Pro AVL MEA November–December 2024

Speakers

Editor’s Letter

Having been quietly developed in the background for some time now, it’s great to see WMAS technology now emerging with Sennheiser’s Spectera wireless solution. I got my first proper glimpse of the system with the Venuetech team on the GITEX show floor a couple of weeks ago, but Richard had the pleasure of sitting down with co-CEO Dr Andreas Sennheiser and several of the system’s key engineers during a recent visit to the factory in Wedemark. Take a look at page 52 if you’re keen to know more about the wideband, bidirectional wireless system.

Coincidentally as I write this introduction, Shure’s first WMASinspired product has also just arrived in my inbox – the Axient

become the norm. The benefits are obvious and the drawbacks few and far between. It’s very interesting, therefore, to see the different approaches being taken by manufacturers.

It’s hard to believe that this issue already marks the end to another very busy year. Where has the time gone? As of 2025, Pro AVL MEA will officially be 20 years old! While I have only been working on the magazine for a small portion of that time, it’s almost unfathomable to realise we’ve now been covering the region’s AV industry for more than two decades. We couldn’t do it on our own though – thank you for your continued support!

Richard Lawn General manager rlawn@proavl-mea.com

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

Sue Gould Advertising director sgould@proavl-mea.com

Chris Yardley Video editor cyardley@proavl-mea.com

Carolyn Valliere Sales associate cvalliere@proavl-mea.com

Jack Stennulat Digital content creator jstennulat@proavl-mea.com

Caroline Moss Contributing editor cmoss@proavl-mea.com

Adrian Baker Production manager abaker@proavl-mea.com

Karen Wallace Editorial coordinator kwallace@proavl-mea.com

Marne Mittelmann Circulation manager circulation@proavl-mea.com

Bea Meikle News editor bmeikle@proavl-mea.com

Sue Su Guangzhou manager ssu@proavl-mea.com

CTME connects people and tech at new Dubai warehouse

In celebration of its new 7,500m2 warehouse in Dubai’s DIP area, Creative Technology Middle East (CTME) recently opened its doors to hundreds of industry professionals from across the GCC for an immersive exploration into the company’s AV solutions for live events and permanent installations. Named CONNECTME24, the event not only acted as a showcase of the team’s capability to meet the demands for high-quality AV solutions but, as the name implies, fostered connection between partners and clients and CTME’s people, products and services.

“CONNECTME24 was a major milestone in our Middle East journey celebrating the opening of our fantastic new facility in

Dubai and showcasing some of the best AV technology available in the region,” commented CTME MD Andy Reardon. “It was also a great platform for our technical teams to show off their skills in creating and programming some mesmerising and memorable demo activations, for which the feedback has been truly overwhelming in its praise.

“By nearly doubling the size of our footprint, it allows us to offer a wider and more comprehensive range of full-service technical solutions, including our recent investment of over 2,000 lighting fixtures. Every department has expanded to increase our capacity to manage multiple productions of any scale, large and

Epik Club keeps its finger on the pulse with Martin Audio

Situated in Dubai’s Meydan Grandstand, the exclusive Epik Club features a Martin Audio Wavefront Precision WPS system, as part of an audiovisual installation facilitated by Pulse Middle East. One of the latest nightclubs in the city, Epik has capacity for over 1,000 people and spans an area of 25,000m2

The Pulse team noted it chose the WPS system for its midrange clarity that required no additional EQ adjustments which not only simplified setup, but also

provided consistent performance across different environments. “The WPS stands out not only for its technical specifications but also for its ability to reproduce sound with such fidelity and transparency,” confirmed Samer Bachour, Pulse’s head of audio. “This makes it an ideal choice for high-quality audio projects.”

Twelve WPS units have been deployed per side in the venue to power sound for the dynamic range of performances hosted in the space and deliver balanced sound for all clubgoers. DJ monitoring is courtesy

The main CONNECTME24 event was spread over two days and divided into three different time slots. With around 500 registrations for the first two days, “which was more than we had anticipated”, admitted Reardon, the company also laid on a dedicated education day that attracted 200 students. “I wanted to support the education of the next generation of industry professionals by hosting a day dedicated to students from the foremost UAE colleges and universities,” he continued. “Education is a subject close to my heart, so it was gratifying that CTME was able to support and inspire young people studying all aspects of media and the performing arts. The team and I really enjoyed sharing our knowledge and experience to a receptive and inquisitive audience of people we hope will go on to pursue a career in our wonderful industry.”

“It was an absolute pleasure to visit and the students loved it,” commented Gemma Harte, head of media studies at Gems Wellington Academy – Silicon Oasis. “The team delivered a truly unique and insightful presentation that highlighted not just their equipment, but the extraordinary talent behind its delivery.”

small, at the same time and with our own inventory. We now also have a dedicated demo space of 800m3 for our clients to use for production design, mock-ups and pre-rigs.”

Guests got an in-depth look at the range of services and technical solutions provided to inspire ideas for future events and installations. The CTME team also showcased six activations demonstrating the potential of immersive, experiential AV and AI technology – Immersive Experience, Sonic Precision, AI Future Technology, Interactive Audio, Control Room and Cube of Light. For the first time in the

Mark Ross, technical director of Expo City, added: “In an industry where it’s becoming harder to stand out based solely on the tools you provide, Creative Technology demonstrated the true value that sets them apart – their skilled and creative workforce. In today’s market where the ‘hard sell’ can feel outdated and even off-putting, it was a refreshing approach. Their presentations were modern, forward-thinking, informative and laced with humour, showcasing the unity between their talent and the technology they use.”

The week ended with a day dedicated to the wider CTME family, giving the opportunity to see what other halves and parents do at work. “It’s a true honour to have talented people working for this business and so it was fantastic to meet the team behind the talent, the unsung heroes of our lives – the families,” concluded Reardon. “Thank you to everyone who made this journey possible.”

experience as the main PA system.

“It’s a masterpiece, bringing music to life with perfect authenticity,” concluded Joe Chidiac, managing partner of Pulse Middle

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Investindustrial acquires RCF Group

Global Sound Technologies Participations has finalised an agreement to acquire Italian audio systems manufacturer RCF Group.

Established in 1949 and headquartered in Reggio Emilia, Italy, RCF Group has reinforced itself over the past two decades as a major professional loudspeaker brand since breaking away from Loud Technologies. In 2023, the group – which includes dBTechnologies, EAW and Montarbo in addition to RCF – achieved a turnover of approximately €250m.

Represented in more than 130 countries, RCF has approximately 600 employees and

leader in the professional audio market, known for its strong growth, tradition of quality, innovation and commitment to sustainability.”

Having achieved strong results for the group’s growth over 20 years, the RCF management team will continue to play a

K SYSTEM in full effect for Mawazine festival

Mawazine festival 2024 in Raba utilised Naostage’s K SYSTEM to deliver automated lighting effects for hundreds of thousands of festival goers. Fred Hamonou, technical director for the festival, leveraged the system to save festival organisers money by using less

operates seven plants worldwide in Italy, Albania, the United States and Mexico.

aims to accelerate RCF’s international expansion both organically and through acquisitions, but with a particular focus on Asia, the Middle East and America. Currently representing approximately 70% of its capital, Investindustrial has proven to be a successful investor in niche manufacturing companies. These include Fassi (truckmounted hydraulic cranes), Amalfi (private label food manufacturing platform), Ceme (precision fluid control solutions), CSM Ingredients (food ingredients technology), Guala Closures (high-end specialty closures for spirits and beverages) and Omnia Technologies (automation technologies for beverage and pharmaceutical sectors).

Andrea C Bonomi, chairman of the Investindustrial Industrial advisory board, commented: “As we have proven many times, Investindustrial is the ideal partner for entrepreneurial families looking to elevate their companies to the next level of global expansion. RCF Group is an Italian

infrastructure were key factors in creating this partnership with RCF. Together, we share the same vision: to make RCF even stronger and the global leader in the professional audio market.”

Vicari stated: “We are proud to be partnering with one of the most successful entrepreneurs on the market today. We have chosen to work with a group that not only shares our desire to manufacture excellent and successful products but, first and foremost, the absolute transparency in the way of doing business that has always defined our families.”

www.investindustrial.com www.rcf-group.it

equipment than would be required from a traditional lighting setup.

having utilised its automatic tracking technology on a number of previous productions, as he explained: “My relationship with Naostage goes back a long way and K SYSTEM is a product I’ve been following for several years now. I’d had the opportunity to use it on several occasions and each time I’ve been convinced by the product, its execution and its effectiveness.”

With a capacity of more than 220,000 per day, Mawazine is the world’s secondlargest music festival. At the 2024 edition, Hamonou used K SYSTEM to automate and manage the complex lighting setup for performances by Camila Cabello, ATEEZ, Central Cee, Burna Boy and headliner Kylie Minogue, which would otherwise have required multiple lighting operators for the large number of Robe follow spots.

“The Robospot requires dedicated spotlights with a number of operators equivalent to the number of fixtures,” explained Hamonou. “The demand was such that it was impossible for us to supply the quantity requested by the various artists. That’s why K SYSTEM quickly appeared to be the obvious solution.”

Hamonou specified two KAPTA sensors which covered both the stage area and the proscenium, to enable the automatic tracking of the artists, their bands and other performers, such as dancers, plus the partial automation of the lighting effects.

K SYSTEM was driven by two full-size grandMA3 consoles operated by the festival’s lighting designers. Hamonou noted that the LDs, who were not familiar

Naostage also provided support for the project, helping Hamonou and his team to set up the right technical configurations. “They helped us with the feasibility of the project – like adding the second bar for the proscenium and they validated the final setup,” he concluded. “They were always available if we needed them. K SYSTEM is already a very mature product, but the Naostage team is always ready to listen and develop it further. They’re very easy to work with.”

www.naostage.com

RCF Group CEO Arturo Vicari

Avid to acquire Wolftech

Avid has entered into a definitive agreement to acquire Wolftech Broadcast Solutions, a provider of cloud-based multiplatform planning and publishing news production solutions. Both parties said that the strategic alliance is aimed at empowering digitalfirst, story-driven newsroom collaboration.

The acquisition combines Avid’s end-toend media solution with Wolftech’s expertise in story-centric workflow management. The integration of Wolftech and Avid is intended to enable news organisations to rapidly deliver stories through multiplatform amplification, with the aim of increasing efficiency and improving remote collaboration.

Wolftech already integrates with a wide range of tools, including Avid MediaCentral, and will continue to build integrations with the manufacturer’s solutions and other platforms. Avid noted that with the acquisition, it will

deepen the integration between the two toolsets while continuing to partner with a wide range of media production tools and newsroom systems.

Furthermore, existing Wolftech customers will gain access to Avid’s global scale for customer support and professional services.

Both parties stated that the planned acquisition will enable news production organisations to break down silos between digital, broadcast and long-form teams and increase efficiency with planning and analytics tools. The integration also aims to enable production teams to centralise communication and optimise team collaboration with web and mobile tools, amplify stories faster across distribution platforms, as well as leverage an integration engine, open API and AI framework to build and evolve workflows.

“We are thrilled to welcome Wolftech to the Avid family,” said Wellford Dillard, CEO of Avid

AUO Display Plus buys Avocor

AUO Display Plus (ADP), a subsidiary of AUO Corporation, has acquired Avocor. The move aims to accelerate Avocor’s growth by integrating ADP’s extensive expertise in display technology and global resources.

Part of AUO’s ongoing biaxial transformation strategy, the acquisition marks a step in deepening its vertical market applications under the Go Vertical

“This strategic move will further strengthen our presence in the solution business while also amplifying the cross-business synergies within the AUO group,” said Frank Ko, CEO and president of AUO. “Together, we are poised to set new benchmarks in the display industry, leveraging our combined expertise to deliver unparalleled value to our customers and partners.”

organisations to thrive in today’s fast-paced digital landscape. Together, Avid and Wolftech will change the game for news production teams, delivering innovative tools and workflows that enable compelling, yet efficient, storytelling.”

Arne Berven, CEO of Wolftech, added: “Joining forces with Avid represents an exciting opportunity for Wolftech to accelerate our mission of revolutionising news production. By integrating Wolftech’s multiplatform planning, collaboration and publishing capabilities with Avid’s industry-leading solutions, we will empower news organisations to adapt to evolving audience demands and deliver highquality content across digital platforms more efficiently than ever before.”

www.avid.com www.wolftech.no

Venuetech training

initiative. By integrating Avocor’s sales capabilities and distribution channels, ADP hopes to offer more diverse product platforms and comprehensive services to global customers in the education and enterprise markets.

ADP has been a significant investor in Avocor since 2022, fostering a partnership that has enabled the latter to expand its product offerings, including DvLED displays, digital signage and commercial displays.

“All sides are incredibly excited to welcome Avocor into the AUO Display Plus family,” said Scott Hix, CEO of Avocor, GM of AUO education and enterprise business group and CMO of ADP. “With AUO and ADP’s support, Avocor is positioned for unprecedented growth and expansion, enhancing our product roadmap and accelerating our go-to-market strategies.”

www.auodplus.com/en-global www.avocor.com

Venuetech recently conducted a comprehensive training roadshow on the Sennheiser EW-DX wireless microphone system and the Neumann MCM 114 miniature clip mic system across multiple client locations in Riyadh. Alice Macaluso, audio brand manager of Sennheiser from Venuetech, led the sessions, bringing her expertise directly to the premises of some of Riyadh’s leading production companies.

The training roadshow covered various aspects of the Sennheiser EW-DX system and demonstrated the application of the Neumann MCM 114 in both live performances and studio settings.

Participants were guided through everything from system setup and frequency management to advanced troubleshooting techniques, to empower them to deliver flawless audio experiences in their respective domains. Macaluso noted that the integration of the MCM 114 into these sessions provided valuable insights into achieving enhanced sound quality for instrumental performances.

Each session was tailored to the specific needs of the clients, offering hands-on experience and addressing real-world scenarios that the professionals encounter daily. Among the clients who benefited

from this initiative were Eventtec, known for its dynamic event production services; The Audiolab Event, a company with rich expertise in high-profile events; Hwadi Company, which specialises in audiovisual installations; and HiLights Group, a prominent establishment in the lighting and sound industry. As key players in the region’s entertainment and event production landscape, the companies benefitted from the training sessions which offered them valuable insights into maximising the potential of both the EW-DX and MCM 114 systems.

“Saudi Arabia’s entertainment scene is thriving and our Neumann MCM and Sennheiser EW-DX products are well received among rental companies, catering to the country’s numerous concerts, theatre performances and festivals,” remarked Ryan Burr, Sennheiser’s head of technical sales and application engineering in the UAE. “Thanks to our distributor, Venuetech, for educating the market on these products and to audio brand manager Alice Macaluso for her dedicated efforts in facilitating the roadshow.”

www.sennheiser.com www.venuetech.ae

SAUDI ARABIA

L–R: Arne Berven and Wellford Dillard

The HiLights Group with Alice Macaluso (centre)

WORLD

AUO headquarters in Taiwan

mediaPro scores at UAE Pro League awards

Held at the Emirates Palace Mandarin Oriental in Abu Dhabi, the UAE Pro League Awards Ceremony 2023–2024 featured an array of technology to enhance the viewer experience for the television broadcast and live show. No1 Events enlisted its partner mediaPro to provide the solution for the project, which was led by mediaPro account manager Mirco Resta.

At the heart of the main stage was a large archshaped 18m x 9m Absen PL4.8W LED screen, with two, also arch-shaped, 4.5m x 3.5m side screens either side. The central screen was framed by a half section of an 18m diameter Litec QX30S truss, while the side screens were framed by half sections of 6m diameter Litec QX30S circular trusses. The screen visuals were managed by Barco E2 Gen 2 processors and Disguise VX4 media servers.

The reception area featured an 8m x 6m (LxW) LED tunnel with an interactive floor made up of 192 Uniview P2.9 interactive cabinets and 288 Unilumin UGM 2.9mm flexible cabinets to create an arched shape. All pixels were controlled by a Resolume media server with quad 4K output.

Mathieu Goinsamy provided the lighting design for the show. “The ceremony lighting was a seamless blend of technical precision and artistic vision, crafted to create a visually

stunning experience for both the live audience and television viewers,” he said. “The meticulous selection of fixtures and thoughtful design choices ensured that every moment of the ceremony was captured in the most flattering light.”

Martin Lighting’s MAC Ultra Performance fixtures were used for key lighting alongside Chauvet COLORado PXL Bar 16 battens, Ayrton

MagicBlade FXs and RX fixtures for accent and background lighting. “The two shows during the night were fully timecoded, with minimal movement in the lighting to maintain a theatrical and elegant atmosphere throughout the event,” noted Goinsamy.

No1 Events provided a Clair Brothers C12 System featuring four tops and two subs in an L-R configuration either side of the stage for

the main PA. mediaPro complemented this with six L-Acoustics 5XT speakers for front-fill, four X12 speakers as delay-fill for the gallery and five X15 speakers as stage monitors. Control was courtesy of a Yamaha CL5 console.

“The primary challenge we faced during the setup was the rigging limitations of the stage venue,” said Resta. “We had to completely redesign the truss and structural setup, opting for a Total Solution Nova Tower ground support system featuring a 22m span of Super Beam 90cm x 60cm which all trussing and lighting designs were built on.”

The setup also included an 8m diameter Litec circular truss rigged with four Kinesys Liftket 1-ton hoists, allowing it to move during the opening act and return to its original position during the awards ceremony. The entire area of the circular truss was outfitted with 115 kinetic winches and 20cm diameter kinetic balls, controlled by Matrix Software.

A Clear-Com FSII-BASE-II FreeSpeak system was utilised for comms, featuring two wireless bases and 20 beltpacks, with a HME BP200 system with 10 beltpacks dedicated to the UAE Pro League team and operating on a separate channel.

www.mediaproav.com

Hippotizer drives Fanta Fest visuals

TURKEY

Taking place across seven of Turkey’s biggest cities, including Antalya and Istanbul, Fanta Fest 2024 featured five large LED screens displaying over 43 million pixels of performer content, driven by a Hippotizer Boreal+ MK2 Media Server. The content was created by video designer and programmer Gürkan Çalı ş kan who worked alongside the festival’s technical director, Can Besbelli.

Çalı ş kan and Besbelli created different visual content for the range of artists playing each venue, including Turkish singer Tarkan Teveto ğ lu and Turkish rapper CEZA. The content was displayed on LED screens rigged stage left and right and as a backdrop, with two additional screens flanking the stage used mainly as IMAG displays.

Çalı ş kan was given media content from each performer’s production team, designed to the dimensions of the LED screens, which he loaded onto the Boreal+ MK2 Media Server using Hippotizer’s media management feature to organise the show. Staras Technical Production installed the festival stage and supplied all stage equipment.

“This project was an immersive, easy and fun programming adventure for me,” said Çalı ş kan. “I synchronised the content with the timecode signal to make it triggerable, which made running the visual aspects of the show simple. Mapping all the outputs into singles and mathematically converting the total frame into the display area ensures zero errors in the content production part. And even if the project was closed for a short time for any reason, the outputs continued to process which is an impressive and excellent development within Hippotizer.”

Before the festival, both Çalı ş kan and Besbelli spent five days rehearsing at the closed venue to watch the show in preview. The video designer used Hippotizer SHAPE mode to preview the LED screen design in its actual size, to determine the geometric status of the visual contents and to control any changes.

“I used external timecode, MIDI control, timeline plus, capture input and notch FX to achieve real-time effects along with animation effects, interactive video content with audio, high-

resolution special content and camera effects,” noted Çalı ş kan. “I love using Hippotizer because it works perfectly in realtime tasks. It is very compatible in terms of software and hardware and its stabilisation is at very high levels. The interface is quite easy and understandable and it’s great when used for large-scale shows and concerts like Fanta Fest.”

www.green-hippo.com

Nexo keeps the beat in Tunisia

French singer-songwriter Barbara Pravi recently performed a special concert in the gardens of the Résidence de France Dar El Kamila in Tunis featuring an all-Nexo sound system deployed by Sybel. Located in the La Marsa suburb of the Tunisian capital, the show was part of the Franco-Tounsi festival.

The Tunis-based event production company provided a system comprising main left and right hangs of six STM dual 8-inch line array elements with LF extension from ground-stacked STM B112 and S118 subs across the front of the stage. Out-fill was covered by PS15s with P15 cabinets used for front-fill and returns.

The Sybel team also provided a Nexo system for the July 14th National Day Celebrations which took place two days after the Pravi concert. Hosted by French ambassador to Tunisia Anne Guéguen at the ambassador’s residence in La Marsa, the event was attended by 3,000 guests. Sybel provided the GEO M system to power sound for speeches and music, including main left and right hangs of six GEO M6s with two LS18 subs, two GEO M10s for front-fill, GEO M10/MSUB15s for out-fill and PS15s for returns. Amplification and processing for both events were provided by NXAMPMk2 powered TD Controllers.

www.nexo-sa.com

www.sybel.tn

Lindy opens Dubai office

Expanding its global presence, Lindy has announced the opening of a new office in Dubai, UAE. The opening of the Dubai location aligns with the company’s expansion plans as it continues to grow its presence in the Middle East market. Serving as a hub for Lindy’s operations in the UAE and neighbouring countries, the facility will enable the manufacturer to provide enhanced support and services to its customers in the region.

