the latest jewel in Dubai’s crown of desert destinations.

Created by Tomorrowland, one of the most iconic electro music festivals in the world, and unveiled earlier this year, the new multipurpose venue is located just 40 minutes outside Dubai. Featuring luxurious accommodation options, a dazzling swimming pool and a host of quintessential Tomorrowland elements, including a restaurant, a bar and a shisha lounge, this oriental-chic desert oasis sprawls over a vast expanse of 371,000m2, blending music, entertainment and gastronomic delights into one experience for its visitors. L-Acoustics’ Dubai integration partner and Levels AV partnered up to design and deliver an L-Acoustics K3 system for the venue.

“We were delighted when Tomorrowland’s partner company approached us for this project,” said Richard Prior, head of operations at Levels AV. “They wanted the very best audio for their venue and, as we have a longstanding relationship with L-Acoustics, we recommended them as the top choice, which perfectly aligned with their view of L-Acoustics as industry leaders. We created a detailed specification for the sound systems, including an L-Acoustics K3, KS28 and Syva with

DJ booth.”

Prior explained that during the installation process, that began in September, there were some challenges due to the venue’s location. “Logistically, it was quite tricky to get to because you have to drive out into the desert,” he noted. “Other than this, we had no sound-related issues, except for the need to conduct onsite tests before the actual installation.” The tests were necessary due to the amphitheatre’s unique design.

With a circular layout, the amphitheatre occupies the top part of the circle and is used mainly for concerts and large-scale

area at the bottom of the circle. Four groundstacked L-Acoustics K3 with two KS28 subs are installed in the pool area, controlled via LA12X amplified controllers. “We’ve created a versatile sound system that can cater to any occasion,” Prior added.

While the K3 system handles most of the sound in the pool area during the day, the focus of the entertainment shifts to the DJ booth located in the centre of the complex in the evening. To ensure a continuous audio experience, the team installed Syva, Syva Low and SB15 subs behind the DJ booth. “Syva is probably my favourite loudspeaker at the

moment,” said Prior. “It’s compact in size with an elegant design and packs a serious punch that I absolutely love.”

www.l-acoustics.com

www.levelsav.com

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The dinner

L-Acoustics K3 with two KS28 at Terra Solis

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Bose Professional connects with GCC

Bose Professional recently hosted three events for the GCC region – Bose Distributor Connect Event 2023 at Le Méridien Dubai Hotel and Conference Centre, Bose Distributor Recognitions FY23 at Terra Solis Dubai and Bose Professional System Integrators Event 2023 at Palazzo Versace Dubai. The first two events had 30 participants each, while the system integrators event had 280 attendees.

Nittin Datgan, GCC manager, Bose Professional, said: “As always, it was amazing to connect once again with our channel partners. The event was an opportunity to launch our new amplifiers, PowerShare X, in the UAE. The new amplifiers further strengthen our solution offerings. We thank each of our system integrator partner and distributors for taking time out and joining us.”

pro.bose.com

Nexo brings sound to Tunisian town

The 42nd Festival International de Dougga took place recently in Dougga in northwest Tunisia. Qualified by UNESCO as a World Heritage Site in 1997, the city is said to be the best preserved Roman small town in North Africa, and festivalgoers can enjoy music and theatrical performances on stages dating from Roman times. Performers at this year’s festival included Dhafer Youseef, noted for fusing eastern and western musical styles and introducing the traditional short-necked lute-type instrument, the Oud, into contemporary music, and Algerian Berber singer,

songwriter and guitarist Souad Massi. Also appearing were Assyrian-Syrian singer Faia Younan, Mauritanian singer, songwriter and instrumentalist Noura Mint Seymali and Tunisian musician, composer and singer Zied Gharsa.

Sound for the festival was provided by Nexo distributors Sybel Event Company, deploying a Nexo STM M28 system comprising eight M28 main cabinets, six B112 bass extension cabinets and four S118 subs for the main FOH system, supplemented by four M28 and four S118 as front fill, and two Nexo PS15s with LS18 subs as side fill.

Imagine becomes reality for Rudaw

Imagine Communications is providing production and playout facilities for Rudaw Media Network, as part of the broadcaster’s transition to a new headquarters complex. The transformative infrastructure will be built using SMPTE ST 2110 IP connectivity, providing 4K UHD capabilities for production and playout in a scalable architecture that will offer Rudaw operational and cost efficiencies across the network. The new installation will go live in early 2024. Headquartered in Erbil, the capital of the Kurdish region of Iraq, Rudaw Media Network is a broadcaster dedicated to providing independent information in English, Kurdish, Arabic and Turkish. The network’s

transformation roadmap entails migrating its operations to a new, eight-storey complex that will house multiple studios and TV channels supported by IP infrastructure and 4K UHD playout and master control facilities. Working with systems integrator WAVE Media Solutions, Imagine is providing the complete IP playout automation and master control infrastructure, including multiviewers, UHD conversion processing, network orchestration and routing control.

“When we launched our channels 10 years ago, we were the first network in Kurdistan and Iraq to broadcast in HD,” said Hejar Berenji, CTO at Rudaw Media Network. “Today,

our move to a greenfield site is the perfect opportunity to maintain that pioneering spirit by migrating to IP and 4K UHD. That is just part of our goal to create a channel and content that is engaging and relevant to our audiences by insisting on the highest professional standards.

“Imagine’s state-of-the-art broadcast technology will, I believe, make a substantial contribution towards our organisation’s mission to impart information and facilitate communication, by empowering journalists and producers to seamlessly translate their visions onto the screen.”

The new infrastructure at Rudaw Media Network will use a Cisco fabric for SMPTE

A total of 12 Nexo P15s were available as stage monitors, with all power and processing provided by Nexo NUAR Universal Amp Racks and NXAMP4X2MK2 powered controllers.

Sybel sound engineer, Yassine Jlassi, said: “Artists, musicians and festivalgoers were delighted by the clarity, the quality and power of sound that covered the theatre, with a capacity that can reach 3,500 spectators.”

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ST 2110 IP connectivity. Rudaw will use

Imagine’s Selenio Network Processor (SNP) as a convenient and compact gateway – providing 128 configurable SDI/IP ports in just 4U. This function is only one of many critical applications the uniquely configurable SNP will support within the new facility.

SNP is a media processing platform with functionality that can be changed virtually and instantaneously by simply loading the appropriate software. At Rudaw, multiple SNPs will be deployed throughout the facility. Rudaw will look to incorporate the new Master Control Lite (MCL) personality into the next phase of the build.

Rudaw’s channel origination workflow will be built on Imagine’s Versio integrated playout platform and ADC automation, supporting three UHD output channels and a preview channel. Featuring ST 2110 UHD I/Os, advanced graphics and master control capabilities, the Versio playout devices will provide both channel delivery and ingest into a 252TB Imagine IOX NAS storage solution.

Imagine’s Magellan Control System has also been selected, intended to simplify management and operation of the entire workflow, from production and ingest through master control and playout. Magellan Control provides a single point of management, automation and monitoring across the entire infrastructure, including Cisco switches, Vizrt graphics, Tektronix test equipment and other third-party broadcast equipment.

“Imagine’s relationship with Rudaw Media Network dates back more than a decade and has continued to strengthen through multiple upgrades and advancements,” said Anas Hantash, head of Middle East, South Asia and North Africa at Imagine Communications.

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EPH invests in Absen Snap selects Chauvet’s Maverick Storm 1 Hybrids

Dubai-based event production and management company Snap has announced the purchase of Maverick Storm 1 Hybrid fixtures by Chauvet Professional, adding 12 units to its expansive lighting portfolio. This acquisition is said to underscore the company’s commitment to delivering unparalleled event experiences by incorporating cutting-edge technology.

almost 12 years now. What’s beneficial for me is that it comes from NMK, where I have 100% support.”

Snap’s decision was further reinforced by feedback from their team member who experienced the Maverick Storm 1 Hybrid first-hand at its German launch. Following the acquisition, Snap’s team put the new fixtures into action at the Next World event in Saudi Arabia. The feedback was overwhelmingly positive, with the Maverick Storm 1 Hybrid meeting and exceeding expectations.

“Working with someone who knows exactly what they want makes the entire process incredibly smooth,” added Schalk Botha, lighting brand manager at NMK. “Darren’s extensive experience shines through, and I’m excited about our future projects

The Springbok farewell breakfast, presented by FNB, took place at the Sandton Convention Centre right before the

Moses Mabhida Stadium and included artists such as Zakes Bantwini, DJ Tira, Shekhinah, GoodLuck, DJ LeSoul and Nomcebo Zikode.

Springbok farewell breakfast

L–R: DWR’s Dylan Jones with Leon Pheiffer

L–R: Schalk Botha and Darren Hodge

Cinegy brings synergy to Channel 31

Cinegy, a provider of software technology for digital video processing, asset management, video compression and playout, has implemented a new integrated automation platform for Channel 31 in Kazakhstan. The new solution replaces two separate legacy systems, for playout automation and for production, and aims to simplify workflow.

Channel 31 has been on air since 2001. Now based in Almaty, it brings together operations in 14 cities across Kazakhstan, creating news and entertainment programming broadcast 24/7.

To advance the channel’s capabilities and to deliver in the highest quality, Channel 31 decided to invest in a new, integrated content management, production and playout platform. Cinegy already has a strong presence in Kazakhstan with installations at a number of other channels, which allowed Channel 31 the chance to see the technology in action. Importantly, it also meant that the broadcaster was certain of a high level of support available locally when needed, as well as from Cinegy’s headquarters.

“The new Cinegy automated system allows us to speed up the process of television broadcasts, as well as improving quality because of less conversions,” said Yernar Baimoldaev, technical director of Channel 31. “This system solves for us all the issues related to our news, production and transmission. We needed just two weeks of training and today there are no complaints, just admiration.”

Mike Efimov, international sales manager for Cinegy, added: “This project is a great example of the way our software applications combine to create a solution that is greater than the sum of its parts. We handle, store and process video content just once and it is available wherever it is needed, so there are no transfer delays, no signal conversions and storage is optimised. It is great to see Channel 31 really seizing the benefits of the Cinegy approach.

“The project was developed and built by our long-term regional partner DNK Kazakhstan,” continued Efimov. “It includes Cinegy Archive with several transcoding Cinegy Convert servers, 35 simultaneous journalist Cinegy Desktop instances, Cinegy Air PRO and

Cinegy Capture PRO engines and Cinegy Prompter. So, technically, it’s a great example of a Cinegy-based facility.”

The contract was finalised early in 2023 with installation onsite completed soon afterwards. After a short training and familiarisation period, the system went on air and is now delivering operational and workflow efficiencies right across the Channel 31 business.

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Advanced Systems Group acquires AID

Advanced Systems Group (ASG) has announced that it has acquired the assets of Audio Intervisual Design (AID). “Since launching Advanced Systems Group over 25 years ago, Audio Intervisual Design has been an esteemed competitor and a leading provider of tools for the creative community,” said Dave Van Hoy, ASG founder and president. “ASG stands to deliver even more to our customers in audio, video, data and cloud production by merging our respective strengths.”

AID has reportedly built a robust national reputation for film, streaming, broadcast and music recording studios. AID brings to ASG many specialised technology partners and a long history of involvement with Dolby Atmos facilities all over the world.

ASG serves the industry with consulting, design, systems integration, professional services and managed services, including embedded teams that help operate and

maintain production, postproduction and creative, for some of the largest companies in the world. AID’s expertise complements ASG’s holistic approach to serving the media and entertainment industry, giving ASG well-rounded capabilities to offer clients one place to discover, design and build workflows across the entire media supply chain.

“Since AID was founded in 1984, we have taken the position to best represent our clients in their efforts to succeed in a world with uber-fast technology changes. Being acquired by ASG, a company we’ve long respected, provides many resources we’ve dreamed of having. The time was right, and ASG was the right partner for this major move,” said AID president Jim Pace, who will be joining ASG as part of this transition.

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UAE Pro League-Awards celebrates the big players

DWR hosts L-Acoustics South African roadshow

DWR Distribution recently hosted L-Acoustics A Series demonstrations in three cities across South Africa. The roadshow, held at the Roxy Revue Bar at the GrandWest Casino and Entertainment World in Cape Town,

rental house. This also means users can start small and build up, while, on the other hand, if you own a fair quantity, it can be used on an everyday basis for different situations by breaking it up into smaller

A Series was launched around the time of Covid-19, which made it difficult to physically get people to hear it,” Smith explained. “We sold some just before lockdown, but things slowed during the pandemic. More recently, we felt that it would be a nice opportunity for the industry to hear the system first-hand and to have a bit of a social gathering. “A couple of things make the system special. The first is that it’s extremely versatile,” commented Smith. “It’s designed to be scalable, which suits our market very well because not everyone is a massive

The UAE Pro League-Awards was recently staged at Emirates Palace Mandarin Oriental, Grand Ballroom, celebrating and honouring the players from the UAE football teams. The event was marked with speeches, attended by club owners, managers, football players, TV presenters and incorporated some musical performances. mediaPro was appointed by No1 Events to provide an immersive experience with lighting, LED screens, video, trussing and rigging. Lighting was prepared by its senior lighting designer, Alexander Kotov. mediaPro used Krypton lighting fixtures from Good Boy Beam, specifically the W1940, S400 spot and P800 profile. Two grandMA3s were used to control the fixtures and programme the event.

For video, more than 850m2 of P3.9 was selected, divided into two batches. The front side was a Gloshine F series and the rear side was Unilumin’s UGM series. Three disguise VX4+ servers were used for controls, alongside a Barco E2 Tri combo with EC-210 controller.

Mirco Resta, technical sales manager, mediaPro, said: “Access to the ballroom was controlled by two doors and, since the client wanted a full immersive experience, we installed two portions of LED screen on an automation system from Walhberg, controlled by DMX. The client had very positive feedback regarding the AV setup, and we met their expectations. All technical requests were executed as per the project and we aligned all the needs of the broadcast director.”

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from 50 to roughly 5,000 people. We gave guests attending the demo a taste of that, just to hear different configurations and how the system sounded.”

Visitors were introduced to rigging the system and shown how different configurations look. There was also a chance for them to meet the DWR team, which included Johnny Scholtz, Jaques Pretorius and Michael Taylor-Broderick.

www.dwrdistribution.co.za

www.l-acoustics.com

Lawo and intoPIX partner to deliver JPEG XS support

intoPIX, a provider of innovative compression technology, and Lawo have announced that .edge users can now benefit from the intoPIX TICO-XS codec to encode and decode JPEG XS-compressed streams. Lawo’s aim is to provide broadcasters with the ability to leverage compressed streams as and when required in order to accelerate high-quality distributed content creation. JPEG XS support for .edge is a licensable option that relies on Lawo’s edge-computing and software-licensable infrastructure strategy. The ability to encode and decode JPEG XS right at the IP network’s edge means that uncompressed streams no longer need to travel to a processor somewhere on the SMPTE

ST 2110-based IP network, and onto their destination, saving bandwidth.

“For Lawo, support of JPEG XS has become essential to give operators the flexibility to maximise their bandwidth usage,” stated Phil Myers, chief technology officer at Lawo. “Increasingly, IP signals travel from one remote location to two or more destinations – and sometimes even back. With the .jpegxs option, Lawo’s .edge hyper-density SDI/IP conversion and routing platform natively supports JPEG XS input and output right next to the source or destination.”

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Attendees met with the DWR team

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Biamp acquires Evoko

Biamp has announced that it will acquire Evoko, a Sweden-based manufacturer renowned for its advanced scheduling systems. The acquisition marks another major step in Biamp’s expansion strategy and commitment to provide more comprehensive, integrated solutions to its customers. Evoko’s products include room booking solutions and desk scheduling systems designed to enhance productivity and streamline office operations.

Rashid Skaf, Biamp’s president, CEO and co-chairman, said: “Evoko is a leader in the scheduling space, and their products are highly regarded by customers around the world. This

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Creative Technology Middle East (CTME) has announced the expansion of its audio services through a substantial investment in d&b audiotechnik products. This strategic move is said to position CTME as the region’s largest stockholder of d&b equipment.

In 2022, CTME introduced the XSL line array module to the region, now adding the AL-Series, Y-Series point source, V-Series point source, V-SUB, E-Series, S-Series and D80 amplifiers.

Wissam Shaheen, CTME’s head of audio, explained: “The debut of the XSL line array module has been particularly well-received, enabling us to deliver unparalleled sonic performance in even the most demanding environments. This, combined with our extensive d&b portfolio, ensures we are equipped to address any event’s unique audio requirements.”

One particular highlight is CTME’s investment in d&b’s Soundscape spatial audio system. Shaheen explained: “We strongly believe that immersive, object-based audio is the future of sound reinforcement, and this investment demonstrates our dedication to staying at the forefront of industry advancements.”

He continued: “We are excited to continue expanding our 2023 audio offerings with the integration of d&b’s latest products. These additions will further enhance our ability to provide exceptional audio solutions for events of any scale or complexity. Our ongoing investment in advanced audio technology reflects our commitment to quality, innovation and setting the bar in exceptional audio experiences.”

www.ct-group.com

www.dbaudio.com

L–R: Gary Knowles, CEO of Evoko with Rashid Skaf

Absen and Yealink join forces

Absen has announced a new partnership with Yealink, a provider of unified communication and collaboration solutions specialising in videoconferencing, voice communications and collaboration. Absen and Yealink are specifically collaborating on conference equipment. This joint solution combines Yealink’s Microsoft Teams Room solution with Absen’s professional LED smart screen development capabilities, providing customers with unified services that cover hybrid meetings and teleworking.

As remote collaboration becomes more prevalent within or across organisations, various data and information needs to be shared, managed and processed in real time. Absen’s large-format display combined with Yealink’s UCC solutions enhances the immersion

experience of video and audio presentation in medium and large meeting rooms.

“Our partnership with Yealink is an exciting one,” stated Ruben Rengel, vice president of global business development at Absen. “We look forward to broadening our sales in conference applications via the Yealink network. I am confident this collaboration will yield positive results and help us reach our shared objectives.”

Alvin Liao, vice president of product at Yealink, said: “By combining Yealink’s intelligent room solution with Absen’s world-leading display solutions, we enable an immersive meeting experience for attendees wherever they are.”

www.absen.com

www.yealink.com

Reflect Enterprise Manager comes to UAE and KSA

Q-SYS has announced that the UAE and KSA have joined the growing list of over 20 countries to gain access to Q-SYS Reflect Enterprise Manager. Reflect Enterprise Manager is the company’s solution that allows users to remotely monitor and manage their entire Q-SYS systems – including connected thirdparty devices – using one single, secure connection from any Q-SYS Core processor to the Q-SYS Reflect cloud.

The platform comprises three different feature tiers, providing end users and managed service providers with a range of cloud-based service options to select from, including the ability to gain real-time status of connected systems, to more advanced

features such as remote UCI helpdesk capabilities and remote system design, which enables a centralised support team to easily resolve issues without sending technicians onsite.

“Having the ability to remotely monitor and manage audio, video and control assets from anywhere is paramount to ensure systems are up and always running and users are productive,” read a statement from QSC. “We are pleased to bring these capabilities to additional regions and are committed to helping users increase efficiencies and system visibility while reducing downtime.”

www.qsys.com

SAW Namibia equips MTC Windhoek

Stage Audio Works (SAW) Namibia has successfully concluded an extensive AV system integration project at the headquarters of MTC, a telecommunications company based in Windhoek. The client required technology upgrades and corporate AV solutions to enhance communication and collaboration in several departmental boardrooms. Working closely with the requirements of the MTC procurement and IT team with a strong IoT

approach, SAW Namibia provided a turnkey solution.

The project involved a comprehensive overhaul of MTC’s AV infrastructure in eight meeting room environments. Of note was the replacement and integration of the AV conference system within the executive boardroom, with an aim to create a state-of-theart environment for both in-person and hybrid meetings.

“Collaborating with MTC to bring this ambitious project to fruition has been truly rewarding,” explained Joppie Maritz, managing director at SAW Namibia. “We specified the entire system which enabled us to ensure all systems worked seamlessly together and that the MTC team could enjoy a consistent user experience across each meeting room.”

The solution is based on a Crestron Control and Microsoft Teams system. While the unique needs of each department were considered in each room, the overall solution was designed to ensure continuity and ease of use.

MTC’s executive boardroom required the largest installation. Here, the SAW Namibia team executed the replacement and integration of the entire conference system. At the heart of the setup are two Samsung 75-inch Flip3 Interactive Displays, which provide a platform for collaborative discussions. A 1080p laser projector and a 180-inch motorised projection screen provide visuals. A Crestron AirMedia Series 3 receiver ensures wireless connectivity, Audac ceiling speakers provide audio playback and Sennheiser’s TeamConnect ceiling mic with beamforming technology makes sure all meeting attendees can be heard. A Crestron 3-Series

kit for Microsoft Teams Rooms facilitates hybrid meetings. Crestron touchscreens provide room scheduling and room control. Finally, the inclusion of a Crestron Dual-Technology Occupancy Sensor helps to reduce unnecessary energy consumption. The benchmark established in the executive boardroom was rolled out across other departmental meeting rooms, with adjustments made due to space and capacity requirements. Some of the rooms were fitted with 4,500-lumen 1080p laser projectors, coupled with the ceiling tab screens. On the other hand, the two technical departmental boardrooms welcomed alternative solutions, including Samsung QE82T 82-inch LFD UHD displays and one of them is coupled with a Crestron Flex Teams Room Video Conference System.

Johanna Ileka, IT administration at MTC, said: “My favourite elements of the new installation include the wireless charging capabilities in the executive boardroom and the touchscreen scheduling panels, which indicate the availability of the boardroom tied together with the occupancy sensors. The onsite assistance from Stage Audio Works is excellent, and they are always available to educate, equip and train us as users so we can maximise the benefits of our

www.stageaudioworks.com

Blackmagic puts wildlife rangers in the spotlight

UGANDA

A documentary released on World Ranger Day, presented by That Gorilla Brand in partnership with the Ugandan Wildlife Authority and The Gorilla Organization, The Hearts of Bwindi, transports the viewer into Bwindi Impenetrable National Park in Uganda.

“Bwindi Impenetrable National Park is a unique place. It’s a UNESCO World Heritage Site and one of the most biodiverse places in the world,”

said filmmaker Charli Doherty. “We wanted to transport the viewer to this incredible ecological site and give them an appreciation of the vital conservation work carried out by wildlife rangers, alongside local communities.”

Captured in tandem with its upcoming feature film, Maji, the small production team from Biscuit Bunker included cinematographer Will Hadley, editor Olly Cooper, producer Tom Neish,

as well as Doherty, who also took on camera, sound recording and colourist roles. The team collaborated on a workflow based around shooting on Blackmagic Design cameras and editing and finishing in DaVinci Resolve Studio using Blackmagic Cloud.

“We had a two-camera setup, shooting between the URSA Mini Pro 12K and Pocket Cinema Camera 6K Pro,” said Doherty. The film

Image courtesy of SonjaKilianPhotography

AEB Industriale turns 50

WORLD

For its 50th anniversary, AEB Industriale, the company behind the brand dBTechnologies, chose the civic museums of Bologna to celebrate and share this significant milestone, offering the public a gift: free admission for one weekend to the civic museums of Bologna and ART BEATS – Civic Museums of Bologna in Music, a cultural project for inclusion and participation, in collaboration with the Municipal Museums of Bologna.

Over 16–17 September, visitors had free access to seven museum locations selected from all six disciplinary areas that make up the Municipal Museums of Bologna: the Archaeological Civic Museum, Medieval Civic Museum, Municipal Art Collections, Museum of Modern Art of Bologna (MAMbo), International Museum and Library of Music, Museum of Industrial Heritage and Civic Museum of the Risorgimento.

is full of richly detailed sequences of the rangers and villagers of the national park, contrasted with the colour-rich macro shots of the insects and wildlife, all against the background of the forest itself.

“In a documentary situation, running around a forest can present many challenges,” said Hadley. “There’s a lot of humidity, moisture and dirt, and all sorts of factors that can be hard for us, as well as the cameras. With a little TLC at the end of each day, we didn’t have any issues with the kit.”

The URSA Mini Pro 12K’s 14 stops of dynamic range and the Pocket Cinema Camera 6K Pro’s 13 stop latitude gave the team plenty to work with. “Dynamic range is incredibly important because we were constantly shooting into shadows,” said Doherty. “We did a lot of shooting up into the canopy, often having the environment dominate the space above the rangers. We got all the detail in the skin and the shadows without clipping the sky.

“We shot full sensor 6K on the Pocket Cinema Camera, but what’s great about the URSA 12K is being able to mix resolutions,” added Doherty. “We shot a few scenes in 8K, but it was mostly in 4K. It’s an incredible innovation, having the option to jump resolution without cropping the sensor. From a look perspective, it’s very filmic, and that’s the aesthetic I tried to achieve.”

www.blackmagicdesign.com

The public were invited to listen to seven sound installations. These installations have been commissioned by AEB Industriale from seven composers and musicians, representatives of the diverse artistic scene of Bologna. The visual charm of these seven cultural sites of the city were transformed into musical notes, offering an immersive experience to the visitors. Through the creation of a QR code, each composition will remain permanently available to the associated museum.

Eva Degl’Innocenti, director of the Municipal Museums of Bologna, said: “The collaboration with AEB Industriale, based on cultural co-design

for the production of new sound works, represents a virtuous form of public–private partnership that allowed us to offer the public a new way of

experiencing our museums for free, and to enhance a heritage and a land that excel in every sector.”

Arturo Vicari, founder and CEO of AEB Industriale, said: “The passion for music and the desire to bring the emotions that great artists are capable of arousing to thousands of people have guided me in growing AEB Industriale. It’s a successful business story that reaches 50 years and I wanted to share it with the city of Bologna by giving the thrill of entering a museum where art can be seen and heard.”

www.dbtechnologies.com

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Land of a Thousand Caves brought to life

The Land of a Thousand Caves is an ancient architectural wonder – filled with natural and man-made caves that were intended for a wide variety of uses, from dovecotes, storage, residential purposes to burial. In 1989, the area was declared a national park to preserve the impressive remnants of the city of Maresha and was also made a World Heritage Site by UNESCO.

The bell caves complex was inaugurated as an outdoor exhibition space that features contemporary artworks. The One Tongue audiovisual installation was created by Israeli artist Dor Zlekha Levy and centres around a poem he wrote in Proto-Semitic – the hypothesised protolanguage from which all Semitic languages evolved. The musical piece is performed by a choir of four singers, men and women who come from different communities and sing in Hebrew, Arabic and Aramaic. The vocal musical composition is accompanied by an instrument constructed by the artist, built from materials collected around the national park. A video of Levy playing the instrument, which alternates between strumming and drumming, is projected in the space of the cave.

Courtesy of seven Epson laser projectors placed at different heights

and positions, the choral singing is accompanied by projections that focus on the singers’ lips. Projection-mapping techniques were used by the artist to merge the images with the different textures and materials of the cave.

The sound system was designed with eight separate audio channels that were digitally processed by four processors. DSPs were dedicated to Nexo DTD-I installations, two four-channel Nexo DTD AMP4X0.7 amplifiers and Nexo ID24-I

speakers supplied in RAL colour accurate to the colour of the cave. Levy formulated a two-fold act of splitting and fusing the sound. The artist used the resonance in the caves to produce a ritualistic experience that unifies the separate voices into one language. The extremely humid and dusty conditions of the cave, which also serves as a home to mice and pigeons, made it challenging to work with audiovisual equipment. AB Electronics planned

everything in advance, making sure to use the right equipment in dedicated cases.

“My work brings people together for a strong, multi-sensory experience in a cave. It is a truly unique experience to work in this environment with total artistic freedom,” said Levy. “In these kinds of projects, the technical solutions and limitations are a part of the artistic

direction. The result exceeded all our expectations and we were happy to work in collaboration with AB Electronics and Nexo.”

www.abe.co.il

www.epson.com

www.nexo-sa.com

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The built in 17” HD panel shows the PGM feed or the multiviewer and folds down in a laptop fashion. A protective back lid protects all connections. The closed unit has a hand carry strap on top and weighs less than 10kg.

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AVU helps to celebrate Disney

Don’t Look Down Production and Agency (DLD) recently called on AV Unlimited (AVU) to put on a performance of The Incredibles at the Disney 100 Concert, held in both Johannesburg and Cape Town. Sound designer and FOH mix engineer Adriaan van der Walt and lighting designer Renaldo van den Berg also assisted with the project.