Alexandru Tunaru, head of international sales at Lindy, has been appointed as the key contact for the Dubai office. Tunaru, a seasoned professional with extensive experience in the technology sector, brings a wealth of knowledge and expertise to the role and will be responsible for providing customers with exceptional service tailored to their specific needs.

“We are excited to establish a stronger foothold in the Middle East with our new Dubai office,” said Tunaru. “This expansion reflects our commitment to providing world-class connectivity solutions and more personalised service to our clients in the region. Dubai’s dynamic business environment makes it an ideal location for Lindy to continue growing and delivering innovative products to our customers.”

www.lindy.com

Unica 8M

Unica 4L

Barbara Pravi performing onstage

Alexandru Tunaru

ARRI fixtures used for Atomic in Morocco

ARRI fixtures are being used for various scenes in director Sharif Korver’s mini-TV series Atomic, which is currently being filmed across various locations in Casablanca, Morrocco. Featuring a star-studded cast, the highly anticipated, action-packed Sky Original series produced by Pulse Film UK follows two civilians caught up in a smuggling plot across North Africa.

Gaffer Florin Mihalache from the International Cinema Lighting Society created a lighting rig featuring 12 ARRIMAX 580mm diameter, parabolic facetted reflector luminaires which have been fixed to adjustable cranes in the streets of Casablanca. In addition, 100 SkyPanel

S60-Cs are being used for scenes shot in the studio.

“The scene with the 12 ARRIMAX 18/12 is a crazy action/stunt scene taking place all over a building and we have decided to use this rig to have the opportunity to move fast from one floor to another just by adjusting the crane’s height while having the same lighting quality,” explained Mihalache. “We wanted a sunny Casablanca day atmosphere and we took advantage of the thick walls of the building, so we didn’t have to flag each light against double shadows inside the set.” www.arri.com

UNICA. THE PLATFORM WITH THE AMPLIFIER ON BOARD.

So capable. So Unica.

Unica will have a fresh-out-of-the-box feel throughout its life, and it will be possible to integrate features and functionalities down the line, making it truly futureproof. Proving the engineering efforts undertaken in the development of this platform are 5 registered patents

Golden Sea purchases SGM

Golden Sea has announced the acquisition of SGM Light AS. Effective immediately, SGM will begin to restart trading under a new legal entity, while retaining the SGM name.

Denmark-based SGM first joined the industry in 1975 as an IP65 moving lights manufacturer. More recently, the company places a focus on architectural lighting with its technology covering both the architectural and stage lighting portfolios, aligning with Golden Sea’s current investments in both entertainment and architectural IP65 lighting products. The company boasts experienced R&D, creative, operations and sales teams alongside mature sales channels and partners which Golden Sea will leverage through the agreement.

“Our investment in SGM aligns with Golden Sea’s future strategic and long-term development plans,” said Christopher Agius Ferrante, VP of Golden Sea. “The purchase of SGM is highly complementary to our existing business and will help to enrich and strengthen the product range and expertise that we can offer all our clients – for both architectural and stage lighting equipment.” Golden Sea noted that all SGM Denmark staff will remain in place. “We strongly value the whole SGM team and are excited to have them on board as we seek to invest and grow in our determination to make SGM sustainably successful,” furthered Ferrante.

en.goldensea.com

BeWunder goes karting in Dubai

tracking systems to enhance the augmented reality, cartoon-style go-karting experience. The game sees players race their friends around various track layouts – from London to the Nevada desert – collecting points and using “power-ups” and weapons as they go such as laser guns, bombs, hammers and speed boosts.

Originally launched in London in 2021 and then in Manchester last year, Chaos Karts was created by London-based gamedeveloper The Ents. The objective for the

complete with a library of tracks and powerups for players to sabotage each other with.

The Ents created the original prototype for the game and then turned to immersive technologies developer Make Real which developed the software that weaved all the necessary hardware together to bring the immersive experience to life. This included the booking system information being relayed to the go-karts, determining screen information to be shown about each player in each session and the projection-mapping,

“This wedge is a game changer in our industry! Now, there is no volume bleeding off the stage. The control and isolation of these monitors is amazing. Every touring engineer who has come in and seen them has been blown away.”

Mike Richards, House Sound Engineer, The Vine Theater at Del Lago

game world being augmented over the open, empty space. Make Real noted that because the tracks are projection-mapped, there is basically an infinite number of track configurations possible.

Following Chaos Karts’ success in the UK, The Ents turned to BeWunder to be its technical partner for the recently launched Dubai location. BeWunder provided LD Systems’ Stinger G3 PA system to deliver background music and animation sound effects that enhance the

real-life game experience. The company also deployed various luminaires from Vision Pro Lighting such as VLED 934s, VSTROBE 3000s and VPC 200 WW-19 LED profile spots.

A Panasonic solution was chosen to deliver dynamic visual content that transports players into different immersive worlds. The manufacturer’s PT-MZ14K 14,000-lumen laser projector, paired with ET-EMU100 lenses produces the floor projection, while another PT-MZ14K with ET EMW500 lenses projects imagery onto the walls. Media playback and image blending is handled through 7thSense media servers.

BeWunder project manager Stuart Taylor explained how the Dubai experience works: “There are 50 cameras rigged above the track which work in conjunction with sensors on each kart to track the position of each car. The data from the cameras and sensors is played out through the 7thSense media server to give the driver real-time feedback through an individual screen on each kart. Through special software provided by The Ents, the kart’s speed can be controlled so that if a player goes off road the kart will instantly slow down, thereby reducing any advantage that could be gained by taking a short cut. This also applies for when the track layout changes; a kart will start to slow down and the room will go dark for a split second then a new track layout will appear and the karts will power up again. The 7thSense media server has also been used to sync the content-based audio with the game play to produce sound effects in real time.”

www.bewunder.com

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Pioneer Events invests in LD Systems’ MAUI series

SAUDI ARABIA

Riyadh-based Saudi event management company Pioneer Events has announced its significant investment in LD Systems MAUI series, supplied by PRO LAB. Established in 2016, Pioneer Events provides AVL solutions for a range of events in the region including ceremonies, conferences and exhibitions, including many notable, large-scale government projects.

The company has invested in 30 MAUI 11 G3 cardioid column PA systems in black, 10 MAUI 44 G2 cardioid powered column loudspeakers and the MAUI 5 GO W column PA system in white. The shipment also includes four MAUI P900 B powered column PA systems in graphite black and two MAUI P900 G powered column PA systems in platinum grey, both by Porsche Design Studio.

Erick Mendes, director of operations and event production at Pioneer Events, noted that a key factor for the investment was the solutions’ aesthetic appeal. With grey, black and white housings, the speakers can seamlessly integrate into various events, without interfering with design elements and colour schemes. Furthermore, the speakers have already been deployed for a range of applications in the region, including various high-profile events arranged by the Saudi government.

“Having already conducted lots of my own research, I experienced the MAUI systems first-hand at the Saudi Light & Sound exhibition earlier this year and was simply blown away,” explained Mendes. “Pioneer works on a lot of high-end exhibitions where the look of the equipment is incredibly important – sometimes more so than how it sounds. The P900s are a thing of beauty, the perfect solution visually for many of our events, and ideal for when there is no time to hang arrays.”

Jan Tarakji, general manager at PRO LAB, commented: “We had the pleasure of meeting Erick at SLS this year. During our discussion about the extensive range of brands and products available at PRO LAB, we noticed Erick’s keen interest in the LD Systems MAUI series. The MAUI series delivers high power output in a compact, elegantly designed package,

making it ideal for small to medium-sized events. Its versatility and performance clearly captured Erick’s attention, prompting him to consider investing in this exceptional column series. In response, we promptly offered a comprehensive package, assuring Erick of the product’s superior quality, our professional service and a swift delivery process.”

www.ld-systems.com www.pioneerevents.com.sa

Prosound ensures Cape Town Stadium stays match-ready

SOUTH AFRICA

After years of providing ongoing maintenance and upgrades to Cape Town Stadium since its construction for the 2010 World Cup, Prosound was recently tasked with enhancing the audio in two of the stadium’s business lounges ahead of the highly anticipated South Africa vs New Zealand rugby match.

“We installed a complete audio setup, which is ready to plug into a central point when needed, as well as future provisions for ceiling-mounted subwoofers,” explained Prosound’s Charles Markotter, who’s serviced the stadium since the World Cup days. “The decision for a distributed system was made as the rooms were very long and narrow (up to 100m), so ceiling speakers made much more sense. Larger speakers wouldn’t guarantee that we cover the full area effectively and would’ve been less cost-effective for the client.”

Both sharing the same design and layout, the business lounges on Level 3 and 4 are now covered by 22 UM12E8 ceiling speakers from Bosch, powered by LEA four-channel amplifiers. A pair of Bosch

LC2-PC60-G6 10-inch subbass cabinets have already been installed on Level 3, with the cabling laid for the addition of the same on Level 4.

“We had just a week – from initial

speakers as Bosch units, utilised LEA four-channel amplifiers and Adastra mixer/ media players with Bluetooth to ensure top-

A portable head end using the Adastra mixer/media players can be redeployed where required. “The amps needed to be portable because there were no real logical, secure points they could be installed,” said Markotter. “They also won’t be used on a regular basis. Furthermore, it gives the stadium the ability to use one system in more than one location.”

Remarkably, the original Electro-Voice system covering the stadium seating areas that was installed by Prosound nearly 15 years ago has aged well despite its undesirable location. “It’s essentially still the same system. Some equipment has been refurbished over that time, but nothing has had to be replaced. The speakers on the concourse level get the full brunt of the sea air and other weather factors.”

be ready for the big test game between the Springboks and All Blacks,” said Markotter. “They also needed a very basic, simple system that they can just plug in to either of the conference rooms, for things like background music. We procured new

www.prosound.co.za

Thomsun hosts Yamaha console training in Dubai

Experience Center in Dubai, the two-day training sessions provided the mediaPro team with a thorough overview of the capabilities of the manufacturer’s Rivage Series and DM7 audio consoles.

Taking place over the course of two days at both the Yamaha Training Centre and the Thomsun Learning and

The first day saw the teams assemble at the Yamaha Training Centre in Jebel Ali for training on the Rivage Series products delivered by Yamaha Music Gulf’s John Oben. The following day the teams headed over to Thomsun’s new Learning and Experience Center in Al Quoz where additional training on the DM7 digital mixer was conducted by Thomsun Trading technical support engineer, Atul Lanjudkar.

“Yamaha and Thomsun recently jointly hosted a group of enthusiastic engineers

Allen & Heath partners with Jetbuilt

Allen & Heath has partnered with Jetbuilt to integrate its comprehensive product catalogue into Jetbuilt’s database. The integration aims to streamline the workflow for end users, integrators and consultants by providing access to the latest information on Allen & Heath’s audio solutions. Through the partnership, integrators will gain direct access to Allen & Heath’s detailed product specifications, pricing information, product availability and warranty details, enabling them to accelerate various stages of their projects, from proposal generation to comprehensive 360° project management.

Additionally, the manufacturer’s products can be customised within the Jetbuilt platform to reflect the integrator’s specific pricing, shipping, labour and tax details. Once customised, these items are saved to the company’s product database for future projects. The manufacturer’s full portfolio, including lines like dLive, Avantis, SQ, Qu and AHM, will be readily available within the Jetbuilt platform.

Jetbuilt’s Project Registration allows integrators to register their products in each project, directly within the platform. Furthermore, the platform allows Allen & Heath to engage directly with integrators during the planning stages of a project to allow the

from mediaPro over an intense two-day programme especially curated for them,” commented Jose Dos Santos, Yamaha PA/CA brand manager. “The engagement involved a one-day session each at the Yamaha Training Centre and the Thomsun Learning and Experience Centre. Since the establishment of our local experience centre, it is not usual to have such a large gathering of wonderfully talented experts of such calibre turn up for a session, let alone a group all from the same company. Our team handled both these sessions with aplomb!”

www.mediaproav.com www.thomsunmusic.com/proav www.yamaha.com/2/proaudio

manufacturer to validate product fit, discuss specialised project requirements and offer potential incentives.

“This is an exciting new phase of our growth with the Allen & Heath brand visibility and ease of project design spec,” said Jeff Hawley, director of marketing for Allen & Heath USA/ American Music & Sound. “Our customers asked for more detail and access to the increasingly popular range of Allen & Heath products and Jetbuilt was a no-brainer way to make this happen.”

www.allen-heath.com

www.jetbuilt.com

Yamaha Music Gulf recently conducted a training session on the Yamaha Rivage series audio console for the mediaPro

NXL 14-A SMALL FRAMEWORK. MASSIVE SOUND.

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Minimal dimensions with the power of a giant. The new NXL 14-A is the most compact active speaker in the professional NXL series. It features two 6” woofers in a symmetrical configuration and the new 1.75” Precision Transducers PKX driver loaded on a rotatable TRW waveguide, all powered by a 2,100W two-channel amplifier with FiRPHASE and Bass Motion Control processing. Available in black or white finish, the NXL 14-A is designed to deliver definition, power, and portability in any live application. Perfect for vocal reproduction, ideal in compact live systems paired with SUB series subwoofers, in immersive applications, or as a fill speaker.

AJR the first in South Africa with L-Acoustics K3

SOUTH AFRICA

AJR Audio has invested in an L-Acoustics K3 audio system, reportedly becoming the first technical supply company in South Africa to do so. Thinking ahead, the company chose to purchase the system to enable it to meet audio specifications for large-scale events.

“We’ve always wanted a K Series system and it’s becoming increasingly relevant as we grow,” said Altus Janse van Rensburg, owner of AJR, who founded the company in 2005. “Having the K3, the ultimate L-Acoustics box for us, in our inventory it is a dream come true and helps us prepare for the future. It’s a pleasure to be part of a team that works so well together and then to have the opportunity to work with such a renowned brand is simply wonderful.”

The system was supplied by DWR Distribution which AJR shares a close relationship with. “We commend Altus for the way he conducts business – his passion for getting things right and delivering a top-quality product,” noted Richard Smith, manager at DWR. “He never rushes into a purchase; every decision is well thought out.”

AJR’s new system comprises 12 K3 longthrow line source boxes and four KS28 subs already in its inventory. “Because we used the KARA system extensively, often collaborating with companies who already own KARA, we realised we had to hang a lot more boxes and subs to achieve the same audio levels,” added

L–R: AJR’s Berto Reynders and Anton Chichongue, Richard Smith from DWR, Drikus Du Plessis and Altus Janse van Rensburg of AJR, Duncan Riley from DWR and Anré Jacobs of AJR

van Rensburg. “The compact K3 system allows us to use fewer subs and avoid extra flying and rigging points.”

Although there isn’t a sub-rental market opportunity yet, AJR hopes that larger rental companies will take notice of the K3 system and utilise it. “This system is the ultimate solution for us and fits perfectly with the

profile of work we do, particularly for outdoor shows with audiences of up to 5,000 people,” continued the AJR founder.

van Rensburg noted that the AJR team shares his enthusiasm for the new system.

“Anré Jacobs, who’s been with me since 2010, has always dreamed of having a system like this,” he concluded, “while Drikus Du

Plessis, our LED screen specialist, is just as thrilled as the rest of the team. Having this new system, along with the opportunity for training and empowerment, is all about preparing for the future and what lies ahead.”

www.dwrdistribution.co.za www.l-acoustics.com

SAW elevates the boardroom experience in Namibia

Stage Audio Works (SAW) Namibia has recently completed the integration of a new AV system for Ohlthaver & List (O&L) Group’s execustive boardroom at the O&L Centre in Windhoek. Founded in 1919, O&L operates across various sectors including

capabilities, providing enahnced virtual communication and elevating the meeting experience for both in-person and hybrid delegates.

“We were approached by the client directly, as we have a longstanding relationship built

would be compatible with both Microsoft Teams and Zoom conferencing platforms.”

SAW facilitated the installation of a scheduling panel, ceiling-mounted microphones, multiple tracking cameras, a dual-screen setup, power plugs under the

videoconferencing system offers signal management, content sharing and source switching, enabling users to connect their own devices. To ensure all meeting participants can hear and be heard clearly, a Crestron beamforming ceiling microphone and in-ceiling loudspeakers were implemented. Additionally, a content camera captures whiteboard content to facilitate enhanced collaboration. A participant video tracking solution and on-desk touchpanel have also been installed, alongside a touchscreen outside the boardroom displaying scheduling details to provide the O&L team with visibility on room occupancy. All active equipment is automatically switched off after the room has been vacated, which has resulted in cost savings on electricity.

“Our ongoing partnership with O&L is important to us,” added Smit. “Ensuring their satisfaction with every project is our top priority. This project was no different; we were focused on delivering a state-of-theart solution to meet their evolving needs. We’re confident that the videoconferencing equipment installed will ensure a more equitable meeting experience for all. We look forward to working with O&L again in the future.”

www.crestron.com

NAMIBIA

Image courtesy of Sonja Kilian Photography

CineAV facilitates MGG’s Christie investment

MGG, a provider of audiovisual services in South Africa, has invested in four Christie M 4K25 RGB pure laser projectors. Facilitated by long-term partner CineAV, the investment is aimed at enhancing MGG’s rental staging and conference applications.

The company was first introduced to the projectors back in December 2023, when CineAV played a crucial role in a high-profile projection mapping project. Following further discussions, MGG confirmed that its loyalty to the Christie brand, coupled with the ability to utilise lenses from its existing projectors with the new units, solidified its decision to continue its partnership with Christie and CineAV. MGG plans to deploy the new Christie M 4K25 RGB laser projectors for two major upcoming events. “We are thrilled to continue supporting MGG as they expand their capabilities with Christie’s state-of-the-art laser projectors,” said Clwyd Jones, technical manager at CineAV. “This investment underscores MGG’s commitment to

Mark Gaylard, managing director at MGG, added: “As one of South Africa’s leading rental and staging companies, it’s vital for us to stay at the forefront of technology. Our investment in these Christie projectors, backed by CineAV’s unwavering support, ensures we can consistently deliver superior visual experiences to our customers.”

“We are delighted that MGG has once again chosen Christie to help them to deliver powerful visual experiences for its customers,” remarked Miles Donovan, senior sales manager, EMEA, Christie. “We are seeing RGB pure laser illumination being increasingly adopted in the region and we think the benefits the technology brings will make the M 4K25 RGB projectors an outstanding addition to MGG’s rental fleet. We look forward to seeing some impressive future projects using the new M 4K25 RGB projectors.”

www.christiedigital.com

Audac is worth the hype in Saudi

SAUDI ARABIA

Merging the real world with the virtual reality realm, The House of Hype in Riyadh features 842 Audac audio products, provided by local distributor Venuetech. The large entertainment park experience combines content creation and physical video games to create an exciting customer experience. At the heart of the solution is a Dante-based system consisting of two LUNA-F Flexible network audio matrix processors with the addition of an 8x8 Dante AES67 licence, enabling the processors to have 64 channels. This setup provides control over 128 zones in The House of Hype, spanning the expansive space of the facility. Power for the solution is courtesy of PMQ and SMQ power amplifiers equipped with ANI44XT Dante Audio Network Interface Cards, allowing the amplifiers to be integrated into any Dante-enabled AV network.

The system also features three XMP44 SourceCon modular audio systems, creating 12 input sources where 12 NPM40 Audio Streaming Sourcecon Modules have been

installed. This enables each zone to be served with the desired audio source. The network-controlled setup can be fully controlled with Audac Touch.

The mammoth Audac solution incorporates 240 loudspeakers, including 100 WX802MK2s which have been strategically placed throughout the venue. These wall speakers have been integrated to deliver immersive audio to enhance the virtual world experience at the park, alongside ALTI6/B loudspeakers.

An array of ceiling speakers have also been strategically placed throughout the venue, such as the CELO8S, the CALI424 and the CELO2 speakers, which feature an added black front grille to blend into the décor. CELO8S high-end 8-inch ceiling subwoofers and BASO compact bass reflex cabinets were also integrated into the setup to elevate the overall experience.

www.audac.eu www.venuetech.ae

SoundKraft chooses L-Acoustics and DiGiCo

Dubai-based audiovisual rental company SoundKraft has upgraded its audio inventory with L-Acoustics speakers and a DiGiCo Quantum 338 console with SD-Racks. The company provides AVL solutions for a range of hotels and event management agencies in the UAE, as well as turnkey services for event production projects hosted in the UAE region by international clients from across the GCC, India and Asia.

The company already has an extensive stock of L-Acoustics and, with its new shipment, it has doubled its inventory. The latest purchase includes 24 KARA IIs, 12 KS28 subwoofers with four-in-one chariot and covers, four LA-RAK II racks consisting of three LA12X amplified controllers, alongside two LS10 factory set AVB switches per rack, one P1 processor, as well as Kara II M-Bar and M-Bumps, DO cables of various sizes and other accessories.