The live concert featured vocalists collaborating with the Johannesburg Philharmonic Orchestra, presenting scores and songs from Disney, Pixar, Marvel and Star Wars classics. This performance was elevated by the inclusion of video clips

and images displayed on a large screen.

The event first took place at the Gallagher Convention Centre in Johannesburg and was later hosted once again at the Grand Arena within the GrandWest Casino and Entertainment World in Cape Town.

“For DLD, the responsibility of producing the centenary celebration of one of the world’s best-loved entertainment brands presents equal measures of opportunity and challenge,” explained Glenn van Loggerenberg, owner and executive producer from DLD.

For the Cape Town leg, the audio incorporated the Grand Arena’s full

L-Acoustics K2 system with a DiGiCo Quantum 338 at the front of house mix position connected to two SD-Racks via Optocore. The racks were fitted with 32-bit cards.

“AV Unlimited supplied a DiGiCo Quantum 225 onstage for monitor duty, connected to two MQ-Racks via MADI,” commented van der Walt. “The 225 received all the stage inputs via the aux ports on the SD-Racks, connected via MADI. All microphones for the orchestra, in-ear monitoring for the soloists and a personal monitoring system for the conductor and principals were brought in for the production.”

As the orchestra was slightly smaller for the Cape Town run, there was a total of 74 input channels at the Grand Arena compared to 85 at the Gallagher Convention Centre. “The 338 session file is the product of a 225 session file which had to be converted using DiGiCo’s SDConvert software. It resulted in a very quick sound check as I only had to make minor adjustments to the converted file. Being able to take a show from one type of SD or Quantum to another model is yet another reason why it is such a popular console among touring engineers.”

www.dwrdistribution.co.za

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On the hunt for new opportunities

UAE veteran

Nour Assafiri

reflects on more than two decades of business in Dubai

What first attracted you to the world of AV?

Before graduating from university, my background was with electrical home appliances as that was my father’s business in Lebanon. This was in my early 20s, and I was mainly a sales guy for him. My father had the biggest name in the country in that industry, but if I’m honest I had no passion for it; no appetite for business with big stock and large warehousing requirements where there was little margin with high overheads.

I decided to start working with electronic components to test that market and, in 1979, I established a company called AMAC. We had frequent electricity shortages in Lebanon, so began manufacturing AC 220V power converters and UPSs. We subsequently directed our business more into testing and measurement equipment for workshops, and eventually universities and schools –multi-meters, oscilloscopes, frequency meters and those types of instruments. It was a successful business, but by

How developed was the AV sector in Dubai

The city was evolving and there were only a couple of other people servicing that challenging sector. Nicolas Kyvernitis was one of the biggest names in the UAE, a gentleman I have

and slowly we joined the professional market. We were the youngest in spirit and experience and were up against some big players in the field but we were up to the challenge. I was adamant that we would develop and grow our share in the market, though, but it was a very tough period and there were so many obstacles to overcome.

What was the landscape like in Lebanon in those early days?

The Lebanese market was booming but at the same time very competitive. Therefore, we decided to expand into Egypt as we were driven by our high ambitions and the Lebanese

the team’s commitment to client satisfaction.

What prompted you to make the move to Dubai?

I made my first visit to Dubai in 1997 and was very impressed with Sheikh Zayed’s vision. The country was very different from what it has become but you could see the direction things were heading and this encouraged us to make our first move into the UAE market. In 2003, we initiated Venuetech LLC.

Having started our business in Lebanon, we were used to crises and we were able to adapt fast and open up to new markets. Adversity builds something inside you, a stronger mindset and the resilience to just keep going. We have a fighting spirit and we never run away at the first obstacle.

AV is a fast-moving business. How do you ensure you stay ahead of market trends

The AV market is always evolving and we as group members believe we should always be up to date with the product ranges and solutions that we are offering; that’s why we keep educating ourselves with the new technologies and trends, and attending exhibitions.

What has been the biggest highlight of your AV career and your greatest achievement?

This is a tricky question…nothing is ever enough! We are always looking at how we can make new achievements. But we have completed lots of fantastic reference projects that stand out in my mind, the Abu Dhabi Grand Mosque and Dubai Parks to name just a few.

Where do you see AV heading in the next decade?

We see the future bringing more and more audiovisual integrations and that AI will play a big role in our industry, from concept design all the way to manufacturing – for example, designing a proper system using artificial intelligence.

Is the market now migrating away from Dubai to Saudi and other fast-developing territories, or will Dubai always remain the region’s hub?

The UAE market is constantly evolving and currently the Saudi market is also opening up a lot of distinguishing and challenging opportunities, especially with the vision of Prince Mohamad bin Salman; that’s why we have initiated an office similar to the UAE facilities to be able to handle the Saudi market properly starting from design, up to sales and aftersales support. The future will be both Dubai and KSA, and hopefully other GCC markets like Egypt.

www.venuetech.ae

Ultimately, AMAC became the leader in the market thanks to our personal efforts and

Nour Assafiri

The Venuetech HQ in Dubai

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Knowledge is power

South African consultant Anton van Wyk shares his experience moving from one side of the industry to the other and what is currently gripping AV

What made you want to become an AV consultant?

After 25 years of practical experience in various aspects of the industry, ranging from live sound and recording studios to cinemas, AV integration and distribution, I felt it was time to share my skills and knowledge with others in the market who need them. The skills I have to offer include system design and proficiency in software modelling tools such as EASE and SketchUp, as well as project oversight to ensure they are executed according to industry standards. There aren’t many professionals in our industry with such a broad skill set, let alone consultants like me.

How has the AV industry changed most in recent years?

Since 2010, the overriding trend has been the gradual convergence of IT and AV. However, in recent years, it’s evident that hybrid working has become indispensable, placing increasing demands on both the AV and IT industries. The growth of audio-over-IP and video-over-IP technologies has added further pressure on IT administrators, who must now strike a delicate balance between bandwidth requirements and security concerns, especially with the option to work from home.

What do you predict the biggest changes in the next 10 years will be?

Right now, the UC (Unified Communications) market is

the one to watch and follow, as dominant players strive to secure the number one spot and maintain their position. This situation parallels the experience of the old VC (Video Conferencing) hardware manufacturers in the early 2000s, who initially employed proprietary protocols but eventually converged on industry standards like the ITU, allowing them to “play nicely with each other”. Looking ahead, I’m particularly interested in what AMX by Harman is doing with their new MUSE system. They’ve adopted an open control system platform approach, which enables them to seamlessly integrate and cooperate with other control systems in the market. While manufacturer-specific ecosystems will continue to exist, I foresee a trend towards greater openness, facilitating compatibility with third-party products and control systems.

What are the most critical trends that we must follow to face the future effectively?

The semiconductor shortages have taught us a valuable lesson: “Do not put all your eggs in one basket.” This means that AV integrators should be more flexible, open and skilled in using products from more than one manufacturer.

How important is the need for consultants to have IT skills?

A consultant needs not only IT skills and knowledge but also proficiency in audio, video, system installations, commissioning, programming and acoustics. I envision myself

3D drawings by

Wyk to help the client better understand the various considerations

Anton van Wyk

Sound isolation tests for a client’s executive meeting spaces that had issues with speech privacy

and manufacturers who are trying to promote their products. As a consultant, it is my duty to ensure that the right product for the specific application is specified at the appropriate price. Most importantly, we must ensure that the system is futureproof and capable of scaling when and where required.

What has helped you get to where you are and what advice would you have for others who want to set off in a similar direction?

I got to where I am today through hard work and practical experience. Nothing beats practical experience with the theory to back it up. My advice would be not to be scared of hard work and long hours, and to learn as much as you can from the leaders in the industry.

What has been the most satisfying part of your career in the AV industry?

The most satisfying part of my 25 years in the industry is witnessing people under my guidance grow and excel to the next level. It’s rewarding to see those who genuinely take the advice we offer and watch them flourish.

What was the biggest impact of the pandemic to how you carry out your work?

I think people have realised that working remotely and remote collaboration is possible. With that said, the trend in meetings is increasing, and more time is spent in meeting rooms, whether physical or virtual, compared to before the pandemic. However, this too will settle as we find a balance. The most obvious post-Covid trend was hybrid working and remote collaboration, which has driven the touchless technology trend and enhanced the videoconferencing experience. This trend is prominent not only in AV meeting spaces but also in the live events space. The most significant trend, even at IBC 2023, was the incorporation of AI into workflows, especially in radio, where DJs may be unavailable and an AI bot has to run the show. A great example of this is the team at Radio.Cloud, which uses their software to seamlessly manage an entire show with AI and an AI voice, resulting in a broadcast that sounds like a normal radio show. www.vanwyk.consulting

On top of the world

Andy Jackson

Clair Global Middle East CEO, Andy Jackson, sits down with Libby Stonell to discuss his work with charity Gulf for Good (G4G), as well as his growing appreciation for the earth and its wonders

Tell me about your role at Clair Global

I joined Clair in the summer of 2022, with a remit to establish and set up Clair Global in the Middle East region. We are now fully established in the UAE and currently finalising our trading entities in KSA. As you would expect, the region is enjoying an incredible boom period and I have received unbelievable support from the owners and have been able to put together an international team that is able to deliver events across the region.

How did you get into hiking?

I have always preferred the outdoor life and subsequently always tried to challenge myself physically, whether that be through cycling or hiking. Over the years, I have taken part in various cycling challenges in the US, Uganda, Vietnam and Cambodia, raising funds for local charities, but my hiking journey started around the time when Covid restrictions were starting to lift in the UAE. Everyone wanted to escape the city and, because of my previous relationship with local charity Gulf for Good, I was able to support their hikes. G4G supports numerous children’s charities across the world through challenges – whether it’s cycling or hiking, people are encouraged to sign up, get fit and go and do a challenge that they wouldn’t ordinarily do. Post-Covid, we organised hikes locally in the mountains in Ras Al Khaima. By the end of 2020, we were taking 30–40 people out every weekend through the highest peaks in the Jebel Jais area.

challengers for their “bucket list” challenges. A large part of the role is to motivate and train people so they enjoy the challenges, push them to their limit but, ultimately, keep them safe. It goes without saying that safety is the number one thing that you have to consider with hiking or any outdoor sports, especially in this part of the world, where it’s pretty easy to get dehydrated, lost or injured. A lot of people think that Dubai is largely flat and made up of sand dunes, but you go an hour-and-a-half away and it becomes very mountainous.

temples, rice paddies in Vietnam and the empty mountains in Kyrgyzstan. And closer to home, it’s a privilege to be involved in the RAK Highlander event.

What is it about hiking specifically that you find to be beneficial?

As I get older, I get more and more in-tune with my body and the planet and try and stay grounded. I’m a great believer that the world is a natural healing mechanism, whether that’s mental or physical, so it’s really important to appreciate everything around you, because it’s not going to be very long before mother earth says enough is enough.

So, is it fair to say hiking has given you a greater appreciation for the world?

Definitely. I try to make a difference where I can. Education and sharing the joy of hiking with any groups makes a difference. We regularly take corporate groups out for organised litter picks, usually in wadis that are popular tourist areas. The UAE, like most places, suffers from litter – particularly plastic – so on hikes, whether alone or out with a group, I’m quite often seen wandering around with a bin bag full of other people’s rubbish. The hope is that perhaps somebody will see me doing this and think twice about littering. Maybe it’s just a grumpy old man thing, I don’t know!

What exactly is it that you do while working with G4G?

I started as a volunteer rep and trail guide and it soon became apparent that I needed to do some training and implement some health and safety measures. So about two years ago, I took my mountain leadership training course, which involved time in the mountains, navigating, assessing weather conditions and learning search and rescue techniques. As hiking tourism has evolved, it is now mandatory to be led by a qualified guide.

What’s a standout memory for you so far?

Cycling through the maize fields in Uganda and coming across remote villages and African tribal families. It must have looked very strange when a bunch of people on mountain bikes wearing Lycra cycled through their village. A lot of what we do on the challenges is find time to meet and interact with the people and charities we are supporting. It’s not unusual to take time out to interact with schools and the local people. There are many other memories I could mention: cycling through the Angkor Wat

For people that struggle to make time –perhaps those not in the same position as you where they can step away slightly – how important is it for them to find an outlet?

Honestly, I think it’s up to employers and industry leaders to set an example and make sure that the time is scheduled to give people time away from the stresses of work. I think that Clair as a global company really works hard on employee wellness. Giving people the correct work–life balance comes from the top

www.gulf4good.org

Jackson and his friends at Gulf for Good

Jackson and his wife at Angkor Wat, Cambodia

At home in the UAE mountains

Sound for the Palace

LD Systems has provided sound quality and flexibility at the W Budapest Hotel

and utilise the existing loudspeaker arrangement and 100V infrastructure. “Due to the 100V cabling and the small cable diameters of 1.5mm2 and , we could only add active subwoofers. In addition, there were space restrictions for mounting, so we had to find a model that was a maximum of 32cm wide.” The final choice was the MAUI 11 G3 SUB dual 8-inch subwoofers (with a width of 30.5cm), which enabled ComplexIT to provide club-quality sound despite the limited

“We used the CURV 500 and MAUI 11 G3 SUBs for the first time for this project and are thrilled with the sound quality and flexibility. The hotel management of the W Budapest is also completely

The following products are used at the W Budapest:

48 LD Systems CURV 500 S2 Array Satellites

24 LD Systems CURV 500 SLA T 70/100V SmartLink adapters

24 LD Systems CURV 500 WM B wall mount brackets

6 LD Systems MAUI 11 G3 SUB active dual 8-inch subwoofers

OVER

150 ROOMS IN THE HISTORIC

Drechsler Palace – located on the famous Andrássy Avenue shopping boulevard in Budapest – have been transformed into extravagant rooms at the recently opened W Budapest, providing a new luxury hotel option for visitors to the Hungarian capital.

After an extensive restoration phase, the five-star hotel which forms part of the Marriott chain delights with its mix of historical elements and modern design. To welcome guests to the W Budapest with appropriate and versatile audio that can do more than just background music, the contracted integrator ComplexIT relied on a combination of LD Systems’ CURV 500 portable array system and active subwoofers from the MAUI G3 series.

The original setup for the open W Lounge on the ground floor and the exclusive Society25 Bar in the basement envisaged a pure background sound system in a lounge style. “The CURV 500 arrays cover all the important requirements for this application: they are compact, good-looking, have great sound and – for their size – an impressive sound pressure level,” explains József Gégény from ComplexIT.

New requirements

It was only during the ongoing installation that the client’s requirements changed. It was decided that the sound reinforcement system in both areas also needed to be suitable for small club-style events –

www.ld-systems.com marriott.de/w-budapest

The exclusive Society25 Bar in the basement

An array of four CURV 500 S2 in the W Lounge

Nightingale by Beefbar offers a fusion of Japanese, Chinese and Vietnamese cuisine

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• SALES DIRECTOR, EMEA

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• MATHIAS MÜGLICH

• TRAINING ENGINEER

ATLONA

Riedel Communications has hired two new engineering specialists who will focus on its live video production products: Brett Stoneham, business director, live production EMEA, and Emanuele Rivolta, live production specialist, EMEA. Costa Nikols has also joined the company as vice president of sales enablement for the global team.

“My personal motto has always been, ‘If you are not having fun, you are doing something wrong’. This attitude made me a perfect fit for the Simplylive team back then, and I can already feel that it won’t be any different at Riedel,” said Rivolta.

Nikols added: “Now working for an industry leader in wireless communication and intercom solutions, my experience lends itself well with the company’s strategic technologies vision, and I also love that I am learning new things from people that are passionate about what they do.”

www.riedel.net

An experienced trio joins Riedel Astera appoints new CEO Nexo welcomes Magali Deschamps

Astera has announced that Carl-Johan Sköld will be joining the team as group CEO. Having acted as a consultant for the German-based lighting firm for some time already, Sköld is well-placed to advise and lead Astera into a period of strategic growth, bringing with him an extensive background in business consultancy and strategic development.

Sköld said: “It is clear from the recognition that Astera gets from some of the key names in the field of film and TV lighting that their reputation is welldeserved, and I am both grateful and excited to begin a new path together with them.”

Sebastian Bückle, sales and marketing director at Astera,

Nexo has welcomed Magali support manager with a focus on

performing arts venues are my first love, I’m excited by the challenge of working in a broader spectrum of acoustic environments, each with their own particular requirements for an installed sound system. I’m also thrilled to soon be working in an international environment,

team, and helping to reinforce relationships between Nexo and

team assists in configuring the right system for the application

the role and we’re delighted to welcome her to the team.”

www.nexo-sa.com

• PHIL VENTRE • VP OF STRATEGY AND GLOBAL BD

• SUSAN WILHITE

• SENIOR DIRECTOR OF BUSINESS DEVELOPMENT

• FRANK DEO • CTO, AD TECH IMAGINE COMMUNICATIONS

• STUART RUSSELL • HEAD OF MARKETING LIMECRAFT

Brett Stoneham

Emanuele Rivolta

Costa Nikols

CableTech

For over 40 years, PERCON has been dedicated to designing, producing, and manufacturing high-quality cabling solutions. With a focus on meeting the needs of the broadcast and multimedia markets, PERCON o ers an extensive portfolio of top-notch products. Well-known for their exceptional audio, video, ber, and other types of cabling assemblies.

Catering To All Your Cabling & Connector Needs

HDMI AOC BNC Cables

Audio

• SURAJ VADHER

• EMEA SALES EXECUTIVE MARTIN AUDIO

Neat appoints Janine Pelosi Chyron selects senior VP of sales

Neat has announced that Janine Pelosi has been appointed chief executive officer. Neat co-founder Simen Teigre, who has served as CEO since the company’s formation, has transitioned to the role of chief of emerging innovations.

Pelosi brings nearly two decades of experience in the technology industry, most recently serving as chief marketing officer of Zoom, where she led the company’s brand strategy, demand generation and online business from start-up to IPO and beyond.

• KEN EAGLE • CEO HALL TECHNOLOGIES

“Janine’s visionary leadership in navigating the path to global scale, while remaining focused on the customer experience, will be instrumental to accelerate Neat’s continued growth,” said OJ Winge, Neat’s

majority shareholder in Neat. Pelosi added: “As businesses manage both the benefits and complexities of hybrid work, Neat supports this new landscape and empowers teams to connect and accomplish more together.”

www.neat.no

Chyron has chosen Alain Polgar as the company’s senior vice president of sales for EMEA. With decades of experience in senior roles across the broadcast media, technology and streaming market ecosystem, Polgar will lead customer-centric growth and guide the Chyron team in elevating customer satisfaction throughout key markets.

“Chyron has a fantastic brand and an exciting solutions portfolio that has been growing and evolving to address the changing demands of users, who themselves face transformational times,” said Polgar. “I look forward to working with my colleagues across Chyron to ensure we’re bringing a high level of value to

and media landscapes that will benefit Chyron teams around the world and, even more importantly, the markets and customers they serve.”

PRO LAB welcomes Aziz Adilkhodjaev

MIDDLE EAST

PRO LAB has declared the appointment of Aziz Adilkhodjaev as the company’s new business development director. He joins PRO LAB from his previous position as international business development manager at ChamSys, where he is said to have played a pivotal role in expanding the company’s network of international distributors.

His other previous roles include sales engineer and EMEA manager at Avolites.

Rami Haber, CEO of PRO LAB, said: “Aziz’s extensive experience, technical proficiency and strong industry connections will be invaluable as we continue to enhance our offerings and serve our clients with the highest level of support.”

Adilkhodjaev is excited about his new role and the prospects it holds. “I look

•

MANAGER

• MICHAEL HUELSKEMPER

L–R: Aziz Adilkhodjaev with Rami Haber

LEA Professional works with Avientek

MIDDLE EAST

LEA Professional has joined forces with Avientek, an AV distributor in the Middle East. This strategic partnership utilises Avientek’s wide-spread vendor and channel partner network in combination with LEA Professional’s technology to support the increasing demand for audio solutions in the region.

“A key part of our growth strategy focuses on our continuous dedication to delivering user-friendly, quality AV products sourced from globally renowned vendors such as LEA Professional,” said VM Manu, director of Avientek. “LEA amplifiers and solutions are a perfect complement to our portfolio. Its ongoing commitment to innovation, combined with its wellestablished and dependable technology, instils the assurance we require to address the needs of our valued customers.”

“Avientek’s presence throughout the region and strong track record supporting technologically advanced brands made them an ideal distributor to bring LEA Professional’s technology to a wide customer base,” said Scott Robbins, vice president of global sales at LEA Professional.

www.avientek.com

PRO LAB teams up with Linea Research and Panasonic

PRO LAB has unveiled its new exclusive partnership with Linea Research, a UK-based manufacturer of audio products, which will now be available across the GCC and Middle East. Linea Research has built a strong presence in the audio industry, with a portfolio comprising amplifiers and DSP controllers.

Rami Haber, CEO of PRO LAB, said: “Linea Research’s track record for pushing the boundaries of innovation and their steadfast commitment to delivering exceptional audio

“We are excited to appoint PRO LAB as our distributor,” said Martin Hildred,

PRO LAB has also announced a distribution deal with Panasonic Connect for the Middle East. John Hardy, director, system solutions and communications division, PMMAF, said: “Panasonic’s industry-leading projection and lens innovation has played a vital role in bringing to life out-of-box and immersive experiences. We strongly believe that an association with key partners such as PRO LAB not only gives us an opportunity to bring innovative technology offerings to a larger customer base but, more importantly, broaden our vision of shaping the future of the events industry in the region.”

www.connect.panasonic.com

www.linea-research.co.uk

www.prolabllc.com

DWR Distribution seals the deals

DSPECIALISTS, a Berlin-based company established in 2003 specialising in digital audio and measurement systems, has appointed DWR Distribution as its South African HARVEY distributor partner.

Lastly, Barco has announced a new deal with DWR that sees the latter becoming an official agent for the region. “This strategic partnership signifies a significant step forward in expanding Barco’s footprint in South Africa’s dynamic audiovisual landscape,” said Abdulghani Hejazi, META territory and country manager, immersive experiences at Barco.

www.dspecialists.com

www.dwrdistribution.co.za

www.fischer-amps.de

Jaco Beukes from DWR

Riedel and Calrec join AV Worx

Riedel Communications has announced a strategic partnership with AV Worx in Southern Africa, that extends the reach of Riedel’s product line-up across the region.

Adrian van Rooij, regional sales manager, Riedel Communications, said: “With the help of the AV Worx team and our other strong regional partners, Inala Broadcast and ApexPro, we’re well-positioned to extend awareness of our solutions and services while making them more readily accessible to customers across Southern Africa.”

Calrec has also signed a distribution deal with AV Worx for it to sell and

MuxLab appoints Venuetech

Venuetech has announced that it has become a Middle East dealer for Canada-based AV and broadcast solutions manufacturer, MuxLab Inc.

“We are excited about taking on MuxLab, especially since we believe that it is a great addition to our extensive portfolio of pro AV, connectivity and UC. As a long-standing, reliable AV solutions provider since 1984, MuxLab is a perfect portfolio fit and the partnership is a very obvious choice for us,” commented Nour Assafiri, CEO of Venuetech.

“With MuxLab, we are bringing on a wide range of solutions to the pro AV, broadcast, livestreaming, digital signage and videoconferencing markets. Plans are already in place to introduce the GCC to MuxLab and their solutions,” said Assafiri.

“Our teams have already begun working with each other and we are delighted to get to know the experienced team at MuxLab. We are looking forward to working alongside them and offering the brand a broad reach into the ever-expanding markets of AV distribution and connectivity,” commented Naisvyn Lucas, brand manager, MuxLab from Venuetech.

“We’re very excited about our new partnership with Venuetech and have their experienced and technical team help us promote and support the MuxLab pro AV and broadcast product lines in the Middle East,” said Ivan Khanikian, international sales manager for MuxLab.

www.muxlab.com

www.venuetech.ae

support its entire range of audio products across South Africa.

Graham Murray, international sales manager at Calrec, commented: “This partnership means that broadcasters in South Africa can now tap into the potential of IP technology, which promises improved efficiency, flexibility and better audio quality, and that’s pretty exciting for everyone involved.”

www.avworx.africa

www.calrec.com

www.riedel.net

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(Advanced

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• Standard AES67 IP network, CAT5 daisy chain or redundant ring antenna network

• Redundant antenna power

www.riedel.net

MIDDLE EAST

L–R: AV Worx’s Justin Acres and Mark Malherbe with Riedel’s Adrian van Rooij

Scaling new heights at Loftus

of concerts that have seen bigger and better productions than ever before. For the popular Afrikaans market, Krone has traditionally been the main fixture on the calendar, with annual events taking place in various South African cities since its creation by Sony a decade ago.

Given that all live productions had been halted for several years, when it came time to rekindle Krone, the decision was made to migrate up to a stadium for the very first time, vastly expanding both the crowd size and technical requirements. The Rugby Union Loftus Versfeld Stadium in Pretoria was selected as the most appropriate venue, and more than 35,000 eager Afrikaans music lovers subsequently flocked to the site for Loftus by Krone 2023.

Sound designer Murray Lubbe has been involved since inception, when the show concept was first taken outside recording studio walls and into the live realm. Today, as

South Africa’s biggest ever Afrikaans concert heads to the Loftus Stadium in Pretoria

production manager, he oversees all technical aspects of the live production, from sourcing kit and contractors right down to handling live sound mixing duties throughout the show. This year’s production had its fair share of new challenges.

“When I initially got involved with Krone,” recalls Lubbe, “they were looking to start the first concert but didn’t have a clue about the live world. As I’d worked with all these artists in the studio before already, we brought them in, created a double album with medleys and then turned that into a live show. Ten years later, we’re still doing it. It’s one of Sony’s most popular shows, but the dream was always to bring it to

Loftus by Krone saw more than 20 popular Afrikaans artists take to the stage performing a mix of international and African music in a 360° format. “It’s the only Afrikaans in-the-round show, and has always been technically challenging,” says Lubbe. “Coming back from Covid, Sony decided the time was finally right to try a stadium show. At this point, everything gets expanded by 10 when it comes to the design.”

When taking a show from an arena up to a full stadium setup, it’s not simply the additional audience numbers that make things more difficult. Logistically, the constraints of the ageing stadium introduced major challenges. “The first obstacle was it’s an old stadium and there were concerns of getting a crane in,” notes the production manager. “Secondly, they took out all the grass at the last minute. We had a 110-tonne crane arriving in three days’ time and who knows how many boxes of equipment. Luckily, I had enough money left in the budget for a last-minute, heavy-duty pitch cover.”

Effectively working around these constraints meant the choice of suppliers became even more crucial. “I’ve always operated on the basis of, ‘let’s firstly get a design sorted and

then everyone can quote’,” says Lubbe. “I brought in Johan Ferreira to assist with lighting and we worked very closely together to create an overall design based on what Otto Wijnberger from In2Structures had suggested for the stage.

“Eventually some aspects had to change when it came to technical considerations, because of how the PA would work in the stadium. We widened the stage another 4m to have the hangs far enough from each other for PA coverage. While we started with the stage design, everything developed together when it came to the gear.”

For Ferreira, it was the first time working on such a huge stadium-sized lighting setup. “When Murray phoned, my first concerns were that it’s for the Afrikaans industry which is not massive. Scaling up something that’s going to look good in a stadium but yet not break the bank wouldn’t be easy. It meant getting a structure big enough to carry the weight and, with the stadium being so old, hanging front lights and things like that was a massive issue. Structural drawings of the roof simply don’t exist.

“Moving it into a stadium, the structure now has to be much bigger and that puts the furthest seats around 120m from the stage,” explains Ferreira. “For the first time ever, people needed to watch the performers on screens. Because of this, we brought in Settlers Media for cameras. You work out what is optimal for everybody, and then work backwards filling the right amount of equipment to make that stage setup work.”

Videowalls on each side of the stage comprised 420 Absen DV4 4.8mm and 420 PL3.9mm panels, supplied by MGG, and running off Novastar MCTRL 4k controllers. Control was with Barco E2 processors and playback on Dataton Watchout 6 with Watchpacks. The screens provided IMAG from the 24 camera positions.

Murray Lubbe

“The AV design took Johan and I two months of back and forth, but the client loved it,” furthers Lubbe. “Next, I approached the tech suppliers who quoted initially, typing up one email to make things completely fair. Structurally, no one else in the country could build such a stage so we naturally used In2Structures, and the PA system would be L-Acoustics because it was a massive four-way setup – only Gearhouse owns something big enough. With PA and structure sorted, the rest of the audio, lighting, AV spec and screens was put out to tender. Ultimately, a mixture of Gearhouse and MGG Productions made the most sense.”

Running on AVB, the mammoth four-way PA supplied by Gearhouse was created using 40 L-Acoustics K1 cabinets and 48 K2s, with low end from 24 KS28s and SB28s. An additional 36 KARA cabinets and eight ARCS WIFO (supplied by MGG) provided additional fill. PA design was done by MGG’s Kyle Freemantle and powering the entire setup required more than 50 LA12X amplified controllers, 14 LA8 and six P1 processors.

“I used Soundcraft Vi7000 and Vi3000 consoles for the PA mix,” explains Lubbe. “One is my main console for mixing the band and tracks elements together. The other is just for vocals. It works well because everything was running on timecode. On the second desk, I brought in all the vocals, routed everyone into a stereo group for males and stereo group for females and then that comes into the main console.” Two DiGiCo Quantum 338 consoles (on DiGiCo SD-Racks with 32-bit cards) were used for monitor mixes and run by Gert Watson and Petru Palmer. A combination of Shure Axient Digital, Shure PSM1000 and Sennheiser Digital 6000 series were called on for wireless mics and in ears. “Everyone needs IEMs and mics and 12 of the artists had wireless acoustic guitars,” says Lubbe. “Even ignoring the PA, it was a very big audio spec. Everyone is at some point or another together

In addition to supplying the majority of the audio equipment beyond the PA, MGG was awarded all lighting and took the lead with managing the entire AV setup on the night. To aid with planning, MGG built a pre-production studio at its Johannesburg HQ prior to the show to ensure no unexpected surprises. “Lighting required a week’s worth of pre-programming in Syncronorm’s Depence,” recalls Ferreira. “I’d never done a lot of previs before and Depence was a gamechanger. MGG set up all of the lighting consoles with the screens, they did the Watchout system for the AV and all the content was loaded and synced. The entire show, in essence, was fully rehearsed. It was the same for the audio – we spent

The complex four-sided stage required close to 500 lighting fixtures to bring the show to life. The overwhelming majority of the fixtures came from Robe – BMFL Blades and WashBeams, RoboSpots and FollowSpots, Robin Esprites and various Robe Robin LED Washes – augmented by Claypaky Alpha Profile 1500s, ADJ Jolt Bars and Jolt Panel FXs, Longman Phoenix

“The guys who weren’t booked by Gearhouse or MGG directly, I brought in as freelancers in my overall budget,” notes Lubbe. “We had not one, but the three top lighting guys in the country, and two additional engineers on audio. Andre Siebrits and Pierre van Wyk played a massive role in the final design and programming of the lighting. I did front of house alongside Kyle Freemantle and Jonathan Green on PA, and we had Vernon Liebenberg on RF, the best RF manager in the country.”

Despite the relatively short lead time between Sony opting to go ahead with the stadium concert and the crafting of the technicals, a reliance on thorough planning made everything come together on the night without fault. “I don’t know how we pulled it off,” smiles Lubbe. “It was a case of great teamwork across the board and absolutely as much planning as you can possibly perform beforehand. Gunter [Muller, MGG project manager] was also a massive help and deserves a special mention. He’s a jack of all trades and a real master of all as well.”

“It was unknown to hold an Afrikaans event of that scale, especially in a 360 format,” adds Muller. “It’s been a massive learning curve for everyone involved with lots and lots of preplanning. At one point on the Sunday during loadout, we were just over 120 people onsite. We used the best of the best in South Africa – the crew that we deployed from both companies were really awesome people, each doing their specific job in excellence.”

“Definitely, great teamwork brought everything together in the end, we 100% had the A Team on this show,” adds Ferreira.

www.gearhouse.co.za

in2structureswebsite.web.app

www.mgg.co.za

L-Acoustics K1 and K2 cabinets provided audio coverage

Johan Ferreira on the grandMA3

A complex rig from In2Structures was required to house the large technical setup

The technical team onsite

Seeing stars

Now celebrating 25 years of championing South Africa’s creative economy through music and art, RMB Starlight Classics recently returned to the Country Club Johannesburg’s garden amphitheatre

TAKING SHARED VALUES SERIOUSLY, SOUTH AFRICA’S Rand Merchant Bank (RMB) has become known for far more than its financial solutions, a major element being the RMB Starlight Classics platform it’s hosted biannually since 1998 between Johannesburg and Cape Town. The event was initiated when RMB co-founder Laurie Dippenaar was approached by conductor Richard Cock seeking funding for the National Symphony Orchestra. Always on the lookout for a purposeful –but also more sustainable – business case, Dippenaar suggested instead that RMB should create an orchestrally centric event for clients, giving musicians the opportunity to perform for an expanded audience while also being rewarded for their talents.

Directed by Darren Hayward and under Maestro Cock’s experienced baton, the concert combines a distinctly African energy with orchestral excellence from the 55-piece Phoenix Co Orchestra. Classical and contemporary genres fuse with Broadway greats and much-loved African pieces to produce a unique AfroSymphonic mix of sounds. Artists onstage range from opera singers to pop stars, Afro-soul musicians, ballet and contemporary dancers, the orchestra, instrumental soloists and choirs, and this innovative fusion is accompanied by a relaxed, garden picnic setting, against the backdrop of the frenetic city. The rest is history, and 25 years later not even Covid – which wiped out the country’s live entertainment scene across the board – was able to fully put a damper on Starlight Classics. According to RMB’s Carolynne Waterhouse, who has been pivotal to the event over the years, Starlight Classics’ continuing success flows from many vital ingredients, from the diversity of performers and musical variety to the emotional legacy of established classics. And while team Starlight always strives for musical and entertainment excellence, they also keep sight of the fact that the extravaganza must also be visually spectacular for extended viewing on TV and digital channels.

Production of the 2023 Johannesburg show was managed by orchestral live show specialist Jam Events under Hayward’s guidance. Creative Intensity’s Stefan van der Walt was tasked with visual content creation, while Joshua Cutts and Andre Siebrits from Visual Frontier handled the lighting design. Gearhouse South Africa has provided the majority of the

technical infrastructure for Starlight Classics in recent years and the 25th edition was no exception. Gearhouse project manager Peter Abrahamse oversaw the implementation of lighting, staging, LED and power, while Sound GP’s Cristo Hattingh mixed the audio at front of house on an Avid S6L 32-channel console in addition to providing the required RF equipment such as wireless mics and Allen & Heath ME-1 personal mixers for IEMs. Gearhouse sister company Sets Drapes Screens delivered the flattage, steps, draping facings and other set elements.

The now tried-and-tested combination of L-Acoustics K1 for audio and a lighting rig heavily laden with Robe (BMFL FollowSpot, LEDBeam 150, REDWash 3•192, Robin BMFL Blade, Robin Pointe), Martin (MAC 101 RBG, MAC Quantum Wash), ETC (Source Four LED), Vari-Lite (VLZ Profile) and a multitude of Longman Phoenix Bars was deployed. The Visual Frontier duo programmed the moving lights, washes, spots and beams to add a greater sense of movement and emotion to the music, while live lighting control on-the-fly was handled on a pair of grandMA2s (one for redundancy) housed inside the rear camera tower.

Sometimes it’s the little touches that help to make a memorable difference, as was the case with Astera’s Titan Tubes, of which 20 were called on by Visual Frontier. The portable, battery-powered LED fixtures are DMX programmable, which introduces a wealth of novel creative lighting possibilities. At Starlight, they were frequently employed to highlight and accentuate the onstage performers. Additionally, the added stage depth necessary to accommodate the orchestra gave the option to take a different approach with lighting, one more akin to a theatre production. “Each of those ‘scenes’ has some operatic element to it,” Cutts explains. “You’ve got to create a still shot first of what the whole piece must look like, then we dissect that and break it down into the various musical components, sort of like painting a picture with light. The Phoenix Bars were great for this – they have 12 pixels each, so they allowed us to really texture the background and add motion to the piece. We always try and patch everything in full mode, so that everything gets the maximum amount of channels it can possibly handle. This means we can then fully break everything down from a programming point of view.”

In addition to the PA, Gearhouse was responsible for setting up the stage and all the surrounding structures. “We used our 22m-wide by 22m-deep Layher deck with a four-bay In2Structures Maxi Dome Roof,” Abrahamse explains. “This created a deep enough performance area to hold the entire orchestra and onstage performers, with space on the outsides for PA wings – housing the K1 main hangs – and artist holding. We also built a 4m x 4m x 12m FOH structure for audio, lighting and AV with followspots at the top and various towers to light the parking areas.”

Hidden from audience view by the PA wing structures, an L-Acoustics PA formed of 24 K1s, 12 K1SB subs and an additional 27 ground-stacked KS28 subwoofers delivered coverage throughout the 3,000-seat audience area. A further 12 KARAs handled audience front fill. Power for the entire system was from 32 LA12X amplified controllers and foldback onstage was via 11XT HiQ active cabinets.

For the screen serving as a stage backdrop, Gearhouse’s own LEDVision brand supplied more than 220 ROE Visual Radiant MC7 panels, configured as an 8.4m x 4.8m main wall with additional 1.2m x 4.2m, 1.2m x 3m, 3m x 1.2m, 7.8m x 1.2m and 4.8m x 0.6m panels spread around its periphery. A further 74 Radiant CB-8 LED panels formed the main L-R IMAG and delay screen. One Brompton Tessera T1 and two M2 processors drove the content, with videowall control from four MC7 Colourlight Controls.

Tasked with creating the visual content, van der Walt relied on Dataton Watchout and Resolume Arena to compile and merge all of the visual elements together. “From a playback point of view, I worked very closely with Darren Hayward and Peter Heaney from

A grandMA2 lighting console in the rear AV tower

L-R hangs of L-Acoustics K1 were hidden behind the structure

breaks, create great strobes and moments like that. It really elevated the whole experience.”

With repeat concerts on the Friday, Saturday and Sunday, nearly 10,000 music lovers graced the Country Club Johannesburg over the three nights. “Despite doing it for 25 years now, every year is different,” says Waterhouse. “It could be a power surge, the wind or a change in temperature – there are so many factors at play beyond the performances when putting on a complex, world-class show. We selected a group of highly talented but young and inexperienced tenors in 2010, and of that group 11 now have prominent jobs in opera houses in Europe. Sunnyboy Dladla was one of those and has joined us again at Starlight twice over the years, and again in 2023. He’s a glowing example of how we measurably know that the RMB Starlight Classics journey is constantly nurturing and setting up local talent for global success and is making a positive difference to many people’s lives.”

“I am a great believer in the idea that if all disciplines are working together, with a focused creative team, we can create magic moments – it is a combination of talent, creativity and world-class production,” adds Hayward. “RMB Starlight Classics is one of the biggest success stories in the South

9mm films to achieve visuals that create environments for each song that could take the audience on an emotional journey,” he explains. “The show has 26 songs which meant we needed to create 26 unique environments and looks. Because this is a spectacle experience, we also ingested camera feeds from several cameras in the OB van, giving some of the songs a more rock-and-roll feel. Because not one system will be able to do everything the event requires, I used a variety of hardware and software platforms – Dataton Watchout and Resolume Arena –combined with equipment from Roland, MSI and Blackmagic.” The Longman Phoenix Bars were embedded in between rows of the ROE panels and used to great effect by Visual Frontier. “From a technical standpoint, the lighting setup has really settled into a sweet spot,” concludes Cutts. “Around 80% of the music was on click tracks, which meant that we could delve into the more intricate functionality of the fixtures, play with stops and

African entertainment industry, spanning 25 years and even continued to reach its audience throughout lockdown. We call on a hand-selected team of consultants who represent their individual companies but no one company puts the show together – it’s truly a collaborative effort.”

www.freshlyminced.co.za

www.gearhouse.co.za

www.jamevents.co.za

www.soundgp.co.za

ROE Visual LED screens created the stage backdrop

Sound GP’s Cristo Hattingh mans the Avid S6L

Critical coverage

A long-running relationship with Quality made the systems integrator the prime choice for the WHO’s latest project, having sprung into action following the pandemic

AS YOU CAN IMAGINE, OPERATIONS AT THE

WORLD Health Organization (WHO) have been running at an elevated level in recent years. When the pandemic first hit and the WHO was called into action, the organisation was as ill-prepared as the rest of the world from a technological standpoint. The need to host impromptu meetings on urgent global health issues at a second’s notice prompted a re-think of the meeting and conferencing infrastructure at the WHO’s Egyptian HQ in Cairo. Having been responsible some two decades ago for the AV fitout of the building’s main ground-level in-the-round chamber –the Kuwait Conference Room (the space used to host the organisation’s most important delegations and meetings on key governmental topics) – Quality Egyptian Engineering was called upon again by the WHO in 2018 when it came time for a muchneeded technical renovation. The forward-thinking approach taken during the renovation has served the WHO well, and more than five years on there are no signs of future upgrades being required.

Seeking a design for a new seventh-floor meeting space that would be similar to the ground-level main hall but on a smaller scale, with no operator, quick access to the room and much less overall cost, it was unsurprising that the WHO returned to Quality in late 2022 for more assistance. Designed and delivered by Quality project manager Gamal El Morsy, this smaller meeting space has received new sound reinforcement, audiovisual conferencing and interpretation equipment combined with a bespoke auto-tracking camera system.

“The roots of this latest project with the WHO actually began with the renovation of the ground-floor chamber prior to the pandemic,” explains El Morsy. “We put a lot of hard work into that original project and created a very stable system that has required no further maintenance, or experienced any faulty

devices throughout its lifespan. So, when the WHO wanted to create a new conferencing space, they asked us to provide similar designs and different concepts. The main idea was to have automatic tracking cameras with mics, and we are the only company here in Cairo capable of providing such a solution.”

Due to the extent of the Kuwait Conference Room project, the integration was split into three phases – video, audio and interpretation. All 300 seats – 220 on the lower level and 80 on the upper balconies – required full visibility of the current speaker along with multi-language interpretation and voting capabilities to match. A primary 6m x 3.5m Easter EsdLumen

BIM Plus fixed 2.6pp LED wall and secondary BIM 3m x 2.75m are augmented by two large pre-existing Panasonic TH-P 103-inch 3D plasma displays to their left and right. Wall-mounted Sony

SRG PTZ cameras in each corner pick up the presenter and receive control from a Sony RM-IP10 camera controller. As soon as a delegate opens their mic, the camera hones in on that position. Catering to discussion and voting needs, a Brahler Digimic solution connects 100 delegate units and one chairman unit.

“The room is divided into four sections and each is covered by one tracking camera,” explains El Morsy. “It’s an integrated system between automated motion and the operator choosing which of those four possible camera feeds to display via a Blackmagic ATEM Television studio pro HD. There are then a set of rules in place that govern whether we do or do not switch to a new speaker when multiple people talk simultaneously. If, for example, the health minister is talking and someone else cuts in over him, the camera obviously shouldn’t change.”

The ceiling above the main LED canvas houses a retractable projector screen that can be lowered in front and fed from a Christie Digital DWU951-Q:DLP 8,000-lumen projector in the control room. A Christie LWU-502 3LCD 5,000-lumen projector fires against the opposite wall. Processing and distribution of the visual system is via an Extron XTP Crosspoint 3200 HDMI matrix system in combination with an Extron MGP 464 Pro multi-window processor and DSC 3G-HD SDI-to-HDMI scaler. An Arbormedia LogDepot SARA streaming and recording server captures sessions and allows for them to be broadcast out over the web. To ensure freedom of movement throughout the chamber, speakers have the ability to call on Sennheiser ew 135 G3 and ew 112 G3 wireless microphone systems, whose signals are mixed by a Midas Venice U-24 in the adjoining control room. Inroom reinforcement is from four Bosch LA3-VARI vari-directional arrays – one in each corner – and Dynacord DL70 ceiling speakers driven by two Dynacord PCL 1225T amplifiers.

Augmenting the Brahler discussion system is a Brahler DDOI simultaneous interpretation solution capable of supporting up to 32 languages. Live translations are delivered from eight DIGIMIC DDol units installed in isolated upper-level booths overlooking the chamber. While the lower-level seats have access to the full discussion and interpretation features via their DIGIMIC chairman and delegate units, the upper 40 seats are each fitted with Brahler EWD-216 panels, meaning all chairs can plug into the interpretation feeds when required. Conferences and remote meetings are managed through the Cisco WebEx platform.

Having fully served the WHO’s needs, this main chamber installation was the inspiration for the new seventh-floor conferencing and meeting space, which has been created to host smaller impromptu meetings for up to 30 people in a U-shaped configuration. It follows a similar design logic – that all participants, both located in the room and remotely, should have a clear view of the current speaker at any time. A comprehensive auto-tracking camera setup ensures this is the case.

The far walls at either end of the room house Samsung videowall displays constructed from 50-inch panels in a 3x3 configuration. Three Sony SRG-X400 wall-mounted PTZ cameras are controlled by a Sony RM-IP10 camera controller which in turn sends video signals to two Blackmagic Ultra Studio 4K Minis. These convert the cameras’ SDI signals to HDMI before passing on to an Extron DXP88 HD 4K HDMI matrix switcher. The cameras have been programmed to auto-track according to the active speaker.

For audio, a Brahler DCen Mini central control unit manages 24 CMic ONE delegate units in combination with an Extron DMP 128 Plus C 12x8 digital sound processor. The DMP 128 supports 12 mono analogue microphone

component itself is handled by Cisco WebEx video conference codec.

or line level signals and eight mono line level outputs for signal routing and management. Crucially though, the Extron processor also adds acoustic echo cancellation capabilities into the mix, which was vital in taming the room’s undesirable acoustics.

“Beyond the complexities of creating the camera tracking configuration, the second issue with this room was severe echo,” notes El Morsy. “During conferences, there would be a very off-putting delay experienced on the other end of the call where the recipient would hear everything twice. We completely resolved this by integrating the Extron digital sound processor with acoustic echo cancellation.”

For in-room reinforcement, six Electro-Voice EVID C4.2 4-inch coaxial ceiling speakers are powered by a Bosch Plena mixer amplifier. Overall control of the audio and video inside the room is handled by an Extron IPCP Pro 350 centralised AV control processor. The meeting

Despite its global stature, the WHO is a not-for-profit organisation and, as a result, every dollar spent has been carefully considered and justified. It’s a challenge that the recently retired Eng. Adam knows well, having served as the building’s technical manager since it opened its doors more than two decades ago. Interestingly, his relationship with Quality goes back almost as far. “Quality was the first-ever audio video company to work with us on our very original Kuwait Conference Room project,” he recalls. “The consultants recommended them highly and we are still returning to them to this day. They’ve been able to help us find great solutions, no matter how complicated the issue. As a non-profit, cost is a big concern for us. We are more than happy with what Quality has provided.”

When it comes to the day-to-day running, the automated control aspect of the seventh-floor meeting space means that it can be called into action at a moment’s notice, making it perfect for the WHO’s requirements. “Because it doesn’t require any control, everything is always running, 24/7,” concludes El Morsy. “This means it can be quickly used to make any kind of conference at any time.”

“We consider this reference one of our most precious,” concludes Quality’s Mohammad Attia. “Only two regional conference centre headquarters are located in Egypt. The WHO is one of them (the other one is the Arab League, which was also done by Quality). Being able to support such an important client through all those years makes us proud and determined to give them all the support possible in the present and the future.” www.qualityegypt.com

The goal for conferencing is that all participants can see the current speaker at all times

Camera control in the main chamber is a mix of manual and automatic

Brahler supports live translations from a booth overlooking the main chamber

The new seventh-floor meeting space

Brahler discussion system and simultaneous interpretation solutions in the main chamber

Revolutionising architectural design

notion of creating an environment that takes a viewer/ user beyond the real world. But, of course, this is but one instance of where the technology can be deployed. In the dynamic realm where architecture converges with technology, a profound shift is unfolding, one that is reshaping our perceptions of design, space and interaction. The fusion of architectural design with immersive VR technology is catapulting us into an era of spatial experiences that surpass conventional boundaries. It’s an area that we at BeWunder feel will have a sizeable impact on our industry and the way we all approach AV design. So, in this article, I will delve into the intricate interplay of immersive VR integration within architectural design, with the aim of offering insights, real-world instances, technical nuances and forward-looking projections that we can all take on board as we navigate this changing space.

Introduction

Conventional tools of architectural visualisation, such as blueprints and physical models, often left a gap between conceptualisation and realisation. The emergence of immersive VR technology has bridged this gap, propelling architects, designers and stakeholders into a fully embodied digital experience of architectural designs, long before they materialise. Several key projects have emerged in recent years that highlight this transition.

Stepping into reality

Visionary architectural firm Foster + Partners has begun to employ immersive VR to create detailed walkthroughs of their designs. Stakeholders immerse themselves within a virtual construct, absorbing proportions, spatial flow and lighting dynamics that enable more incisive design deliberations. Similarly, the creative force of Zaha Hadid Architects is harnessing VR’s potential to bring to life its most intricate and unconventional designs. Using VR headsets, clients can virtually traverse a building that challenges conventional geometries, affording them an enriched understanding of the final architectural masterpiece.

can aid architectural design

Crafting the VRs

Real-world modelling of this scale was never feasible in the past, and the seamless integration of Building Information Modelling (BIM) with VR offers architects a conduit to translate intricate digital models into immersive realms. This fusion facilitates real-time updates, fostering collaborative design endeavours and well-informed decision-making. VR’s essence lies in its quest for realism, and advanced rendering techniques –such as ray tracing – ensure meticulous representation of lighting, material attributes and life-like textures. This empowerment arms architects with the precision to assess designs with an unparalleled level of detail and understanding, and learning more about these rendering techniques is crucial for creating visually compelling VR experiences. This is further augmented by the fact that VR systems are now endowed with sophisticated mechanisms for hand-tracking and gesture recognition. Architects wield the power to manipulate elements within the virtual domain, enabling instantaneous testing and iteration of design variations. VR can ease collaborative design processes, allowing multiple stakeholders to interact with and provide input on architectural designs in real time.

Shaping the architectural landscape

The future envisions architectural brainstorming sessions and design charrettes unfolding entirely within VR environments. This transcends geographical confines, facilitating global collaboration among dispersed teams. VR is poised to play a pivotal role in evaluating designs from an inclusivity and accessibility standpoint. Architects can embody the perspectives of users with diverse physical abilities, ensuring that architectural spaces are universally optimised. Predictive simulations within VR will also become an indispensable facet of sustainable design, with architects employing virtual environments to gauge energy consumption, harness daylight and fine-tune thermal comfort, thereby sculpting designs that embrace environmental consciousness.

Envisioning tomorrow’s architectural realities

The ability to virtually inhabit and interact with spaces prior to construction introduces a paradigm shift in design decision-making and client involvement. As technological frontiers continue to expand, architects and designers find themselves on a precipice of innovation, forging spaces that seamlessly weave the digital with the physical, ultimately elevating our encounters with space to unprecedented heights. So fasten your VR headsets, for the future of architectural design emerges as a tapestry of immersion, interaction and boundless inspiration. There are various VR headset and software platforms that are available for architectural visualisation. Some of them are Oculus Rift, HTC Vive and Valve Index. Software platforms like Unity and Unreal Engine enable the creation of interactive VR experiences.

Next steps

For those interested in exploring this topic further, their next steps should involve a combination of exploration and skill development. Familiarise yourself with VR technology: understand the basics, research how VR works, the type of VR headsets and the fundamental concepts behind creating a virtual environment. Next, I’d encourage you to explore VR software: learn more about the VR platforms used for architectural design and the software that enables the creation of VR experiences, interaction design and real-time rendering. You can take this further again by learning more about commonly used architectural visualisation tools, like BIM software, rendering engines and 3D modelling software. Above all, hands-on experience is essential. If you have such an opportunity, familiarise yourself with VR hardware and software. Experiment with creating simple architectural models and visualisations in a VR environment. Furthermore, architectural design is evolving rapidly. Follow and read industry news, forums and blogs to stay updated on the latest trends, advancements and case studies.

EVERSE 8

WEATHERIZED BATTERY-POWERED LOUDSPEAKER WITH BLUETOOTH® AUDIO AND CONTROL

REAL PRO-AUDIO PERFORMANCE

121 dB SPL MAXIMUM UP TO 12 HRS

OF RUN TIME1

EVERSE 8’s superior sound quality, output capacity, and wide, even coverage is unmatched by any other battery-powered loudspeaker available today. The difference is clear to hear via an 8” woofer mounted using EV’s patented SST (Signal Synchronized Transducers) port design, and a high-output titanium tweeter mounted onto a custom constant-directivity waveguide. System reliability is verified with extensive music abuse and endurance testing. Decades of pro-audio know-how delivered in a super-portable package.

BATTERY-POWERED CONVENIENCE

EVERSE 8 is powered by a custom-designed high-capacity Li-ion battery pack, fully optimized for audio use and providing plentiful power for up to 12 hours of run time. Protection circuitry reduces the risk of your battery discharging to such a low voltage that it can no longer be recharged – for example, after long periods in storage. Tool-free screws make removing the battery pack effortless. Uncompromising sound quality, unplugged.

IP43-RATED WEATHERIZED DESIGN2

In combination with the rugged polypropylene enclosure, use of the included weatherized input cover allows EVERSE 8 to meet the IP43 rating (water resistant for splashes and light rain) when running on battery power and while Bluetooth® streaming. Built-in feet with no-skid rubber pads ensure the system stays put. Bring EVERSE 8 outside for busking, marching band practice, or the backyard BBQ – wherever you need a PA, whatever the forecast.

Dan Daley examines the violence reaching pro audio’s front door in the US

AMERICA IS A BIG PLACE, IT’S A UNIQUE PLACE, BUT it’s an increasingly dangerous place in a way that’s undermining some of the things that have made it the beacon for creativity and technology it’s been for the last century. Most egregious have been the physical attacks on performing artists here in recent months. Harry Styles, Bebe Rexha, Drake, Cardi B, Kelsea Ballerini and others have been hit by, or had very close encounters with, objects thrown at them from the audience, including drinks, vape pens, cellphones (Rexha got three stitches from a thrown mobile) and, in a truly bizarre instance, the cremated ashes of a fan’s mother, thrown at Pink onstage. Cellphones can cost US$1,000 and the last earthly remains of one’s parent should be considered priceless, but those values simply underscore the intensity of what’s behind this weirdness. Pundits have speculated that it’s a reaction to the end of pandemic restrictions, often combined with the rise in alcohol consumption taking place at events. But these actions become even more ominous when viewed in the larger context of America at this moment. The number of school shootings has skyrocketed, a 75% increase in the last decade. There have been more than 470 mass shootings across the US just this year as of August, a number that runs into the thousands over a decade.

A letter from America A letter from Europe

That same decade has also seen the number of shootings at entertainment events increase in both frequency and intensity, the zenith – more accurately the nadir – being the shooting at a country music festival Las Vegas in 2017 that killed more than 50 people and left 500 wounded. There are an estimated 1,073,743 registered firearms in the US, with another 392 million unregistered guns floating around. That’s 120 weapons per person, many in the hands of people not terribly qualified to use them. It paints a scary picture.

While a lot of anger and other pathologies are evidenced by attacks on artists, it’s not a huge leap to fear that the same dynamic might at some point extend to the crews of touring shows, who are in many ways extensions of the artists. The front-of-house position has always been the best seat in the house but, by definition, also the most exposed one. Staff have had plenty of instruction on safety when it comes to issues such as natural disasters, extreme weather, pandemic protocols and terrorism, but we may now have to add instruction on how to spot a crazy headed for FOH, too.

The culture around entertainment may not be helping, either. Songs by certain country artists, notably Jason Aldean’s threateningly titled Try That in a Small Town which critics said promoted racist vigilantism, and which was filmed in part at a

courthouse in Tennessee that was once the site of a lynching, contribute to an atmosphere of fear. Same goes for the movies. The film Sound of Freedom, putatively about human trafficking which labels leftists as paedophiles – pulled in over US$180 million at the box office despite being promoted heavily through QAnon.

Music has historically had its share of artists on both sides of the ideological divide but, in the age of social media and disinformation, that divide has become turbocharged, taking entertainment with it. I’m especially appalled that the US is at the root of much of this. The fact that over the past two decades, the annual volume of US-made semiautomatic firearm imports into Canada – the most polite country in the world – has increased almost 10-fold, leading to an 869% increase in shootings there sadly encapsulates this. Adele is shooting back – with a T-shirt cannon – and rapper 50 Cent is reportedly facing charges for throwing a microphone and striking a fan at a concert. But that’s not where this needs to go. It took two generations in the middle of the 20th century for American entertainment culture to dominate the world. I hope it doesn’t take that long to unravel what we’ve done with it lately. Meanwhile, add Kevlar to the gear list.