The L-Acoustics shipment was provided by NMK Electronics. “It was a wise decision to go with L-Acoustics,” commented Mithesh

Bhatia – founder and managing director of SoundKraft. “We do a lot of concerts, corporate events such as gala dinners, award shows, conferences, product launches and

weddings and the KARA II system is very versatile,” added Bhatia. “For concerts, the KARA II speakers will complement our existing K2 system for down-fill, centre-fill and

side-fill. In addition, the system also performs extremely well for other small or mid-sized indoor applications such as ballrooms in the

SoundKraft has also purchased a DiGiCo Quantum 338 console with two 32-bit SD-Racks with configurations of 56 inputs/48 outputs each alongside an AES card, provided by 7Hertz. The console also comes with Waves, Dante and KLANG cards and HMA optical

“With our current inventory of two SD10s, and with riders slowly shifting over to DiGiCo’s newer series, it was the right decision to purchase a Quantum 338,” concluded Bhatia. “We will be mainly using it for rider-oriented shows such as concerts, live events and weddings, as well as for suitable corporate events.”

www.digico.biz

www.l-acoustics.com

www.soundkraft-me.com

UAE

SOUTH AFRICA

L–R: Nardus De Lange of MGG, Clwyd Jones and Tyron Ackerman from CineAV and MGG’s Johan Botha

The SoundKraft team with their new L-Acoustics stock

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Barco brings Encore3 certification to the Middle East

With the introduction of its new Encore3 platform, Barco recently brought training and certification of the new platform to users in the Middle East. Over the course of recent weeks, the company’s Middle East business development manager of immersive systems, David Vandevelde, conducted two-day specialist certification programmes at its local office in Riyadh, down in South Africa in cooperation with local partner DWR Distribution and for multiple high-profile productions companies in the UAE.

“We’re excited to announce the successful completion of our first Encore3 certification trainings in the MEA region,” commented Vandevelde. “Several new professionals have been trained and certified and are now ready to handle the advanced capabilities of the new Encore3 image processor.”

Despite being the first exploration for many attendees of the new platform, the training programme being delivered is far from a beginner’s introduction,

Robe takes on the Wheel of Fortune

Cape Town-based production company Homebrew has invested in Robe LEDBeam 150s to assist in the recording of the most recent series of Wheel of Fortune

The new fixtures were specified by head of lighting Daniel Louw, who oversees all things lighting related for a few productions at the film and television production facility – a bustling hub of creative activity serving the Western Cape and beyond.

The 20 new LEDBeam 150s were delivered via the Cape Town office of Robe’s South African distributor, DWR Distribution, and are rigged for the current Wheel of Fortune production top and bottom of two large set pieces in Atlantic’s Studio. Six LEDBeam 150s are spaced out

along the top of each piece each side, with eight on the floor. They have become a workhorse throughout this series.

“The LEDBeam 150 was a great solution in terms of size and functionality,” Louw stated. “They are very compact and low profile – essential to maintain the clean, modern, streamlined aesthetic of the show. The zoom is excellent, and they are punchy enough to cut through all the key, set wash and other scenic lighting.”

Six of the nine cameras are on the floor with three in the roof space positioned at different angles. Louw notes that by using moving lights, shows like this can be beautifully lit with a bit of imagination and a lot less fixtures.

requiring prior advanced knowledge of the recommended Event Master screens workflow and previous experience configuring and programming E2 systems.

It’s a two-day intensive course open to Certified Event Master Specialists (Level 1B and higher).

“These specialised courses are part of our ongoing commitment to elevate industry expertise. Now available in Dubai, South Africa and Riyadh, the courses are designed to equip participants with handson knowledge and practical skills and have also seen a wave of new experts emerge, ready to elevate their events with the cutting-edge capabilities of the Encore3,” commented Vandevelde. “For those who have not yet taken our certified classes, we’ll open the registrations for three-day courses soon. These will be open to all and have no prior certification requirement.”

www.barco.com

The Wheel of Fortune format has been going since the 1970s and is one of the longest-running TV games shows; however, this is the first series to be produced in South Africa, prompting the producers to ensure it was a great-

looking production and something special. The set was designed by Michael Gill.

www.dwrdistribution.co.za www.robe.cz

Held at the prestigious Palazzo Versace Hotel in Dubai, the NMK InterActiVe: High Stakes Night brought together key systems integrators from the AV and IT industry for an exclusive evening of networking, collaboration, entertainment and partner recognition. Hosted by NMK Electronics, the event included the NMK Partner Awards, where the distributor recognised the achievements of its partners across several categories for fiscal year 2023–2024.

Themed as a “High Stakes Night”, the event kicked-off with an immersive projection and light show, followed by a presentation from Dino Drimakis, director of strategic development at NMK, highlighting the company’s vision and plans for the future. Drimakis was later joined by Alex Kemanes, regional managing director –Middle East, and Nicolas Cox, managing

Some of the winners included AVI-SPL (Large-Scale Museum & Entertainment Venue Project of the Year), Aesthetic Technologies (Innovative Boardroom Project of the Year)

the impressive contributions and innovative projects spearheaded by its partners, emphasising their vital role in advancing the AV and IT industry.

The event was packed with entertainment, such as performances by a live band, an energetic DJ and roaming acts that included acrobatics and living statues. NMK InterActiVe: High Stakes Night also served as a platform for networking, offering attendees the opportunity to collaborate with fellow systems integrators and NMK’s leadership team.

“NMK InterActiVe: High Stakes Night was about celebrating our partners’ successes,” said Kemanes. “It brought people together, encouraged new connections and set the stage for future collaborations. We are proud of the impact our partners have made and we look forward to continuing to innovate and collaborate alongside them.”

www.nmkelectronics.com

SOUTH AFRICA

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L-Acoustics strengthens its EMEA sales team

EMEA

L-Acoustics has announced a strategic restructuring and expansion of its EMEA sales team, which, according to the company, is to capitalise on unprecendented growth. Led by the recently appointed director of sales EMEA, Tim Völker, the move includes a new head of sales management position in the EMEA region and the appointment of a new sales manager in the Middle East.

Chris Mead joins as head of sales for the Middle East, India, Africa and Eurasia. In his role, he will work in concert under the leadership of Völker, an industry veteran with a proven track record in driving sales growth and market expansion at companies such as Sony Music Entertainment and Sennheiser.

Cyril Matar has been appointed sales manager for the Middle East, as part of the company’s ongoing expansion of its global sales team to capatilise on emerging opportunities while providing customer support.

The manufacturer stated that it has seen a 30% increase in its workforce over the past two years and noted that this growth is mirrored by its sales performance across

Abhinand

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applications. For instance, we’re seeing increased demand for our solutions in luxury residential projects and immersive entertainment experiences. Our expanded team has the expertise to drive growth in these exciting new verticals. We are poised

residential installations and next-generation nightclubs. This proactive approach allows us to meet current demand while continuing to shape future trends in professional audio.”

www.l-acoustics.com

KS joins INFiLED

INFiLED has announced the appointment of Abhinand KS as business development manager in the Middle East. In his new position, he will focus on developing and growing the company’s business in the install market and identifying opportunities across the United Arab Emirates for various indoor and outdoor displays.

Previously, KS worked at NMK Electronics as key account manager for Kuwait, Bahrain and select accounts in the UAE. During his tenure, KS’s primary responsibility was to develop the Kuwait and Bahrain regions for Class-A audiovisual brands under NMK Distribution, while also working to establish and nurture new and existing accounts in the UAE. KS will be based at the manufacturer’s Dubai office, home to its service centre

and experience centre. “As business development manager, I will focus on the development and growth of INFiLED screens in the Middle East, particularly in the installation market. I am highly confident about the product’s potential in this market, particularly in this region where quality products are highly valued.”

Samer Otaibi, VP of sales – Middle East at INFiLED, commented: “We are very happy to welcome Abhinand to our team. His hands-on expertise in the AV industry, along with his business experience and strong network, will be invaluable in expanding our client base across the Middle East.”

www.infiled.com

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L–R: Cyril Matar and Chris Mead

Brompton appoints Hassan Abu Minshar

Brompton Technology has appointed Hassan Abu Minshar as technical sales manager for the MENA region, leveraging his over two decades of experience in the pro AV and live events industry. He previously worked at Analog Way where he successfully managed sales and operations in the Middle East, and built strong relationships with rental and staging companies, AV systems integrators and LED manufacturers.

“I am thrilled to be part of a company that I have long admired for its commitment to delivering exceptional award-winning products,” he said. “Brompton’s reputation for innovation and customer support aligns perfectly with my own values. I look forward to working within such a talented team to drive growth and success in the MENA market.”

Mohammad Siam joins Q-SYS Middle East

“We are delighted to welcome Hassan to the Brompton family,” added Lotta Schiefer, director – sales, Brompton. “His extensive relationships will undoubtedly contribute to our ongoing success.”

www.bromptontech.com

Q-SYS has welcomed Mohammad Siam as MEA sales manager. The company said that Siam’s role will be vital to the office’s growth and development in the region and will see him responsible

“I am thrilled to announce that Mohammad has joined our organisation,” commented Chant Utukian, Q-SYS managing director, MEA. “He brings a wealth of experience and knowledge, including nearly a decade’s experience in video, broadcast, entertainment and live events. We are excited to have him on board and look forward to his contributions that will drive the path to our future success.”

Siam moves to Q-SYS from Disguise, where he served as regional sales manager, and before that handled sales with distributor MediaCast.

“I am incredibly excited to embark on this new journey as a sales manager for the MEA region,” commented Siam. “It’s a wonderful opportunity to collaborate with such a talented team. I look forward to the new challenges ahead and am grateful for the support I’ve

Audio partners with Sound Factory for the GCC

FVC has been appointed as the distributor for Clevertouch, a provider of interactive display technology and digital signage solutions, in the GCC region. The partnership aims to leverage FVC’s extensive regional network to enhance the availability of the manufacturer’s solutions across the screens to GEMS Education as well as other customers such as Emirates, Etihad Airways, Saudi Aramco, and Abu Dhabi and Dubai government offices.

“The addition of Clevertouch’s comprehensive range of interactive and commercial displays, including the award-winning Lux, Edge and

digital signage software CleverLive, significantly strengthens FVC’s product portfolio,” remarked Ian Parkin, international sales manager at Clevertouch. “By integrating Clevertouch’s advanced technology into their offerings, FVC aims to empower organisations with the tools they need to thrive in today’s dynamic the most advanced and reliable solutions in the market, empowering them to achieve more through enhanced communication and collaboration.”

Part of the UK Headstock Group of companies, loudspeaker manufacturer HH Audio has announced the appointment of UAE-based Sound Factory as its official distribution partner in the GCC region, including the Middle East, CIS and parts of Northern Africa.

“At Sound Factory, we’re excited to kick off this new partnership with the HH brand,” stated Sound Factory’s business

to a successful and rewarding partnership as we work together to take the brand forward.”

Ian Wright, Headstock’s director of global sales, added: “I am very happy to be working with Sound Factory. Our brand fits in beautifully with the solid portfolio of brands they already have, in addition to an experienced, well-connected team who understand all aspects of the audio

www.clevertouch.com www.fvc.com

customer focus aligns perfectly with our values, and we’re confident this will lead to growth and success in the territories we’ve been entrusted with. We truly appreciate the opportunity to team up and are eager to explore what’s ahead for HH Audio. Here’s

fantastic job of introducing the HH brand in their market and will work hard to develop HH as a leading player there.”

www.hhaudio.com www.soundfactoryfzco.com

DWR to represent Beetek and BirdDog

Expanding its product offerings for clients in South Africa, DWR Distribution has announced it has taken on distribution for Beetek and BirdDog. Through the agreements, the distributor will offer Beetek’s connection and transmission products as well as BirdDog’s extensive range of AV equipment.

Beetek delivers rugged connection and transmission products for the pro AV industry backed up with first-class service and support and has already sent its first shipments of products into the country. DWR will offer the complete range of Beetek products, including armoured multicore fibre cables, active optical HDMI cables, stackable cable reels, extenders and adapters.

“Since the first conversation with Duncan Riley and Dylan Jones, I immediately knew that DWR was the perfect partner for Beetek,” said Aaron Lange, Beetek international team. “They understood the products, asked all the right questions and were able to see the little details that set Beetek apart from the others.” Jones commented: “We are grateful for the opportunity to represent the brand in South Africa. Beetek offers an extensive product range that will complement all of our current

AV solutions and allow us to support systems integrators with their future installations. DWR is always looking for new ways to enhance customer convenience by having everything they need under one roof.”

BirdDog specialises in a wide range of equipment, including NDI encoders and decoders, PTZ cameras and control software designed for the video production and broadcasting industry. As its exclusive

distributor, DWR will offer the manufacturer’s entire suite of solutions.

“DWR Distribution has been an established supplier of products within the M&E and AV space for many years, representing many well-known brands and we are delighted to be working with them,” commented Phill Lane, BirdDog’s VP of sales EMEA. “BirdDog’s range of AV products and connected workflow solutions fit well with their existing line-up and the requirements of their established customer base. With a reputation for excellent customer service and a strong knowledge of local markets, DWR Distribution and BirdDog will make excellent partners.”

“It has been a pleasure to meet with Phill Lane from BirdDog and discuss how we can help our customers with their NDI requirements,” concluded Jones. “I’ve always been excited about the idea of DWR distributing BirdDog and it’s great to see that vision becoming a reality. The stock is already flying off the shelves, which just goes to show how in-demand and popular these products are.”

www.beetekav.com

www.birddog.tv

www.dwrdistribution.co.za

SOUTH AFRICA

L–R: FVC’s Bruce Withington and KS Parag with Ian Parkin and Ben Kimble of Clevertouch

L–R: Sound Factory’s Fara Azari and Ciprian Mancas with Ian Wright of HH Audio

DWR’s Dylan Jones

Fire chief

When the 26-year-old isn’t fulfilling his duties as chief operating officer at Broadcast Solutions, Maximilian Breder is fighting fires at his local fire station

that I was part of an integrated trainee programme where I studied and worked at the same time. I’m still studying now –I’m completing an integrated master’s degree in Management at the University of Mainz, so I’m often completing assignments after work in the evenings.

How did you get into firefighting?

It all started when I was 11 years old and I attended our local Jugendfeuerwehr (youth fire brigade) which takes children until the age of 16. I was also playing the trumpet in an orchestra and playing football, but firefighting was my real passion. When I turned 16, I started to attend courses at weekends and learn about breathing apparatus for example – the training takes about a year-and-a-half and then you’re qualified as a firefighter and at this point you can enter a building that’s on fire, of course with a breathing apparatus. You can go out on an emergency at the age of 16 but once you’ve completed the training, you can do so much more.

What other responsibilities do you have?

I’m also the leader at our emergency coordination centre – in my area there are nine fire stations and if someone has rung 112 and an alarm is activated in one of the nine stations, it also comes through to the emergency coordination centre. I manage any operational or strategic problems that might come up and make sure we’re following all the protocols. If a house is on fire, I need to coordinate all the fire trucks and maybe even call other units in or call the water agency, the electricity agency

Training takes about a year-and-a-half to complete

and possibly also the police and the mayor, and it all happens via the emergency coordination centre. There are about 12 volunteers who work at the centre and there needs to be at least two people there when an emergency is happening.

Are there any full-time firefighters?

No – because it’s quite a small area, all the firefighters are volunteers. Normally, there’s a callout about once every three days. We had more volunteers on emergencies during Covid as people were generally at home and they had more spare time. We use an app on our phones where people can signal whether they’re available for a callout – when the alarm rings, they can say how long it’ll take them to get to the station and through

this we can coordinate all the volunteers. When a big fire occurs and there aren’t enough firefighters, we need to call more volunteers from their workplace.

What’s the best thing about your hobby?

It comes from the heart – I want to help people. And there’s still that little boy in me that wants to drive the big red fire truck and of course extinguish the fire. It’s like a big family – you get to know all the people in the firefighting community and most of them are your friends. We meet up when we’re not firefighting –some of my closest friends are also firefighters.

Is there any crossover between your job and your firefighting?

Yes – Broadcast Solutions builds not only OB vans but also command support units with big screens, radio communications and meeting rooms. I can bring my knowledge of firefighting and our emergency coordination centre and use this when I’m talking with customers as I understand the technology and know what they’re looking for.

What’s the best and worst thing about firefighting?

It’s the people – obviously we take everything seriously, but we also have fun. Outside of work and my studies, it’s important for me to have this time away. It might not be everyone’s idea of how to relax during your time off, but for me it’s rewarding in its own way. I have become friends with people of all ages, not just my own age. And they come from all kinds of backgrounds – car mechanics, electricians – so this comes in handy sometimes! But the disputes between people are tough – in the end we all have a common goal, we want to help people and not just push through our own personal goals and it’s also the bureaucracy that gets in the way of what we’re trying to do.

What other difficulties is your station facing?

It’s hard attracting people because even when you’re qualified, you’re only a volunteer. Last year at our station, we established a bambini firefighting group with the aim of trying to encourage children at a younger age to join and then when they’re 10 years old, they transfer to the Jugendfeuerwehr. Up until 2011, you could choose to volunteer at your local firefighting station instead of carrying out military service, but this has stopped now as there’s no military service in Germany.

How do you cope with tragedy?

We all talk together – but for me, it’s the camaraderie and the time I spend together with my friends that helps me deal with everything. You are one big family. My time as a firefighter has taught me about teamwork and working as one – and that’s so valuable for both my firefighting and my job. I’m always trying to be better tomorrow than I am today.

Maximilian (left) has formed a solid bond with his fellow firefighters

Maximilian Breder

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Room to grow

With the opening of a brand-new experience centre and offices in Dubai, Q-SYS is setting itself up for continued success in the Middle East

Since opening a dedicated Middle East subsidiary in 2021, Q-SYS Middle East has gained a lot of traction in a short space of time. This has allowed the team to grow quickly from just two to nearly a dozen experienced industry professionals, but a by-product of this growth spurt was that the company has outgrown its home several times in that short space of time.

For a while now, managing director Chant Utukian has had a vision of opening an expansive experience centre locally in Dubai, mimicking the success such Q-SYS endeavours have found elsewhere around the world. That vision is now becoming reality, as the company stands on the cusp of opening the doors to the huge new 405m2 office at the Dubai Supreme Court Complex, perched on the banks of Dubai Creek.

“We started out with a very small office, which made sense back then,” explains Utukian. “It was just a small team with two people, myself and our applications manager, Angelo Arbilo. But it became evident pretty quickly that we needed to expand because the amount of success we saw from the market was just phenomenal. We not only quickly outgrew that location, but we also felt the need to create a full experience centre because Q-SYS is so wide. Our offering is much more than just a collaboration space or a boardroom.”

With Q-SYS providing solutions for practically every vertical, “a lot of customers didn’t really realise the full range we offered, simply because they hadn’t been exposed to it,” adds Arbilo. “This is a place where customers can come and experience everything, whether it’s third party or our solutions, and not only on a productby-product basis. It’s really about the ecosystem that Q-SYS represents.”

Bucking the trend of other such spaces, which have typically preferred to be located further south, the centre’s floor-to-ceiling windows overlooking Dubai Creek aptly set the tone as visitors walk through the doors. “It’s definitely not the typical location a manufacturer would choose, but that’s intentional,” the managing director admits. “We really want our customers and partners to come and just spend time here, so we didn’t want the design to be too corporate. It’s a relaxed space and the view is really inviting. Customers can come, feel at home, sit down and talk to us. It’s not always about business, it’s about building relationships.”

senses of our customers, so that they can experience the full solution of Q-SYS,” adds Arbilo.

The experience centre has full-functioning showcases divided by application. “We have an open collaboration space that is styled like a venue, showcasing how our solutions fit into that environment,” Utukian adds. “The Q Cafe is a representation of an entertainment or hospitality venue, like a bar or a café. We have a retail space showing the automation you can do in a retail application, and we have the boardroom, which represents a high-impact space. We have a much bigger new training room, which serves as a multipurpose space, and a small Microsoft teams meeting room. In each of these, technology partners are well-represented as well.”

The breadth of on-the-ground training is one area that the local team has been investing heavy resources into in recent years, and the vastly bigger training area will allow it to step things up more. “It is an impressive, fully fledged training room, and the concept is to allow our customers to use it for multiple applications,” explains Utukian. “While our solutions

we also understand that we can’t demonstrate every single solution.

“The training room is a flexible space, where if there’s an application we weren’t already showcasing, we’ll allow our partners to create that application in that space,” adds Utukian. “We can readjust the look and feel of it to match that requirement.”

Much like the training initiatives, the new experience centre represents a stepping-up of Q-SYS’s future intentions. “It’s a big jump from where we were a few years ago to where we are now. While it took us a while to get to here, I can happily say that the results are more than satisfying,” concludes Utukian. “Whenever people walk in here, you can see their reaction, and that’s the rewarding part. They immediately see why we chose this place and immediately understand the concept. All in all, the business is growing, and with this new office we see potential to grow even further.”

www.qsys.com

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The boardroom

Partners can bring their own third-party devices to use in the training room

The collaboration space

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about how she began her career,

the obstacles faced along the way and what she has her sights set on for the future

Forum, as well as multiple shows at Expo City, Dubai Opera, the Coca-Cola Arena and more. She wisely spends Dubai’s hot summer months in Germany working the festival circuit.