Phil Ward celebrates the escape of BBC Maida Vale Studios from the property developer’s grasp

THESE STORIES DO NOT NORMALLY HAVE A HAPPY ending, but this one does. Five years ago, the BBC revealed that one of its hallowed treasures was to be sold into property development. Oh dear, here we go again. Admittedly, this one was in prime residential territory, the perfect place, over the years, to squirrel away a few ministerial mistresses, Soviet spies and perfectly decent next-door neighbours with a cat called Monty. This is Maida Vale, the kind of suburban London where Mary Poppins might breeze in.

Originally a roller-skating arcade, the building occupied by the BBC after 1934 still has its Edwardian Baroque façade and a long, low elevation that looks odd among the genteel redbrick mansion blocks. Behind it, 20th-century culture has been going quietly mad. From the orchestras of wartime musical cocoa to the potty blips of Dr Who soundtracks and hundreds, perhaps thousands, of forgotten bands encouraged by exalted DJ John Peel to melt the speaker cables, it has all flowed through here to every BBC radio station there ever was. And, three days before a fatal heart attack on a Spanish golf course, Bing Crosby signed off his recording career with a session including As Time Goes By

There were seven studios in total. MV1 was the biggest orchestral recording space in the UK, bigger than Air Lyndhurst and rivalled only by Abbey Road One and Decca Three. Bang up to date, it had an SSL System T console with Dolby Atmos capability along with other objectbased frills, and is where the BBC Symphony Orchestra called home. More traditionally, MV3 and MV4 had SSL 9000Js and used this analogue upholstery to capture light orchestral relief, the ghost of Bing Crosby and all of Peel’s disciples.

The unique quality of the Peel sessions is that Maida Vale preserved a technique of recording well past its sell-by date. Long after commercial recording studios had evolved into jigsaw puzzles of chipped sound assembly over countless days, these were swift takes of live sound as would be played onstage, just as practised in the 1950s and early 1960s. The difference, of course, was that the backline and PA output was not being thrown around a crusty dungeon with acoustics like a drained swimming pool, but beautifully balanced into MV’s lightly compressed cushion of tape to provide a convincing portrait of the act. Even bands you didn’t like sounded good.

All of this is now gone, and the building itself might have been gone forever if the BBC had succeeded in its rather shameful attempt to block the move by government watchdog Historic England to list the building as architecturally important. But, as if encouraged by this intervention, Maida Vale has new owners completely sympathetic to its heritage: Tim Bevan and Eric Fellner, co-chairs of UK film studio Working Title who, alongside film composer Hans Zimmer and his business partner Steven Kofsky, have met the asking price of £10.5 million. Honour, in a very rare way, is served. The consortium’s plans include both recording and education in a refurbishment that will maintain the florid façade while continuing to utilise “revolutionary science in the service of art”, according to a press statement. Meanwhile, the BBC’s operations are being transferred to a new campus called East Bank near the former Olympic Park on the opposite side of London, which will also house facilities for the Victoria and Albert Museum, Sadler’s Wells ballet and University of the Arts’ London College of Fashion. As Dick Van Dyke’s chimneysweep Bert puts it so eloquently: “Not Royal Academy, I suppose. Still better than a finger in the eye, ain’t they?”

IBC2023

“WE’VE SEEN A FANTASTIC TURNOUT FROM THE entire industry at IBC2023,” commented IBC’s CEO, Michael Crimp, on this year’s return to form. “There was a real sense of purpose at the show as business leaders and tech innovators came together to help our industry navigate change and build a better future for media and entertainment.”

The visitor count may have increased 16% year-on-year, but it remains 23.65% down on pre-pandemic levels. With a 20% increase in exhibitor space, not only were Halls 3 and 4 reopened but many of those screened off in 2022 were fully utilised. The autocentric appeal of Hall 8 was expanded with an immersive esports showcase highlighting the latest innovations. Topics such as cloud, AI, 5G, VR/AR/ XR, metaverse, gaming and edge computing dominated the theatres and exhibition halls, while the IBC Accelerator Media Innovation Programme promoted cross-industry collaboration and proof-of-concept demonstrations of the main subject matters.

The three core pillars running through the content programme – Transformative Tech, Shifting Business Models and People & Purpose – delivered a comprehensive agenda including driving more sustainable and inclusive business practices. An increased line-up of over 325 speakers took to the stage to promote new technologies, future business models and creative innovations that broaden media and entertainment horizons.

Although the pandemic accelerated the rate of change, it appeared to be business as usual for many exhibitors who seemingly carried on where they left off – in many cases in the same locations. 4K, 6K and 8K cameras and monitor formats were previewed on booths including ARRI, Blackmagic, Canon, Grass Valley, Ikegami, Panasonic and Sony Magewell’s diminutive Director Mini production solution made a big impact. Combining multi-input switching, graphics, streaming, recording and monitoring, a single operator can

create visuals for live and remote events. With the unveiling of Matrox Origin, Matrox Video announced its common framework foundation for tier 1 live production in the cloud with a vendor-agnostic media framework built on a cloudnative architecture.

Occupying a larger footprint than 2022, the Ross Video booth included an immersive experience focusing on extended reality (XR), integrating AI, robotic camera systems, enhanced cloud production and hyperconverged infrastructure. Other highlights were the Carbonite Ultra 60 production switchers

and next-generation spidercam, automated camera tech and LED displays.

From stereo upmixes to immersive to AoIP, the audio exhibits welcomed a multitude of global visitors. Calrec debuted its ImPulse1 IP audio processing and routing engine as a cost-effective ST 2110 solution for singleconsole scenarios. Designed for remote and modular radio productions, Wheatstone showed the Strata 32 console alongside the Blade4 I/O unit and GSX console surface for its WheatNet-IP network.

Team Nugen L–R: Charles Blessing, Sophie Guest, Freddy Vinehill-Cliffe, Lucy Hampshire and Tom Griffin

Solid State Logic highlighted broadcast audio workflows for immersive and remote production in addition to the TE1 and TE2 DSP engines, while Stage Tec presented its fully IP-based Avatus E console, the portable Nexus Compact and its Stagenet 1.0 IP signal management control software with MatroxVideo IP DRH converters in a 1 Gb/s network, demonstrating the ease of transition to IP operations.

Demonstrating its HOME Apps server-based processing, .edge routing platform, VSM custom workflows, A__UHD Core IP DSP engine and Power Core high-density I/O, mixing, processing and routing engine, Lawo networked under a Black Forest tree bereft of large production desks. Using the same hardware for a multitude of processing tasks, Elasticity, which combines the software-based functionality of HOME Apps with proprietary hardware devices, was a star draw.

That buzz of making up for lost time was particularly noticeable in Halls 1, 2 and 7, while the traditionally peripheral halls were not spared the rush of visitors either. While DPA Microphones, Lectrosonics, Microtech Gefell, Schoeps, Sennheiser, Shure and Wisycom attracted new and traditional broadcasters seeking microphone technologies, Clear-Com (Arcadia), Altair (IPcom), Pliant Technologies (CrewCom), Riedel (Bolero), RTS (Omneo IP) and AEQ (Xpeak and X_core) continued to showcase their latest IP comms. Riedel played down its intercom credentials by focusing on the latest AV transportation gateway, MediorNet HorizoN.

Ravenna, the first fully AES67-compliant AoIP technology, was celebrating its 10th anniversary. All existing AoIP solutions –including Livewire, QLAN, Dante and WheatNet – have now adopted AES67, allowing over 2,000 products to interoperate. The IP video revolution continues to have a dramatic effect on broadcasting and media operations. Platforms such as the openGear modular frame system designed by Ross Video further support a diverse range of terminal equipment manufacturers. Audinate featured demos of Dante Connect using the Cloud MX Audio Mixer from Waves and Dante AV technology. Dante Connect was also selected as the audio transport solution for the AWS broadcast production workflow demo.

Easing supply chain issues and increased visitor levels made for a collectively buoyant mood at the close of IBC 2023. “We’ve seen incredible participation from long-standing exhibitors and new players that are tackling technology transformation,” commented IBC director, Steve Connolly. “We’re ready to continue evolving for next year’s show to keep up with increased demand, and we’ll be expanding our footprint with additional outdoor pavilions and the opening of Hall 14.”

2023 Dates: 15 – 18 September

2024 Dates: 13 – 16 September

Venue: RAI Amsterdam

Total exhibitors: 1,250

Attendance: 43,065

Contact: www.show.ibc.org

Genelec’s Lars-Olof Janfold removes the wraps from the 9320A Reference Controller

L–R: Andreas Hilmer and Wolfgang Huber at HOME on the Lawo booth

Nancy Mathis from Q5X promotes the Canadian brand’s slim digital Chameleon

Dragonfly SMPTE

LEMO SMPTE SmartBeam

From the show floor

Abe Adt, AJA: “IBC draws engineers and developers to Amsterdam who are wanting to discuss their projects and integrations. It’s neither broadcast nor AV specific, with these technologies now merging over IP. Tradeshow conversations often stimulate the next round of product development. I can’t tell you how many products have been conceived during or just after IBC. AJA doesn’t build products for the sake of it – we cater to customer demand. When AJA releases a new capture card, for us it’s the equivalent of releasing a new iPhone. Kona X is our latest and greatest complete with a subframe board. The latency is under one frame, which is massive for sports broadcast in addition to AV, live production and streaming. Medical professionals are approaching us at IBC because we have an imaging version of Kona with special certifications for use in surgical systems. The media world is changing rapidly with distributed workforces as no one needs to be in one location anymore to create a video. Today, the video is produced, the content is transmitted up to the cloud and editors across the globe work on it. Making content instantly accessible to people all over the world is something that excites us.”

Simon Westwood, Blackmagic Design: “The first couple of days have been extraordinarily busy and we have met many broadcasters working in live and postproduction. Streaming remains popular because of the changes people made during the pandemic. We experienced a good return to IBC last year, but it certainly seems like there’s an increased volume with associated energy levels this year. Among an array of new technologies, Blackmagic is highlighting the Micro Studio 4K G2 camera. Following customer requests, we started making a new version of the original and the result is a 12G camera with 4K Ultra HD production together with a full-size HDMI for output to a monitor. It comes with two USB-C drives for recording Blackmagic raw onto that drive and it’s tiny and lightweight. They can be positioned in any way imaginable within a live production setting, including stunt cameras or fitted into body suits. Blackmagic is also giving cameras away on iOS, offering professional Blackmagic camera controls associated with our pocket cameras in an iPhone app, capable of filming at 720p, 1080 or 4K. With the professional codec support, the files can be uploaded to the Blackmagic Cloud and onto DaVinci Resolve for the editor to start working on.”

Elijah Ebo, Brompton Technology: “One of our partners, White Lights, allowed us to share their booth. Despite being a new exhibitor this year, we were familiar with IBC and knew that we should attend. As we drew closer to the 2023 event, we realised that there were 18 collaborators demonstrating technology that was relevant to us. By adding a fourth emitter that provides a broad-spectrum white, we are highlighting the more natural impact of RGBW and how

“Visitors to our booth are generally interested in broadcast workflows and how they can be applied to their bespoke workflow. As our customers continue to transition out of the pandemic, they are accelerating towards IP solutions. Having initially dipped their toes into the water, they understand what IP can deliver, and are returning with projects. IBC represents a wonderful opportunity to meet different customers and discover what their current challenges are. By focusing on delivering the right solutions for them, we are developing our next generation of products. Our products team has welcomed different groups from Europe and the Middle East, as well as some customers from Asia Pacific. In addition to broadcasters, we’re meeting customers from other verticals including enterprise, corporate and venue management. IBC is important for them as they need to adopt broadcast workflows in their applications. Whether it’s streaming media inside a network or externally, everyone’s a broadcaster or a content creator, regardless of who their viewers are. Because of IP, the lines are blurring.”

“We’ve held good quality conversations and meetings with customers who wish to interact again. ROE Visual is showcasing specific products and solutions for the broadcast vertical at IBC. These include the Ruby series of LCD panels including the narrow 1.2mm pixel pitch model. We are also showcasing the Helios LED processing platform, a full native pipeline of SMPTE 2110 signals streamed over a 100GB network. This was the result of an exclusive cooperation between Megapixel VR and ROE Visual. Compared to other exhibitions, where we promote technologies for rental and fixed installation, our broadcast solutions are set up as a real-world application, such as Sky Sports’ new studio which adopted our LCD panels. Hybrid is here to stay, with a much greater convergence between AV and broadcast. For example, we demonstrate the merging of cloud-based solutions for live events at ISE, and for broadcast applications here at IBC. The acceptance of VR, such as internal communications within corporate IT companies, rose dramatically during the pandemic. IBC is not exclusive to film and broadcast, because the application of

“We’re focusing on a few verticals at IBC this year including immersive workflow applications for the entire group beyond the Sennheiser brand, including Neumann, Merging and Dear Reality. By combining products from these brands, we are integrating more flexibility and ease-of-use features into our customers’ daily workflows. Immersive remains something of a discovery area for many of our customers. They have the technology, the hardware and all the connections, so as a group we need to think about and solve their challenges. I’ve been coming to IBC for 24 years and our booth continues to evolve. Compared to 2019, visitor numbers have dropped and IBC is not yet at full capacity. However, Sennheiser has welcomed a quality audience over the past four days. Fewer visitors attending from certain companies, perhaps, but we are meeting the key decision makers, and this allows us more time to go in-depth. A second aspect is the widening of the show. Broadcasters used to be a very niche group but, with

“Genelec have set the bar for immersive monitoring.”

Emma Townsend, RAK Studios

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

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

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

L–R: Javed Tufail and Laurenz Rixner at Jabra

L–R: NMK’s Dino Drimakis and Maleeha Riaz

GITEX Global 2023

Has the world’s biggest technology show become too much for Dubai to handle?

GITEX GLOBAL OPENED ITS DOORS AT THE DUBAI

World Trade Centre (DWTC) in mid-October, expecting to more than 120,000 visitors through its doors and quickly sending Dubai traffic into chaos. It now brands itself as the world’s biggest technology and tech start-up show, so it’s no surprise that the major tech trend of 2023 – AI – completely stole the show. It’s a platform that grows considerably year-on-year as well. Rebranding as GITEX Global last year, the event then enjoyed a successful inaugural spin-off in Morocco back in May 2023 with GITEX Africa, and in Dubai the show has now spilled out of the DWTC and into Dubai Harbour with Expand North Star. AI wasn’t the only topic on exhibitors’ minds however – a full conference agenda spanned Web 3.0, cybersecurity, automation and climate technology. Running from 16–20 October, the 43rd edition hosted 6,000 exhibitors and 180,000 tech executives from across 180 countries. GITEX Global and Expand North Star covered a combined area of more than 250,000m2 – a 40% increase over 2022.

While the show is massive in all regards, there’s traditionally just been a small but stable complement of AV and UCC companies dating back to the show’s partnership with InfoComm MEA. It was encouraging to see those numbers expand slightly this time with them and understand their demand from the get-go. For us, it’s important to give them an idea of what we do. Since the Expo, people already understand what the term AV means. Now, our focus is on showcasing our solutions directly on the booth with a fully fledged tour. When you walk inside, you immediately get an understanding of what AV can and will do for your solution.”

Another addition to the exhibitor list this year was Optimal Audio, Powersoft, Key Digital, AVer, Nureva and Jabra distributor, Dutco Tenant, located in Hall 4A. General manager of Dutco Tenant’s Business Technology Solutions, Jacob Thomas, explained that “this is the first time we’ve exhibited at GITEX since the pandemic and the reason for that is because we now have a full portfolio of AV and UCC products. As the show continues to evolve into ICT and UCC, we decided now is the right time for us to be here. But AV is still a very small part.”

On a booth in Hall 2 surrounded by UCC solutions from Biamp, Barco, Poly, Logitech and Yealink, First Video Communications (FVC) executive director Bruce Withington echoed similar sentiments. “As always, GITEX is an exciting show and I think is quite unique. It’s always been a show where you get genuine end users coming to actually see what’s new, which puts

it in contrast with many other tradeshows. The joy of GITEX is that you can easily meet partners you’ve been working with for ages, but the real excitement is being able to show new technology to new customers. And you do get some great customers here!”

Thomsun Trading threw its weight behind GITEX for the first time last year and has now migrated into a central position in Hall 2 with a greatly expanded booth showcasing its full portfolio of brands including Yamaha, Røde, Lumens, Univox, Speechi, and Vissonic. It was also showcasing a new addition

L–R: NEXO’s Alain Boone and Thomsun’s Davis Varkey were looking forward to a new partnership

particularly exciting show for us as we’re presenting the Yamaha DM7 mixer for the very first time,” explained Thomsun’s Jose Santos. “Since this exhibition brings in everyone to a single location, we decided it was the ideal place for people to be able to get hands-on with the desk. Secondly, we’re excited to unveil a new partnership with NEXO. We’re convinced that this is the show to be at and so we’ve taken a much larger booth than before. I think we might go even larger again next year.”

The two-storey Venuetech booth provided ample real-estate for the distributor to showcase its full portfolio of brands, including Audac, Active Audio, Meyer Sound, Riedel, Sennheiser, Taiden, RGBlink, Barco weConnect and Arthur Holm, among others. The interior was dedicated to Sennheiser’s TeamConnect family, while taking pride of place at the rear of the booth was Spanish LED manufacturer, Auravision. “I’ll be honest in saying that I’m not a big fan of getting into and out of

The Dutco Tenant team with Optimal Audio’s Alex Barrand (second left)

The Q-SYS MEA team

biggest GITEX yet. For me personally, I’ve been coming to this show for more than five years and this year has been really top notch. There’s not only tonnes of people here but also some great potential customers.”

Across the aisles in Hall 7, Shure MEA was primarily focusing on two products – the MXA920 and MXA902 ceiling arrays – offering demos for two main applications, cameratracking via AVer cameras and voice lift for education and boardroom settings. The Stem Ecosystem and Axient Digital solutions also featured prominently. “We like Hall 7 for two reasons – firstly NMK has us covered down in Hall 2, but secondly we are trying to reach IT channels, and this is where all of those

that people here really don’t know a lot about LEA, so we’re often starting from the ground up. At the same time, the show is so huge that people can’t dedicate lots of time to individual companies, so we have to be quite strategic. It’s great to get the word out to new customers though and the show’s been very productive.”

The surprise news throughout the week was undoubtedly the fact that GITEX plans to break out of the MEA region and into Europe with a new show in Berlin in 2025. Details are still thin on the ground and what the implications will be for those based in the Middle East still remain to be seen.

www.gitex.com

Live Events Corporate & Public Spaces Theatres

L–R: Avientek’s V M Manu with LEA’s Nick Mourn and ProCon AV’s John Dodson

L–R: Taiden’s Jubilee Bao and Beryl Zhou

Team Arthur Holm on the Venuetech booth

L–R: Marwan Nasr, Barry Kassab and Anthony Lovell on the Shure MEA booth in Hall 7

All things considered

27% of less sustainable options. But with potential alarm bells sounding over the health of the global economy at a time when sustainability in AV had just become a serious topic, is all that good work about to be undone? PPDS (Philips Professional Displays) doesn’t think so.

Sustainability has been on the agenda for PPDS for many years and, at the end of 2021, the display manufacturer placed it as a top business priority, actively seeking to help customers reduce their electronic waste and enhance their green credentials. This initiative includes more energy-efficient products, a reconfiguring and reduction of packaging and a move to provide greater access to information on energy consumption to aid more informed buying decisions. It’s resulted in PPDS being lauded with several sustainability awards as the company strives to bring the topic to the forefront of the industry. “We certainly are doing a lot,” says Stefan van Sabben, global CSR

As van Sabben previuosly alluded, while PPDS has long had an interest in being more sustainable, the post-pandemic mindset from customers has elevated this conversation, making it all the more important for companies to back up their principles with more than just words. Product certification is vital but that does little to explain nuance and allow customers to make truly informed decisions.

“We certainly want to avoid greenwashing and so we think it’s important to explain in detail precisely what we are doing instead of simply applying X credential to a product. As an example, our 7000 Series LED display is near climate neutral. What does that actually entail? We begin with a lifecycle assessment to gauge how many CO2 emissions are involved to create the product, with all the assembly lines taken into account. Then we create a reduction plan together with an external party as a verified auditor. From that moment onwards, you can offset by, for example, planting trees or supporting forest growth.”

“Lifecycle assessments are key for us in being able to really evaluate our products,” adds global head of communications Vicky Fox, “and, as Stefan says, they’re a massive undertaking because they take in every aspect, right through their journey. Of course, it’s also important that our roadmap carefully considers the ongoing sustainability picture for each product. In that respect the lifecycle assessment is just a part of the story, and there could be nothing worse than customers feeling a need to scrap existing working displays that are still serving their purpose but don’t match new sustainability expectations.”

This means that often the best approach for the customer is not to invest in new products, instead extending existing displays’ lifespans. “Beyond our own motivation, we have new legislation being introduced supporting initiatives such as eco design and the right to repair, that is not directly linked to a hotel TV or signage display, yet in the bigger picture is relevant,” notes van Sabben. “So, as well as supporting the extension of our products’ lifetimes via the free software updates, for products like Philips MediaSuite and the energy management and predictive maintenance available via our Wave remote display

management platform, we also discuss options such as take-back schemes with clients. We take back the product – offering financial reward as well – and give it a second life in another country or market where it can still serve a purpose.”

This approach provides the benefit of an additional cost saving for customers. Despite best intentions and morality, the overriding buying factor for many remains price. Even if they desire a more sustainable solution, are they willing to pay for it? The forward-thinking approach from PPDS is also paying dividends in this regard.

Beyond purely economic forces, the reduction in willingness to pay for sustainability stems from a wider availability of alternatives. As businesses in a market introduce more options, competition is heightened. Consumers get more variety, and sustainability evolves to become the norm rather than the exception, reducing the green premium. Businesses that benefit from first-mover advantages experience monetisation potential that erodes over time as sustainability becomes the expectation. Arguably, that first-mover advantage period has already passed in many AV sectors and PPDS is no longer alone as an enterprise manufacturer focusing on its green credentials. The question for manufacturers therefore becomes, can your business afford to no longer take the topic seriously?

“Keeping ourselves at the forefront of this conversation is crucial and is why we take such a proactive approach,” concludes van Sabben. “We showcased Tableaux to our customers back in November last year but didn’t actually release it until February. Having that really great feedback relationship with our integrators makes sure we are manufacturing products that are needed, rather than just ticking a box.”

www.ppds.com

PPDS discusses the manufacturer’s eco credentials and forward-thinking approach to digital signage sustainability

PPDS’s 6395 LED designed on a common cathode LED for lower energy consumption

Tableaux providing digital signage at a supermarket

Stefan van Sabben

Vicky Fox

Making a plan

After months of continued development, Holoplot is gearing up for the public release of its system design software, Plan

enough system and a small environment, it’s perfectly possible for the job to be carried out using just ears alone. But the more considerations that enter the equation, the harder this task becomes. As a result, there are no shortage of solutions, either created by manufacturers or third parties, to help users better tackle this problem.

They’re not new either. Primitive, CPU-hungry platforms providing basic loudspeaker coverage gradients have been around for decades, and have since evolved into complex 3D predictive models. The benefit of using these programs, particularly on larger shows, is well understood. You might wonder therefore why Holoplot felt the need to dedicate a whole development team and nearly two years of R&D creating its own predictive solution rather than picking one of those off-the-shelf platforms. Anyone that’s experienced the capabilities of the German company’s X1 Matrix Array knows that existing solutions were never going to cut it, and so Holoplot’s product team has been hard at work on the development of a dedicated, tailor-made alternative.

“I think it’s fair to say that when it comes to loudspeaker coverage, we’re a slightly different ball game,” says Holoplot Plan product manager Adele Gardner. “We’re simulating thousands of drivers depending on how big the system is and how many modules it uses. There are so many different elements that can be controlled and things for users to get confused about. Furthermore, you have to appreciate a ton of new concepts when thinking about system design using a Holoplot array. The approach is very different to a more conventional setup – even though when you look in our software, we’ve used industry-standard heat maps and direct SPLs to convey system behaviour in a way that system designers are able to see real performance clearly.

“Take the concept of steerable audio beams, for example,” furthers Gardner. “Some system designers may have never really thought about how this approach affects the design and it’s vital they have a way of exploring and visualising this if they’re to get the most out of the system’s capabilities. But you’re right that there are plenty of other predictive solutions available on the market and so it was also crucial to ensure we were not just building some cool new stuff, but building something that people need.”

The Holoplot Software Suite encompasses Holoplot Plan for the system design aspect and Holoplot Control for the day-to-day running of an array. Plan allows users to import a 3D model of a specific room or environment which has been created in industrystandard modelling software. They can then deploy virtual arrays

inside the model, analysing results in real time as attributes are manipulated, highlighting the impact of coverage beams, applying 3D Audio-Beamforming for optimisation and placing virtual sources using Wave Field Synthesis.

The company describes the process as not just intuitive but a truly seamless experience that supports the Holoplot workflow end-to-end, from design to installation, and content production to showtime. In tech company style, the whole process from initial development through to final release has been the result of persistent agile development throughout the 18-month-long R&D cycle. “It’s a fully custom solution,” notes Gardner. “And has to be because it needs to interface with our custom hardware.”

The software suite was released into an initial beta phase in November 2022, with an early access programme alongside a high-touch onboarding approach. “Prior to the early access, we also worked with a small group of early adopters that were testing out builds and giving their feedback to assess whether what we had was indeed ready to go to market. It’s been a gradual rollout since then with this high-touch approach being key.”

Because many of these concepts are novel to system designers, an extensive aspect of the Holoplot Plan development

about things,” Gardner notes. “That’s why we wanted to go with a very high-touch approach to make sure that we can introduce the concepts in the most effective way. And if people have questions, we are there face-to-face to be able to guide them

The main interface in Plan where you can manipulate the 3D model and arrays

Adele Gardner, Plan product manager at Holoplot

through the software and the different approaches. At the end of an onboarding call, everyone has the basic toolkit and knowledge at hand to design a Holoplot system.”

By employing Plan, users are able to experiment with how many modules might be required to perform various setups, experiment with different beam types/combinations and array positions. “Then once you’re happy with your configuration and you have the system set up, you press sync in the software and your configuration is deployed onto the Holoplot sound system,” says Gardner.

As mentioned previously, while Plan allows users to design their array setups, the platform works in combination with Control for the day-to-day running of the system, adding further to the need for a rigorous R&D process. “We really emphasised stability when we were building this application because it’s not just a system design software, you also use it to interface with the actual array. As a result, the testing process is way more involved than it would be for a typical desktop application.”

Having now been thoroughly tested, tweaked and put through numerous beta versions, the platform is now available to all for download. “Since beginning the process, a plethora of new

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features that testers wanted to see incorporated have all been added,” notes Gardner.

These include Zone Drawing, designed to streamline sound system design workflow, and a new and improved simulation engine, which takes into account the so-called baffle and edge diffraction effects which are particularly noticeable in low frequencies and become more relevant the larger the array. Holoplot says that this now makes Plan the industry’s most accurate direct sound prediction software to date, and enhances the low-frequency behaviour of beams generated by its Matrix Arrays.

“We’re really proud of what we’ve built with Plan. It makes the unique and complex Holoplot technology easy to interact and design with, maximising creative potential. With each software update, our system continues to evolve, pushing the boundaries of sound control and redefining what’s possible in audio. And for those using EASE for advanced closed-room simulations, we are providing a technical note explaining the differences you may see in EASE after applying this update,” shares Gardner. “We have a dedicated team actively working on Holoplot Plan and we’re still using user feedback that we’re constantly checking on to make sure that we’re prioritising the right things.”

Of course, with an ever-growing user base, it will no longer be possible to conduct individual, dedicated onboarding sessions. “The next stage is scaling up our educational approach. We’re currently working on a system design curriculum that can effectively condense this tailored onboarding, which is specific to different experiences and different types of projects, into a central space and to guide people through the journey. Many more people are now familiar with Holoplot than when we started this process; however, we know we’re still at the beginning of the journey, so it’s important to us to make sure that Holoplot systems can be designed effectively and Plan is pivotal in achieving this. We regard ourselves as a software-driven company – we’re innovating using software even though it’s the hardware that delivers the final result.”

www.holoplot.com

Receiving

Founded in 1984, L-Acoustics continues to shape the pro audio landscape. Caroline Moss reflects on the company’s heritage, learns about the new L Series

L-Acoustics need no introduction. In 1992, company founder Dr Christian Heil, a particle physicist with an interest in acoustics, revolutionised pro audio with the launch of V-DOSC, drawing on his Wavefront Sculpture Technology (WST) theory, which coupled discrete sound sources to build the equivalent of a line source array. Heil defined the resulting column, which fulfilled the WST criteria over the entire frequency bandwidth to produce a continuous and isophasic wavefront and create a consistent listening experience throughout the venue, as a “line source” rather than a “line array” system. V-DOSC first proved itself on the Supertramp tour of 1997, causing the industry to sit up and take notice.

More models joined the WST range: the ARCS Constant Curvature Array, dV-DOSC – a compact version of V-DOSC – and Kudo, with K-Louver Modular Directivity technology allowing mechanical adjustment of the MF/HF directivity. By 2007, the Kiva ultra-compact line source array was targeting applications where architectural constraints and weight limitations called for a discrete solution, and in 2010 the manufacturer introduced the Kara and Kara(i) WST line source enclosures.

Fifteen years after the launch of V-DOSC, L-Acoustics released the large-format K1 system. Sales were initially limited to a few global touring companies participating in the manufacturer’s K1/Kudo two-year pilot programme and providing feedback to L-Acoustics’ R&D team on its field performance. In 2011, K1 was officially launched at the Coachella festival – which L-Acoustics has been involved with since 2001 – headlined by Kings of Leon, Arcade Fire, Kanye West and The Strokes.

Alongside WST developments, L-Acoustics was busy introducing new technologies including the P Series self-powered coaxials, the SB28 subwoofer with Laminar Airflow Vents followed by the SB18

permanent installs; other new technologies include Panflex, which adds an adjustable horizontal coverage pattern to line source arrays, the Milan AVB networked audio protocol and Contour XO in-ear monitors produced in collaboration with JH Audio.

and looks to the future

By 2016, L-Acoustics had entered the immersive sound market with L-ISA, an object-based technology that took 3D audio out of the studios and cinemas into the live arena, connecting audiences with performers. The company has recently expanded its markets, making this technology available to recording engineers with L-ISA Studio and packaging its concert-grade professional audio solutions for residential applications.

It isn’t only in the field of technological advancements that L-Acoustics has pushed the boundaries. Recognising early on that its systems required a high standard of deployment, the company formed the V-DOSC Network, collaborating with select international partners to support the technology. This group of V-DOSC owners shared universal system standards, offering a consistent level of service, technical support and sonic performance for productions across the world. By 2008, this had expanded into the Rental Network Partnership established on high-quality criteria and deployment standards. Today, there are more than 700 certified providers worldwide, all of whom continue to raise the bar on a local level, supported by 110 certified trainers. A total of 750 permanent L-Acoustics staff members are employed around the world, a quarter of whom are dedicated to R&D.

In 2002, the company moved into LAFR1, its 4,000m2 headquarters in Marcoussis to the south of Paris, which is used today as office space and R&D laboratories. A 3,300m² enclosure production facility, LAFR2, came online in Marcoussis in 2013, while dedicated space for receiving raw components as well as finished product is located 20 minutes away from the company headquarters. A fully owned woodworking subsidiary in the east of France boasts a dedicated 5,000m² factory which opened in 2015, while amplifier subsidiary Camco has 1,400m2 for R&D and 1,200m2 for production in Western Germany, and a 5,400m2 metalworking facility in the Loire Valley rounds out production

L-Acoustics founder Christian Heil

L-Acoustics CEO Laurent Vaissié

The L-Acoustics premises in Marcoussis, France

An assembly line at LAFR2 in Marcoussis

capacity. The company also works with an ESAT, a French work assistance establishment aimed at supporting differently abled people in the workplace, to carry out some subassembly and

In January, partners Tokyo Sanko and Winly in APAC, Britannia Row/Clair Global and Novelty Group in EMEA and PRG and Solotech in the Americas joined the pilot phase of the L Series line source system, which builds on V-DOSC technology three decades after its introduction. The partners deployed the new system for live events including the BRIT Awards 2023 in London, Helene Fischer’s German tour and US festivals Coachella and Stagecoach. It was launched in April at the Hollywood Bowl, an L-Acoustics venue since being installed with a V-DOSC system in 2004 and updated to K1 in 2013. According to L-Acoustics, the response to L Series from its pilot phase partners has been “overwhelming”, and large-scale L-ISA projects using L Series are now being planned in the Americas, EMEA and APAC. L Series features patented Progressive Ultra-Dense Line Source (PULS) technology and comprises two elements designed to work together or alone: L2 above and L2D below. Each element provides the same contour as four K2 cabinets in a format that is 46% smaller and 40% lighter, requiring fewer elements, reduced truck space and time saved loading in and out. Other claims are improved SPL by size, consistency over the audience area and improved rejection everywhere else.

“Fundamentally, a traditional line source array is based on the height of the low-frequency component, which means there’s a lot that is not making sound: the wood between the enclosures, the air gap produced from the rigging,” explains Scott Sugden, director of product management at L-Acoustics. “These ultimately produce a variation in the response for the audience. We don’t notice because we’ve had 20 years of hearing it, and it was so much better than everything that came before. But we wanted to eliminate every one of those elements.”

Sugden describes L Series as “a perfect line source from top to bottom. There are no breaks in the line. The reality is almost every venue is shaped the same, with raked audience seating being the norm, meaning the further from the stage you get the higher up the audience sits. And that means every single day we deploy the arrays in a very similar way, so there are massive time savings in not having to connect enclosures and jumper cables. We can expect as much as a 68% time saving to deploy the array compared to a traditional line source.

“The second advantage is fewer wood panels, which means less weight to generate the same acoustic power. And an L Series array is also shorter and narrower, meaning it takes up less space. This, of course, makes the lighting and video designers

happy. The L2 design utilises 30% less wood, 60% less steel and 56% less paint than a traditional line source element, equating to 30% less truck volume and 25% less truck weight. The first tour with L Series – the Helene Fischer tour across Germany – was able to eliminate an entire truck of audio and deliver the same great result for the audience.”

L Series is driven by the new LA7.16 high-resolution touring amplified controller, providing 16 channels of high-power amplification. “Each channel is capable of 1,300W into 8Ω, driven by a single power supply that can produce more than 20,000W of instantaneous power and sustain over 7,000W of power for over 200 milliseconds,” continues Sugden. “The DSP can be used to shape the wavefront of the L2 and L2D system to have a more stable response for the audience and more rejection below.”

L-Acoustics CEO Laurent Vaissié is keen to point out that L Series is what he terms a “revolution” in loudspeaker design enabled by the company’s progress in electronics and software development. “L Series was designed with our clients and end users in mind,” he says. “The L2 and L2D can be deployed in most applications where line arrays have previously been used, for audiences from 1,000–10,000 in traditional stereo configurations. Its compact size and shape facilitate integration with existing venue architecture, including lighting and video. It can be placed above or behind LED screens and in venues from

sports arenas and houses of worship to concert halls, while improving the sound experience for the entire audience. But the most exciting feature of L Series is that it enables a deployment three times faster [than previous systems], and improved sightlines in multichannel configurations such as L-ISA Hyperreal deployments for audiences up to 25,000. An L-ISA deployment is now comparable to a traditional line array stereo configuration in terms of setup time and resources, which will enable faster adoption of object-based mixing and immersive content by artists and productions.”

Looking to the future, L-Acoustics is opening a dedicated 4,600m2 production facility near its other manufacturing facilities in Marcoussis in early 2024. Work will commence on scaling the L Series range up and down in size, and a timeline for AES67 and AVB tools within the LA7.16 platform, which promises to boost applications in the fixed installation market for the L2 and L2D, will be announced imminently.

“Above all, our mission remains the same but is more exciting than ever: to elevate the sonic experience for both the audience and the artist,” concludes Vaissié. “This will guide every step as we embark on our next chapter of innovation and manufacturing, celebrating the next year 40 years of independent thinking and passion for great sound.”

www.l-acoustics.com

Coachella 2012 with the K1 arrays debuting at the event in 2011

The Dreamsonic tour audio crew pictured with an L2 enclosure in August 2023

All tied up!

A business built on unique technical capabilities, extensive local services and long-term relationships has allowed CableTech MEA to lead the pack in the ME’s cable assembly business

THE KYVERNITIS NAME IS ONE THAT PRACTICALLY everyone servicing the Middle East’s audiovisual industry will have encountered at some point or other. Having been in business in Dubai since the 1970s, Nicolas Kyvernitis successfully built up one of the biggest AV distributors in the region before passing the baton over to Midwich in the early 2020s. Fewer people likely realise that NMK was just one of the founder’s entrepreneurial endeavours – with Melody House Musical Instrument retail outlets and CableTech MEA gaining just as much respect in their own fields.

After a decade immersed in AV and music distribution, the move into cable assembly and termination with CableTech seemed a logical approach. After all, many of the technologies and customers involved share common ground. And if you spot a gap in the market you think can be filled, why not? While that may have been the roots of how the CableTech business developed, services offered today have become far more extensive.

“Before we had established CableTech, the owners of Percon were looking to expand their business to the GCC region. The collaboration together was inevitable at the time as Neutrik and Lemo were already represented by NMK,” recalls the founder. “CableTech was formed in late 2014 and, once the engineers acquired all the necessary training and certifications, we were awarded our first major project for Seven Productions in February 2015.”

Like most things in life, this simple idea quickly evolved and, a decade on, CableTech’s technical manager, Siarhei Chaika, has steered CableTech’s services to support almost any cabling requirements for the broadcast and media industries, including installation support. The in-house laboratory at the Dubai HQ is now regarded as the biggest in the region for fibre termination.

“The main part of our business is selling bulk items like cables, connectors, special patch panels, cable drums and different kinds of accessories for audio, video and

The CableTech team The

broadcast customers,” says Chaika. “We also offer custom cable terminations on request. One of our strengths is that we have all the necessary materials in stock in reasonable quantities, so that when a client comes in, we can immediately cater to their needs.”

Through the industrial migration from copper to optical transmission, two main types of fibre connectors have proven to be the most popular in broadcast and media worldwide. “Predominantly, Lemo SMPTE connectors – a cable that ends with special hybrid connectors,” explains Chaika,” “and Neutrik OpticalCON connectors – special fibre cables that come in 2-core, 4-core, 12-core and 24-core fibre options.”

There are European brands that are particularly popular in the global broadcast market as well, but conversely come with a high cost for local integrators in the region. “At the very beginning, and as is typical with this market, it was difficult to change people’s mindset here,” the technical manager recalls. “A lot of companies preferred to use cheaper brands with very low-quality solutions, while we chose to partner with high-quality European brands that were regarded as the industry standard. There was definitely a perception when we started that European brands would be very expensive for a customer to maintain.”

The high volume of stock on-hand is one of the team’s major strengths

with connectors, ending the process with commissioning the installation. It is important to note we are not a systems integrator, nor do we liaise directly with the end-client, rather we are hired primarily as subcontractors for the overall systems integration.”

More importantly, systems integrators doing their proper due diligence should require a fully certified cabling partner to ensure no issues later down the line, playing to CableTech’s strengths once again. “On big projects, it covers their back,” says Kyvernitis. “In a reputable company, everything must be correctly certified, and the engineers themselves must get regularly recertified to ensure they are up to date. Not many do this and so they quickly fall out of the game. We believe that no one here in the region, nor even the rest of the GCC, holds official up-to-date certifications for professional cable integration and termination as per European standards, and this alone makes us the first port of call for many new customers.”

This is particularly prevalent with fibre in contrast to copper. Optical lines are more sensitive and can be easily broken if not handled properly. Shipping defective products back to the manufacturer for maintenance oversees also induces a significant additional cost to the customer.

Knowing these obstacles would be a problem, CableTech’s initiative to go through certification removed many of those barriers by allowing the team to service everything in-house.

“We carry all three certifications from Neutrik, Lemo and Canare, and we are actually the only company in the Middle East to do so at the moment,” Chaika shares. “Official certification of the major cabling brands is a core strength of our business.”

When choosing a structured cabling service provider, it is important that experience, reputation and client testimonials be taken into consideration, especially when it comes to handling complex projects where, in most cases, a permanent infrastructure is required.

“It is extremely important that the client is supported through warranty and support after the installation is complete. Unfortunately, many take the wrong approach, choosing to focus mainly on the initial supply and installation service while undervaluing what comes next, usually to save on short-term costs,” notes Chaika. “Typically, we’re involved in projects from the very beginning, first in participating with project design and supplying all the raw materials. Being a locally based company makes it very easy for us to assist our clients in this regard. Once the cables are pulled onsite by commissioned contractors, we take over in terminating them

As you can imagine, this pedigree has seen the sevenman team of engineers engaged in a number of impressive installations. “Some of our project highlights are the Zayed Sport City Stadium renovation, where we served as subcontractor for Riedel and supplied broadcast infrastructure (cabling, connectors, boxes, patch panels) and site termination service. We also assisted with the TV studio renovation for Al Jazeera Media Network in Doha by supplying Lemo SMPTE connectors and provided site termination services. We supplied the broadcast infrastructure and termination at Abu Dhabi Club for Special Needs, and also all of the cabling requirements at the MISK School Theatre in KSA.”

Interestingly, the determination to support quality European broadcast brands and standards is no longer the obstacle it once was, according to Kyvernitis. “As time passes and we supply our clients and execute our projects successfully time and again, they all quickly come to trust CableTech with all their cabling requirements.”

www.cabletechmea.com

The gold standard

For years it’s been called the gold standard. Winning an Emmy award has made it official, recognising the central role our Tessera SX40 has played in the in-camera visual effects revolution.

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speed of setup and built around a new 96kHz processing engine, the CQ series comprises the CQ-12T and CQ-18T desktop mixers featuring tactile controls and a 7-inch multitouch screen, and the portable CQ-20B stagebox mixer, all controllable via the companion CQ apps.

The processing engine, utilising Allen & Heath’s FPGA technology, is said to bring numerous time-saving tools to the CQ to speed up and simplify common tasks for users of all abilities. Gain Assistant automatically sets preamp gain to the optimal level and monitors and adjusts for any unexpected peaks in the signal. Feedback Assistant identifies and filters out problem frequencies across all outputs via simple one-button operation, with more in-depth control available for challenging acoustical environments.

Input channels can be switched between a Quick Input, giving users a source-specific set of controls with single knob control of channel processing, or a Complete Input for full

Additionally, an Automatic Mic Mixer (AMM) is present on all input channels, instantly improving clarity and reducing background noise in speech-based applications.

The CQ range also introduces a suite of high-quality, user-friendly reverb, delay and modulation algorithms with instrument-specific presets for speedy setup, while the FX Assist tool shapes the FX by dynamically responding to the input signal for optimal clarity. The CQ-18T

multichannel USB audio interface, multitrack SD card, simple stereo recording and playback via an external USB drive, plus convenient stereo Bluetooth playback.

The CQ series is supported by a pair of free multiplatform apps. The CQ-MixPad app enables remote control of the mixer from anywhere in the venue, while the CQ4You app allows performers to take control of their personal monitor mix via their mobile devices.

The CQ-18T and CQ-20B also benefit from integrated high-performance dual-band Wi-Fi for quick and easy connection of control apps without any additional network equipment.

The CQ-18T provides 16 mic/line inputs and one stereo input; the CQ-12T includes 10 mic/line inputs and one stereo input; and the stage-friendly CQ-20B offers 16 mic/line inputs, two of which can be used as Hi-Z instrument inputs, and two stereo inputs. All three models feature six independent outputs which can be configured to run up to three stereo outputs.

NEXO expands P+ Series Celestion adds 4Ω low-frequency driver

FOLLOWING IN the footsteps of P12 launched in 2019 and joining its P8, P10, P12 and P15 siblings, NEXO has released the P18 which comes with a long-excursion, neodymium 18-inch LF/4-inch diaphragm HF coaxial driver in a curvilinear enclosure of custom birch and poplar plywood. The cabinet footprint is relatively compact, measuring 680mm x 579mm x 446mm. The speaker has a frequency response of 50Hz–20kHz and an SPL of 140dB peak (passive mode) and 142dB peak (active mode).

Like other speakers in the P+ Series, versatility of the P18 is said to be enhanced thanks to varying HF coverage patterns. Horn flanges can be interchanged to deliver a choice of directivities – from the 60° x 60° that is provided as standard, to a 90° x 40° or an asymmetrical 50–90° x 40°. Switching between different directivities can reportedly be accomplished in 15s by removing the steel grille with a coin and replacing the flare, which uses a magnetic fixing.

The P18 is available in Touring, Installation (passive only) and hybrid TIS versions. In the Touring version, two large handles on each side hold a 35mm pole stand adaptor and speakON connector for discrete connection when the cabinet is used on pole stands or

SPECIFICALLY DESIGNED for subwoofer applications, Celestion has added a 4Ω 12-inch driver to its lowfrequency series of speakers. Initially established as an 8 Ω driver, the FTR12-

in wedge monitor applications. Two other speakON connectors are included on the back plate. In the Installation version, a cable gland with a two-core cable for audio input ensures IP54 protection when it is used outdoors.

Joining existing L15 and L18 sub-bass cabinets in the P+ Series, the L20 uses a 20-inch long-excursion driver, achieving an SPL of 141dB peak, extending the LF response down to 28Hz. NEXO NXAMPMK2 or DTD/DTDAMP deliver tailored power and processing solutions, combining multichannel, high-powered, networkable amplification with loudspeaker control and protection. Linear phase presets included for P+ cabinets in both vertical and horizontal configuration – and for the full range of NEXO cabinets – are said to make it quick and easy to configure a plug-and-play solution for any system.

drivers to its range. The CDX14-3055 and CDX14-3045 drivers are said to provide improved power handling and sensitivity, with a lower crossover point and overall reduction in size, which Celestion hopes will make them effective HF solutions for use in fixed installation or touring sound

An upgrade to the CDX14-3050, the CDX14-3055 has an increased power handling capability of 120W (measured to AES standard) and a sensitivity of 108dB, with a lower minimum crossover point of 800Hz (12dB/oct) to increase application flexibility as well providing a notable boost in sound pressure level above with its predecessor, the CDX14-3055 incorporates Celestion’s patented twopiece, deep drawn titanium diaphragm and maximum modal suppression phase

EM

Acoustics extends its References

CELEBRATING 21 years of operation, British loudspeaker manufacturer EM

of continuous power handling and 88dB sensitivity with an output frequency range of 20–300Hz. The halfroll elastomer surround offers improved modal distribution for reduced distortion and added stability at extremes of excursion (with an Xmax of 13.6mm) for a solid bass response. Designed using FEA (Finite Element Analysis) modelling techniques, the Airflow vented magnet assembly promotes dynamic heat dispersion and minimises power compression. Featuring optimised double suspension for added control and linearity together with a glassloaded paper cone, the driver includes weather-resistant impregnation.  Boasting performance upgrades over their predecessors in a more compact package, the manufacturer has also introduced two 1.4-inch exit, neodymium magnet, high-frequency compression

dual 5-inch neodymium woofers, the R5 integrates a unique crossover design and FIR for interchangeable wide (110° x 50°) and narrow (80° x 50°) rotatable waveguides. Operating within a frequency range of 80Hz–20kHz (±3dB), the 300W RMS-rated R5 weighs 8.2kg.

and crossover points as the CDX14-3055, its diameter has been reduced to

Finished in black or white with RAL options available, the slim plywood enclosure promotes flexible rigging and mounting options. Quick-release attachments are included for tool-free connection of flying hardware, together with threaded rigging points, for suspending and installing in a variety of different applications.

www.emacoustics.co.uk

1 SOUND updates its 4-inch Cannon coaxial

1 SOUND has released the Cannon C4, the fully IP55 and saltwater-resistant version of the 4-inch Cannon coaxial model. The C4 differs from the original C4i version because of its marine-grade cable gland connector that comes with 0.6m of 16/2 gauge speaker wire in either black or white. The Cannon C4’s build quality and design are said to make it an extremely compact loudspeaker for the sound quality, bandwidth and SPL that

Each model in the Cannon Series – the C4, C5, C6 and C8 – provides extended low-frequency and a “pronounced and projected” midrange. The models are IP55-rated for indoor and outdoor use, with an “I” version available that has a screw terminal block

CDX14-3045 and -3055

FTR12-4080DL

Video encoder? Video decoder? Core

Video encoder? Video decoder? Core processing and streaming? USB bridging?

Video encoder? Video decoder? Core processing and streaming? USB bridging?

processing and streaming? USB bridging?

Video encoder? Video decoder? Core processing and streaming? USB bridging?

Video switching? Third-party control engine?

Video switching? Third-party control engine? Yes,

Video switching? Third-party control engine? Yes, NV Series can do that too.

Video switching? Third-party control engine? Yes, NV

Did you know that each NV Series model can act as either encoder or decoder AND still do USB Bridging? Or that the NV-32-H can be transform into a Core processor AND still do encoding or decoding streaming at the same time? Did you know that we have a single cable solution for encode/decode, USB bridging AND laptop charging?

Did you know that each NV Series model can act as either encoder or decoder AND still do USB Bridging? Or that the NV-32-H can be transform into a Core processor AND still do encoding or decoding streaming at the same time? Did you know that we have a single cable solution for encode/decode, USB bridging AND laptop charging?

Did you know that each NV Series model can act as either encoder or decoder AND still do USB Bridging? Or that the NV-32-H can be transform into a Core processor AND still do encoding or decoding streaming at the same time? Did you know that we have a single cable solution for encode/decode, USB bridging AND laptop charging?

Did you know that each NV Series model can act as either encoder or decoder AND still do USB Bridging? Or that the NV-32-H can be transform into a Core processor AND still do encoding or decoding streaming at the same time? Did you know that we have a single cable solution for encode/decode, USB bridging AND laptop charging?

Let us show you why the NV Series has become our most versitile Q-SYS product to date.

Did you know that each NV Series model can act as either encoder or decoder AND still do USB Bridging? Or that the NV-32-H can be transform into a Core processor AND still do encoding or decoding streaming at the same time? Did you know that we have a single cable solution for encode/decode, USB bridging AND laptop charging?

Let us show you why the NV Series has become our most versitile Q-SYS product to date.

Let us show you why the NV Series has become our most versitile Q-SYS product to date.

Let us show you why the NV Series has become our most versitile Q-SYS product to date.

Let us show you why the NV Series has become our most versitile Q-SYS product to date.

Going Solo with portable PA

Optimal Audio expands ecosystem with Cuboid additions

Solo’s

www.hhelectronics.com

Power in a small package

high-technology drivers into a compact trapezoid enclosure, the THS high-output loudspeaker from Martin Audio is the latest addition to the company’s TH series of standalone loudspeakers. Capable of 135dB

The THS LF section comprises a reflex-loaded 15-inch LF driver with a 4-inch coil, waterproof cone and neodymium magnet structure. A 4-inch midrange ring radiator and a 2.5-inch

UK COMMERCIAL audio manufacturer

Optimal Audio has introduced its latest loudspeakers, the Cuboid 6 and 6TX. Following in the footsteps of the Cuboid 3, 3TX, 5 and 5TX models, the Cuboid 6 and 6TX come with a high-grade 60W transformer for improved 70V/100V line operation. With a 60W (AES) and 240W (peak) rating, the models deliver an audio output of 107dB (continuous) and 113dB (peak). With an IP54 rating and frequency response range of 90Hz–20kHz, the Cuboid 6 and 6TX are suitable for outdoor spaces where there is often a greater requirement for enhanced low end.

The Cuboid 6 and 6TX are full-range, twoway, passive 6.5-inch loudspeakers designed for distributed applications with high-quality background music and speech reproduction. They can be fixed in either portrait or landscape orientation, and a weatherproof terminal cover is available for outdoor use. The units feature a 1-inch silk dome high-frequency driver mated to a shallow waveguide for consistent HF distribution. For enhanced bass performance, the speakers can be teamed with the Sub 10, while a SmartAmp or powered Zone will provide amplification, optimal sound settings as well as limiters to protect the drivers when playing at louder sound levels. When coupled with

Zone and WebApp, system setup and end user control is described as straightforward, and can be further supplemented by ZonePad wall controllers.

LF driver into an 85° x 50° horn. The horn itself is user-rotatable, with a large mouth to maintain pattern control down through the midrange.

With multiple threaded inserts, the enclosure facilitates a variety of mounting options, including eyebolt, yoke, pole and truss mounting. Martin has designed the THS for medium-scale DJ club applications and installations that call for high sound levels from a compact, standalone system.

www.martin-audio.com

be precisely adjusted to different monitor setups and stage requirements via a threeband EQ, four EQ presets, a notch filter and a delay function. On the connection side, there are PowerCon-compatible mains sockets (in/out), two line inputs with XLR jack combo socket and two XLR Thru outputs for the loop connection of additional

All connections, controls and carrying handles are located on the sides of the enclosure to help access onstage and protect against knocks and accidental adjustments due to the recessed arrangement. The units come with a robst polyurea coating, a sturdy speaker grille and a 36mm flange on the side for vertical use as a PA speaker on a speaker stand. For the latter, all MON G3 models offer a standalone full-range mode as a selectable DSP preset. www.ld-systems.com

Cuboid 6

Wharfedale adds

power to its curves

INCORPORATING THE same hardware features of its passive brother, Wharfedale has added to its active WLA-1 system. Featuring EVO-Fold waveguides, Beyma 12- and 15-inch drivers and a Hybrid

Curvature Array configuration, the WLA-1A Active combines internal amplification with internal DSP with FIR filters. Providing 100° x 20° coverage, the software-controllable WLA-112A and WLA-115A arrays are housed in 15mm Baltic birch plywood with integral side plate rigging. A 21-inch WLA-121SUBA subwoofer with a 4-inch Quattro voice coil can be added to extend the lower frequencies to 25Hz (±3dB).

A DSP Controller v1.1.8 update has been provided as a management system for the brand’s DP-F and DP-N amplification platform. In addition to a Q-SYS control plugin, updated user permissions menus now offer three access levels for enhanced control and security.

www.wharfedalepro.com

Ferrite and coaxial drivers finds their Audience

CLAIMING NEODYMIUM performance at

a ferrite price point, the NERO-18SW1900D 18-inch subwoofer from SB Audience introduces a high-powered 18-inch double ferrite magnet motor subwoofer. Designed for environments where the subwoofer is located in stationary locations like commercial cinemas, clubs or sports arenas, the NERO-18SW1900D features a low-distortion double magnet motor, 4.5-inch interleaved sandwich voice coil technology and double spider high-stability suspension.

The sub also includes a shorting ring in the motor system which SB Audience say reduces distortion.

The company has also added to its family of high-end Satori drivers with the 7.5-inch Satori MT19CP-8 coaxial driver. It is the first coaxial driver in the company’s high-

NERO-18SW1900D

end Satori line which currently consists of a range of midwoofer, midrange and tweeter transducers. As coaxial transducers are closer to a true point source compared to separate woofer/tweeter transducer combinations, SB Audience says it delivers advantages to physical time alignment, enabling the sound source to stay time-coherent at any listening angle. The driver is suited to midrange/tweeter reproduction in a larger multiway speaker system, or as a midwoofer/tweeter for a smaller monitor-style speaker. Features include a vented cast aluminium chassis, proprietary cone material with Egyptian papyrus fibres, a neodymium motor system with extended copper sleeve and a 26mm soft dome tweeter with neodymium motor, copper cap and CCAW voice coil.

www.sbaudience.com

Ice, ice baby

AUDIO-TECHNICA HAS a limited-edition “Ice Blue” colour version of its ATH-M50x. The ATH-M50xIB model is the result of a glo bal crowd-sourcing campaign, where end users voted on their favourite colour of the next ATH-M50x model. From the 45mm large-aperture drivers to its sound-isolating earcups, the ATH-M50xIB can be used in critical audio applications, including recording, live sound, broadcast, DJ and personal listening. The wireless ATH-M50xBT2IB delivers the same listening experience as its wired counterpart. Multipoint pairing lets users connect wirelessly to two Bluetooth devices at once, and a low-latency mode improves synchronicity between audio and video for

RCF updates SUB 7 Series

THE SUB 7 Series mk3 are the latest additions to RCF’s collection of highperformance subwoofers. Available in three sizes, with 10-, 12- and 15-inch cones, the SUB 7 Series are described as the ideal complement to RCF portable active speakers. The SUB 702-AS mk3 is a portable 12-inch high-power active subwoofer for live sound applications. It features a state-of-the-art transducer with a high-power ceramic magnetic circuit and a powerful Class-D amplifier that delivers sound pressure levels up to 129dB with “exceptional headroom”. It has been designed as the ideal complement for 8- or 10-inch loudspeakers. Rear panel controls include volume, EQ, polarity and crossover frequency selection. The rugged all-wood cabinet with scratch-resistant polyurea coating are said to make it durable, easy to carry and install securely. The SUB 702-AS MK3 is most suited for small to mid-sized venues and portable applications.