She therefore began to pick up more gigs and, slowly but surely, progressed to larger venues, building a name for herself in Russia working alongside some of the country’s big bands. In 2020, she was offered a job as a substitute engineer at

the Dubai Expo, marking her entrance into the Middle East industry. Her work there impressed the event’s head of sound so much that she was subsequently tasked with handling the expo’s main Jubilee

stage as lead sound engineer. Now, she resides in Dubai and has since worked on various jobs including events, such as UAE Commemoration Day, the Saudi Games opening ceremony and Qatar Economic

Contemplating the biggest differences working in the Middle East compared to Europe and Russia, Gard says she “grew immensely after coming to the UAE. Here, you’re exposed to the best equipment in the world, and as there is a lot of funding for the region’s entertainment industry, you tend to have a higher level of technical riders and professionals. Even though I was working at the same level in Russia, I didn’t have access to the same kind of equipment I get to enjoy here. All the crews in the ME are also international, which means you regularly get to work with people who bring their own unique experiences and perspectives.” As her career’s developed, Gard’s work has also become more complex – she frequently utilises her extensive knowledge and experience in system engineering, FOH and audio monitoring and networking, including in Dante and other digital sound protocols. “Things have evolved a lot,” she says. “I get to work with very cool and complex setups now. Sound engineers have to almost be ‘network engineers’ when it comes to planning and implementing shows. Even

the sound systems we use have changed dramatically. For example, with new cardioid systems, you have to take into consideration the architecture of the venue and be very precise with your predictions of how the sound covers the audience – this involves a lot of advanced planning.”

Having gone from a small Russian town learning the ropes on local gigs, to working on top-tier projects in the UAE and the world, Gard has faced a variety of obstacles on her journey: “Starting out, the main challenge was being one of the 1% of women in the AV industry in Russia. But this was challenging in a good way because it drove me to show that it’s not just guys that can do it – I can do everything just as well. I had great colleagues who gave me guidance, but I always believed in myself.”

A member of the Women in Live Music organisation, Gard has noticed that over time, she’s started to see more women around her, which is encouraging. “I feel like I set a good example for other women. It’s important for others to see that it’s not forbidden for a female to be in this profession. As hard as it was in the beginning, it is so gratifying to see more representation in the industry now.”

Conversely, she highlights the benefits of the multicultural working environment in the Middle

East: “When I first came here, people treated me with respect and gave equal opportunities that didn’t depend on my gender. Everyone seems to be open to a variety of different people – that’s made it easier to develop and grow as a professional here.”

Working in an ever-evolving industry which is constantly at the forefront of new technological developments, Gard says that it’s imperative to stay on top of the latest trends: “I find stuff out from my circle about when a new technology or product is out, and I’m always learning and reading, going to as many seminars as possible. Lastly, I like to get hands on with equipment and just play with it, break it, fix it and make it work. The more practice you get, the more you develop.”

A seasoned professional, some may say Gard has learnt all there is to know about live

sound engineering. She rebuts this claim. “Every project is different, and it doesn’t matter how many years of experience you have, there is always something new. If you haven’t learnt anything, for me that means it was a wasted project.”

With 12 years of sound engineering experience under her belt and a solid résumé of notable international projects, Gard has seemingly “done it all”, so what’s next?

“Going on a world tour with a big-name artist would be cool,” she concludes. “While I don’t have any set goals for the future, I want to keep working to see more representation for women in the industry and to learn, gain more experience, grow and throw myself into new challenges each day.”

www.valeriegard.com

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Strength in numbers

Miquette Caalsen finds out how SACIA is fostering professionalism in Southern Africa’s broadcast and AV industry

THE SOUTHERN AFRICAN COMMUNICATIONS INDUSTRIES Association (SACIA) is focused on encouraging ethical business practices and maintaining professional standards in the communication, broadcasting and events sectors throughout Southern Africa. SACIA is committed to promoting values such as competence, integrity and ongoing professional growth for those involved in fields including audiovisual technology, broadcasting and event management.

The creation of SACIA was inspired by the AV Specialist Technical Forum, founded in the late 1990s. This forum comprised a select group of broadcast and AV engineers who convened regularly to discuss various regional topics relevant to the broadcast and postproduction sector. Members would alternate hosting meetings and frequently arranged “behind-thescenes” tours to observe each other’s projects. The group also produced technical papers that were published in AV Specialist magazine, which was the foremost publication for broadcast and audiovisual technology in Africa at that time.

The forum operated as an informal grouping for over 20 years, and through this time it expanded and started to collaborate with several global organisations, including the International Association of Broadcast & Media (IABM) and the Audiovisual and Integrated Experience Association (AVIXA) (previously InfoComm International) to deliver industry-specific training to the market. In 2009, the formal association was founded with the essential objective of developing a regulatory framework designed to assist professionals in upholding high standards of practice within the dynamic communications landscape. As a not-for-profit organisation, it is positioned to function as a professional body that connects industry practitioners with regulatory bodies. The

Kevan Jones

designations aimed at those professionals. The development of these designations was based on the foundational work done by the IABM and AVIXA respectively, with their AV designations modelled on AVIXA’s CTS credential. SACIA designations are recognised across the industry, helping professionals showcase their competence in various specialised areas. They also serve as indicators of commitment to ethical standards and a code of professional conduct.

SACIA also continued to collaborate with other active associations in the broadcast and audiovisual field, developing new professional designations in partnership with the South African Guild of Actors (SAGA) and the South African Society of Cinematographers (SASC).

Internationally, SACIA maintains close working relationships with several international associations. The SACIA Certified TLE Professional designation, with a specialisation in entertainment rigging, is aligned with the rigging designations awarded by the USbased Entertainment Services and Technology Association (ESTA) and the UK-based Professional Lighting and Sound Association (PLASA). SACIA is also an international partner of both the Global Crowd Management Alliance and the Event Safety Alliance.

As SACIA executive director, Kevan Jones, explains: “These relationships are particularly important in our training and certification programmes, because we want to ensure we embed international standards and practices in everything we do. The reality is that we operate in a global industry and it’s not practical to operate in a silo.”

Recently, SACIA signed a Memorandum of Understanding with the South African Music Promoters Association (SAMPA) to promote the adoption of professional standards in live music

events. “We are very aware that we cannot achieve our objectives by working alone and our future plans involve a much closer collaboration with a broad range of stakeholders in the events and entertainment industry, including organisations active in the business, sport and entertainment sectors,” adds Jones. SACIA’s certification process involves a thorough assessment of an individual’s expertise and skills. This typically requires candidates to pass examinations, submit proof of relevant work experience and adhere to the association’s ethical guidelines. Once certified, members are required to participate in continuing professional development to stay informed about the latest trends and technological innovations in the industry. SACIA

offers a variety of opportunities to its members to advance their professional development, including workshops, seminars and networking events where they discuss current industry trends and opportunities.

A significant element of the organisation’s work is its dedication to ethical business practices. The association mandates that members comply with a rigorous code of professional conduct that regulates their behaviour in professional settings. This code ensures that members act with integrity, prioritise safety and uphold the rights of both clients and colleagues.

SACIA has taken on a prominent leadership role for the interests of the communications and entertainment industries,

more than 1200 fiber optic solutions for broadcast, audio, video & network

collaborating closely with governmental agencies, industry councils and educational institutions to shape policies that impact professionals within the industry. Through its active participation in policy advocacy, the body ensures that members are represented in essential industry conversations, including safety regulations, employment standards and the adoption of emerging technologies such as virtual and hybrid events.

This advocacy not only addresses the immediate needs of professionals but also plays a significant role in influencing the future of the communications sector in Southern Africa. SACIA is particularly focused on assisting the industry in adjusting to the rapidly changing technological environment, thereby ensuring that its members are well-prepared to succeed in a digital and increasingly interconnected world.

At the end of August 2024, South Africa’s newly appointed Minister of Sports, Arts and Culture, Gayton McKenzie, hosted a Cultural and Creative Industries Indaba (Forum). This event brought together key stakeholders from the cultural and creative sectors, including SACIA, with a focus on addressing the challenges faced by these industries, as well as fostering collaboration and promoting growth. The event was a first step in the minister’s attempts to bring order and structure to what he sees as a chaotic market with more than 60 different industry associations operating in various fields.

And while it is still uncertain what the outcomes of the Indaba will be, SACIA used the opportunity to cement relationships with other associations in the sector. “We have a clear vision that revolves around standards, training and industry certification,” says Jones. “It’s a vision that’s shared by many others that we’ve established strong working relationships with over the years. We are very aware that we can achieve more through collaboration than we can achieve by working alone, so the minister’s call for greater structure across the broad cultural and creative sector is certainly one that we endorse.”

www.sacia.org.za

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The One and only

SINCE OPENING ITS DOORS EARLIER THIS YEAR, DUBAI’S One Za’abeel skyscraper has grabbed lots of headlines. Not only has the building won several architectural awards, but its unique cantilevered design ensures it stands out on the Dubai skyline. It’s a no expense spared luxury hotel, and so guests at the 600-capacity The Sphere nightclub and lounge expect nothing less when they step inside.

Characterised by its giant spherical chrome dome at one end, The Sphere is perched right on The Link, the horizontal cantilever tying One Za’abeel’s two main buildings together, hoisted 100m off the ground. As a result, The Sphere’s glass walls and ceiling give guests an enviable 360° view of the surrounding area.

“There’s nothing else like One Za’abeel in Dubai, it’s unique,” explains director of music and artistic experience, Nader Razdar Recio, who oversees all music direction within One Za’abeel. “When we were designing The Sphere, we wanted to create an ultra-luxury lounge, but also one with a full-power audio system in case we needed to host different types of events.”

Em-Tec and Funktion-One prove to be the perfect match for One Za’abeel’s The Sphere

Grayson. “Due to the nature of the project and the hotel, a Funktion-One sound system was an obvious choice. It’s a large area and the use of a point-source system allows us to effectively control where we want the sound to be.”

As a DJ himself for more than 20 years and having worked in many different venues in Dubai, the music director knows a thing or two about good nightclub sound, and Funktion-One was a favourite choice of his before discussions with Em-Tec even began. “Of course there are a lot of great brands out there but, for me, Funktion-One is what’s needed for this type of place,

engineers here at the hotel,” says Grayson. “That’s an ongoing thing. Then there’s after-service care, which we’ve got a bit of a reputation for in the industry. We want to make sure that our clients are happy with the products and they can use them at all times.”

Em-Tec’s design inside The Sphere features Funktion-One Evolution X speakers arranged in a 4.1 configuration surrounding the dancefloor area, chosen both for their audio characteristics and 90° dispersion. They’ve been paired with Funktion-One’s BR28 double 18-inch subwoofers. The side booth seating areas use the manufacturer’s compact range of F101.2 speakers, paired with BR118 single 18-inch subwoofers. Everything in the venue is powered with Full Fat Audio amplifiers (FFA8004HD/5004HD) and NST Audio VM016 matrix processors.

Open seven days a week, the nightclub caters to differing music tastes each night and also regularly hosts private events. “The Sphere opens at 6pm and, because of the location, we get a lot of people coming straight out of work that just want to chill,” explains Recio. “So, it’s really a multipurpose space, and the sound needs to adapt.”

Having worked with Dubai-based systems integrator Em-Tec previously, Recio reached out to the team for assistance.

“We were approached by the music director as the hotel was looking for a solution for the outdoor pool area and the indoor bar nightclub,” says Em-Tec Middle East sales director Maxwell

there is also unique character to it as well. I’ve worked with Em-Tec many times in the past and a big reason for that is the magic that Armand [Bulder] and Andy [Williams] can work. The Sphere is super high and has lots of corners, so sonically it’s a very challenging place.”

It wasn’t just Em-Tec’s and Recio’s preference for Funktion-One sound systems that drew the music director to initially reach out to the team though. “I know that if I ever have any kind of issues, I can just text Armand and 20 minutes later someone is here, which is very reassuring,” he furthers.

“We also give staff thorough training. We make sure that they are comfortable, from the operations team through to the site

“One of the challenges with the install was dealing with the high ceilings and all its reflective surfaces. The client also didn’t want the speakers to be too visible,” says Armand Bulder, Em-Tec general manager. “Initially, we wanted to install the Evolution X speakers directly on The Sphere ornament, but due to its design we were unable to. Instead, we opted to hang them from wire ropes from the ceiling. Additionally, the F101.2s used for the side booths weren’t allowed to be installed on the cantilever, so we came up with a design to mount them directly from the AC vents.”

Having now been opened to guests for several months, Em-Tec’s solution appears to be ticking all of the boxes required. “The experience inside The Sphere is amazing, it’s a very unique place and I’m really happy with the way everything has turned out,” reflects Recio. “The design of the speakers is not only brilliant, the most important thing is that you can get away with things being a little bit too noisy and you won’t hear complaints from any of the guests. The sound is still very clear.”

“The feedback that we’ve had from the hotel is that we’ve far exceeded their expectations,” adds Bulder. “Every guest that I’ve spoken to was just in awe about the quality and how amazing the sound is. All in all, we’re incredibly pleased with the direction that the project has taken and our team has done a fabulous job. Everything ran smoothly and we really look forward to working on many more exciting projects within the Middle East region.”

www.emtec.xyz

www.funktion-one.com

The Sphere’s high ceiling proved to be a challenge

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Ringside action

PROLINE

and PRO

LAB have teamed up to deliver an immersive wrestling experience at the WWE Super Dome

ONE OF

THE MAJOR HIGHLIGHTS OF THIS YEAR’S RIYADH

Season was the addition of the world’s first WWE Experience at Boulevard World, a unique endeavour that allows fans to witness the sights, sounds and storylines of WWE and its iconic superstars by interacting with various exhibits and photo opportunities.

Centred around the WWE Super Dome, an immersive arena where fans can get a taste of the excitement of being ringside, the entertainment venue also features a one-of-a-kind WWE retail experience highlighting the history of the brand and a “backstage” area where fans get to create their very own character and become a WWE star. The wrestling conglomerate has enjoyed strong popularity in Saudi, and this new experience drew large crowds throughout Riyadh Season.

Creatively bringing the exhibits to life required a healthy dose of technology to meet visitor expectations. As you can imagine, the aesthetic presented is paramount to the venue’s success. It’s for this reason that the client SELA called on the services of PROLINE International to assist with the AV design and integration.

Founded back in 2007, PROLINE has become well-regarded locally for its design expertise and execution working on some of

the most prestigious and largest entertainment events, fit-outs and architectural structures, both permanent and temporary. Having expanded its presence significantly in 2020, the company now enjoys a strong base in Lebanon, Saudi Arabia and Equatorial Guinea. The post-pandemic world has also been highly favourable, seeing its team carry key aspects of Riyadh Boulevard in 2021/2022, Square 2020, the Yacht Club Jeddah, MDLBeast, Daraa, Al-Athria, City Walk Jeddah, SELA’s offices and many of the “countries” making up Boulevard World, such as Italy, Japan and Thailand.

“Our team excels at transforming creative designs into tangible reality in record time, and we’ve distinguished ourselves by our fast project execution,” explained PROLINE chief operating officer Pascal Bougi. “Given that this would be the very first WWE Experience in the world, we were called in to create an immersive solution to fully engages visitors, making them feel as though they are part of the action in a real WWE ring. Everything, however, had to be completed on an incredibly tight timeframe. The span from initial setup to completion was little more than six weeks.”

Given PROLINE’s reliance on thorough planning at the outset of a project, the short installation timespan given for WWE

actually played into its hands. “By meticulously planning each step, we not only ensure precise execution, but are also able to minimise the time required onsite and better mitigate material constraints. The visual solution we designed was distinctive in its ability to engage visitors,” Bougi furthers. “Key to this were the 360° displays and kinetic screens, which surrounded the audience with dynamic visuals. Additionally, holograms were created to enhance the atmosphere and produce lifelike crowd interactions.”

Hanging over the centre of the ring, the main in-the-round display is constructed from a pair of 3m-wide Prolights Ph6 curved LEDs measuring 4.8m in length and mounted in a circular configuration. This augments an impressive 70m x 5m backdrop formed from 325 Prolights Ph4 indoor LED panels.

Three large LED screens form the backstage area and are also constructed from Ph6 curved LEDs each measuring approximately 6m x 5m. A variety of digital signage screens are dotted throughout the experience either providing background knowledge on WWE and its wrestlers or as media content to increase engagement. Pixlab’s PIXI-3001 platform serves as a one-stop management solution for all of the screens.

A Pixlab platform is powering the venue’s digital signage

The backstage area

The retail experience

Beyond the proliferation of breakout screens and digital exhibits, a heavily effects-laden lighting design was crafted. More than 500 Prolights luminaires were called on to create this element, including a large number of EclProfile CT+ ellipsoidals fitted with different zoom and gobo holders depending on usage, as well as an abundance of StudioCob FCs, EclMiniFresnel FCs, EclPendant FCs, EclProfile FSs and EclDisplay DATFCs. A pair of the Mosaico FX100 100W white source LED IP66 image projectors from the Italian manufacturer’s Architectural series were also called upon, in addition to Astra Profile600IP waterproofed IP65 profiles used to accentuate the building exterior.

Three Panasonic AW-UE100 PTZ cameras, seven Panasonic PT-CMZ50 laser projectors and two Panasonic PT-RZ120 Solid Shine 12,000-lumen laser projectors were also specified as part of the setup.

PROLINE strategically integrated the majority of the lighting fixtures at the WWE wrestlers’ entrance to replicate the dramatic effects experienced by the wrestlers as they make their way to the ring. The design aimed to recreate the excitement and intensity of their grand entrances, providing an authentic experience for attendees.

Despite the complexity of integrating all the fixtures into what is a relatively compact space, it was actually the

timely supply of the equipment and other materials that initially gave PROLINE its biggest headache.

“Our greatest challenge was sourcing the extensive range of lighting and visual fixtures required for such an ambitious setup, particularly within the Saudi market,” the COO recalls. “Given local limitations and tight production schedules, which didn’t allow for any delays, we had no choice but to search globally for reputable suppliers. PRO LAB played a crucial role in connecting us with top-tier companies around the world, ensuring we could acquire the high-quality equipment we needed to make the project a success at short notice.” Many of the brands that PRO LAB is a flag bearer for therefore became vital to create the experience. “The WWE Experience is an example of how technology, combined with human insight and creativity, can create truly immersive and unforgettable experiences,” notes PRO LAB CEO Rami Haber. “We understood that this project required more than state-of-the-art visual and lighting solutions – it demanded a deep understanding of how these technologies could evoke the passion and energy of WWE fans. By integrating cutting-edge AVL systems with a dynamic lighting design and video distribution, we were able to craft a space where every sound, light and visual element worked in harmony to create an emotionally resonant experience.” Given the venue’s early success, the immersive experience created by PROLINE and PRO LAB has clearly struck a chord with visitors. “While it wasn’t without challenges, we couldn’t be happier with the results,” Bougi reflects. “SELA is also exceptionally pleased with the outcome and we were commended for our ability to overcome challenges and obstacles, maintain strong cooperation with both the client and the consultant, Thinkwell, and meet all requirements from the project’s inception to completion, all within the scheduled timeframe. We would like to extend a huge thanks to SELA for trusting us to accomplish this project in the best way possible.”

www.prolabllc.com www.prolinesal.com

Dynamic and Engaging Live Event Sound

Ringside in the WWE Super Dome

Upping the senses

quality.

WITH MANY OF THE PROJECTS GRACING THE UAE’S hospitality sector being relaunches, reworks or renovations of existing brands, which from an AV standpoint can be either a blessing or a curse, when Pitfire Pizza opened a new outlet in Dubai Hills Business Park recently, it offered a completely blank canvas.

Pitfire’s success story began in 2014 when husband-andwife duo, Michele and Bill Johnson, opened the first-ever Pitfire Pizza in The Greens. A decade on and Pitfire has gained a cult following and spread to five dine-in outlets across Dubai. The brand not only promises one of the best slices in town, but the new Dubai Hills location is also home to a fully licensed bar. Since opening, it has quickly become something of a community hotspot.

To create a truly unique dining experience for its guests, the new outlet was in need of a sophisticated audio system with independently controlled zones throughout. There was a desire for tailored soundscapes in each of its five different areas in order to ensure a perfect ambience for every occasion. AVI-SPL was quickly enlisted to devise a suitable solution, working closely with Bill to understand his vision and specific requirements.

The initial acoustic engineering involved close collaboration with Bill and his team to set the audio environment. Further refinement was achieved by engaging business development director Val Gilbert from Fulcrum Acoustic. This collaborative effort was crucial in adjusting the sound system to be highly responsive to changes in venue capacity, ensuring optimal distribution and clarity at all times.

“AVI-SPL delivered the Pitfire project seamlessly, from conception to final delivery, meeting the customer’s brief for a discreet, but powerful and high-quality audio system. This is exactly the DNA of Fulcrum Acoustic products, offering exceptional performance, with precision coverage, putting sound exactly where it needs to be,” says Gilbert. “As Fulcrum Acoustic grows in the region, it was important that one of the first local projects set the bar. AVI-SPL have hit a home-run, and having visited the location, the system is as good as the pizza!”

The team, led by AVI-SPL Middle East’s business development manager Nick Hartshorn, installed a comprehensive distributed audio setup featuring 29 sleek black Fulcrum Acoustic RX699 6.5-inch coaxial speakers and supplementary Sub112 12-inch subwoofers. These have been integrated into the venue’s specially designed rafters, complementing the dining area’s overall aesthetic.

For operation and flexibility, a QSC Core system was also integrated, linking the audio system with the building’s network and fire alarm systems. Staff can easily control it via wall-mounted panels or any Bluetooth-connected device. “Creating this sophisticated and adaptable audio environment involved detailed consultations with the owner to understand his specific requirements,” explained Hartshorn, “while the expert installation and calibration of the audio equipment

ensured optimal sound distribution across the different zones. The QSC Core system provides both safety and ease of control, while its operability from wall plates and remotely allows staff to manage the audio environment based on varying crowd sizes and event types, allowing for immediate adjustments, which is crucial during events or peak dining times.”