The SUB 705-AS mk3 is a 15-inch subwoofer that delivers SPLs up to 131dB and can be paired with 10- or 12-inch loudspeakers, while the SUB 708-AS mk3 is an 18-inch version with SPLs up to 133dB and complements 8- and 10-inch speakers.

www.rcf.it

Pan Acoustics launches its most powerful PoE speaker with beam steering

use on a 10-minute rapid charge via USB-C connection. A USB charging cable and a carrying pouch are also included.

www.audio-technica.com

Pan Beam speakers

WLA-121SUBA

JUST AS BIG

IP Control and Monitoring through ALMA SoftwareTM

NFC technology for self-positioning within ALMATM

System optimization with FIR filters through DASaimTM

Internal system processing at 96kHz

4-way Self-powered Cardioid Line array

8-Channel, Class D amplifier, 6000W RMS

Cardioid Attenuation of -15dB (63 Hz – 200 Hz)

Balanced Horizontal Dispersion up to 100 Hz.

Max SPL1 of 150 dB

1 Measured Maximum SPL at 1m using burst noise

IP Control and Monitoring through ALMATM

NFC technology for self-positioning within ALMATM

System optimization with FIR filters through DASaimTM

Internal system processing at 96kHz

3-way Self-powered Compact Line Array

4-Channel, Class D amplifier 3000W RMS

Balanced Horizontal Dispersion

Max SPL1 of 142 dB

GERMAN CABLE manufacturer KLOTZ AIS has released the H3R88 series of hybrid cables which combine mains and data lines in just one cable. Remote equipment can be optimally integrated and interference due to different earth potentials is avoided. According to the manufacturer, this is particularly advantageous over longer distances. The HC72P15 hybrid cable enables a variety of applications as a connection for modern, computer-controlled devices. Two flexible Cat7 lines connect

The KSH series connects guitars, basses or other electric instruments with bodypacks from Shure, Sennheiser and other manufacturers. The robust TQG (mini XLR 4p) plug reportedly ensures a secure connection to the bodypack transmitter and is optionally available with a screw cap (KSH-305 and KSH-307). On the instrument side, users can choose between straight and angled jack plugs with metal housing and gold-plated contacts. In addition, all KSH versions are also available with the Neutrik SilentPlug jack plug for a noise-free instrument change.

Wisycom brings the coverage

locking socket with improved strain relief for a cable diameter of 6–16mm are said to make the connectors suitable for a wide range of professional speaker cables. The bend protection has been significantly improved by the new socket and the assembly has been

Bright Sommer forecast for Proflex

IDEALLY SUITED for live entertainment, industrial and studio applications, Sommer Cable has upgraded the SC-Mercator Cat.6a Proflex network patch cable (580-1331). Marrying flexibility with rug gedness, the dual jacket 8.7mm outer diameter features a soft PVC jacket. The outer jacket is extruded by applying a tube to keep the wire pairs in a tight position, and the inner jacket provides added

protection against abrasion, pressure or kinks. Constructed from S/FTP, the high cross-section of the AWG24/7 can be routed over longer distances.

Finished in matt, a PUR version of the Proflex variant is recommended for applications under high pressure, strong tensile forces and temperatures below freezing point. An

Tasker adds to range of Cca cables

SINCE CPR legislation came into force, Tasker has increased its range of mediumrisk class (Cca) cables to follow constant market demands. The manufacturer has unveiled four additions that are all compliant with the world’s most advanced homologations and suitable for indoor and outdoor installations.

In the speaker cable category, Tasker has released a new family of products, which includes the TSK503 CPR Cca 4x2.5mm² and the TSK404 CPR Cca 2x4mm². These cables follow in the footsteps of three conductor speaker cables: the TSK401, TSK402 and TSK403 CPR Cca with 2x1mm2, 2x1.5mm2 and 2x2.5mm² sections respectively.

The manufacturer has also released new microphone and DMX cables, all with a 2x0.35mm² section. The TSK1050 CPR Cca is a foil shielded microphone cable and the TSK1038 CPR Cca is a shielded braided DMX. www.tasker.it

WISYCOM HAS unveiled its RPU500-F fullduplex mobile transceiver. Designed for sports, live events and outside broadcast commentator coverage, it comes with a 1W multiband transmitter (where applicable) with a newly designed integrated intercom/IFB receiver. The RPU500-F features an ergonomic and compact form (73.1mm x 64.5mm x 21.6mm) that makes it suitable for live applications requiring a lot of movement. With a battery pack that lasts more than five hours with continuous high-power transmission, the RPU500-F has also been designed for applications where long coverage periods might be required. Additionally, the transceiver’s transflective LCD colour display means that it is legible in all lighting scenarios –including direct sunlight – which is ideal for sports and other outdoor events.

The transmitter operates in the 174–960MHz spectrum, while the receiver works in the 440–700MHz range and can operate in three modes, which are selectable on the device menu. This includes ultra-narrowband (channel bandwidth 12.5k), narrowband (50k) and narrowband enhanced (110k). The bandwidth provided by the enhanced mode makes it possible to include up to three embedded audio sources on the same device. The device also features four programmable push-to-talk buttons for remote audio routing on AUX or through Ethernet with Ember+ and has been designed to work with the Wisycom Symphony Series receivers and MTK Series transmitters.

Bringing additional support to some of Wisycom’s latest products, the company has introduced updates to its Wisycom App, including the ability to remotely change a channel or transmitter name, as well as monitor RF levels, battery life and audio levels. Available for both iOS and Android devices, the updated app includes LTC timecode validity and remote formatting of Micro-SD cards for the MTP61 and MTP60 bodypack transmitters. The updates also support Wisycom’s BFLT1 transmitter and BFLR1 receiver, along with full control, monitoring and firmware updating capabilities for these devices. The Wisycom App allows users to monitor, control and manage Wisycom devices through a Bluetooth 5 long-range connection. Features include the ability to change frequency, audio levels, channel/group and TX/RX bandwidth, as well as activate RF power and enable recording.

www.wisycom.com

unveils

IN CELEBRATION of its 15th anniversary, API has released a commemorative edition of the 1608 console. The 1608-II Special Edition console features the vintage style cream colour worn by numerous iconic API consoles, and is accented with blonde maple side panels, bolster and meter bridge trim. Each console is also loaded with matching API 550A and 560 EQ modules and is equipped with API’s Final Touch Automation.

“We’re making a limited number of the Special Edition consoles with both a nod to the

facilities around the world, this is a fun way to celebrate how much impact the 1608 continues to have on the industry, and also how API is honoured to play such a major role in audio for the past 55 years.”

“Special Edition consoles began shipping in September and we’re slotting them into production wherever we have room,” added Richard Josephs, API’s production director. “It’s a beautiful console and a pleasure to build. We expect to have them all delivered by the end of this year.”

LAWO HAS expanded its VSM IP broadcast control system with vsmShare, an add-on for vsmStudio that allows sharing sources and targets – whether physical or virtual –among separate vsmStudio clusters; a HOME API interface for integration with the HOME management platform, providing access to routing and parameter control for HOME Apps as well as HOME-native and NMOS devices discovered and registered in HOME; and a range of general product enhancements, including an Undo/Redo function for the Panel Editor and an online Help feature embedded in vsmStudio. The German manufacturer has also announced a collaboration with intoPIX, a provider of compression technology, so that .edge users can now benefit from the intoPIX TICO-XS codec to encode and decode JPEG XS-compressed streams. Support for the lossless JPEG XS compression technology in HD, 3G and UHD video format resolutions will allow users of Lawo’s .edge hyper-density SDI/IP conversion and routing platform to

encode, process and decode compressed SMPTE ST2110-22 IP streams.

JPEG XS support for .edge is a licensable option that relies on Lawo’s edge-computing and software-licensable infrastructure strategy. The ability to encode and decode JPEG XS right at the IP network’s edge means that uncompressed streams no longer need to travel to a processor somewhere on the SMPTE ST 2110-based IP network, and onto their destination, therefore saving bandwidth. JPEG XS delivers broadcast-grade compression ratios of up to 30:1. This makes it suitable for WAN-based IP networks where bandwidth is typically limited, while the number of camera feeds and video streams keeps rising. JPEG XS (ISO/IEC 21122) provides visually lossless quality with submillisecond (<1 video frame) delay and is designed for latency-critical applications, such as live remote event productions over widearea networks.

www.lawo.com

Studer reveals Vista BRAVO AEQ incorporates planning tool into Olympia 3

VISTA BRAVO from Studer is a Vista mixing console for BRAVO Studio that “delivers all the flexibility content creators need to enhance live entertainment, gaming and sport productions”. The launch is said to add a new dimension to the platform by providing virtual access to a full mixing console featuring all of Studer’s enhanced audio capabilities. With Vista BRAVO, users reportedly have all the flexibility they need to enhance live music, entertainment, gaming and sports productions, whether working on-premises or through the cloud.

Studer has also expanded Vista control using the Evertz VUE Intelligent User Interface. Offering over 2,000 bidirectional controls, the combination of Vista and VUE has reportedly created the ideal tool for multiple small production suites and remote productions.

With the introduction of Vista BRAVO, together with VUE, Evertz is bringing Studer’s audio capabilities into the BRAVO Production suite eco system with MAGNUM-OS at its heart.

The Video PFL (Pre-Fade-Listen) feature has been added to the Studer Vista console range to maximise Evertz’s MAGNUM-OS orchestration, monitoring and analysis software. With Video PFL, audio operators can select an input to pre-fade while listening to the audio and seeing the accompanying video for that channel on the multiviewer in the audio control room. By allowing the video to follow the audio, Evertz gives engineers a visual representation of the audio on the PFL, ensuring that the right source is always selected.

www.evertz.com

DEVELOPED FOR sporting events with hundreds of commentator positions in dozens of venues, AEQ has expanded the functionality of its Olympia 3, the third iteration of the manufacturer’s digital commentary system with IP transmission and intercommunication. The system has been designed to democratise the use of commentary units in basic environments such as mobile units, Off Tube sets and simultaneous translation systems. No dedicated hardware is required as a source and origin of signals: any AES67 or Dante equipment interfaces with Olympia 3. It can also be used as an intercom user terminal: one of its channels can work as a user panel of intercom systems, both in the setup phase and live, if there is a coordinator in the commentator position.

With the Olympia 3 planner, the configuration of the whole system is generated, avoiding errors and, above all, the configuration time of each of the teams, including the Cus or Olympia 3 commentator units. The planning tool is able to work

simultaneously with venues with previousgeneration Olympia positions, with digital point-to-point connectivity and with other venues with current Olympia 3 with AoIP Dante/AES67 connectivity.

At the same time, in order to make connection to the AoIP standards of the different users more flexible, additional cards have been developed for the X_CORE routers used at major events. Dante AoIP cards controllable with Dante Controller and Dante Domain Manager, and AoIP Ravenna cards, compatible with SMPTE ST 2110-30/31 with the NMOS control protocol, have also been added.

Neutrik extends CONTRIK Active power distribution range

THE NEUTRIK Group has added a range of products to its CONTRIK brand of portable power distribution systems, especially designed for deployment in harsh all-weather application environments. The range of Xtreme Outdoor (XO)/Active designated products includes Power Container, Power Rack and Power Turtle systems and is intended for mobile entertainment production applications, including videowalls, stage lighting and audio installations. The XO designation denotes the extensive environmental protection features, additional to CONTRIK’s usual certification standards, providing high levels of mechanical (IK) and environmental (IP) protection. These include enhanced protective housings and self-closing caps and protection up to the IP65 level against particulate and liquid ingression, with CEE/ cPot in mated condition. The Active label refers to the products featuring active components like circuit breakers.

volumes and effort. Onboard power metering and cPot grounding are featured, while separate protection with RCBO circuit breakers on each OUT channel protects against overload, shortcircuit and electric shock.

Power Container Xtreme is said to provide a rugged, reliable and powerful distribution

Power Rack Xtreme is more suited to integration in outboard electronics and amplifier racks. Circuit protection is provided breakers (MCBs) on each OUT. Variants provide alternative Shuko and powerCON TRUE1 OUT configurations.

Power Turtle Xtreme is an ultra-compact, lightweight, ultra rugged solution for rapid, mobile applications, including the quick extension of larger power networks. Despite its reduced form factor, a CEE32A connector facilitates high-capacity power input and daisy chaining. Separate MCBs provide protection on each of the six powerCON TRUE1 OUTs. The units are fully lockable and stackable with various versatile

with Vertical Series+

DEVELOPED AS a smart power distribution unit (PDU), the Vertical Series+ comprises cloud-connected power quality analytics, fleet management and risk prevention capabilities of the SurgeX Connect series. Promoting space-efficient power distribution and comprehensive power management, the Vertical Series+ smart PDU offers ease of installation with or alongside rackmounted equipment. Suitable for connected environments, the unit comes in eight, 16 and 24 receptacle configurations, for powering all devices within any rack configuration.

Fully IP-controllable with SurgeX CONNECT, the cloud-based Vertical Series+ solution enables monitoring and power health management for fleets of compatible SurgeX devices. From a centralised dashboard, operators can control, configure, monitor and deploy connected devices with software connected by Wi-Fi. The Vertical Series+ offers analytical software, sequencing and monitoring capabilities, including remote power down and reboot, sequencing, power cycling, advanced scheduling and AutoPing.

www.surgex.com

Small System Controller is suitable for midsized applications and is said to offer systems integrators more options for designing a tailored, value-oriented Praesensa solution across a wide range of sectors, such as hospitality, education, retail and commercial buildings. The system oversees all system-related functions within an IP-based Praesensa system, including the routing of all audio connections between network-connected Praesensa audio sources and destinations. It handles calls and emergency alerts, collects device status information and generates fault reports. Furthermore, it also plays back messages and tones stored on its flash memory and manages background music streams, business calls and emergency calls based on

Like its larger counterpart, the PRA-SCL, the PRASCS Small System Controller delivers multichannel audio and reportedly provides an easy-to-use, browser-based control interface. DC-powered from a multifunction power supply with an integrated battery backup, the controller fits both centralised and decentralised system topologies. System communication is based on OMNEO IP architecture over an encrypted IP network. Connections to other system devices are established via the built-in five-port switch, which supports the Rapid Spanning Tree Protocol (RSTP) for redundant network configurations and has an open interface for third-party applications.

www.boschsecurity.com

Clear-Com updates Arcadia Central Station

WITH THE introduction of I.V. Direct IP interfacing connectivity, Clear-Com has updated its Arcadia Central Station platform. The I.V. Direct IP interfacing feature connects Arcadia with the LQ Series of IP interfaces, Eclipse HX Digital Matrix System (via an E-IPA card) and other Arcadia systems over LAN, WAN or internet. Capable of supporting distributed

two-wire, four-wire and GPIO ports. Clear-Com’s Agent-IC and Station-IC virtual clients, twoway radios and SIP telephony are supported, bypassing the requirement for multiple audio and control cables.

Capable of supporting up to 16 I.V. Direct connections, Arcadia’s interfacing can be extended beyond local Dante-based networks

workflows, the update also provides an increase in capacity for 285 input/output connections on a single system to FreeSpeak beltpacks, transceivers and HelixNet endpoints. The I.V. Direct connections allow intercom audio, logic controls and call signals to be passed between separately managed Clear-Com systems and assigned to channels, groups and keys in the individual systems. Interfacing with LQ expands current analogue connections using

to large, multi-site live events and remote broadcasting applications, where multiple systems require audio communications over large distances. With the latest update, Arcadia Central Station can now support up to 32 IP transceivers, 64 wireless FreeSpeak beltpacks and 128 HelixNet endpoints, while 192 digital beltpacks can be connected from the 1U unit.

www.clearcom.com

GatesAir shines a light on global radio transmission

GATESAIR HAS introduced a 3.5kW model to bridge the gap between its low- and mediumpower Flexiva GX solutions. Introduced in 5kW and 10kW versions, the manufacturer added 50W and 1kW models earlier in the year that bring the benefits of Flexiva GX transmitters to low-power broadcasters. Flexiva GX provides radio customers with a “strong” power-to-size ratio for all five power levels by leveraging the latest LDMOS technology, packing power density into a compact chassis with reported overall efficiency ratings up to 76%. The power density, efficiency and footprint are made possible through the Flexiva GX’s design, enhanced by GatesAir’s third-generation PowerSmart high-efficiency transmitter architecture. Flexiva GX transmitters also support N+1 configurations, enabling large national network operators to build flexible and consolidated transmission sites that meet stringent uptime requirements.

The manufacturer has also updated its Maxiva MultiD Series of multichannel DAB/ DAB+ radio transmitters. The latest MultiD system design serves four independent DAB/ DAB+ channels within a single 1U chassis, instead of requiring a separate transmitter for each channel plus an external combiner and auxiliary hardware. The update also increases flexibility for broadcasters by making it possible to broadcast four independent DAB radio services across different channel frequencies. Power output per channel can also now be built

Flexiva GX 3.5kW

to each customer’s specifications, allowing broadcasters to establish unique power levels for each service.

Finally, GatesAir has added a 1U Intraplex IP Link hardware codec. The Intraplex IP Link 100n is a full-duplex, single stereo-channel codec for simultaneous reception and transmission of audio-over-IP streams in STL (Studio-toTransmitter), STS (Studio-to-Studio) and other networking applications for radio and streaming services. Like the IP Link 100c and 100e, the IP Link 100n offers a modernised platform that allows GatesAir to integrate more features under the hood, including 10-bit audio processing for improved programme audio quality, Secure Reliable Transport (SRT) and cloud-based monitoring of live streams. It is compatible with

all existing IP Link codecs – including the IP Link MPXp codec for FM-MPX composite signal transport – and Intraplex Ascent, GatesAir’s bulk cloud-transport platform for enterprise applications.

MicroMPX is a third-party software library developed by Thimeo that helps FM broadcasters transport a full FM composite MPX signal at 320kb/s. When used within the IP Link 100c, 100e or 100n, customers will reportedly reduce bandwidth consumption by up to five times. This makes the combined solution suitable for reliable MPX transport over public internet connections and low-bandwidth distribution networks.

www.gatesair.com

Sennheiser completes EW-DP family with new plug-on transmitter

COMPLETING THE EW-DP series for videographers, broadcasters and filmmakers, Sennheiser has released the EW-DP SKP plug-on transmitter. The device features an onboard 32-bit float recording, which – in combination with the series’ 134dB dynamic range – is said to ensure distorted audio is a thing of the past. Everything can be handled by the SKP without the videographer having to reset levels, meaning recording will become faster and easier.

The recording function of the EW-DP SKP plug-on transmitter is described as a safety net for the user, with a safety copy of their audio being stored on a micro SD card. The SKP additionally offers 24-bit/48kHz recording so that videographers can also opt for this less memory-intensive recording format. Sennheiser describes the SKP as the most versatile member of Evolution Wireless Digital family, as it can be connected to dynamic and condenser XLR microphones (+48V phantom power on board) as well as to lavalier mics with a 3.5mm jack connector. Its low-cut filter can be switched off, so the SKP can also serve as an adjustment tool for PA systems. The system comes complete with a magnetic mounting plate kit, a BA 70 rechargeable battery, two standard AA batteries, a locking 3.5mm TRS to 3.5mm TRS cable, a locking 3.5mm TRS to XLR cable and a USB-C charging cable for the receiver.

will also be a choice wherever the highest attenuation of neighbouring sound sources is required – be it a PA system whose sound needs to be eliminated or an adjacent instrument that must not be picked up.

In addition to the plug-on transmitter, the German company has previewed the new MKH 8030 RF condenser microphone with a figure-of-eight pickup pattern. The MKH 8030

The sound signature of the MKH 8030 has been engineered to blend in harmoniously with existing MKH 8000 series microphones.

The

(omni-directional), MKH 8090 (wide cardioid),

Compact performance

STAGE TEC has released the NEXUS compact, a mobile I/O box which comes equipped with eight high-end 32-bit TrueMatch converters with four digital splits each, to provide “topnotch performance” for all multi-format daily recording tasks. Within the NEXUS eco-system, in addition to the TrueMatch microphone converters, the NEXUS compact comes with a built-in DSP-powered mixer, integrates eight analogue line outputs, AES3, Dante, AES67 I/O and GPIOs, and is described as a small yet powerful solution for all conversion and format needs.

The manufacturer has also released a V1.20 update for its Avatus console, providing a new OS, enhanced speed and responsiveness and additions such as DAW-Control via HUI/Mackie

external devices and a web browser to access essential pages for AES67 streams and internet browsing. The release also includes several GUI improvements, such as channel colour coding and real-time channel “fuzzy” search throughout all menus, load library presets through ember+ and I/O black-&whitelists.

In brief, Stage Tec has released Stagenet 1.0. Stagenet provides advanced IP control and surveillance, including dynamic multicast address management of all connected devices. This is merged with conventional control capabilities, such as managing matrix crosspoints and adjusting microphone or video inputs, reportedly allowing a smooth transition from traditional systems to audio- and video-over-IP.

(short shotgun, super-cardioid/ lobar) and MKH 8070 (long shotgun, lobar) RF condenser

Staying with the MKH 8000 family, there is now a new filter module for the MKH 8000 RF condenser microphone series. For broadcasting and filming, the MZF 8000 II effectively blocks low-frequency wind and handling noise for better recordings and ensures the input stage of connected recorders does not get overdriven.

incorporating user feedback and replaces the

Lastly, Sennheiser’s AMBEO 2-Channel Spatial Audio live renderer will be made available as a plugin for Merging Technologies’ Anubis audio interface. The plugin transforms, in real time, standard multichannel surround and immersive formats into two channels of audio that can be delivered anywhere stereo is delivered today. Patented controls, adapted for use in a broadcast environment, allow for fine-tuning of spatialisation settings to maintain mix integrity and improve dialogue intelligibility over stereo mixdowns.

www.sennheiser.com

Glensound enhances interpreter and commentary units

EXTENDING THE appeal for creating bespoke solutions in various live events sectors, Glensound has added networked audio to the Charles Interpreter Box. Designed to cater for the needs of a single translator, the unit provides significant redundancy for power and Ethernet. Dual PoE connections plus a mains and DC input provide the security needed to keep the unit live, while rear panel RJ45 connectors are included for primary and secondary Dante connections. A floor input from the Dante network and alternative XLR sockets for the translator’s microphone are featured with network output for the microphone only, the floor plus microphone and two talk outputs completing the I/O. Single button selection of the talk outputs allows the user to switch as required for multiple languages.

As a major supplier of commentary units, Glensound can now take advantage of the networking connection functionality. With the inclusion of a Dante Brooklyn board upgrade, the CU-001 Dante is a threeuser unit with direct analogue outputs that mirror the Dante connections. Either direct or mixed outputs are provided,

along with three talkback outputs. An advanced limiter circuit stops exuberant commentators from clipping their channels. Primary and secondary Dante ports ensure that the network connection is secure and power is backed up by the addition of a DC input on XLR in addition to the standard IEC connector. The GTM unit has been specifically developed for the esports market. Networked connections including Dante are part of the package. The GTM features a noise gate on the input to prevent audio from the arena bleeding into the comms mix.

www.glensound.com

Charles Interpreter Box

The EW-DP system

Remastering an original

FOCUSRITE HAS announced the launch of Scarlett 4th Gen featuring the Solo, 2i2, 4i4, Solo Studio and 2i2 Studio. Said to provide better specs than any previous generation of Scarlett, features include Auto Gain, Clip Safe and a re-engineered Air mode.

new features like Clip Safe, Auto Gain and the re-engineered Air mode.

SSL goes back to its roots

The Scarlett Solo has been designed for singer-songwriters. With one mic preamp, one Hi-Z instrument/line input and a new custom-designed headphone amp, the Solo re-engineered Air mode with Presence and Harmonic Drive, said to breathe life into vocals and acoustic instruments.

The Scarlett Solo Studio and Scarlett 2i2 Studio packs are said to provide an all-in-one solution for high-quality recording, and include either a Solo or 2i2 interface, CM25 MkIII studio condenser mic and closed-back SH-450 headphones.

Scarlett 4th Gen uses converters from the manufacturer’s RedNet range to deliver

For the aspiring artist, the Scarlett 2i2 offers two remote-controlled mic preamps and two Hi-Z instrument/line inputs for guitars, keys and groove boxes. The two-in/two-out interface “delivers professional studio quality in a portable package”. With new features like Clip Safe, Auto Gain and Air mode, the 2i2 is said to give artists the freedom to make release-ready recordings anywhere.

For the multi-instrumentalist, the Scarlett 4i4 provides two remote-controlled mic

feature remote-controlled preamps with 69dB, while a custom-designed headphone amp reportedly drives high-impedance headphones louder and clearer than any previous Scarlett.

In addition, all models now have independent controls for headphones and monitors.

With Auto Gain, users can play or sing for 10s and Auto Gain will set the best level for recording. Clip Safe monitors levels up to 96,000 times per second and automatically adjusts the gain to prevent clipping, allowing users to fully immerse in performing and not have to worry about their levels. The

THE 4000 B Dynamics (B-DYN) 500 Series module is the latest recreation from Solid State Logic’s SL 4000B console. Featuring Compressor/Limiter and Gate/Expander sections and a dedicated De-Ess mode, the B-DYN module is modelled on the original circuit design found in the SL 4000 B channel strip, and is said to bring all the “tone, punch and warmth” from the SL 4000 B console’s dynamics section to the 500 series format. The dynamics section in the SL 4000 B console channel strip used the fader VCA as its gain element, rather than a dedicated VCA. This

balanced outputs for the flexibility to record mics, guitars, synths and more. According to the manufacturer, MIDI I/O makes it easy to bring in synths and grooveboxes to sync with recording sessions. The 4i4 also includes

the mix. Air mode also includes the original all-analogue Presence mode, plus a new DSPbased Harmonic Drive mode.

www.focusrite.com

VCA “feedback” design has been inherited by the B-DYN module, offering “characterful and coloured” compression, with its own sonic signature – very different from the later E and 9000 Series. These similarities are also evident from B-DYN’s “Auto” release setting, which offers a program-dependent release time as found on the Bus Compressor.

Delivering full control of the System T production platform from a software application, Tempest Control App (TCA) offers virtualised control solutions for live-to-air broadcast audio. Delivering full control of all mix, routing, monitoring, setup and automation functions, including the entire suite of next-gen immersive production tools, the TCA is said to raise the level of production flexibility and operational adaptability for broadcasters. Incorporating the same graphical user interface (GUI) found across the System T range, the scalable control solution includes remote and newsroom production, backup scenarios and can be used anywhere a physical control surface is not required.

The DSR era begins for Lectrosonics

INTEGRATING VECTOR diversity, digital and hybrid compatibility, and AES 256-bit encryption, Lectrosonics has launched the DSR digital dual-channel slot receiver. Primarily designed for ENG and portable location sound systems, the miniature receiver includes design elements from the DCR822. Making them operate well even in hostile RF environments, both receivers have a high IP3 figure of +15dBm. Directly compatible with digital transmitters in D2, HDM, Duet and DCHX modes, both receivers are backwards compatible with all Lectrosonics digital hybrid transmitters manufactured over the last two decades.

As the successor to the SR line, the compatible DSR draws on a catalogue of

Enhancing the G-Series Bus Compressor with multiband processing and advanced feature set, the UK manufacturer has also developed the G3 MultiBusComp Plug-in, available in several formats including VST2, VST3, AAX and AU as part of the ever-growing SSL Complete subscription. The plugin enhances the original G-Series bus compressor with multiband technology, advanced processing and sidechain routing. Key features include multiband processing with classic SSL “glue” compression across three customisable frequency bands. In addition, a parameter link applies inverse changes between the input/ output gain or the threshold and makeup gains in each frequency band. Inspired by the SL 4000 Series console, the 4K drive per band is said to add warmth to a mix while retaining full dynamic control over the signal. Customised sidechain filters accentuate or diminish response to certain frequencies.

www.solidstatelogic.com

accessories, docks, powering, audio output and mounting hardware available for the SR line. Features include full-time Vector Diversity with two RF front ends per channel and a built-in RF spectrum analyser for quick local RF scan in addition to SmartNR noise reduction for digital and hybrid compatibility modes. IR Sync can be used for quick setup, sharing tuning groups, managing encryption keys and a 5P front panel connector and colour display are also included.

www.lectrosonics.com

Merging adds Atmos Bundle

THE MERGING Technologies Atmos Bundle offers comprehensive monitoring and calibration facilities in a compact footprint across varied applications. The bundle includes a Hapi MkII interface with DA8 cards, Anubis Pro SPS and Sonarworks SoundID Reference for multichannel including microphone. SoundID Reference provides an automated measurement that identifies room issues and builds correction profiles for different workflows. The corrections are then exported to run inside Anubis for the lowest latency and consistency. For acousticians calibrating systems manually, the exported profiles are stored in the Anubis monitoring

engine which provides trims, delays and 336 EQs for all rooms.