Each of the five zones allows for different audio settings across various sections of the restaurant. The entrance area can play energising, welcoming music, while the dining area can maintain a softer, more intimate ambiance.

For AVL-SPL Middle East, the project faced two primary challenges: a quick turnaround due to the venue’s imminent scheduled opening, and achieving optimal audio balance, especially considering the varying capacity levels the venue would experience. The company tackled this by deploying an experienced team known for their fast-track project delivery. The integrator ensured that every phase, from procurement

The newly installed system provides precise control over audio levels across different zones of the restaurant, enhancing the ambience and overall customer experience. This tailored audio environment supports varying dynamics, from lively dinner rushes to quieter, intimate dining experiences, making it adaptable to any situation.

“The audio system has truly elevated the atmosphere of our Dubai Hills location,” reflects the owner. “Our customers are loving the new vibe, and we’ve noticed they tend to stay longer and enjoy their time more. AVI-SPL didn’t just install a sound system; they enhanced our entire sensory experience. The flexible audio zones allow us to host multiple events from sports nights, to corporate celebrations, giving extra focus in certain areas around the venue simultaneously without any disruption, which is fantastic for our business.”

The integration of high-quality speakers and subwoofers with advanced control systems has proven reliable during peak operations, ensuring continuous quality without disruptions. “The project culminated in a state-of-the-art audio system installation that not only met but exceeded the expectations set forth by Pitfire Pizza,” adds Hartshorn. www.fulcrum-acoustic.com

Fulcrum Acoustic RX699s peer through the rafters

Changing with the times

As Oman enjoys a wave of change, so too does Pixel Solutions’ ever-evolving business, writes Simon Luckhurst

WHEN IT COMES TO AUDIOVISUAL PROJECTS, OMAN IS very much a tale of two halves. On the one hand, the country sports prestigious AV installations such as the Muscat Opera House, or multimedia/laser-heavy spectacles like the Khareef Festival. On the other hand, even those companies dominating the local AV scene would admit that it is a relatively small market. That also means there’s a close-knit community, and it can be

the rapid demise of the live events market just a short time later naturally prompted a rethink. The change of sultan in 2020 also brought new opportunities the company has been keen to explore.

“With the new sultan, the location of many government ministries has changed, which has not only created good business for us but also taken us down new avenues, dipping our toes into broadcasting and even the museum sector,” shares

These new modes of business occupied the Pixel team for the majority of 2023, where it served as the main AV contractor handling delivery and installation on behalf of Pico at the Oman Across the Ages Museum. “This was our first time working on museum projects, and was a really good learning curve. There are not too many projection mapping and immersive solutions projects in Oman and so we were lucky to get this kind of experience.”

Following the completion of that project, the company’s changing direction was highlighted again by its involvement with Oman’s Ministry of Information, also known as Oman TV. On the surface, its latest project looks like Pixel’s bread and butter, a fan-shaped auditorium for approximately 500 people, which given it would be used by the country’s state broadcaster, demanded very high quality and attention to detail.

But appearances can be deceiving, and this new space is much more than a simple auditorium. “Oman TV has around 20 studios to support the five channels it operates,” notes Alkurdi, “and recently constructed a central theatre which can be used to link up with them all. It essentially functions like an additional studio, requiring a broadcasting audio infrastructure to support the sharing of signals between all of these locations.”

With broadcasting capabilities being an increasingly popular project demand post-pandemic, Pixel bid for the tender hoping to use it as a knowledge-building exercise. “It has ended up being a remarkable project for us,” the CEO says. “The ability to transmit signals in and out of the building was a major part of its use, but

The Lawo mc256 surface

we had not worked on any kind of broadcast audio system in the past. We teamed up with Lawo at the beginning – with Oman TV already a previous customer – and they were really helpful in putting a design and bid together.”

The design saw a third-generation 32-fader Lawo mc256 console located in the rear control room forming the heart of the system, paired with Lawo’s A__UHD Core high-density IP DSP engine.

Playing double duty as a FOH mixer, this setup allows engineers to assign any of the 100+ audio inputs and outputs to dedicated faders, routes signals to the speaker system to create the in-house mix and also provides the necessary redundancy to support signals transmitted outside the studio walls.

“Handling the broadcast element requires quite a different way of working, as typically there’s no redundancy in auditoriums,” Alkurdi explains. “At Oman TV, we deployed two separate networks, and a host of other network configurations were implemented. Lawo assisted us greatly with this, but our guys also learned a lot. In upcoming projects, we will now be able to handle most of the configuration ourselves.”

While the project’s broadcast element occupied most of Pixel’s brainpower, the team was also responsible for the remainder of the AVL fitout. The rest of the audio system, however, largely sits separately from these other elements. The benefit of this was Pixel’s tried-and-tested “auditorium formula” which didn’t need to be thrown out of the window to accommodate new equipment.

“We have commentary and translation booths in the auditorium, for example, which are outfitted with a Studio Technologies Model 214A announcer’s console, Model 348 intercom station and M522A-01 audio engine,” notes Alkurdi. “Given that it is very easy to take audio ins and outs from that system and everything works on standard protocols, it had very little impact on how we approached the broadcast element. It was mostly just a matter of getting everything integrated.”

Nevertheless, every aspect of this project had something special for Pixel Solutions. A large 11m x 5m, 2mm pixel pitch videowall from LEDman fills the rear of the stage, an extensive

series wireless mics are also on-hand.

“At 11m wide, the screen deployed here is our biggest install to-date. The lighting rig was not only one of the largest we have deployed, but its installation was made more challenging by the room’s undulating ceiling, which can only be accessed by hidden catwalks. The Bose Professional solution is one that we are very familiar with; however, configuring the sound using a different console than we typically would use was also a learning experience. We initially took measurements and shared them with Bose’s design team, as we needed to ensure certain dB values would be attained inside the auditorium. The end result is perfect – it’s a beautiful system.”

not have been more successful.

Similar sentiments across all the team’s recent projects are what have allowed the company to grow from an original crew of just two to more than 20 employees in under five years. “There really are very few companies in the country that specialise or truly focus on AV systems integration,” says Alkurdi. “Many of the bigger players are active in multiple business sectors, and when Covid hit they shut down their departments. AV is really my passion. I still feel Oman is growing well, and Pixel Solutions will grow to meet the market needs.”

www.pixel-solutions.net

The fan-shaped room serves as a theatre and broadcast studio

A letter from America

The glamour of the music industry belies its underlying poverty, asserts Dan Daley

NASHVILLE HAS BECOME A LOT OF THINGS TO A LOT of people, a tax haven for disgruntled coastal elites and a destination for boisterous bachelorettes among others. Most recently, the hoary reality show Survivor is back and recently held a casting session in the city.

In Nashville, there is enough money now to buy the damn island they keep trying to vote you off of, but not everyone is sharing in that largesse. In fact, the very people who have made the city so desirable are lately unable to afford to live in it. The Greater Nashville Music Census, which revealed its findings in September, is one of more than 20 US cities that surveyed their so-called Music Ecosystems, a rubric that comprises creatives, industry and venues/presenters categories. And like the outcomes of Survivor for many participants, it’s not pretty.

Nearly half of respondents (46%) work jobs outside of music, and nearly three-quarters of them make most, if not all, their income from those other jobs. Fully a third report that their housing costs have increased in a city where housing is increasingly unaffordable, and 17% indicate that their current housing costs exceed their budget. The increasing cost of living is cited by half as their highest concern, while 38% are troubled by stagnant pay rates and 26% are worried about the lack of music work.

A

That’s the overhead view. On the ground, the issues may seem quotidian but for many of the musicians scrambling for gigs in the city’s nightclub district they’re existential. Parking –something many take for granted – is almost as much a premium as rent in Nashville, and musicians working for tips on the Lower Broadway strip find they cannot afford to park the cars they need to transport their gear every night. And they’ll walk back to their autos at 2am carrying whatever they earned that night in cash. The local thugs know this and plan accordingly.

It’s not much better on the technical side. Many of those same musicians are also their own engineer/producer, blurring that once-clear line and diminishing work for engineers and mixers as DIY becomes the norm. Automated programmes that assure compliance with Spotify’s and Apple’s format specs get many releases most of the way to online distribution, and AI being applied to existing automated mixing and mastering functions will only accelerate that process. Besides, many of the conventional recording studios the city was so famous for have fallen, either to construction of new flats (that musicians can’t afford to rent or buy) or to universities, such as the acquisitions of Ocean Way Nashville and RCA Studios A and B by Belmont University, for their production degree programmes.

letter from Europe

The music ecosystem that existed in Nashville for so long is now almost completely rebalanced, and not in favour of the musicians. It’s a dynamic that’s global now but, when it happens in a place that fancies itself “Music City”, it takes on a particular ominousness.

Cities and even some states and countries are finally recognising the dangers to their creative classes. For instance, the Living Wage for Musicians Act, which proposes establishing a new royalty fund to pay artists directly, bypassing labels and other intermediaries, is before the US Congress. The state of Tennessee, of which Nashville is the capital city, is sponsoring its own legislation aimed to boost artists’ streaming royalties by way of a similar fund. Likewise, a UK parliamentary committee is calling on its government to introduce new laws that would make it illegal for AI developers to use copyrighted music for training purposes without consent.

The tourists who toss tips into the bucket at downtown Nashville juke joints contribute to the $10.7 billion annual spending there, says the state’s Department of Tourist Development. Unfortunately, those tips are all many get. As one musician told The Guardian recently, a “career” in music has become “a hobby that just about pays for itself” if they’re lucky. Breaking even is something fewer and fewer musicians manage to achieve. Or worse, even aspire to.

Phil Ward’s thoughts turn to Christmas past… and present

AT THIS TIME OF YEAR, IF YOU VENTURE OUT INTO the farthest reaches of the European countryside, you will find Christmas bursting out of the gloom, no matter how remote. Every rural community has its traditions, although they seldom wander far from the basic formula of glitz, Gospel and Glühwein . Over time, local councils and entrepreneurs alike have expanded the repertoire, and even the simple function of switching on the festive lights has matured into an event that requires the presence of at least one celebrity that no one has heard of, usually referred to where I live as this year’s Star of Bethlehem. Of course, it’s good news for the AV industry. I well remember, in the crisp English town of Salisbury, the year when the black sky was bedazzled by the flick of a switch from minor celebrity, Keith Chegwin. More importantly, it was the debut of a new MIDI-to-fireworks interface, no kidding, so that the tympani climax to Greg Lake’s I Believe in Father Christmas could explode visually with the inchperfect accuracy of timecode. People were impressed. But not nearly as impressed as the loyal audiences that flock to a farm in Norfolk every Christmas to see the

Thursford Christmas Spectacular, an unlikely venue for a production that outstrips most West End and Broadway shows for technical ambition: more inputs, more channels, more everything than you will find in the average Edwardian theatres of either London or New York. Ten years ago, for example, there were already 64 channels of Shure UHF-R wireless and 148 input channels for the Yamaha PM5D. Last year, this count had risen to 82 wireless channels, 240 inputs to the Quantum SD7T and 915 cues in the QLab show file, which seems a lot for a show that retains such humble details as a monolithic Wurlitzer organ and a novelty cycling act.

There is more to it than that, naturally. The orchestra is 30-strong, there are 48 singers, several comedians and monologues and, everyone, I mean everyone, is individually mic’d and monitored. Furthermore, the stage is 40m wide – it used to be a cowshed – and to wrestle with the growing dislocation between proscenium vista and audio sources, sound designer Mark Rogers has turned to d&b Soundscape. Two of them. And TiMax. And Flamingo Software’s Atlas GUI. In fact, there are 10 outboard

screens to keep tabs on everything at the FOH position as well as the three in the console.

It’s all a far cry and another measure of how far we’ve come, from around 20 years ago when the ever-buoyant Christian Stumpp, when he was still at HK Audio, took me for some glitz, Gospel but, mostly, Glühwein at the local Christmas & Medieval Market in St Wendel, Germany. It’s only 40km to the French border and couldn’t possibly feel more European, with a vintage carousel, Nativity trail and Medieval Mummers prancing about in painted masks. Somewhere though, dotted around Schlossplatz, were a dozen or so HK Audio boxes, probably from the Lucas or Premium ranges, or possibly even the Move series. I doubt if they were as old as the Actor or Classic lines, but I’m afraid to say I can’t quite remember. If I’m honest, I couldn’t quite remember the next day. But that was it: no digital audio network, no Quantum SD7 or PM5D, no in-ear monitoring for the Mummers. There was, I’m sure, a bit of Greg Lake from a CD player, in between the carols and the Schlager , but no synchronised fireworks. That’s all we needed, back then.

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IBC2024 broadens appeal beyond broadcast

WHEN THE DOORS FINALLY CLOSED FOLLOWING four hectic days, the metrics supported the claim that IBC2024 was continuing its upward trajectory. The 1,350 exhibitors represented an increase of 100 from 2023 and the 45,085 visitors from 170 countries were up by 4%.

Having successfully drawn the global media, entertainment and technology communities to its 15 exhibition halls, IBC is more than just a showcase for innovations as it continues to confront pressing industry challenges while stimulating new opportunities.

“We witnessed a tremendous turnout across the entire IBC community as people gathered in Amsterdam to explore the technological advances and market dynamics redefining our industry,” commented IBC’s chief executive officer, Michael Crimp. “In a year marked by major events such as the Olympics and national elections, there was an extremely positive buzz at IBC2024. This year’s show addressed soaring interest in trends such as AI’s leap from theory to real-world applications, how the industry is fighting disinformation in news and the need to foster talent and diversity across media, entertainment and technology.”

Across a bustling show floor and packed theatres, IBC2024 addressed critical trends and issues driving change across the media landscape, such as combatting false information and fake news, while offering new show features including the AI Tech Zone and IBC Talent Programme. Other themes included sustainability, 5G, cloud, esports, immersive experiences, over-the-top (OTT) and streaming, adtech, metaverse, edge computing and connected technologies. Many of these were addressed during the three-day IBC Conference in the RAI Auditorium Complex in addition to show floor theatres.

4K, 6K and 8K cameras and monitor formats were previewed on booths including ARRI, Blackmagic, Canon, Grass Valley, Panasonic, Sony and Ikegami – showing the HDK-X500 3-CMOS HD portable camera and OCP-500 camera control unit. Ross Video required a larger footprint for technologies including immersive experiences with extended reality (XR), AI, robotic camera systems, enhanced cloud production and hyperconverged infrastructure, migrating to the traditional audio hall. The brand also unveiled its Carbonite Ultra Solo compact UHD production switcher.

SAME – Smart Audio & Mixing Engine – audio processing software suite.

Sennheiser hosted Neumann, Dear Reality and Merging Technologies immersive production workflows in addition to audio capture, monitoring and processing solutions, an immersive presentation zone, the AMBEO immersive zone, the Pro Audio Workbench hosting camera-mount EW-DP mics and racked Digital 6000 and EW-DX wireless systems and the Neumann/Merging broadcast suite with its replica OB van setup. Additionally, the German brand has finally delivered product to justify its 10-year investment in Wireless Multichannel Audio Systems (WMAS), as a compact, central exhibit proved by drawing the crowds across the four days. Comprising a bodypack that sends and receives mic/IEM signals, a 1U 32 channel-base station receiver and a new DAD antenna system all managed by the newly designed Linkdesk software, the Spectera ecosystem heralds a new dawn for large event producers.

The AI Tech Zone was a new initiative highlighting practical applications from automated video editing and music-audio separation to content provenance tracking and fast and secure cloud storage. The Zone stage hosted AI pioneers sharing

compact control surface and the latest ImpulseV and True Control V2.0 software. Depicting a collaborative TV news team setting, Wheatstone paired the fixed Strata 32 control surface with a portable Remote Strata virtual mixer.

Lawo highlighted the latest additions to its HOME apps serverbased processing platform, including the official launch of the HOME mc² DSP app, including Dante control, management and media signal integration. Solid State Logic lifted the wraps off the S400 System T console and introduced a v4.1 update for FX and immersive capabilities plus the facilitation of automated cloud deployment for the same audio production platform. Demonstrating the feel of a dedicated 32-fader console, Dual Channel View mode was presented in the Tempest Control App (TCA) from a PC-based setup. Stage Tec showed its fully IP-based Avatus E console, the portable Nexus Compact and its Stagenet IP signal management control software.

DPA, Lectrosonics, Microtech Gefell, Schoeps, Sennheiser, Shure and Wisycom attracted new and traditional broadcasters seeking microphone technologies while Clear-Com (Arcadia), Altair (IPCom), Pliant (CrewCom), Riedel (Bolero), RTS (Omneo IP) and AEQ (Xpeak and X_core) showcased their latest IP comms. Riedel also premiered the

it is already transforming media in terms of discoverability, news verification and creating immersive experiences.

IBC2024 welcomed 150 new exhibitors, including Robe and Yamaha. “IBC has gone from strength to strength, with exhibitors continuing to find more ways to make the most of the show as we add new features and grow its scope and reach,” commented IBC director Steve Connolly. “The feedback we get is incredibly positive, with many seeing IBC evolving as an increasingly important incubator of media tech innovation, as well as maintaining our status as an essential networking destination and source of intelligence on new industry trends and developments.”

2024 Dates: 13 – 16 September

2025 Dates: 12 – 15 September

Venue: RAI Amsterdam

Total exhibitors: 1,350

Attendance: 45,085

Contact: www.ibc.org

From the show floor

Marina Prak, ROE Visual: “With AI and immersive technologies being increasingly adopted, ROE Visual is showcasing the future of broadcasting in collaboration with industry partners – our ecosystem of companies. This is because an LED screen or a camera, on its own, doesn’t give you a solution. It must come together to result in a bespoke showcase like an election studio or sports centre. By visualising these showcases during our daily demonstrations, visitors can conceptualise how they can utilise this technology for their own broadcast productions. IBC is stepping forwards and losing its static broadcast identity. With a transition towards the next generation of television viewers, immersive storytelling is being adopted to gain the interest of younger viewers. By showing broadcasters what is possible with new technology, we can help them.”

G-C10DA broadcast distribution amp, OpenGear ColorBox and a low-latency Virtual Kona cloud I/O, IBC Amsterdam is one of our most exciting shows. For added convenience, we are transitioning our converter products into the OpenGear form factor. We are also listening, because every conversation leads to some new concept, such as an entire new feature set or product line. The broadcast industry is growing, but it is also very dynamic. When I first came to IBC 15 years ago, it was a pure analogue video exhibition with some postproduction. Today, the lines are blurred with storage solutions, hybrid cloud services and

Tan Boon Siong, Lawo: “We have made several new announcements including the addition of audio gain and phase inversion parameters into the .edge platform. Broadcasters don’t want to do much conversion, so our vision is to make sure that Lawo is compatible in any format and different formats can operate within our platform. IBC welcomes the most relevant Asian customers, so I need to be here and hold discussions on ST 2110 and AVoIP. In terms of actual implementation for AI and cloud adoption, many factors need to be considered, including costs, reliability and support. If broadcasters do not understand the technology and its benefits, they will not create a budget or prepare for a new infrastructure, but it will come.”

Thomas Riedel, Riedel Communications: “We are always striving to create a more sustainable world. We all need to move from optimising in quantity to quality. For example, our IBC booth fits into two containers rather than four and we have extended this into our latest products, which automate and provide remote working practices. The new intelligent SAME Smart Audio & Mixing Engine platform has been designed to do more with less because AV and broadcast applications continue to streamline their operations. We welcome a broad customer base at IBC. Riedel wants to help transform the broadcast industry, but we also meet visitors from various AV sectors, which is a much bigger market, and also people beyond AV and broadcast.”

to Barcelona may have influenced this, of customers attending from northern Europe, including Scandinavia, Germany and Benelux, because it’s more convenient for them to attend the show in Amsterdam as opposed to Barcelona. Broadcast and AV technology is merging all the time and there is an increasing amount of convergence. Our live sound comms can also be used in broadcast applications.”

Henry Goodman, Calrec: “Calrec has launched the Argo M compact console and the virtualised ImpulseV software that can be run from an AWS account, in addition to True Control V2.0 software that allows DSP to be remotely controlled from a host console. We are celebrating our 60th anniversary this year. I am starting to witness the IP transition which is enabling things like virtualisation. The main discussions now centre around the utilisation of resources, because broadcasters want to increase the amount of content including events and live sports that were previously not economically viable. Using resources in the cloud is enabling them to do that. Many broadcasters have not yet made the IP transition because of budget or disruption, so the aim is to gradually replace their resources over a period. In the interim, Calrec is helping these customers operate in a hybrid environment between baseband and IP.”

Christophe Van Den Berghe, Sennheiser: “We launched our Spectera multichannel digital wideband ecosystem and WMAS platform here because it is the perfect match. IBC attracts a stable broadcast audience, but we also meet new content creators. A big launch always draws an additional audience and, with Spectera, we are happy to report that our expectations have been met from the positive feedback we have received. Broadcast is one of our five main verticals and the one we have been very active in since we made our Microport wireless microphone system in 1957.”

L–R: Clear-Com’s Kari Eythorsson with Hans Chia Ming Han

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GITEX Global Dubai 2024

GITEX continued a familiar trend by growing significantly again this year

back in 2023, GITEX is about to become a collection of seven different regional shows. But Dubai is where it all started, and remains the one true GITEX – hence the new “Global” moniker. This year’s outing – GITEX’s 44th overall – certainly did not disappoint, and while the aisles on the first day initially felt slightly quieter than last year, that narrative quickly changed as the show progressed. GITEX Global pushed the Dubai World Trade Centre (and the city’s roads) to absolute breaking point. Navigating your way around all 26 halls that now make up the exhibition has started to become a real issue. It was timely, therefore, when the organisers announced that the show will be migrating to Dubai Expo City in 2026.

Running from 14–18 October, the 44th edition of the exhibition hosted 6,000 exhibitors and 180,000 tech executives from across 180 countries. In terms of pure floor space, the show grew once again. Final visitor numbers also massively exceeded the already impressive 120,000 from last year, supposedly surmounting 200,000. Over the years, GITEX has informally become known as the “business CES”, largely because like CES, it offers a little bit of everything. But because of past ties with the now defunct InfoComm MEA, which used to be held concurrently, the exhibition has always had a decent complement of pro AV.

Some companies love GITEX, others wonder if it’s really the right home for AV. The number throwing their weight behind the tradeshow has remained fairly steady over the years. That changed this time around though, with manufacturers such as Q-SYS opting to take a dedicated booth for the first time, and there was by far a greater level of international support from manufacturers than had ever been seen previously. Many brands brought representatives to the show for the very first time.

The Q-SYS booth offered guests a guided tour through automation and control for high-impact meeting spaces. “It was a very good decision to opt for this massive booth,” commented Q-SYS director of MEA, Chant Utukian. “It was important for us to be here alone as well, and the response has been great. We kind of copied what we did in ISE earlier in the year, and the reaction from customers has been really good.”

Epson and Almoe each returned once again with sizeable booths at the same location as last year by the entrance to Hall 4.

Moving in the other direction, Shure opted to forgo its own booth, and instead created a listening room inside the NMK Electronics stand for its MicroFlex products. NMK Electronics has long been a supporter of GITEX, and used this year’s outing to announce a brand-new logo.

decker booth by the entrance to Hall 3 in order to give its Meyer Sound, Riedel, Auravision, Audac, Arthur Holm, Stealth Acoustics and Active Audio brands proper coverage. Sennheiser was busy on the booth demoing its recently released Spectera wideband wireless mic system for the first time. Taiden bridged this with its own booth situated just across the aisles, with its latest-generation infrared wireless mics, multimedia retractable terminal and HyCon Hybrid Conferencing System receiving lots

Deeper into Hall 2, Thomsun was celebrating a new relationship with Turkish videowall manufacturer Vestel, and for the first time also showcased LightShark’s range of lighting consoles. “GITEX seems really good compared to previous years, and we’ve found a lot of new clients here,” explained Thomsun’s Davis Varkey. “Nowadays, AV is very well connected with IT, and the projects we talk about here typically involve the entire solution, which is great. We even get a lot of attention for our more traditional audio products like Nexo.”

Tucked away in Hall 4A, distributor Dutco Tennant had representatives from all of its AV brands on-hand on the booth, such as Optimal Audio’s Alex Barrand and Powersoft’s Fabrizio Romano Bolzoni. “This show is definitely becoming a major

L–R: NMK’s Nicolas Cox, Alex Kemanes and Dino Drimakis

A very well-staffed Q-SYS ME booth

L–R: Epson’s Ahmad Abuzannad, Abdulnassir Ali and Lee Harrison

event in the year where the entire technology industry meets,” Bolzoni said. “There’s greater integration between IT and AV, and so it’s worth being here because a lot of integrators and customers are common. They are integrating IT infrastructures, but also have the need to integrate audiovisual. So, it makes a lot of sense for us to be present here together with our partner.”

At the end of an incredibly busy five days, the GITEX organisers proclaimed that the final visitors number did in fact surpass 200,000, officially making GITEX the biggest exhibition of its kind globally.

International manufacturers appear to be taking notice of this unique market’s

untapped potential, and of those manufacturer representatives that made the flight over to see the show first-hand, the majority were highly impressed with what they saw, including FBT’s Roberto Mataloni on the Avientek booth. “I’m coming to the conclusion that these kind of shows will get more and more attendance in the future because the market and business is integrating more and more. Those looking for video broadcasting solutions, for example, also need audio and we can now find quite a few partners and companies who are specifically devoted to that segment here.”

GITEX returns in 2025 from 13–17 October.

www.gitex.com

The Venuetech team

The Dutco Tennant team in Hall 4A

Almoe’s John Simento

The Sennheiser Middle East team

L–R: Blake Augsburger, Nick Mourn and John Dodson at the LEA stand

Spectera heralds new horizons

Spectera SEK 104 transmitter fitted with an IE 500 Pro monitoring system and a headset mic

Richard Lawn talks to the Sennheiser team behind the launch of its new WMAS technology, launched to great acclaim at IBC2024

25

YEARS ON SINCE THE LAUNCH OF ITS EVOLUTION microphone series, Sennheiser has unwittingly signalled a revolution in digital wireless audio. Heralding the dawn of Wireless Multichannel Audio Systems (WMAS) technology, Spectera shines as a newly designed ecosystem. Over 10 years in the making, the journey has only just begun for the developer of the world’s first bidirectional wideband solution. In 2013, Dr Andreas Sennheiser had only just assumed joint CEO responsibilities with his brother Daniel when two respected engineers proposed the development of WMAS. “Coming directly from our research laboratory, the project caught my attention,” confesses Dr Sennheiser. “I have always been inspired by my grandfather, Fritz, who wanted to liberate users from the limitations of current technology. Together with his fellow researchers, he was challenged by a German national TV station to create a microphone without a cable. While their very first wireless microphone transmitter in 1957 still used a valve and was the size of a pocket book, the first transistor wireless microphone was born one year later in 1958 – at half the size.”

Intrigued by the interconnected relationship of technology and creativity, Dr Sennheiser insists that technology enables creativity: “Sometimes, the need for a higher degree of creativity challenges technological engineers, and WMAS was one of those instances. Despite having spawned six decades of innovations, all our analogue and digital wireless, to date, was based on a single, narrowband transmission carrier.” Despite not initially being planned in a structured way, an 11-year journey commenced. Following two years of basic research on wideband algorithms and a behaviour study of wideband physics, Dr Sennheiser appointed a team that would pursue the adaptation of broadband technology to the special requirements of professional wireless audio applications. “But before we could develop any software or hardware, we had to work with frequency regulatory authorities in Europe, Asia and the Americas to attain changes in the respective national frequency regulations, and this took years,” he recalls.

Dr Andreas Sennheiser: liberating users from the limitations of current technology

Sebastian’s and my own backgrounds are in signal processing

A

(European Conference of Postal and Telecommunications Administrations) removing its bandwidth limits for wireless microphones in 2018; and FCC (Federal Communications Commission) changing its rules in February 2024. The CEPT decision in 2018 combined with positive feedback from global regulators delivered the green light moment; the Sennheiser management team then selected a wider team of 30 professionals, including but not limited to software engineers, electronics engineers and specialists in mechanical

construction, system testing and production testing. “When we realised the potential, it was easy to commit and add the resources that would let the team develop it,” explains Dr Sennheiser.

With their research into wideband, Georgi and Watermann had initially wanted to combat fading that occurs with narrowband signals. “Even with two antennas, you cannot completely rule out dropouts at a distance of 10m due to failing frequency-selective scenarios,” explains Watermann. “A wideband signal would solve this, so we started to closely investigate the behaviour of the RF channel. It was vital to avoid inserting a single audio channel that would consume

most of the frequency resources, so we looked at dividing this into a multichannel system.”

As the inventors of Sennheiser’s specific approach to WMAS, Georgi and Watermann had been developing a proprietary variant of OFDM (Orthogonal Frequency Division Multiplexing) and TDMA (Time Division Multiple Access) techniques. Specifically tailored to reliable multichannel, bidirectional, low-latency communication, Georgi compares the wideband approach to standard narrowband technology. “Instead of channelling individual 200kHz narrowband RF carrier frequencies, we use a single wideband RF channel for audio transmission, which is a bidirectional transmission of audio and control. Depending on local regulations, our wideband RF channel is a TV channel of 6 or 8MHz. The WMAS system organises its audio links within this

Every audio link is assigned specific time slots for transmitting audio information, so the devices need to know when they can transmit or receive. This foundation led to the development of full remote control, as well as wireless word clock synchronisation to ensure that bidirectional transmissions are time zoned. It marks the first time that both IEMs and mics can be transmitted in the same TV channel instead of two channels separated by a guard band.

“All the audio links use the full width of the RF channel when it’s ‘their turn’, and this has greatly reduced the impact of RF fading,” continues Georgi. “In frequency-selective scenarios,

Sennheiser pro audio marketing manager Theresa Vondran highlights Spectera’s LinkDesk software

The Spectera SEK 1G4 bodypack transmitter

LinkDesk software turns a Mac or PC into a control and monitoring centre

it corresponds to a 40-fold diversity for an 8MHz RF channel and a 30-fold diversity for a 6MHz TV channel, which is more typical in the US. In addition, the low spectral density makes it easier to reuse frequencies, for example on a larger festival ground, between neighbouring theatres or in a broadcasting complex.”

Eleven Audio Link Modes facilitate selectable control of audio quality, latency, channel count and operating range for each audio link throughout a production. The operator can always use the RF channel to the maximum, either by giving fewer audio links a high quality or by allowing more links and reducing the quality accordingly. Regardless of which Audio Link Mode is selected, Spectera offers audio clarity with ultra-low latency down to 0.7ms. Furthermore, dual mono transmission ensures a clean separation of the in-ear channels.

Having adopted an agile process during the development phase, the 30 appointed engineers were set specific tasks over a two-year time span. “Every three weeks, we had a sprint change where each department reported their progress,” explains Watermann. “This allowed us to reevaluate and align before agreeing on a consensus. For example, a production test may require a software feature to be designed and tested for the hardware. During the building

The first iteration includes an SEK bodypack transmitter, a base station, a digital DAD antenna and LinkDesk software. “Because we want to add new functionality for workflows, we created an ecosystem,” explains Dr Sennheiser. “Combined, these represent a commitment to really change the rules of the industry and that requires resources and commitment. We identified three important priorities for our customers: the hardware had to be easy to configure and use, it had to be ultra reliable and the system should coexist with our existing narrowband wireless technologies. As such, customers can expect more hardware components and more software features as we continue to develop.”

configure the audio quality, latency, possible audio links and range within the 11 Audio Link Modes. The introduction of assistive behaviours into LinkDesk has greatly enhanced system management. With the ability to save and store productions, operators can quickly recall system configurations.

The LinkDesk software also handles the activation of the base station via single node-based licences. By entering the specific local licence code, the software ensures that the system operates within the local regulatory requirements for frequencies, RF channel bandwidth and transmission power, putting operators on the safe side regarding compliance.

The extensive WMAS research, technological development and spectrum policy work has been transformed into a digital wireless multichannel ecosystem. Suited for large productions, the future for Spectera appears assured. “Spectera will evolve over time with continuous hardware, software, feature and service enhancements,” asserts Dr Sennheiser. “The SKM handheld transmitter will be added and the SMPTE ST 2110 family of standards will be implemented. Thanks to its synchronised word clock for all audio over RF, Spectera will be the first solution to capture phase-coherent wireless audio for immersive recording and reproduction.”

Replacing a traditional rack of wireless microphone receivers and IEM transmitters, a single 1U base station lies at the heart of the Spectera ecosystem. Managing up to 64 audio links with 32 inputs and 32 outputs, the base station accommodates up to two RF wideband channels. Frequency-agnostic, the authorised ranges are automatically loaded when the local licence for the base station is activated. Redundant features include two PSUs, primary and secondary Dante connections, two slots for optional redundant MADI connections and four antenna ports, which can also extend the synchronised antenna zone coverage or provide a higher system capacity.

receiver and microphone or instrument transmitter. Offering continuous two-way communication, the performance is flexibly determined by the sound engineer during a show. Featuring a three-pin connector and a 3.5mm headphone jack, the SEK is fitted with a persistent display, with device information retained on the display even when a unit has been powered down. Driven by an Evolution Wireless Digital BA 70 rechargeable battery that can operate for up to seven hours, the bodypack is available as UHF and 1G4 frequency variants.

The IP54-protected DAD antenna is a transceiving antenna that manages mic/line signals, IEM signals and control data simultaneously. The antenna carries the RF components of the system, eliminating the need for boosters, splitters and combiners. Because the RF is digitised, the PoE DAD antenna connects to the base station via an RJ45 connector and Cat5e cable.

Crucial to operations, the LinkDesk software is a desktop application that turns a Mac or PC into a control

Since entering the realm of WMAS in 2013, Dr Sennheiser claims it has been an exciting journey for the company. Georgi is admirable of the co-CEO’s resilience and determination that allowed the team to see the project through Covid-stricken 2020 and 2021. “Sennheiser is a family-owned business, and the investment in a dedicated WMAS development unit came at a delicate time, when the live audio business was down,” he says.

Like his grandfather, Dr Sennheiser would not accept the limitations of the market standard. “Most innovations are created by genius people who are rarely aware of the multitude of problems that lie ahead,” he muses. “My grandfather commented 10 years after the birth of the business that if he’d known how difficult it was to build a company, he wouldn’t have started. That statement rings true for WMAS, because we had no idea how difficult it would be to complete this project at the outset.”

As a believer in the values of ingenuity and technology, Dr Sennheiser believes that Fritz Sennheiser would be very proud of Spectera. Created to unleash the creativity of its future users, one senses that the Spectera journey has really only just begun.

www.sennheiser.com

L–R: Sennheiser WMAS engineers Jan Watermann and Dr Sebastian Georgi

The 1U 32-channel Spectera base station

Spectera’s space-saving benefits will appeal to live sound engineers

PREMIUM PERFORMANCE PRACTICAL PORTABILITY.

L1 Pro portable line array systems advance a PA category invented by Bose intoa new era of on-the-go audiofor singer-songwriters, mobileDJs,and bands. Three new models L1 Pro8, L1 Pro16, and L1 Pro32—deliver legendary 180-degree horizontal coverage, unmatched clarity and tonal balance, plus extended bass response with a unique RaceTrack woofer design.

to the full library of ToneMatch presets. And with the L1 Mix app,complete wireless control is now in your hands All so you can sound your best,connect withyour audience, and simply perform.

True grit

Yorkshire has been home to Calrec for the past 60 years, spawning a resilient company travels to Hebden Bridge to meet

In 2014, Calrec was acquired by the newly formed Audiotonix Group, accelerating sales of its traditional large-format digital consoles to global broadcasters. Shoulder to shoulder with DiGiCo, Allen & Heath, Solid State Logic, KLANG:technologies, Sound Devices, Slate Digital, Harrison, Fourier Audio and sonible, Calrec has played an integral role within the Audiotonix group of console companies for the past decade. Benefitting from mutual support and expertise across the group, Calrec’s management team has been able to adopt more ambitious growth strategies.

The 2016 launch of the smaller-format Brio 36 console deviated from the tried-and-tested Calrec business model. The rapid success that the 36-fader control surface enjoyed translated to an increasing amount of business going through a broadening sales channel. In a drive to further diversify its product offering in 2018, the launch of the Type R console

General manager Sid Stanley

demanded a general manager with broader channel and commercial experience to help take Calrec to the next level of growth.

To coincide with the NAB launch, Sid Stanley was drafted into the newly created GM role to help develop emerging sales channels for Calrec’s broadening range of smaller form factor consoles. Heralding from a county with similar geological characteristics, Stanley entered Nutclough Mill having served for over two decades with larger Japanese corporations including Sony Professional and Sharp, where he specialised in European business and channel management.

“My experience in these key areas was required to add further rigour and structure to Calrec’s already

solid foundations,” he relates. “Having diversified our product range with our smaller consoles, we were looking to broaden our business and growth. Calrec’s key focus was to attract local representation to support existing and new customers, and to expand into new markets.”

The added challenge, Stanley maintains, is to ensure that a solution stays current for the broadcaster’s future workflow requirements. “Over the life of a console, we can maintain a product wherever the broadcaster wants to take it. To satisfy their viewers with decreasing budgets, broadcasters are rightly demanding more from their suppliers by investing in technology for life. By maintaining the hardware and updating the software both today and in the future, we prefer to classify ourselves as a partner for life rather than a supplier. This is what sets Calrec apart and makes us successful. As a partnership-based company, we will continue to ask our customers how we can best help them.”

With a headcount of 115 employees, Calrec is the largest company focusing exclusively on broadcast audio solutions. This makes it an ideal partnership choice because the company has the resources to stay with the technology wherever customers take it. “I believe that businesses are as much about people as they are about products,” he continues. “We want to create an environment where we don’t restrict engineers, giving them the space to innovate and develop new ideas ensuring that our products work as best as they possibly can for our customers’ needs. In terms of specialist audio mixing desks, I believe that we are the most wellresourced, standing out in the market as a trusted advisor

Calrec’s Soundfield microphone was the first single point source mic to record in 3D

Despite having worked for large Japanese corporations, Stanley continues to respect the amount of intellectual property within the four millstone grit walls. “In addition to the size of our R&D team, we are a unique entity within the broadcast world,” he asserts. “Most of our experienced team

based solutions, we can serve the current requirements of the broadcasters and help them through the lifespan of their products.”

The agility demonstrated by the R&D engineers is mirrored on the assembly floor,

to go up to six testing bays rather than four or perform more module assembly, then we have the flexibility to very quickly do that.”

Stanley emphasises that Calrec’s mission is to keep solving broadcasters’ problems, whether that’s creating innovative new products and solutions or adapting to rapidly changing workflows. The introduction of the compact award-winning Argo M console, ImPulseV cloud audio mixing solution and True Control 2.0 at IBC2024 is testament to this. Delivering the ultimate in flexibility to broadcasters wherever they are located, this trio of new products continues to keep the broadcast industry connected.

The company’s business foundations are as solid as the carboniferous rock that houses its globally respected team. “Calrec will continue to work hard to be a trusted channel and customer partner,” he concludes. “By staying with our customers throughout each product’s lifecycle, we’re able to continually innovate, ensuring the highest quality sound that’s synonymous with Calrec.”

Calrec may only be 60 years young, but the company is firmly embedded in a resilient landscape built on true grit.

www.calrec.com

The Calrec team at HQ with the Argo M console

Experts in AV

A new name masking a highly experienced team stands ready to take Qatar’s AV industry into a new realm

THE QATARI MARKET HAS SEEN TREMENDOUS GROWTH and resilience over the past decade. Boasting one of the highest GDP per-capita figures globally, Qatar’s economic strength has been a beacon of prosperity even amidst regional challenges. The announcement that Qatar would host the 2022 FIFA World Cup further fuelled a wave of optimism, bringing new business opportunities and ambitious projects to the forefront.

It was against this backdrop that Ventum Tech entered the market as a cutting-edge technology integrator. The Doha-based firm, led by a duo of industry veterans –Tarek Mrad and Antoine Saab, and Ziad Mrad acting as business development director – quickly positioned itself as a force to be reckoned with. Their combined experience and strategic vision led to immediate success during the World Cup, a milestone event that defined their entry into the competitive technology space.

“Our first project as Ventum Tech was to handle the live operations of audio and video for the World Cup,” shares Ziad. “We brought in 16 top-tier operators from around the world, who stayed with us for over two months. Despite being a new entity, we were the only company to pass the stringent technical approvals. It wasn’t easy; every stadium had different protocols, which required intense preparation and flawless execution.”

Ventum Tech’s early success, however, extended far beyond just the World Cup. One of its notable projects included the complete design, installation and commissioning of the sound system at Hide, Doha’s premier nightlife destination. Using L-Acoustics for audio, Chauvet Professional for lighting and state-ofthe-art LED screens, Ventum transformed Hide into an immersive experience for the city’s nightlife enthusiasts.

360° projection mapping with Epson projectors

The boardroom

Ziad Mrad demoing a typical huddle room solution

The XR studio

Another groundbreaking project was projection mapping on the iconic 2022 Building, an architectural marvel in Doha. This massive installation utilised 16 Epson 30,000-lumen projectors to create a stunning visual display that illuminated the city’s skyline and helped to solidify Ventum Tech’s reputation as a leader in delivering large-scale, high-impact visual experiences. While the company name was new, the team’s expertise was not. With over two decades in Qatar’s AV market, they were well-prepared to make an impact. The result? A track record of success across a broad spectrum of sectors, from government and corporate to media, entertainment, retail and education.

Building on success: the Ventum experience centre

Less than a year after its inception, Ventum Tech launched an impressive experience centre on the fourth floor of the Al Asmakh Tower in Doha’s West Bay district. The space serves as a showcase of its world-class brands and cutting-edge technology, offering clients a hands-on opportunity to explore innovative solutions in a dedicated environment.

“We designed small huddle rooms equipped with Neat Board, Epson interactive projectors and Poly Studio, all complemented by Barco ClickShare devices,” Ziad explains. “Our flagship boardroom features Arthur Holm’s motorised screens and microphones, seamlessly integrated into Gesab custom-made furniture. It also includes Shure ceiling tile microphones that capture the essence of meetings with a unique fine pixel pitch COB LED display and Poly conferencing systems. Each area in the centre tells its own story of sophistication and innovation.”