With 128 inputs, Anubis manages sources, stems, speaker sets and cues in a variety of formats with full control. For monitoring Atmos binaural mixes or feeding a low-latency cue mix to a musician for tracking, two headphone outputs feed individual cue mixes. The Hapi MkII headphone output extends this same functionality. Merging’s Hapi MkII can be added to provide additional I/Os, such as MADI, AES, analogue or digilink for connectivity to Avid HDX systems.

www.merging.com

and Aural ID 2.0 technology to create “seamless integration” between professional in-room loudspeaker and headphone monitoring services. With flexible connectivity, a reference-grade headphone output and tactile hardware control of Smart Active Monitors, GLM and Aural ID, the 9320A provides a hub for both static and mobile professional audio monitoring applications.

At the heart of the UNIO platform is the manufacturer’s range of Smart Active Monitors, which utilise auto-calibration and cloud computing to enable the production of accurate, reliable mixes that translate consistently to other rooms and systems. For professional headphone users, Genelec’s Aural ID technology provides a personal headphone listening experience with the natural sense of space and imaging provided by good in-room monitoring. By combining a calibrated Smart Active Monitoring system and professional headphones with Aural ID, users can enjoy mixes that translate reliably between monitors and headphones, integrate these technologies and services via a single intuitive mobile desktop device, and view the entire system via their MyGenelec account. As a bridge to UNIO, the 9320A offers management of multiple Smart Active Monitoring systems from stereo to immersive, and comes with a factory-calibrated reference microphone to allow automated system calibration and control of key GLM software features.

The 9320A can control up to three separate monitoring systems plus headphones, and each

Hapi and Anubis

Another yellobrik in the LYNX Technik wall

SUITABLE FOR applications that require multichannel audio handling, LYNX Technik has expanded its yellobrik line-up with two AES and analogue audio embedders/ de-embedders. Supporting SDI formats up to 12G , the PDM 1484 B and PDM 1484 D are multi-purpose yellobriks supporting both embedding and de-embedding functions simultaneously. Featuring BNC audio connection, the PDM 1484 B supports unbalanced AES audio, while the PDM 1484 D with a D-sub audio connection supports balanced AES and analogue audio. The modules allow access to four audio groups (16 channels), which can be selected and assigned by a rotatory switch on the unit or via the LynxCentraal or yelloGUI software. By cascading or racking modules together, additional audio groups can be included in,

optional fibre I/O provides additional connectivity possibilities, including CWDM options.

Local controls are available on the module for basic settings, although users can access more advanced settings, adjustments, configuration and monitoring features via the compatible yelloGUI and LynxCentraal software.

For larger and more integrated system solutions, LYNX Technik says the CQS 1462 can be rack-mounted in the RFR 1000-1 or RFR 1200 rack frames. Adding the RCT 1012 Rack Controller connected to a network allows the RCT 1012 to automatically discover connected yellobriks and display them in the LynxCentraal control software. Further integration is achieved by adding the SVR 1000 Server module, allowing an unlimited number of workstations access to the system for configuration and monitoring. The SVR 1000 module also facilitates integration

click access to a vast number of extra monitor control features built into Genelec’s Smart Active Monitoring family.

The reference-grade headphone output of the 9320A allows users to combine their choice of professional-quality headphones with the latest Aural ID 2.0 headphone plugin. Additionally, the 9320A allows integration with any DAW or audio interface. With its analogue, AES/EBU and USB connectivity, the 9320A can also connect directly to stereo monitoring systems (with and without a subwoofer), providing monitor control and doubling as a high-quality A/D and D/A converter for both monitors and headphones.

The introduction of UNIO and the 9320A also coincides with the latest GLM 5.0 loudspeaker manager software release, which provides support for both the 9320A and the 8381A launched earlier this year. GLM 5.0 enables UNIO to integrate a range of reference audio monitoring services, including intelligent room analysis, in-room system calibration, monitor control and fully personal audio monitoring.

In brief, the manufacturer has also created its MyGenelec customer portal, a free online resource providing customers with a single unified access point for all Genelec products, services and software downloads, and has been designed to develop into a comprehensive community and knowledge base for all Genelec users worldwide.

www.genelec.com

Compatible with the yelloGUI and LynxCentraal configuration, control and monitoring software, the rack-mountable PDM 1484 B/D yellobriks can access additional internal settings and functions when connected to the software.

When connecting the RCT 1012 Rack Controller to a network, the connected yellobriks are automatically discovered and displayed in the LynxCentraal control software.

With typical applications including the conversion between legacy quad 3G 4K transport systems into single link 12G-SDI signals, the CQS 1462 yellowbrik from LYNX Technik is a bidirectional single-link/quad-link converter. A direct replacement for the CQS 1441, it supports both square division (SQD) and two sample interleave (2SI) input pixel mapping, while an

CQS 1462 yellobrik supports five conversion modes: single 12G-SDI to quad 3G-SDI level A; single 6G-SDI to quad 1.5G-SDI; quad 3G-SDI level A to single 12G-SDI; quad 1.5G-SDI to single 6G-SDI; and Distribution Amplifier mode (1x4) 12G, 6G, 3G or 1.5G.

Finally, the CHD 1412 yellobrik is a 4K HDMIto-12G-SDI converter with an integrated frame synchroniser that converts an HDMI 2.0 source signal (up to 4K) to an SDI signal up to 12G in real time. Designed as a throw-down module or system solution, the yellobrik converter complements the existing CHD 1821 HDMI-toSDI converter, which supports SDI resolutions up to 3G 1080p.

www.lynx-technik.com

9320A Reference Controller

Wohler upgrades baseband audio monitors

WOHLER TECHNOLOGIES has redesigned its DA and MDA line of audio monitors in both eight- and 16-channel configurations. For baseband monitoring (3G-SDI, AES3 and analogue) users, the units are designed at a lower price point. Designed for ease of operation, the 1U eAMP product line includes a 7-inch LCD touchscreen display offering access to input sources, meters and menus, all augmented by hardware controls. Three units are available in the form of the eight-channel eAMP1S8-MDA, 16-channel eAMP1-S16-MDA and eight-channel analogue and AES only eAMP1S8-DA. The base models integrate source selection with sum, mute and solo operations in addition to headphone, speaker and analogue XLR outputs. A software upgrade package is available that includes loudness monitoring, presets, web meters/monitoring/ configuration and customised output.

Primarily designed for use in OB vehicles and for use in live production, Wohler’s

IP-ready iVAM-SUM-16 and iVAM-SUM-8 monitors are available with a choice of either eight or 16 meters and add video monitoring and an HDMI output to the feature set of the iAM-SUM Series which launched at NAB earlier this year.

Utilising 7-inch touchscreens, the iVAM-SUM’s display can be toggled between meters plus video, meters only or meters plus loudness. When video is being displayed, the screen also indicates HDR status, video resolution and virtual trim controls, and may be configured to monitor either mono channels, stereo pairs or a mix of both. As standard, the iVAM-SUMs include phase and loudness monitoring and up to 64 presets. Three option cards are available: an AoIP card with either Dante or Ravenna monitoring, an SFP option card

Wyrestorm moves into the cloud with Sygma

eAMP1-8-M and eAMP1-16M units also feature a 7-inch touchscreen, plus additional features not available on the outgoing model. These baseband-only SDI audio monitors offer additional software upgrade options for Dolby D and Dolby E decoding and a separate option adding presets, loudness

that provides two additional SFP cages or an option that provides eight channels of additional analogue inputs and outputs with a TOSLINK connector. Other rear panel options include SFPs for 2110 and/or 2022-6, MADI single-mode or multi-mode and SDI fibre. Software licensing options are also available for AES3, MADI and output routing.

Based on Wohler’s new e-platform and replacing the now obsolete AMP1-8-M and AMP1-16-M, the new and lower priced

WYRESTORM HAS launched an advanced online platform giving users the ability to monitor their devices from anywhere in the world. Sygma Cloud Device Management features a comprehensive suite of features, providing seamless device control (with monitoring of the status, performance and health of devices in real time), firmware updates and access to online support, all in one centralised location.

In addition to Sygma, the manufacturer has also unveiled an addition to its camera line-up with the Focus 200 PRO Webcam.

It features an 8MP CMOS Sensor with 4K30 resolution, distortionless lens, enhanced PTZ capabilities, 120° field of view and is now equipped with gesture controls. Additionally, it has been officially Zoom certified. Lastly, Wyrestorm has developed a Q-SYS plugin exclusively for NetworkHD Series products. The plugin reportedly provides

seamless integration of serial, IR and CEC commands; audio and USB routing accompanied by TX and RX audio channel muting options; scene switching capabilities, specifically tailored for videowalls; and

monitoring and web metering/monitoring and configuration.

Last but not least, a rework of Wohler’s fourchannel analogue VMQ-4 has been released. First going on sale in 1999, component obsolescence forced it into temporary retirement. The reworked model uses the same circuitry as the original but features updated switches. The device has even retained the original battleship grey colour.

www.wohler.com

The multi keyboard stand experience from Gravity

WITH THE Multi Keyboard Stand, Gravity has introduced an instrument and equipment stand with four levels for the placement of keyboards, synthesisers, workstations, groove boxes, effects units and mixers. Manufactured in aluminium, each of the Multi Keyboard Stands can be freely adjusted by large rotary controls for positioning instruments or equipment comfortably and securely in the desired place.

Adjustments in height and distance can be

the instrument or equipment is placed. In addition, the angle of inclination can also be set as desired. For precise adjustment, the black aluminium tubes can be provided with centimetre and millimetre measurements using the enclosed self-adhesive measuring tapes. A double anti-tilt protection (2.5mm or 4mm) ensures the units remain in a stable position and an integrated cable guide enables the safe routing of cables behind the instruments.

Sygma Cloud Device Management

PRODUCTS

TSL unveils advanced IP audio monitoring

DESIGNED TO offer an easy transition to IP, particularly for ST 2110 trucks and installations, TSL has unveiled the MPA1MIX-NET-V-R monitoring solution. The PAM dashboard provides visual system health information including software/hardware version information, temperatures and fan speeds. Diagnostic information including PTP lock status, IP packet counters and multicast addresses, and port numbers of the essences

for integration with TSL control and third-party systems.

The user interface includes a “V”-shaped layout of the controls for navigating in low-light environments and SNMP integration allows remote configuration changes. Multiple audio sources can be monitored by using the eight dedicated rotary controls to quickly configure and create the required monitoring mix.

Harvest time for Wheatstone

FEATURING ASYMMETRICAL voice correction, optimised high-frequency EQ, targeted filtering and psychoacoustic algorithm technology, Wheatstone has developed the Audioarts Voice 1 processor. In line with Wheatstone’s range of mic and audio processors, the halfrack Voice 1 utilises 24-bit A/D converters and Super Quiet mic preamps to deliver a low noise floor, an open dynamic range, accurate transients and a flat frequency response. Offering a warm, yet robust vocal presence, the Voice 1 supports a variety of microphones with high-input impedance, high available gain and 32dB of input headroom. Further equipped with routable I/O and logic control, the Voice 1 can connect to the WheatNet IP audio network.

2022-7) to ensure that optimised network topologies reduce network complexity without limiting operational agility, the MPA1-MIX-NET safeguards against system failures. Two 1G AoIP connections provide 64 channels of input, with a further 64 available via an optional MADI SFP. Support for in-band NMOS is included

The manufacturer has also added redundancy active controller; support for parallel-wired serial

transformation filters converting metadata input from any automation system into any required output format for transmission to a CDN. As part of Wheatstone Layers Software Suite, Layers Stream also has software modules for running instances of FM/HD processing and mixing in a cloud data centre. The Layers Software Suite incorporates a mix engine and Glass virtual mixers for laptop, tablet or touchscreen operation with routing, logic, automixing and full native IP audio integration.

Running on Amazon Web Services (AWS), Wheatstone’s Layers Stream software

Incorporating advanced audio processing algorithms in a half-rack unit, the Audioarts LiON FM audio processing has been designed to fully deliver across the frequency spectrum. The FM/HD audio processor uses advanced multi-band AGC and limiting/ clipping algorithms specifically developed for source content and listening devices. Other features include stereo enhance, RDS generator and power controller for compliance with the ITU BS.412 stereo modulation standards.

www.wheatstone.com

RØDE debuts “compact and powerful” Wireless PRO

DESIGNED FOR filmmakers and content creators, RØDE has unveiled what it calls its most powerful compact wireless system ever with the Wireless PRO, a dual-channel wireless microphone system that uses RØDE’s Series IV 2.4GHz digital transmission with 128-bit encryption to provide stable audio transmission at up to 260m line of sight.

The Wireless PRO offers 32-bit float onboard recording capabilities allowing for recording directly to the transmitters with no chance of the audio clipping, meaning that users will always have a clean backup of their session and eliminating the need to set gain levels prior to recording. 32GB of internal memory offers over 40 hours of onboard recording.

Adamson updates Blueprint AV software

THE COMPLETE range of Adamson Systems’ IS Series loudspeakers is now available for design and simulation with Blueprint AV v1.3.3. The latest version also improves the Mac installer experience and fully supports macOS Ventura and Apple Silicon computers. Blueprint AV has been the fundamental system design and simulation solution for Adamson’s product family since 2013. Blueprint AV functionality has been added to Adamson’s

the receiver automatically powers the unit on and off in sync with a connected camera. The 3.5mm output on the receiver also functions as a headphone output for audio monitoring as well as an audio input for a headset or other TRRS “narrator” microphone, such as a lavalier.

The Wireless PRO comes with a complete pro accessory kit that includes a smart charge case, two Lavalier II microphones and MagClip GO magnetic clips. It also comes with three high-quality furry windshields, all necessary cables for connecting to cameras, phones and other devices, and a case for keeping these accessories safe.

www.rode.com

recently released ArrayIntelligence software, which adds control and monitoring of the manufacturer’s CS-Series loudspeaker range and associated rack units, such as the Gateway and Bridge. Systems designers and installers can use either Blueprint AV or ArrayIntelligence to accurately and efficiently design their systems and streamline their deployment.

www.adamsonsystems.com

MPA1-MIX-NET-V-R

Expansion on the cards

TASCAM HAS announced the development of an expansion card for the company’s Sonicview consoles that will provide full support for the SMPTE ST 2110 AV networking standard. The IF-ST2110 can access 64 audio input and output channels with full network redundancy in accordance with SMPTE ST 2022-07 and support for SMPTE ST 2110-30/31, NMOS, AES67 and SAP.

With the global trend towards IP-based AV solutions, there is a growing need for products to be fully compatible with the different AV-over-IP protocols that are best suited to each specific application. While broadcasters are increasingly implementing SMPTE ST 2110 and AES67 AV networks, there are also situations where different IP protocols are used, so the ability to connect between multiple formats is a key advantage.

With an integrated Dante interface, Tascam Sonicview 16 and 24 mixing consoles already offer AV network connectivity out of the box which can now be extended by the new card. The IF-ST2110 complements the existing range of expansion cards that include MADI, AES-EBU, analogue output, additional Dante capability and a 32-track audio recorder, serving the needs of live events, installed audio systems and broadcasters in studios and OB vans used for remote production.

A v1.4.1 firmware update aims to increase the functionality of its Sonicview 16XP/24XP digital recording and mixing consoles with a range of enhancements. The company says the update improves user operability of its Sonicview consoles, enabling any input/output port to be selected for insert send/return. In addition, in the MODULE (GEQ) screen of the MIX 1-22 module

PK Sound changes its .dynamics

ROBOTIC LINE array manufacturer PK

Sound has formally released v1.0 of its PK .dynamics robotic system control software for Windows and macOS. Combining each stage of the modern live sound workflow, .dynamics develops designs from conception to reality with the flexibility of real-time coverage adjustments.

The toolset provided in .dynamics v1.0 includes the Venue tab, where users create, simulate and prepare the virtual workspace; the System tab, where they discover, identify and match real-world sources with the simulation; Robotics, where the system’s multi-axis coverage is articulated and optimised; Tune, where users apply EQ and adjust system parameters through onboard DSP; Live, where users monitor system performance in real time; and Status, where they can manage diagnostics and log service notes directly in the loudspeaker modules if needed.

and MAIN L/R master module, Graphic EQ can now be operated by a fader.

Furthermore, Sonicview Control app for macOS, Windows and iPad iOS has been updated to v1.4.0, adding remote control capability for the Sonicview 16/24 v1.4.1 features. The manufacturer has also released a v1.11 firmware update for the IF-MTR32 recording expansion board, which the company says addresses issues in certain situations when overdubbing and offers better stability.

Built on an Electron backbone, PK .dynamics uses HTML5, Sass and TypeScript. The microservice-based architecture has been adopted for scalability, and has been developed

to drive PK Sound products operating the AES70 standard over a Milan-ready AVB network.

www.pksound.live

Shure deploys Wireless Workbench 7

SHURE HAS made Wireless Workbench 7 (WWB7) available as a free download on macOS and Windows. The software

management tools in one place for the command of compatible wireless devices. WWB7 is equipped with a number of

including the addition of the WWB Scan Library, which gives users access to an ever-growing, online database of RF scans contributed by professionals around the world. The integrated scan library portal allows users to view recently uploaded RF scans before upcoming productions to better facilitate pre-coordination. Additionally, WWB7 features a userinterface refresh that includes an optimised dark mode for more comfortable viewing in low-light environments. Futhermore, those using Shure Axient Digital and ULX-D in HD mode for maximum spectrum efficiency can now generate a set of evenly spaced, compatible frequencies by right-clicking on the device profile header. Wireless Workbench now also provides more ways to customise reports to ensure that users view only the information necessary to their production.

www.shure.com

The V1.40 firmware update for the Model 12 Integrated Production Suite addresses a variety of functions that end users have been requesting and provides “greater flexibility and more intuitive operation”. The USB Return channels are now re-assignable. Users can choose either Inputs 1–2, 9–10 or MAIN bus. Users who want to use the channel or live/MTR inputs on 1 and 2 while using the USB returns, can now assign the USB returns to 9–10 or MAIN bus.

www.tascam.eu

RIEDEL BRAND punQtum has launched a free-to-download app, which works as an intercom system over any IP network. It’s available to Android and iOS users with access to the brand’s Q210 PW speaker station and is intended to streamline workflow for users.

The easy-to-use station gives users full control through four-channel communication and programmable buttons that allow mics to be muted, paging announcements and logic outputs. Additionally, the station is

equipped with a network switch with four ports, two of which are PoE+ powered. To use the new punQtum app, a DHCP server is required on the network to provide IP address assignment. It can be connected to the POE+ port if needed, but this isn’t a requirement. The app just needs to be on the same network. Users can also integrate the app into their current punQtum Q210 PW system without the need for additional beltpacks.

www.punqtum.com

d&b unveils NoizCalc 4.0

D&B AUDIOTECHNIK has announced the availability of NoizCalc 4.0 software, the latest version of its advanced simulation tool designed to accurately predict noise arising from outdoor events equipped with d&b systems. Version 4.0 features a range of enhancements over previous versions, including a new Graphical User Interface and an optimised workflow to reportedly ensure an accessible and intuitive user experience. Among the enhancements are greater similarity and alignment with ArrayCalc and the R1 remote control software, so users of those tools will find themselves in a familiar environment, without too steep a learning curve. NoizCalc enables proactive noise management in advance of an event. Using system data from d&b ArrayCalc project files, along with geodata from Google Maps and OpenStreetMap, the software calculates a grid noise map, which accurately predicts any potential noise issues in the surrounding neighbourhood. NoizCalc allows

the user to identify, at the design stage, any potential noise issues – the advantage being that these can then be dealt with proactively, in advance of the production being set up.

Developed in collaboration with SoundPLAN, a specialist software developer for environmental noise prediction, NoizCalc 4.0 imports system settings directly from d&b ArrayCalc. The software then offers a choice of international standards for its calculations (CNOSSOS-EU, ISO 9613-2 and Nord2000), depending on the user’s requirement.

NoizCalc can model complex systems consisting of many types of d&b loudspeakers, including line arrays, point sources, subwoofer arrays, fill and delay systems. System designers can also simulate adjustments to the way each element of a system is placed and powered to achieve the desired result.

www.dbaudio.com

NESS gains binaural capabilities

A V1.2.0 upgrade has been released by APG for its free NESS immersive audio software. The update adds a host of features, including new binaural capabilities, a revamped reverb engine and a new graphical user interface.

users to experience spatial sound over headphones, with no need for an external speaker system.

Elsewhere, the reverb module has been overhauled to add more depth and ambiance to 3D audio mixes. By

Compatible with any loudspeaker brand, the NESS program enables operators of entertainment and corporate venues, including bars, nightclubs, theatres and conference rooms, to experiment with and benefit from immersive sound. The new binaural feature in NESS introduces an additional dimension by allowing

allowing more precise control and selection of reverb effects, NESS 1.2.0 is said to deliver a more natural listening experience, closer to the sound produced by the natural acoustics of a room or listening space.

www.apg.audio

ATEN’s Open API extends integration with third-party controllers

SUPPORTING OPEN APIs for enabling thirdparty controllers (AMX, Crestron and Extron) to integrate within the pro AV system, ATEN has added the Control System and Room Booking System. Bypassing the ATEN Configurator Software (VK6000), interoperability is enhanced between different systems and devices, offering

For the ATEN Control System, third-party controllers, booking systems and software can refer to the Telnet CLI document and use the ATEN open API to enter the required commands, enabling integration without the VK6000. This ensures communication with different systems without compatibility issues, paving the way for

EMEET introduces a do-it-all solution for hybrid work

UPGRADED FROM its Meeting Capsule –a 360° AI conference room camera –EMEET has released the Meeting Capsule Pro Room Kit, an all-in-one solution that is said to outperform its predecessor and “takes hybrid collaboration to a higher level”.

it is the co-camera that sets the Meeting Capsule Pro apart from other conference cameras on the market.

In terms of audio, the Meeting Capsule Pro comes with eight omnidirectional mics and two noise-cancelling mics. Combining EMEET’s DSP algorithm, VoiceIA, and a 10W hi-fi speaker, this “all-in-one gadget” is said

and check-out, third-party controllers benefit from the TCP CLI document to retrieve and manipulate

Featuring dual 4k lenses and a Sony sensor, the Meeting Capsule Pro has been designed to capture everything in the room and provide a 360° panorama in 1080p resolution. The AI-powered speaker zooms in on whoever is speaking, making remote attendees feel like they’re sitting in the room and right next to the speaker. In addition, an extra wireless co-camera is also provided with the kit, which allows users to enable whiteboard corrections. The co-camera is said to provide portability and wireless connectivity and makes it suitable for a variety of different meeting scenarios.

According to EMEET,

PPDS unveils breakthrough in modular design

WITH THE launch of the Philips Signage 4650 D-Line Series of 4K displays, PPDS (Philips Professional Displays) has delivered a sustainable digital display solution with innovative features. Available in 32-, 43-, 50-, 55-, 65-, 75-, 86- and 98-inch models, the Philips Signage 4650 D-Line Series combines a 4K (3840x2160), 500cd/m display with a 11.9–14.9mm bezel in a portrait or landscape mountable design. Delivering faster on-display picture processing for smoother content transitions, the displays are equipped with Advanced Super Dimension Switch (ADS) wide-view technology for 178° viewing. QuadViewer can transform the displays into a bezel-free 2x2 videowall by simultaneously playing multiple content and channels on the same screen.

The Philips 4650 Signage Series is the first digital signage range in PPDS’s portfolio to feature the company’s “dual architecture” modular design. The 4650’s modular design allows for components to be easily detached and replaced in the event of faults or agerelated degradation. The latest model is also compatible with the cloud-based PPDS Wave ecosystem. PPDS Wave provides remote display management, including the monitoring and control of displays, upgrading of firmware, playlist management and power schedule settings from a single interface.

The displays integrate Crestron Connected as standard. The inclusion of PPDS’s Smart

has doubled from 16GB to 32GB and the RAM has increased from 3GB to 4GB. Working

integrated HTML5, Chromium-based browser. Updated from Android 8 to Android 11, web apps and software can be installed directly onto the display without the need for an external media player. Allowing more content to be stored directly on the display, internal storage

During a network failure, the media continues as the internal memory keeps content running by playing a cached version. The inclusion of “FailOver” technology automatically plays backup content during an outage. The 43- to 98-inch models are Bluetooth 5.2 compatible,

with Wi-Fi 6 wireless technology allowing for speeds of up to 9.6Gbps. With the CRD22 module, 4G connectivity is said to virtually eliminate connectivity boundaries or limitations for installations.

Extending PPDS’s family of in-room entertainment, the Philips Professional Soundbar (HAL5023) with a built-in subwoofer has been designed and configured exclusively for Philips MediaSuite TVs to transform hotel guest rooms into immersive cinematic experiences.

Designed and built in collaboration with TP Vision’s Philips sound team, the 70cm x 12cm x 7cm (WxDxH) soundbar features a professional 2.1 channel setup, with an output power of 200W max/100W RMS (10% THD). Back-end controls through Philips MediaSuite TVs also allow for specific configurations to be put in place, including volume limits, ensuring surrounding rooms are not impacted or disturbed.

According to the manufacturer, the freestanding or wall-mountable (brackets included as standard) soundbar can be easily configured using the professional setup menu on the Philips MediaSuite TV. All related settings can be quickly and efficiently copied and transferred to the entire TV fleet remotely through cloning via PPDS CMND to help save installation times and costs.

www.ppds.com

Extron brings USB-C connectivity to DTP range

EXTRON HAS launched a three-input twisted pair transmitter for sending USB-C video, HDMI and control up to 100m over a shielded Cat6A cable. The DTP3 T 203 transmitter supports 4K/60 4:4:4 signals and is HDCP 2.3 compliant. To maximise image quality and eliminate latency, all supported video resolutions are transported without compression.

Capabilities such as 60W of USB-C charging, dual buffered HDMI and DTP outputs, contact closure with tally output and Ethernet remote control facilitate integration in professional environments. Integrator-friendly features

sources, while five USB device ports connect to peripherals such as USB cameras and microphones. The USB-C input provides video/ audio, USB and 60W of power to charge a user’s laptop computer. With the UCS 303, meeting spaces can integrate a room’s USB cameras and microphones with users’ portable laptops into Teams or Zoom meetings.

The UCS 303 reportedly offers intuitive collaboration with auto switching, which can prioritise inputs, providing natural switching and minimal user interaction with AV hardware. Small huddle spaces will benefit from the UCS 303’s support of TeamWork Show Me

Next-generation switching

RS-232 signals from a control system for AV device control and Extron’s EDID Minder technology, which ensures connected sources power up properly and reliably output content for display. Furthermore, the DTP3 output can be configured to send video and embedded audio, plus control, to an HDBaseT-enabled display.

Extron has also unveiled the UCS 303, a collaboration and presentation switcher designed to meet the unique needs of UC meeting spaces. Three inputs support connection of USB, HDMI and DisplayPort

The NBP VC1 D features a rotary volume control knob and a dual colour, illuminated soft touch button for muting. The NBP VC2 D provides volume and microphone level controls with six fully customisable, soft-touch buttons that are backlit for low-light applications. Both PoE-powered models offer LEDs that provide at-a-glance level indication of volume levels.