The space is also home to Qatar’s first XR studio, featuring the latest technology from ROE, Disguise,

Stype and Brompton Technologies. “The future of content creation is all about Extended Reality [XR]. Even major production houses like Netflix are turning to XR stages for filming,” notes Ziad. “We offer a comprehensive solution for broadcasting, from high-definition studio setups to advanced XR stages. Our expertise extends to immersive VR, AR and MR solutions, specifically designed for critical

Eyeing the future: expansion to Riyadh and beyond

Following the success of the Doha experience centre, Ventum Tech is set to replicate its model in Riyadh, tapping into Saudi Arabia’s burgeoning market. “We’re launching a new experience centre in Riyadh early next year,” reveals Ziad. “We’ll also be participating in Millipol alongside our exclusive partner, Nuctec, with whom we have successfully executed numerous government projects in Qatar. The Saudi market holds immense potential, and we’re poised to expand our presence there.”

industries like healthcare, military and oil and gas, where realistic simulations are essential for training, planning and risk management.”

The centre’s advanced Q-SYS backbone, paired with Bose and QSC ceiling speakers, unifies the space into a cohesive showcase of integrated solutions. “We don’t just demonstrate products; we invite clients to fully experience them. From a complete control room to a high-tech XR studio, everything can be explored firsthand before making a decision”, adds Ziad.

Despite a post-World Cup slowdown in Qatar’s AV sector, Ventum Tech remains optimistic. “The market has been challenging over the past year, but we’ve managed to secure several significant projects, especially in the security sector,” Ziad notes. “Riyadh is where we see the greatest opportunity. We’re expecting to break ground on some major projects there by mid-2025.”

Looking ahead: innovation at the core of growth

Ventum Tech’s rapid ascent from a newcomer to an industry leader is a testament to its relentless pursuit of innovation and commitment to quality. With plans for further expansion, including a high-tech experience centre in Riyadh, the company is poised for a new chapter of growth and success.

“In an ever-evolving market, we’ll remain at the forefront of audiovisual and security technology, bridging the gap between cutting-edge solutions and real-world applications,” concludes Ziad. “Our mission is to continue delivering exceptional solutions that meet the diverse needs of our clients, whether in Qatar, Saudi Arabia or beyond.”

www.ventumtech.com

A control room setup

Calrec turns 60 and adds three NEWPRODUCTS

THE ARGO M incorporates the same feature set and operational familiarity as the larger Argo Q and Argo S consoles. Designed for small and medium applications, the Argo M is a plug-andplay SMPTE 2110 native console that is available in 24- or 36-fader variants. With DSP processing on board, the Argo M interfaces with analogue and digital audio I/O, including GPIO, three modular I/O slots for further expansion and a MADI I/O port. The work surface has been created for engineers demanding more flexible workflows, including built-in monitoring and metering tools. Requiring no networking or PTP sync for independent operation, the Argo M’s cores and surfaces cater for a variety of workflows, including remote working. Interoperable networking and stagebox interfaces are connected over 1G or 10G by AES67/ ST 2110-30 with ST 2022-7 dual networks. The Argo M supports several immersive paths for input channels, busses, metering and monitoring as standard.

Available with 304 or 356 internal DSP processing paths, the external ImPulse and ImPulse1 processing cores can expand processing capacity to 432 DSP paths. Up to four Argo surfaces can access a pair of redundant ImPulse cores. Operating in a cloudnative AWS environment with ImPulseV, the Argo M can access cloud-based DSP packs with cloud-native DSP processing core and control software on demand. Built on x86 CPU optimal core processing (OCP) technology, the ImpulseV bypasses the need for added control architecture by adopting the same Calrec interfaces and supports direct surface connections from the Argo Q, Argo S and Argo M in addition to Calrec Assist web UI. True Control 2.0 can also be used to control an ImpulseV from any True Control 2.0-enabled console. The standard 128 DSP pack provides up to 128 channels, 16 groups, eight mains, 32 tracks, 32 auxes, 64 direct outputs, 128 inserts and path delay on all channels, groups, mains, tracks and auxes. The ImpulseV supports stereo,

5.1.4 or 7.1.4, for immersive productions and

Created to provide expanded levels of control in two key areas, Calrec’s True Control 2.0 builds on the RP1 True Control implementation. Offering greater levels of remote control without the limitations of mirroring or parallel controlling, the expanded feature set includes EQ, dynamics, routing, direct outputs and delay. Providing broadcasters with the agility and flexibility to scale remote productions by expanding the number of products it requires, True Control 2.0 is available on Type R, ImPulseV, Argo M, Argo Q and Argo S surfaces. Any of these products can be remotely controlled by any other True Control 2.0-enabled product. Any of the controller consoles can access up to five other consoles simultaneously. True Control 2.0 enables users to control multiple consoles across different venues and extends control to Calrec’s Assist for accessing core functionality when no physical faders are available.

www.calrec.com

The same, only smaller

BOASTING THE same power and versatility as DiGiCo’s Quantum338 console, the Quantum326 aims to extend the company’s Quantum experience to smaller performance spaces and touring productions with tighter logistics constraints.

Retaining all the features of the Quantum338, the 326 is a more compact two-screen model based on DiGiCo’s latest seventh-generation FPGAs. It offers 128 input channels with 64 busses and a 24x24 matrix, all with full channel processing. Twenty-six 100mm touchsensitive faders are laid out in two blocks of 12 fader banks, plus two dedicated user-

assignable faders, each complete with high-resolution metering. The desk also features a pair of 17-inch, 1,000-nit high-brightness multi-touch screens, plus 58 individual TFT channel displays. Other amenities include “Ultimate Stadius” 32-bit ADC and DAC conversion, six single MADI connections and dual DMI slots.

The Quantum326 may also be upgraded with DiGiCo’s Pulse software update,

Crystal Clear control, whether home or away

WITH A rapidly growing number of broadcasters embracing virtual mixing solutions for their on-air suites, Lawo has created the crystal Clear console, a virtual control solution designed to transform how radio content is created, whether in the studio or remotely.

The crystal Clear Virtual OnAir Control Interface replaces complex hardware with a touchscreen-operated control surface that can be integrated seamlessly with existing workflows. It offers a self-op view designed for radio hosts with minimal technical

they can choose among the following Power Core licences: Console Compact (console sizes of 2–14 faders for small self-op studios, talk studios, remote production and OB vans); and Console MAX (up to four typically sized, independent radio consoles, for as many operators). To extend or distribute local I/O, such as microphones and headphones, the Lawo Audio I/O Extender (AIOX) is the most suitable companion. Elsewhere, important additions to the audio and video capabilities of Lawo’s .edge have been introduced, which include two new

background, and a Broadcast Engineer view for those requiring advanced functionality and control. It allows users to combine playout systems, web sources, audio control and social media tools into a single, unified and streamlined interface, allowing presenters to focus on content without being distracted by multiple displays and controls. Designed to work straight out of the box, the interface’s assistive technologies also leverage features such as automatic mic input gain, fade in/out and AutoMix groups for hands-free mixing, Lawo says that crystal Clear is the perfect control interface for its Power Core Modular I/O and DSP device. Depending on the number of studios and channels users require,

built-in parameters – Audio Gain and Phase Inversion – as well as the optional possibility to leverage an 8,192-input x 4,096-output audio matrix per .edge processing blade. Video colour correction is also available as an optional licence. Operators can now adjust the levels of audio channels embedded in incoming SDI signals for up to 32 SDI inputs (@1080p), each carrying up to 32 audio signals. Each input has a dedicated Audio Gain control (–30dB to +18dB). The same applies to SDI outputs: in this case, changes to the gain are applied after the standard Audio Shuffler and Embedder.

www.lawo.com

providing mix-minus functionality and increasing the console’s number of standard input channels to 156, busses to 72, Mustard Processors to 48 and Nodal Processors to 72. A Quantum326T version equipped with a theatrespecific software package comes with the Pulse upgrade already installed as standard, further supplying the user with a generous 36x36 matrix.

A NEW flagship in its Model Recording Console Series, Tascam has launched the Model 2400, which like other models in the series combines an analogue mixing console with a multitrack recorder and an audio interface with DAW control. With a “considerably” more extensive feature set, however, the Model 2400 is aimed as much at professional recording studios and larger-scale live sound reinforcement as it is home recording and band-rehearsal applications.

The Model 2400 has 12 mono and five stereo inputs (including one via Bluetooth), four stereo subgroups, five aux sends and an effects processor with 16 adjustable presets. MIDI input and output with MIDI timecode, song position pointer and a click output features benefit artists and producers with electronic instruments and sound generators.

Each of the 12 mono channels has a simple one-knob compressor, a three-band EQ with sweepable mids and an insert. Phantom power can be switched in groups of four. A compressor (with five rotary controls on the top) and a parametric four-band EQ can be applied to the main stereo signal. A meter bridge with large level indicators can be displayed on a computer via USB if required.

The manufacturer has also introduced the DA-3000SD, a two-channel DSD/PCM master

recorder and AD/DA converter that builds upon the success of the original DA-3000. Designed for recording, mastering, archiving and monitoring, the DA-3000SD can capture audio at 192kHz for PCM as well as 2.8MHz and 5.6MHz for DSD, the highest-quality recording format commercially available. Multiple units can be synchronised for both recording and playback, creating a DSD multitrack environment. By cascading eight DA-3000SDs, users can record up to 16 tracks simultaneously.

The DA-3000SD also facilitates precise monitoring with dedicated volume control. When used as an AD/DA converter, users benefit from two galvanically isolated BurrBrown converters on the input stage and a dual monaural configuration with two high-quality circuits on the outputs, ensuring minimum interference between channels.

In addition, all stages of the audio circuitry are balanced to minimise noise on both the input and output paths. Thanks to a TCXO (Temperature Compensated Crystal Oscillator), the DA-3000SD’s clock generator provides ±1ppm accuracy for digital audio processing with no jitter.

www.tascam.eu

crystal Clear

Model 2400

The art of engineering

THE AML Azalea eight-channel console is the latest release to come out of Wheatstone’s collaboration with its sister brand Audioarts Engineering. Designed for voiceover booths, remote trucks or on-air studios, the console includes a USB port and is engineered with Wheatstone features such as Super Quiet mic

preamps to bring out the best in vocals and an external power supply to protect critical components and add to the life of the console. The unit has an eight input faders x two stereo bus configuration and comes with two mic channels, a differential input on a Phoenix-style connector and variable gain.

A point of Reference

EXTENDING ITS flagship Reference Series of point source loudspeakers, EM Acoustics’ R6 sits between the ultra-compact R5 and the versatile R8, which the British manufacturer says is a logical next step in the expansion of the loudspeaker family. The two-way passive speaker has been developed to give integrators the ability to create complete Reference ecosystems. Characterised by its low-profile design, the Reference Series is a family of full-range loudspeakers that boast flat frequency and phase responses, and what EM Acoustics describes as “unparalleled headroom and exquisite musicality”.

The R6 retains the same DNA as its siblings and has been developed for use as a front-fill or delay in theatres or

as speech reinforcement in a corporate or AV setting, and is equally suited for deployment in houses of worship. The speaker is also capable of discreet front-ofhouse reinforcement in smaller live music settings.

The slim enclosure houses a pair of bespoke 2-inch voice coil 6.5-inch neodymium LF/MF drive units and a 2.5-inch voice coil annular HF compression drive unit. The use of an annular diaphragm retains the ultra-low harmonic distortion levels for which the Reference Series is known. These drive units are fed via a twoway crossover topology, minimising off-axis parallax and lobing effects while retaining consistency of sonic character right across the operating range.

The Blade 4, the manufacturer’s fourthgeneration WheatNet IP I/O unit, has been enhanced with the addition of Reliable Internet Stream Transport (RIST), an opensource transport protocol developed for reliable transmission of video and audio in real time. The Blade 4 now comes with enhanced network security and reliability as well as lower latency, and higherquality audio streaming across the public internet, where links are less reliable and distance adds more delay. This fourth-generation Blade is fully AES67-compliant for interoperability with a wide range of AES67 devices and supports

Finally, the manufacturer’s entry-level AoIP console system is taking plug-and-play one step further with a new control plugin for existing playback and automation systems. The DMX console system, which is marketed under its Audioarts value brand, now includes the WheatNet IP automation control protocol (ACI), making it plugin-ready for full control of major playout and automation systems. With this, DMX studios now have full playout and automation control directly from the DMX console and can add touchscreen panels using WheatNet IP ScreenBuilder. Available in an 8- or 16-fader frame, the console surface has full EQ and dynamics functions with OLED display on every channel.

Dynacord’s U Series balances Watts and Cents

FOLLOWING THE launch of the multichannel V Series amplifiers, Dynacord has followed up with the introduction of the U Series line-up of compact, single-channel mixer and power amplifiers. Ideally suited for background music and paging applications without life safety compliances, complex networking or higher SPL levels, the U Series is described as a cost-effective alternative to Dynacord’s other commercial amplifier lines. With versatile power output options, the U Series delivers Class-D amplification for single zones in high-impedance installations in smaller commercial spaces. The series consists of six models offering a variety of power options to ensure optimal performance across different settings: four mixer amplifiers with 30W, 60W, 120W and 240W, and two power amplifiers with 120W and 240W. The U Series can be deployed in standalone applications or can be seamlessly integrated into existing installations.

The U Series mixer amplifiers sport front access for main gain, channel levels and tone adjustments. Two mic/line and two aux inputs are available to connect external devices such as microphones, a paging station or music players. The models can drive Hi-Z or Lo-Z speaker lines, feature phantom power for the microphone inputs and a switchable high-pass filter at 120Hz. Other features include an emergency override input for integration with a PA/VA system, a chime when used with a paging station and VOX ducking. The configuration is performed with DIP switches located on the rear of the devices. Designed to prevent unintended changes, the controls for the two models are located on the rear of the chassis. Measuring a single rack

www.wheatstone.com

In keeping with the other Reference Series models, the R6 is supplied with two bespoke waveguide options – 80° x 50° and 110° x 50° – to provide flexibility and return on investment for rental users and installation applications alike. In common with the rest of the series, the installed waveguide type and orientation are visible without removing the front grille. The use of bracing means the R6 retains the longevity and sonic advantages of a genuine plywood enclosure, whilst keeping weight remarkably low. The Birch plywood enclosure is coated in an impact and weatherresistant polyurethane finish which enables the R6 to stand up to harsh conditions and tough touring regimes.

www.emacoustics.co.uk

AML Azalea

Blade 4

Short setup for long throw A little Thump

DESIGNED FOR daily use on live stages as well as for long-lasting fixed installations, the Contour X 210 LT from HK Audio adds a passive point source loudspeaker to the company’s Contour X series. It can be used not only as a front PA system, but also for side-, front- and out-fill in larger systems.

Enabling horizontal arrays to be set up with ease, HK Audio says large events can be covered by the Contour X 210 LT costeffectively and with little effort.

The 210 represents the speaker’s two 10-inch mid/high drivers, which form a homogeneous and powerful foundation.

ADDING TO its Thump loudspeaker family, US manufacturer Mackie has introduced two compact additions in the Thump210 and Thump210XT. Featuring a 10-inch woofer design and 1,400W Class-D amplification, the rugged speakers are designed for portability which Mackie says makes them ideal for mobile DJs, touring bands and small venues.

The speakers join the Thump212 and 212XT, Thump215 and 215XT, and Thump 115S and 118S subwoofers. The whole

series underwent a total redesign in 2022, gaining upgraded heavy-duty drivers and

1,400W amplifiers, Mackie’s Feedback Eliminator and a Music Ducking mode, while their versatile I/O and built-in twochannel mixer is said to make them easy to integrate. The enhanced “XT” models add four application-specific voicing modes, while indoor and outdoor modes adapt instantly to the setting. Additional XT features include system EQ, levels and mutes, all accessible with the Thump Connect 2 app.

www.mackie.com

Theory Professional pairs outdoor Bollards

MODELLED ON the ic6 6.5-inch in-ceiling loudspeaker, Theory Professional has introduced the ic6-Bollard landscape enclosure. Following careful processing and computeroptimised tuned ports, the ic6 combines a low-frequency bandwidth and a wide dispersion resolution.

Based on Theory’s ic6 Acoustic Core platform,

360° of uniform coverage. For large, distributed installs, hundreds of ic6-Bollard loudspeakers can be networked courtesy of a switch-selectable 70V/100V transformer that can be driven direct by Theory’s DLC-250.4d four-channel loudspeaker controller. The half-rack DLC-250.4d can drive up to 16 Theory 16Ω loudspeakers in Lo-Z mode or up to 64 in Hi-Z mode.

and the iws12-9 architectural subwoofer. When the iws12-SPKR is mounted inside the latest iws12-Bollard housing, high performance can be extended outdoors.

The Californian brand has also released a series of commercial-centric loudspeakers for installed and portable installations. Currently comprising five multipurpose models, added flexibility of use is provided with the addition of integral ergonomic handles, multiple fly points, mounting points and pole cups. Optional Pro SplitYoke multipurpose brackets can be used for wall, ceiling, floor and other mounting. The Pro SplitYoke Brack Kit works without the need for multiple accessories and the Pro Caster Kit provides portability in the form of added wheels for the CF-212.3 full-range speaker and CLF-212

Its large 60° x 25° horn can be rotated for cluster operation, while its 1.4-inch driver with 3-inch voice coil and MCT (Multicell Transformer) delivers precise dispersion and even and defined coverage. Made from highstrength birch multiplex with a hard-wearing PU coating, the CX 210 LT also features HK Audio’s Integrated Cluster and Flyware (ICF) mechanism built into the housing. Designed to simplify handling, ICF means no additional cluster or flyware is required, enabling cluster setups to be created quickly and easily.

For Lab Gruppen and Powersoft amplifiers, pre-configured FIR filters with linearised phase response are available for all HK Audio Concert Sound models and IIR filters for latency-critical applications. Another practical detail is the inclusion of NL 4 sockets with pin selector switch allowing two separate speaker groups to be connected with just one NL 4 cable.

www.hkaudio.com

The CF-46.2 is a quad 6-inch, two-way, multi-use loudspeaker providing 120° conical coverage. Both the CF-28.2 dual 8-inch and CF-112.2 single 12-inch enclosures integrate an 80° x 60° elliptical horn. Comprising dual 12and dual 8-inch woofers, the CF-212.3 model is a 250mm-deep, three-way design with a built-in subwoofer. Sonically matched to the CF-46.2, CF-28.2 and CF-112.2, low-frequency extension is available in the form of the CLF-212 highoutput, compact, dual 12-inch bass-reflex

www.theoryprofessional.com

as under banquette seating, mounted on walls or ceilings, or flown using integral M8 inserts. Featuring a 6-inch driver with a large lowfrequency port to minimise air noise, the Sub 6 delivers 250W (AES) of power with a peak SPL of 118dB.

Horizontal or vertical orientation is possible by way of low-profile rubber feet which can be fitted on two surfaces, while installation is made as discreet as possible via recessed cable channels. An impact-resistant perforated steel grille protects a durable MDF enclosure, which is available in black or white textured paint. With Optimal Audio SmartAmp providing amplification, EQ settings and limiters, the driver is protected when operating at higher sound levels. The unit can be driven by a pair of bridged channels on any powered Optimal Audio Zone controller, while the onboard WebApp ensures system setup and end user control is straightforward.

Filled to the brim

COMPLETING CLAIR Global brand Cohesion’s CF Series of fill speakers, the CF28 and CF14 models join the CF24 and CF10 to create a family of versatile speakers in four efficient form factors. Engineered with an emphasis on application flexibility, all four speakers are passive and require a single amplifier channel.

Despite its touring lineage, Cohesion says its CF Series speakers are designed to supplement sound reinforcement for a wide range of live sound applications, such as large-scale productions and corporate keynotes, as well as permanent installations in venues including theatres, performing arts centres and HOWs.

The lightweight and visually discreet CF24 is the smallest product in the series, and can be

tucked in and around trusses, railings and stair and a central, rotatable MF/HF

EXPANDING THE installed sound portfolio with three passive column loudspeakers, Electro-Voice has launched the Line Radiator Column (LRC) Series. Based around purpose-built 2.5-inch drivers and proprietary PaSS dispersion control technology, the 580mm-high LRC-1060 and the 950mm-high LRC-1100 and LRC-2100 columns provide controlled vertical dispersion and a smooth frequency response.

LRC driver and waveguide configurations are optimised for full-bandwidth clarity and coverage in large or reverberant areas, with key features that allow output to be tailored to the space. Maximising intelligibility, PaSS technology features custom-designed phase plugs that extend lobe-free, high-frequency outputs beyond the range of human speech. Promoting their use for musical applications, unique passive radiators integrated into the LRC-1060 and LRC-1100 models can extend the low-frequency output below 100Hz.

Adopting a two-way design with dual 6.5-inch woofers to extend LF response, the higheroutput LRC-2100 extends down to 45Hz. Focusing acoustic energy on the audience without physically tilting the loudspeaker, both

The CF14 and the CF10 both parallel the sonic signature of Cohesion’s

directivity with a rotatable horn. Integrated mounting solutions provide quick and reliable wall or pole attachment, along with yoke or U-bracket options. The highfrequency component of both speakers is identical, delivering consistent voicing when using these speakers and other Cohesion products.

www.cohesionaudio.com

the LRC-1100 and LRC-2100 columns include switchable wide/narrow vertical coverage control settings and a passive acoustic down-tilt.

The two transformer-equipped models feature EV’s Automatic Saturation Compensation (ASC) technology, which preserves low-frequency response while protecting system electronics

Focusrite completes fourth-gen Scarlett range

and outputs, front-panel monitor switching and

mute control, S/PDIF and ADAT connectivity, additional headphone outputs and a built-in talkback mic on the Scarlett 18i20.