The single-gang junction boxes include black and white decorator-style wall plates and a mud ring.

www.extron.com

ATLONA HAS unveiled its next-generation AT-HDR-SW Series of HDMI switchers and matrix switchers. The three matrix switchers provide support for 4K/UHD video @ 60Hz with 4:4:4 chroma sampling, as well as HDMI data rates up to 18Gbps and support for high dynamic range (HDR) formats. All models offer a compact design for undertable mounting inside meeting and learning spaces. HDR-SW switchers and matrix switchers are suitable for a wide array of AV applications, including hospitality and retail displays; meeting rooms and various spaces for AV presentations; and educational AV systems. Each model has five HDMI inputs, with various outputs to help systems integrators and end users choose the ideal configuration for their application

The AT-HDR-SW-51 (one HDMI output) is suitable for conference rooms and meeting spaces and can also feed larger, multizone distribution platforms such as Atlona’s OmniStream AV-over-IP systems. The AT-HDR-

SW-52 (two HDMI outputs) can be used in presentation spaces where two displays are needed and can feed separate content into dual, side-by-side presentation displays. The AT-HDR-SW-52ED (matrixed HDMI and HDBaseT outputs) offers the same benefits and features as the HDR-SW-52 but its HDBaseT output transmits video, embedded audio and Ethernet over distances up to 100m and pairs with the AT-HDR-EX-100CEA-RX receiver. The HDRSW-52ED can also serve a lectern-installed confidence monitor inside auditoriums and lecture halls alongside the main projector. The HDR-SW Series has also been designed with EDID management features, automatic input switching and HDCP 2.2 compliance. Additionally, 4K downscaling to 1080p at 60Hz, 30Hz or 24Hz is available when connected to an HD display. All three models can de-embed audio from an HDMI input to S/PDIF or balanced analogue audio outputs, and are controllable via Ethernet, RS-232 and IR.

www.atlona.com

disguise releases Porta 2.2 graphics controller

DISGUISE’S PORTA 2.2 broadcast graphics controller has been launched as a single platform for show graphics (CG), MOS newsroom templates, augmented reality (AR) and extended reality (xR) that can easily be combined with existing broadcast workflows and tools. The controller unlocks support for Unreal Engine’s Motion Graphics, enabling broadcasters to control all their graphics types – AR, xR and motion graphics – through one single user interface from the cloud or

on-prem. This innovation is said to reduce roundtripping and streamline workflow, tools and operations.

Additional benefits include native compatibility with Unreal 5.3 to ensure users get the latest updates instantaneously; studio visualisation and design whereby users can configure technical aspects while previsualising a studio’s look with a simplified workflow; and an improved UI.

www.disguise.one

AJA updates add up

DESIGNED TO

formats, protocols, codecs and other modern workflow demands, AJA Video Systems has released a low-latency KONA X I/O card, HDR Image Analyzer 12G v3.0 update and 12G-SDI OpenGear audio and HDMI conversion solutions. Compatible with AJA Desktop Software

v17 and v17 of AJA’s software

THE LATEST solution from Peerless-AV enables users to transform outdoor displays and kiosks into touch-enabled digital wayfinders and information points in high traffic areas. The IRTO55-XHB4 IR Touch Overlay enables standalone installation on the 55-inch Xtreme High Bright Outdoor Display and the Smart City Kiosks. The device can support 10 points of simultaneous touch with a fast response time of less than 15ms. It can also detect input from a gloved finger, stylus or other devices. Not only does this mean improved reliability but also allows for greater flexibility in content selection. The overlay is powered by a 3m USB 5V DC adaptor cable, is HID-compliant so no custom driver software is required and

works with multiple operating systems. It’s also IP65-rated and can be mounted in landscape or portrait orientation. Its powder-coated stainless steel frame sits over the primary frame of the standalone Xtreme display.

The product also comes with an external ambient light sensor extender accessory (ACCD-ALS) to automatically adjust the brightness of the Xtreme display according to lighting conditions. The ALS Extender overrides the built-in ambient light sensor, when it is connected, allowing flexibility for installations where the built-in ambient light sensor may have shadows being cast on it by surrounding structures or vegetation.

www.peerless-av.com

development kit (SDK), the KONA X is a four-lane PCIe 3.0 card for ultra-low latency video capture and playback and features built-in streaming DMA. Combining bidirectional dual BNC 12G-SDI and dual HDMI 2.0 connections, the KONA X has been designed to meet a broad range of I/O demands. An optional KONA Xpand board promotes more connectivity, including AES/EBU audio, LTC and REF.

The latest HDR Image Analyzer 12G v3.0 monitoring and analysis solution update introduces several new workflow capabilities for live, on-set, QC and postproduction environments. The update increases the volume of video channels that can be analysed simultaneously, integrates Dolby Vision tools, adds NDI connectivity options, expands support for the latest ARRI colour science with

Blackmagic updates its Studio Camera 4K

dynamic range and colour science, the cameras can reportedly handle extremely difficult lighting conditions while producing cinematic-looking images. The sensor features an ISO up to 25,600 so customers can create professionallooking images, even in dimly lit venues. Advanced features include talkback, tally, camera control, built-in colour corrector, Blackmagic RAW recording to USB disks and livestreaming.

Features of the Studio Camera 4K Plus G2 include a native 4K sensor with 13 stops of dynamic range, a USB-C port for recording to external disks or remote camera control over a network, a large 7-inch high brightness viewfinder, 12G-SDI and HDMI connections and optional focus and zoom demands for lens control.

The manufacturer has also unveiled the Blackmagic Micro Studio Camera 4K G2,

a next-generation model of the Micro Studio Camera 4K. Retaining the same compact design of the original model, the G2 version comes with a 4K digital film sensor with 13 stops of dynamic range and dual native ISO up to 25,600 for low-light performance. In addition, the camera adds 12G-SDI for operation up to 2160p60 and a new USB-C expansion port

UHD2 compatibility for high-resolution workflows.

With the OG-12G-AM and OG-12G-AMA, 16 channels of AES/EBU and analogue audio embedding and dis-embedding are enabled respectively. Supporting 12G-SDI input and output up to 4K/UltraHD, OG-Hi5-12G and OG-HA5-12G cards ensure 12G-SDI conversion to HDMI 2.0. Each hot-swappable card is designed for high-density openGear 2U frames, including the OG-X-FR, for remote control via support for Ross DashBoard software.

www.aja.com

corrector and lens using the SDI and HDMI connections. It can even record Blackmagic RAW to USB disks. Designed specifically for live production and powered by a 12V or LP-E6 battery, the camera has a small, rugged body with a magnesium alloy core. Finally, two hardware control panels have been created to provide access to the manufacturer’s ATEM Constellation HD and 4K switchers.

ATEM 1 M/E Advanced Panel 20

ROE expands Ruby range

ROE VISUAL has extended its Ruby Rental Series of LED panels. The Ruby RB1.2 has been designed for a variety of applications, from live events and corporate presentations to studio work. It offers high contrast and less reflection due to the optimised black LED body. Sporting a 16-bit colour depth, the panels can reportedly portray endless shades of grey and have a near-realistic colour accuracy.

The Ruby RB1.5 offers a 1.5mm pixel pitch and the Ruby RB2.3 comes with a 2.3mm pixel pitch. Both provide a wide viewing angle, high contrast and reduced reflection. The Ruby RB2.6 is described as having a robust all-round LED panel with a high-contrast black LED. It comes with a 2.6mm pixel pitch and wide colour gamut along with a wide viewing angle and reduced reflection. Its high refresh

rate of 7,860Hz and a scan ratio of 1:12 are said to make it suitable for rental as well as in-camera applications. The Ruby RB1.9BV2 and Ruby RB1.5F also come with a refresh rate of 7,860Hz but have a scan ratio of 1:8.

The Ruby VP series is described as a range of sturdy LED panels equipped with high-contrast black LEDs. The series comprises panels with pixel pitches ranging from 1.9–2.6mm. The panels provide less reflection and high contrast due to the optimised black body and a 16-bit colour depth. They are equipped with features that are said to be beneficial for any broadcast or film studio environment. According to the manufacturer, high refresh rates, powerful driver ICs and optimised multiplexing “guarantee optimised on-camera behaviour”.

The Ruby-C is said to offer all the qualities of the Ruby series in a curving LED panel

ETC gets a bigger touchscreen

ETC HAS released an 8-inch Mosaic Touchscreen station to join the 5-inch model that was released earlier this year. The 8-inch

good in any décor. The 5-inch Touchscreen mounts on a standard 1-gang back box, while the 8-inch version uses a 2- or 3-gang

curving options, creating seamless curves from –30° to +30° in 11 tiny steps to www.roevisual.com

Barco UniSee joins the dots with next-gen technology

fidelity”, so that users can choose the exact right colour show for their audience.

The Mosaic Touchscreens feature a clean design, plus a fit and finish that is said to look

protocols over a wired Ethernet network using Power over Ethernet.

www.etcconnect.com

TriCaster heads to the cloud

PROMISING TO bring TriCaster technology to everyone, Vizrt has added a new model to the line-up with the TriCaster Mini Go. The solution is the company’s entrylevel TriCaster for streamers and content creators of all kinds to add broadcast-quality functionality to their video creations. It offers USB, NDI and SRT connectivity, four inputs, two M/Es and mix outputs at HD resolution. The TriCaster now offers access to the TriCaster software without hardware tied to

a specific location. The whole system can reportedly be deployed and ready to produce in under 10 minutes and switched off when no longer needed, all without users needing their own cloud infrastructure, saving on costs but increasing efficiency.

To ensure TriCaster offers something for everyone, the enterprise-grade 4K cloudbased switcher, Viz Vectar Plus, joins the TriCaster line as the TriCaster Vectar. Available to deploy to customers’ own cloud

boardroom, corporate and experience

increased. Coupled with the UniSee Mount, the videowall’s contrast is increased to High Dynamic Range (HDR) levels, by implementing a mini-LED backlight unit for a more refined and accurate local dimming. Now matching the contrast, Sense X automatically matches the brightness and colours in real time to create a balanced single canvas alignment for static

Incorporating advanced polariser technology,

or the ambient lighting conditions. Offering a brightness of 800 nits, the technology reduces eye fatigue and radiated heating. With the adoption of mini-LED backlights, the real use power consumption of the UniSee II is reportedly 20% lower than the previous generation.

infrastructure, the TriCaster Vectar will soon offer an array of advanced features including increased bit-depth support and extended bitrate stream quality. These additions are said to offer customers two paths to production in the cloud: simple and standardised with the TriCaster Now and customisable and more powerful with the

www.vizrt.com

TriCaster Mini Go

Riedel merges SDI and SMPTE ST 2110

A NEW addition to the MediorNet family of video networking and processing devices, Riedel’s MediorNet HorizoN is a hybrid processing platform that “blurs the boundary” between SDI-based and SMPTE ST 2110 infrastructures with an array of UHD gateways. It also provides video processing capabilities such as UHD up/down/cross conversion, SDR-HDR conversion and colour cor r ection. Using a software-based app concept, HorizoN is suitable for the broadcast, entertainment, sports, corporate and government sectors.

HorizoN not only combines the simplicity of SDI with the interoperability of ST 2110 but also provides all the key processing functionalities for modern broadcast workflows. Because these capabilities can be distributed across the decentralised MediorNet TDM network,

HorizoN reportedly reduces the need for external processing devices as well as deployment complexity and costs. As the licensing scheme accommodates userspecific combinations of processing and gateway capabilities, users only pay for the functionality they need.

Designed to adapt according to needs, HorizoN houses 16 independent and individually configurable processing engines within a single rack unit, facilitating flexible processing while bridging the gap between baseband and IP systems. The platform provides up to 128 SDI-IP gateways, up to 32 channels of SDR-HDR conversion and colour correction, or up to 16 up/down/cross conversions and colour corrections. SFP-based baseband video I/O completes the package.

www.riedel.net

COB gives VDS all the angles

THE VDS Series is Leyard Europe’s latest LED technology using Chip on Board (COB) technology. Available in 0.9mm, 1.2mm, 1.5mm and 1.8mm pixel pitch models, the VDS Series features a 27-inch 16:9 cabinet and is designed for HD, 4K and 8K setups. With a protective layer designed to give a hardness rating of 4H, EMC Class B

as less cabling is needed, while a standby mode reduces power consumption to as little as 3W per m².

Compared to a traditional SMD LED, which has a point emittance so pixels can be observed at close distances, COB emits a more uniformly distributed light. The obtained larger viewing angles, in combination with its

best image, ensuring the video captured is always a clear, well-framed view of the person speaking, even at 9m. The Videobar 70 is said to give customers an interface for meeting control in a refined form factor, while the Android OS reportedly makes it an easy plug-and-play deployment.

More control in the room with

Aligo TX100 Quad HD is described as a highly scalable transmitter that can ingest a single 4K source, or up to four independent HD sources for IP distribution to any suitable endpoint in an Aetria system. Each source also has a dedicated USB connection for independent KVM control. Alongside the visually lossless stream of each connected source, Datapath’s SQX technology provides a simultaneous compressed stream for transmission across low-bandwidth networks, integration with thirdparty systems or archiving. With a single 10Gb connection, the Aligo TX100 provides a way to bring HD sources into Aetria, while routing up to four independent HD sources over the 10Gb connection helps reduce cabling and switch ports.

or multicast across the Aetria network, then decoded for display and monitoring on configured videowalls and operator workstations.

Other developments include Arqa workstation support for sources with multiple graphics outputs (multi-head), providing operator access with full keyboard and mouse control. Multi-headed sources can also be displayed on Aetria Wall Controllers individually or collectively as part of a preconfigured window. Videowall controllers connected to the Aetria system can now also be shut down, rebooted or started (via Wakeon-LAN) from the Aetria Command Center.

www.datapath.co.uk

TST-1080

Videobar 70

Christie offers complete solution with Hedra

WITH HEDRA, Christie has developed a videowall processor that serves as a secure, all-in-one control room solution. Based on a Linux hardware system and with multiview KVM, work can be performed either remotely or centrally. For arranging and controlling displayed videowall information, the drag-and-drop interfaces and customised layouts promote simplified switching between onscreen layouts and configurations.

Supporting videowalls up to 32 megapixels in configurations up to 8x2, Hedra can deliver data up to four UHD displays. The TAAcompliant control room solution can display, arrange and operate up to 26 inputs from both baseband sources – including HDMI and IP sources – with latency-free operation. Designed for smaller applications including command and control rooms and broadcast operations, Hedra is available in three models, with inputs ranging from nine on the Standard model to 26 on the Pro-Video model.

Expanding its M 4K RGB Series of projectors, Christie has also introduced two RGB pure laser projectors: the M 4K15 RGB and M 4K+15 RGB. Both deliver 15,750 lumens and are designed for a range of demanding applications, including staging and live events, projection mapping spectacles and theme park attractions.

Operating at 43dB, both projectors deliver full brightness at 120V or 220V and approach 98% of the Rec.2020 colour gamut. The M 4K15 RGB offers a 2,700:1 contrast ratio and 4K UHD (3840x2160) resolution, while the M 4K+15 RGB offers a contrast ratio of 2,200:1 and 4K UHD+ (3840x2400) resolution. For applications

that require higher frame rates, optional Mirage and Mirage Pro upgrades deliver 4K at 120Hz and HD resolution up to 480Hz. In brief, the manufacturer has added a third member to its GS Series. In addition to all the features from the DWU880-GS and DWU1100-GS, the DWU1400-GS comes with 14,250 ISO lumens, 12,000 ANSI lumens and a RealBlack disabled contrast of 1,200:1. It also has a 985W (max) power consumption and a 10A (100V) operating current in normal mode.

www.christiedigital.com

Hedra

M 4K15 RGB

EB-770F display in 16:6 and 21:9 aspect ratios. The 21:9 aspect ratio allows viewers to take in more information in one go, boosting productivity and efficiency. The EB-L260F and EB-L210W projectors can cover up to 300 inches, while the EB-770Fi and EB-760Wi can display up to 150 inches for a 16:9 aspect ratio when not in interactive mode. The EB-770F and EB-760W cover up to 150 inches diagonally in 16:9 aspect ratio. The EB-L210SF and EB-L210SW projectors

EB-L210SW offer 4,000 lumens. The EB-770Fi, EB-770F, EB-760Wi and EB-760W come with a high brightness display of 4,100 lumens. The use of a laser light source means that the models all boast up to 20,000 hours of maintenance-free use.

Aiding connectivity in meeting and education spaces, the Epson iProjection application allows users to simultaneously project up to four devices within the same network. The application also enables users

Atomos reinvents its Ninja ProRes monitor-recorder

HD disk recorder with a touchscreen monitor, Atomos has upgraded its Ninja line of camera-mounted monitorrecorders. Integrating a 5-inch HDR screen, the latest Ninja and Ninja Ultra models handle higher video resolutions, record ProRes RAW

The Ninja Ultra maximises camera cloud technology using Atomos Connect with cinematic workflows. Capable of recording files to ProRes RAW of up to 4K60p while simultaneously recording HD60p to H.265, the latest models support automatic matching

DEVELOPED TO create bespoke stages for broadcast, xR and vR applications, INFiLED has developed the modular LED Studio Series. As part of the series, the manufacturer has integrated three new technologies: Infinite Colors, which is an RGBW technology that extends the colour spectrum; CBSF, which combines improved colour accuracy with brightness that avoids colour shifts; and Seamless Curve, which shortens postproduction time.

In addition to the normal red, green and blue emitters, INFiLED has introduced a fourth emitter that increases the colour spectrum viewed from cameras using an LED video ceiling. Infinite Colors improves a variety of

Canon and RED cameras. In “cloud mode”, the

INFiLED books into the Studio

LED applications by allowing full variations in tone, saturation and colour appearance in white light and custom colours within one display. The resultant advanced colour and texture reproduction reportedly leads to a higher Colour Rendering Index (CRI) and a more natural appearance of human facial tones. Serving as an advancement in display technology, CBSF has been seamlessly integrated into the Studio DB and Studio Xmk2 series. With enhanced colour accuracy, it upgrades background performance by mitigating colour shifts, to provide a consistent visual experience that remains true to the intended colours.

www.infiled.com

Cameo’s PIXBAR LED bars. Comprising the PIXBAR 600 IP G2 (RGBWAUV) and PIXBAR 400 IP G2 (RGBW), both models are IP65-certified for outdoor use. With 16 individually controllable LEDs,

Atomos RemoteView to share live views from the Atomos screen with other Atomos monitors or other wireless with Wi-Fi 6E. Both Ninjas are backwards-compatible

variety of connection and mounting options, bars can be quickly and easily connected to each other via side-mounted magnetic plates. Cameo says its pixel pitch feature means the spacing between the LEDs remains consistent

Ninja Ultra

EB-L260F

OUR RELIABILI

IN ALL WEATHERS

Oceans apart for Elation as Proteus expands

ELATION HAS extended the Proteus IP65 series with the Proteus Radius Beam FX and Proteus Odeon framing profile fixtures. Capable of projecting narrow, intense beams over long distances, the Proteus Radius is a compact, high-intensity, IP65-rated beam FX fixture. The 100W solid state phosphor-converted light engine delivers an intense 0.9o beam and offers 360° movement on each axis for impactful beam animations. Aerial effects are enhanced with a CMY colour mix, gobos, prisms and frost. The Proteus Odeon features a variable CRI LED engine for adjusting an optimum blend of light output and colour accuracy from CRI 70–93. As CRI adapts, the colour temperature remains

Robe strengthens its inventory

LIGHTING MANUFACTURER Robe is aiming to create “drama, excitement and anticipation” with the launch of a variety of new products.

The iFORTE LTX WB is described as a longthrow LED wash beam, developed for any application where intensity is needed over long distances. Powered by Robe’s iSE-TE 1,000W XP (Xtra Performance) IP65-rated white LED Transferable Engine, the fixture produces 335,000 lux at 5m. The Transferable Engine technology is said to offer all the advantages of field exchange, cost-effective replacement and the ability to keep up with LED development to ensure a long fixture life. It comes with a solid beam, 245mm front lens and three zoom modes: Standard Optical Mode for the widest 3.5–55° coverage, Follow Spot Mode of 2–55° and Long Throw Follow Spot Mode producing an ultra-tight 0.8–2° to deliver tight, crisp beams without any intensity loss over long distances.

The FORTE Fresnel and PC washes also utilise the manufacturer’s Transferable Engine technology. Both products deliver “powerful and intense” washes without

losing any theatrical subtlety or control. The wide-ranging zoom from 6–61° (Fresnel) and 5.5–62° (PC) offers even coverage, making the FORTE Fresnel comparable to a traditional 2.5KW Fresnel luminaire. The TE 1,000W XP (Xtra Performance) white 6,700K LED Transferable Engine generates 90,200 lumens. Both models output over 41,000 lumens from the front of the fixture. The CMY colour mixing system provides “buttery smooth” colour transitions from the subtlest pastels to the strongest saturates. Features include two colour wheels, CRI 80 and 90 filters, plus a variable CTO from 3,000–6,700K.

the IP65-rated framing profile fixture can cater to a wide range of applications.

Combining a 550W rating output with an extended lamp life of up to 4,000 hours, the Proteus Hybrid Max is a compact IP65 hybrid fixture. Capable of emitting 22,000 lumens through a 170mm front aperture, the upgraded big brother of the Proteus Hybrid is equipped with a Philips MSD Platinum Flex 500 lamp and incorporates CMY and linear CTO colour correction.

Designed for noise-sensitive applications requiring silent automated framing, the fan-less Fuze Teatro houses a 480W RGBMA LED array with a CRI of 91 and output of over 15,000 lumens. Two rotating gobo wheels, animation wheel, dual frost, prism and iris are also included in its feature set.

The KL CYC is an LED lighting solution for smooth and even cyclorama, set and wall washing applications. Incorporating an RGBMA colour system, the KL CYC utilises an asymmetrical reflector design to create optimum blends. The fixture can also be used for footlight positions, providing versatility for stage, film, television and event lighting use. Magnetic alignment, a simple mounting bracket attachment, power and data management are included to reportedly make the KL CYC simple to integrate.

Created to complement the KL Profile FC, the IP65-rated KL Spot IP is a fully automated static ellipsoidal fixture with a 7–50° zoom that requires no additional lens tubes.

www.elationlighting.com

Hyperstar shines with Lonestar

WITH THE introduction of High End Systems’ Hyperstar, ETC has added a companion to the Lonestar automated luminaire. Optimised for projection versatility, the compact moving light can create unique designs for a wide variety of venues.

The FORTE Fresnel includes medium and light frosts; RotaScrim, which is a graduated filter system with position control; ±180° rotation and edge colour correction; and the rapid 4Door internal barndoor system for accurate individual blade control and ±90° module rotation.

www.robe.cz

Vari-Lite ZerOS update enhances FLX Series consoles

THE ZEROS 7.14 update for the Vari-Lite FLX Series consoles now supports Open Sound Control (OSC), RS-485-based Vision.Net and DMX Input. The OSC input support in ZerOS 7.14 allows ZerOS-based consoles including the FLX Console, FLX S Series and ZerOS Server to receive OSC commands from other devices and software that support the third-party control protocol. The update allows users to integrate their lighting control into OSC-controlled systems and automated applications.

By adding RS-485 to its existing IP-based Vision.Net support, Vari-Lite is expanding its

support for the Vision.Net platform within ZerOS. With support for Vision.Net RS-485, one of the FLX Series console’s onboard DMX ports can be used to receive Vision.Net commands from Vari-Lite Vision.Net Button stations or touchscreens. The addition of inbound DMX offers similar support for other DMX control devices in the system, including stage manager stations. Both capabilities allow users to recall lighting cues or adjust the lighting remotely.

www.signify.com

The same size as Lonestar, Hyperstar shares the same compact footprint and brightness ratings. With Lonestar recognised for its projection capabilities and framing, the framing modules of Hyperstar have been removed to provide more versatility when using patterns and aerials. Offering nine rotating patterns, 11 fixed patterns, an animation wheel, dual frosts and dual prisms, the unit also provides a large selection of breakups, aerials, radial patterns and gobos specialising in morphing and texture. Hyperstar provides a 15,400-lumen output, weighs 21kg and comes with a 290W ultra bright LED engine. The 3.8–55° zoom range is said to create powerful narrow beams to wide washes and everything in between.

www.etcconnect.com

Proteus

Hyperstar

20 years and counting

As ISE prepares for its 20th anniversary edition next year in Barcelona, Mike Blackman discusses plans for the biggest show yet, looks at how ISE has progressed to become a pivotal annual event and comments on the convergence of AV and broadcast

IT’S CERTAINLY AN EXCITING YEAR FOR ISE. NOT only are we celebrating our 20th anniversary, but ISE 2024 will be our largest-ever show. We already have an expanded show floor which is 17% bigger than last year, plus two new halls and over 80 brand-new exhibitors currently confirmed to make their debut.

This year, as well as several celebratory features to mark the 20th anniversary of ISE, we’ll also be looking ahead to the next 20 years of innovation. Our ISE journey from humble beginnings in Geneva in 2004 to becoming the definitive event it is today has been a remarkable story of persistence, hard work and vision from the industry pioneers that envisioned the success that it could be.

The first ISE in Geneva consisted of just 120 exhibitors and a good quality, but small, audience. Last year we attracted over 1,000 exhibitors and more than 58,000 visitors. Over the past 20 years, ISE has served as a catalyst for groundbreaking technological advances, fostered meaningful connections and dialogue and propelled the systems integration industry to new heights. It’s incredible to see how the pro AV and systems integration industry has grown and evolved in every market sector it covers. From live events to retail applications, it really has an impact on so many areas of our lives.

To make it simple for visitors to navigate the show floor and find exactly where they want to go, we have divided it into eight key Technology Zones to group exhibitors together. There will be two new halls open for the first time at ISE 2024 – Hall 1 becomes the new home of Lighting and Staging while Hall 4 will host part of the growing Multi-technology Zone – which also covers Halls 3 and 5 – and also houses the Content Production and Distribution Zone. Hall 2 is shared between Residential and Smart Building, Unified Communications and Education

Technology. Digital Signage and DooH (digital out-of-home) are in Hall 6, Audio is in Hall 7 and the ISE Sound Experience with audio demo rooms in Hall 8.0.

In 2021, ISE made its much-anticipated move to Barcelona but, as we all know, the world was put on hold at that time. This delayed our plans but, ultimately, it made the first official show in Barcelona in 2022 even more special – there was such a fantastic buzz across the industry because we’d been apart for so long. It was so special to reunite, and it really showed the appetite for tradeshows and how important it is for us to get together in person, to experience technologies and network, for both personal and business growth.

Renowned for its rich cultural heritage, stunning architecture and innovative spirit, Barcelona serves as an ideal backdrop for the next phase of innovation and growth in the pro AV and systems integration realm. We’ve had fantastic local support since we moved here, and it really does feel like home to us now. The Fira Barcelona Gran Via is a state-of-the-art exhibition centre that is easy to navigate for visitors and means we have space to grow thanks to its size. In addition to the two new halls, we’ll also be opening a new North access point, joining the South and East ones to help smooth the entrance/exit experience for all.

Barcelona, a tech hub of Europe, is strategically situated and easily accessible from around the world. Its well-connected transportation infrastructure, including a modern international airport and train links, allows easy access for exhibitors and attendees, while the local transportation provides a simple, stress-free experience. Visitors to ISE can collect a free travel card for use on the Barcelona Metro and bus network. There’s also plenty to explore outside of the show and opportunities to experience some of the local culture. We are

including extending our partnership with the Barcelona Llum lighting festival – watch out for more news in the coming weeks.

Understanding broadcast technology and content creation has become increasingly important for the pro AV and systems integration market. At ISE we’re embracing the convergence of broadcast and AV and broadening our horizons. The broadcast market, a cornerstone of the media and entertainment industry, has undergone remarkable transformations in recent years.

While it certainly holds its own, we’re seeing a growing demand for broadcast applications within AV projects, which can be attributed to several factors such as evolving technology and media consumption habits. At ISE we are being challenged to incorporate more content and features showcasing how these technologies can work together.

ISE serves several vertical end-user markets, many of which are now looking to produce their own broadcast-quality video content for internal or external use. Initially predominantly deployed by the media and entertainment industry, content production and distribution has spread to an increasing number of verticals over the past few years. The greater deployment of broadcast technologies in education, hospitality and corporate environments represents a significant shift in how these sectors communicate, engage and deliver content. This transformation is driven by the need for effective communication, engagement and information dissemination. There is so much more to share about ISE 2024, so I’d encourage readers to follow us on social media and check out the website for updates. We’ll be sharing news from our comprehensive conferencing programme, with eight inspiring, specialist conferences which run in parallel to the exhibition.

We’ll also be announcing some very exciting keynote speakers as well as sharing details of the various events and activities taking place to mark our anniversary. We look forward to welcoming you to ISE 2024. Blank Canvas readers can secure free registration using the proavlmea or proavlasia codes. ISE 2024 will take place at the Fira Barcelona Gran Via, 30 Jan –2 Feb 2024. Registration is now open.

www.iseurope.org

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