The models feature a 122dB dynamic range, using the flagship RedNet converters and remote-controlled preamps with 69dB of gain for studio sound from any mic. They pair Focusrite Control 2 for desktop with Focusrite’s new mobile app, reportedly providing full wireless control over inputs and monitoring mixes, allowing the adjustment of settings without being tethered by cables. A re-engineered Air mode with Presence and the new Harmonic Drive are said to add rich harmonics to recordings by emulating the characteristics of vintage preamps. New Auto Gain and Clip Safe modes can handle up to eight microphones at a time, while redesigned Dynamic Gain Halos now come with output as well as input metering.

Professional studio features include A/B speaker switching, built-in talkback mic on the 18i20, MIDI in/out plus S/PDIF and ADAT in/out, a refreshed Easy Start tool, along with Ableton

from unstable loads when the transformer is engaged. This promotes the LRC-1060 and LRC-1100 in applications where both music playback and EN54-24 certified performance are required, or any scenario requiring both linear performance and Hi-Z deployments. Avoiding the complexity of external Hi-Z adapters or active steerable systems, the passive designs incorporate 70V/100V + Lo-Z transformers (LRC-1060 and LRC-1100).

Flexible and adaptable installation options are enhanced by the included SwifTilt System hardware. The compact flush/pan/tilt bracket enables the LRC models to be mounted as flush to the wall as possible, while keeping cables and hardware out of sight. Each model supports inverted mounting and up-tilt and is equipped with multiple rear fly points for suspension. Designed to provide an optimal combination of audio performance and aesthetic refinement, the white or black paintable enclosures blend into the surrounding décor, in both indoor and outdoor settings. The LRC-1060 and LRC-1100 are certified to IP56c and EN54-24 type B; the LRC-2100 is certified to IP55.

www.electrovoice.com

Live Lite, Pro Tools Artist for three months and FL Studio Producer Edition for six months. Customers also benefit from a bundle of plugin instruments and effects, including Antares Auto Tune, Marshall Amp Modelling, synths, keys, drums, EQ, compression and reverb. The Scarlett 18i20 is a rack-mountable USB audio interface featuring 18 inputs, including eight advanced fourth-generation Scarlett preamps, and 20 outputs. Eight channels of LED bar metering can be assigned to inputs or outputs as well as master output metering. The Scarlett 18i16 is a desktop-format USB audio interface with 18 inputs, including four fourth-generation Scarlett preamps and 16 outputs, while the Scarlett 16i16 is a desktopformat USB audio interface which shares the same feature set as the 18i16 but is slightly more compact, with 16 inputs, including two fourth-generation Scarlett preamps, and 16 outputs.

www.focusrite.com

Higher power Instant replay with Magewell’s Director Mini

THE LATEST addition from Glensound is the Greater Divine intelligent network audio monitor. Following the launch of Divine in 2019, the Greater Divine is a larger two-way speaker unit incorporating several innovations. Glensound describes it as “an extremely versatile” self-powered monitor delivering 30W and is designed to be powered by PoE+ with the audio connected to a Dante network. Additionally, a local DC input and an analogue audio input supplement the eight customisable Dante input channels. Unusually, a headphone socket is also provided, and the package features an integral carry handle. The enclosure is robust and free-standing with various mounting options provided, while setup and the monitor’s features can be accessed remotely by the GlenController app.

Additionally, the company has also introduced the NSA16 network signal adjuster with 16 Dante inputs and 16 Dante outputs with a level control on each channel pair for stereo, or single channels for eight mono. The final channel can optionally be set as a group mix control of the other seven channels.

Specifically designed for live tournament esports on mobile devices, the GTM Mobile audio interface adds a direct hardwired connection to a phone, enabling two-way data

All the features of the standard GTM are present, including direct connection for the gamers’ headsets with twin multi-assignable headphone amplifiers, generation and sharing of the team talk mix and multiple sources for the game audio.

www.glensound.co.uk

Increased frequency

LECTROSONICS HAS announced that its DCHT digital stereo miniature transmitter and DCHR portable digital stereo receiver are now available in the B1C1 frequency range. The DCHT and DCHR are designed for use in film, TV, corporate and sports productions. They can be employed as both a wireless audio link from a bag or cart system to cameras, and as

DESCRIBED AS its most extensive feature update yet for the Director Mini, Magewell has reportedly added more than 50 enhancements in the version 3.0 firmware upgrade for the all-

use NDI High Bandwidth sources with alpha channel as motion overlays in the Director Mini’s graphics engine.

and 20mW to conform to regulations. It accepts two channels of mic or line level analogue signals or an AES digital signal from a mixer, and transmits to a receiver in a pure digital format.

Meanwhile, the DCHR offers analogue or digital outputs from a locking TA5 jack, and includes a headphone jack for signal monitoring. The

The Director Mini combines multi-input switching, graphics, streaming, recording and monitoring in one compact device. Version 3.0 enhancements to its production toolset, remote control capabilities and input flexibility include new scene presets – including picture in-picture, side-by-side and quad-splits – and more versatile remote control options. The free Director Utility mobile app now incorporates live programme video and audio monitoring, multi-step shortcut creation and editing, instant replay control and replay event sharing. The update also includes a new plugin for Elgato’s Stream Deck family of tactile control surfaces.

The manufacturer has also expanded its USB capture product line with the USB Capture HDMI 4K Pro, a plug-and-play 4K/60fps model that captures video sources up to 4K resolution. The company’s range of compact USB Capture devices enables computers to capture high-quality AV signals through a USB interface, with no requirement for an additional power source. Leveraging 20Gbps USB transfer performance on compatible host systems, the USB Capture HDMI 4K Pro enables the capture of 4K video at higher frame rates and colour precision, and is capable of capturing HDMI inputs up to 4096x2160 (including 3840x2160 Ultra HD) at 60fps with 4:4:4 chroma fidelity. It is also compatible with USB 3.2, USB 3.1 and USB 3.0 interfaces for capturing lower video signals; capture capabilities are dependent on the host USB connectivity and operating system.

The Director Mini’s input flexibility – which already included HDMI, USB, NDI, SRT, RTMP and mobile camera inputs – has been further expanded with support for RTSP streams and HTML webpage sources. Version 3.0 can also

Both the DCHT and DCHR can be powered

Intelligent power

TSL HAS announced the introduction of its PAM2-12G audio monitoring unit and PD14MiD intelligent power distribution units.

provide reliability and efficiency in broadcast environments. The units are equipped with 14 individually fused outputs, dual inputs

The PAM2-12G unit is designed for UHD audio monitoring, supporting a wide range of signals, including AES, analogue, UHD, HD-SDI and IP sources like AES67/Dante and SMPTE 2110. The 2U unit aims to offer broadcasters the flexibility they need to handle diverse audio and video signals. The PD14MiD power distribution units, also in a compact 1U form factor, are designed to

with automatic changeover plus features like sequential start and programmable delayed start. Additionally, TSL announced the latest update to its DCIM software, “Insite”, which aims to further enhance operational security and efficiency with advanced browser capabilities and heightened security.

www.tslproducts.com

Director Mini

Greater Divine

RTS takes NEO into the matrix

GERMAN INTERCOM manufacturer RTS

has completed the global launch of its NEO intercom management platform, its next-generation software ecosystem for configuring OMNEO-based intercom systems. NEO supports ADAM, ADAM-M and ODIN matrices, as well as OMS from the RTS Digital Partyline family.

The NEO intercom management Suite is an interface that reportedly puts every aspect of intercom system orchestration in front of the user. It works in tandem with the existing AZedit software platform for RTS matrix systems, enhancing the AZedit feature set and user experience. A range of new tools enable professionals to optimise their communications workflows for efficiency and effectiveness, no matter how complex the system. These include an intercom manager, properties manager, intercom resource search engine, user-configurable keypanel editor, multiple keypanel editor sessions and setup page manager.

The manufacturer has also announced the launch of the PH+ series, a line of ultra-lightweight passive noise reduction headsets designed specifically for broadcast professionals. As the latest addition to the LH and PH headset family, the PH+ series is said to be the ideal choice for those seeking superior comfort, durability and acoustic performance.

Inspired by the Telex Airman headsets, the PH+ models are designed for directors, floor managers and cameramen who require a headset that can keep up with the demands of a live broadcast environment, and reportedly stand out for their passive noise reduction capabilities. Larger ear cushions provide an acoustic seal, ensuring

that ambient noise is minimised while conversations and critical sounds remain audible.

The models also feature larger head and ear cushions, inwardly angled glider arms and earcup rotation stabilisation for a secure and comfortable fit, while the headband and dual-axis pivot points are crafted from stainless steel, ensuring long-term durability. The boommounted microphone can be positioned on either side of the headset and is equipped with an amplified electret microphone capsule featuring noise-cancelling technology.

www.rtsintercoms.com

Clear-Com releases highdensity AoIP interface card

CLEAR-COM’S

E-IPA-HX is an AoIP interface card that provides multiple IP connection types for Eclipse HX Matrix intercom systems, including support for AES67 and SMPTE ST 2110 audio and up to 64 Clear-Com intercom devices. The interface card can be used with the Eclipse HX-Delta Lite, HX-Delta, HX-Median and HX-Omega matrix frames. Eclipse HX (EHX) Configuration Software configures each port for its intended application and provides a dedicated IP Manager screen to monitor connections and add users.

Game on

STUDIO TECHNOLOGIES has launched its upgraded Model 207A eSports Console which builds on the strengths of its Model 207. The Model 207A maintains the look, feel and functionality of the original version but adds additional features catered specifically to the gaming and eSports market.

The new model has been designed to support a player’s complete audio and intercom needs by means of a compact, PoE-powered unit. It is aimed at enhancing eSports events with supported features that allow production personnel, team coaches and fans to hear what the players are hearing, including their discussions during game play. An audio masking solution provides the added benefit of preventing teams from hearing their competitors or the event commentators.

For audio masking needs, the Model 207A adds a second two-channel (stereo) headphone output. Located on the unit’s back panel, the new headphone output utilises a three-conductor 3.5mm TRS jack which allows wired earbuds to be directly connected. The manufacturer’s STcontroller software application has also been revised to make the audio source selection associated with the headset output more flexible as well as adding support for the new headphone output. The Model 207A incorporates an internal source of masking audio as well as allowing an external source to be utilised. The internal source of masking audio can help minimise the chance that players will hear live audio that’s present in a game venue. The new headphone output, containing the player’s desired audio source material, is connected

The E-IPA-HX card connects to FreeSpeak II beltpacks (1.9 or 2.4) in E1 mode via fibre to the FSII-SPL for the FSII-TCVR-24 or FSII-TCVR-19-XX transceivers. This allows up to 50 beltpacks and 10 transceivers per card. The card also connects FreeSpeak II or FreeSpeak Edge devices via AES67 protocol to EHX frames. A single E-IPA card can connect up to 64 FSII-TCVRIP-19 or FSE-TCVR-50-IP transceivers in any combination, supporting up to 64 FreeSpeak II or FreeSpeak Edge beltpacks. Each FreeSpeak beltpack uses one card port and each IP transceiver supports a maximum of 10 beltpacks. Multiple E-IPA-HX cards can support larger wireless systems if required.

All V-Series user keypanels can connect to an EHX host matrix by means of either an Ethernet or analogue-based connection. With the E-IPA-HX card, V-Series Iris panels can be configured to connect using a low-latency AES67 audio channel or the I.V. Core G.722 voice codec. Ethernet connectivity allows a diverse range infrastructure to be used, including local LANs/VLANs, microwave links or cellular networks. Furthermore, the card supports licensed connection of up to 64 smartphones or tablets running the Agent-IC Mobile App. Audio is encrypted to AES128 and silence suppression is an available option to reduce data usage. Agent-IC clients are typically connected over Wi-Fi, 3G, 4G, 5G or LTE networks. Also supported is connection to the manufacturer’s Station-IC Virtual Desktop Client and LQ Series.

to earbuds. These earbuds are placed in the player’s ear, under the headphone earpads associated with the headset. In addition, the Model 207A’s circuitry has been updated to improve the unit’s overall audio performance. The revised Model 207A offers small improvements to the Model 207 in several areas, including a lower noise floor and increased flexibility.

www.studio-tech.com

The E-IPA-HX card supports N+1 card redundancy, allowing primary cards to have one or more backups. It can also be licensed to support redundant IP networks. Both of these redundant features support either IVC or AES67-type connections.

www.clearcom.com

PH+ series

All aboard

WHARFEDALE PRO has launched dolly boards and dolly frames for its WLA series loudspeakers. The portfolio includes a total of five dolly boards and two common dolly frames designed to streamline product transportation, especially critical for live event and touring applications.

Dolly boards specifically designed for the WLA 1, WLA 2 and WLA 312X line array units are included in the new range, including those to fit the WLA 1 and WLA 2 subwoofers. All five dolly boards are crafted from high-quality birch plywood and come with castors and metal accessories, allowing the loudspeakers to be transported in a vertical arrangement. Furthermore, all are finished with Wharfedale Pro’s characteristic Tough-Tone paint.

To complement the dolly board launch, two common dolly frames are also available. Suitable for use with WLA 2 loudspeakers and subwoofers, the dolly frames offer an additional option for easy transportation, while also facilitating safe and secure ground stacking or flying of line arrays.

www.wharfedalepro.com

A problem solver

EXTRON HAS announced the availability of the EDID 111H 4K PLUS, a problem-solving emulator for EDID communication challenges between source and display.

It features the manufacturer’s exclusive EDID Minder Plus technology that provides automatic and continuous EDID management for reliable display of advanced 4K, select 5K and 21:9 aspect ratio video content. The emulator supports EDID and DisplayID files structured with up to four data blocks which enables higher pixel counts, unique aspect ratios and expanded HDR parameters. More memory blocks also support increased luminance levels featured in advanced HDMI displays. For convenient operation, the emulator offers selectable pre-stored, captured and user-defined EDID information. Furthermore, the EDID 111H 4K PLUS can be utilised for new and upgraded installations, facilitating enhanced displays.

The solution is HDCP 2.3-compliant and supports signals up to 4K/60 with 4:4:4 chroma sampling at data rates up to 18Gbps. It also offers integration-friendly features, including automatic input cable equalisation, automatic colour bit depth management, LED status indicators, user-selectable HDCP authorisation and visual HDCP confirmation when encrypted content is sent to a noncompliant display.

It comes with an energy-efficient external universal Extron Everlast power supply and configuration is facilitated with Extron PCS software. Housed in a 1-inch high, ¼-rack wide metal enclosure, the EDID 111H 4K PLUS has been designed for convenient, discreet installation in professional locations, from the boardroom to the lecture hall.

www.extron.com

Setting the new standard for image processing

A SOLUTION intended for professional-level sound capture on anything from broadcast studios and ENG applications to theatres, event venues and houses of worship, DPA Microphones’ 2061 lavalier is described as an easy-to-use solution for any live or recording application. In contrast to some of DPA’s higher-

capsule construction targeting the 50Hz–16kHz frequency range, with 128dB peak SPL. The manufacturer also claims the model offers best-in-class speech intelligibility as well as a robust mechanical construction for long-lasting performance.

With an omnidirectional pickup pattern, the

Schoeps shoots with KMIT

Rycote unveils Stereo Cyclone kits

THE STEREO MS Cyclone Kit 18 (XLR), the Stereo MS Cyclone Kit 17 (MZL) and the Stereo DMS Cyclone Kit 5 (MZL) are the latest Rycote Stereo Cyclone kits, all optimised for the new Sennheiser MKH 8030 with MKH 8040 and MKH 8050 microphone combinations. Each kit features a compact Z-lock basket design with 3D-Tex material and dedicated mic connections to provide

acoustic transparency and wind suppression (up to –50dB). The Kit 18 features XLR mic connections (two XLR3F to one XLR5M,) while the Kit 17 and Kit 5 feature MZL connections (two MZL to one XLR5M on the Kit 17 and three MZL to one XLR7M on the Kit 5).

The kits are designed for popular stereo techniques, such as X/Y, Mid-Side and Double Mid-Side, as well as models designed for

Scanning all channels

WISYCOM HAS unveiled the integrated RF scanner for its MRK16 multichannel receiver system. To complement the functionalities of the MRK16, the RF scanner offers the ability to manage up to 16 true diversity, multiband channels in a 19-inch 1U rack. Now, the MRK16 can be daisy-chained up to four times, for 64 channels of audio.

In addition, the MRK16 accepts up to four MCR54 receivers, providing antenna distribution, RF filtering and advanced audio routing. The dual-zone matrix function allows users to select and combine two diversity zones

using an antenna booster and smart remote control of the Wisycom LFA/ ADFA/BFA. The new RF scanner enables users to monitor RF activity and optimise frequency deployment without sacrificing an MCR54 to do so.

Operating from 470–1,260MHz, the ultra-wideband receiver system is equipped with 10 automatically selected band-pass filters. The RF-over-fibre functionality of the MRK16 has been designed to enable pristine reception without distance limits or heavy signal loss, while the optional EXP3 fibre module and BFLT1 transmitter make it possible to place coaxial cables and antennas miles away.

single mic and Ambisonic mic applications. The Cyclones are suitable for location sound, production sound, broadcast, audio for gaming or wildlife recording to create directionality, perspective, space, atmosphere and realism.

Meanwhile, the MTH610 handheld wireless microphone transmitter is the latest addition to the brand’s Symphony line of products.

Designed for professional wireless microphone applications, the handheld features dual-band capability in the 470–1,260MHz range, which is essential for global events that cover a wide range of locations and frequency spectrums based on specific country regulations. The transmitter is suited to any live sound production, including broadcast, theatre, concert and house of worship applications. The remote-control function of the MTH610 reportedly provides complete access to the device, enabling quick adjustments without needing to have the unit in-hand. In addition to the on-unit control, the system’s dedicated docking and charging station provides PC and Wisycom Manager connectivity. A proprietary waterproof, magnetic five-pin connector provides USB high-speed connection, power, battery charging and linear timecode (LTC) sync. www.wisycom.com

MTH610

One cable to rule them all

WITH FIVE different product iterations, the C128 microphone cable from Tasker has a nominal section of 2x0.35mm² with red and tinned OFC copper formation, a cotton filler to avoid distortions and an OFC tinned copper braid shielding covering 90%. This is all made possible by keeping an outer diameter of 6.3mm, with a soft PVC sheath available in different colours.

In addition to the original, the C128 LSZH with low smoke and zero halogen sheath is available with or without homologation for low (Eca Class) and medium (Cca Class) fire resistance defined by CPR EU305/2011

normative and tested by an independent international authority. The C128 PE, with a polyethylene outer sheath, is water resistant and has been specifically designed for outdoor and underground applications.

The C128 PUR has a polyurethane outer sheath, which makes it flame-retardant, halogen-free and resistant to friction, treading, atmospheric agents, UV rays and to cold or heat. It has an operative temperature of –40°C/+80°C, making it suitable for outdoor mobile use. Finally, the C128 AR has a special steel armour sheath for underground installation, even with the

Orban adds HD2 processing

FOLLOWING THE release of the OPTIMOD 5750 audio processor earlier this year, Orban has unveiled an HD version with independent processing for HD2 channels. The 1U hardware unit offers processing for FM analogue as well as DAB+ and streaming, along with HD1 and HD2. FM/HD1 channels can be blended or independent, and HD2 can also be managed independently.

THE POWERLINK LV from KLOTZ AIS is a five-channel rigg&floor power distribution box for stage use. It is described as a robust and easy-to-use power distribution system that has been specially developed for use in harsh stage

Four processing structures are available in the OPTIMOD 5750: Five-Band, Low-

rate of 48Gbps and is suitable for image transmission with a maximum resolution of 7680x4320 pixels in 8K/60p or for 4K/120p applications, including 3D, Full HD, Blu-ray, HDR and uncompressed HiRes image formats

environments. Equipped with one powerCON TRUE1 input and five powerCON TRUE1 outputs, the LV-NM5F box offers a current carrying capacity of up to 16A at 250V. The connector is characterised by its convenient and proven locking system and can be safely plugged in and unplugged even under load. Despite its lightweight design, the 1.5mm-thick aluminium housing can reportedly withstand even the highest mechanical loads. A matte black powder coating provides reliable protection against external hazards and is also easy to clean. In addition to the M10 thread in the bottom of the housing, the PowerLink LV is also equipped with eight holes for secure attachment to the rig via a securing rope. The non-slip rubber feet also guarantee a firm stand, even onstage.

The manufacturer has also released its HDMI 2.1 ultra-high-speed cable for maximum picture and sound quality. It features gold-plated HDMI-A plugs, is sheathed with high-quality nylon braiding and is supplied complete with a cable tie. The EMC shielding reportedly guarantees interference-free transmission up to 10m.

The H21-AAG1 cable transmits highresolution UHD video formats with a data

such as Apple ProRes or Blackmagic RAW. The H21-AAG1 also transmits digital audio formats such as Dolby Digital or DTS. Finally, the USB 2.0 cable supports data transfers of up to 480Mbit/s and a stable power supply with 500mA current. The robust yet flexible PVC outer jacket and double shielding offer protection against external interference, such as power cables laid in parallel, and reportedly ensure interferencefree data transmission, even under adverse conditions.

www.klotz-ais.com

provides intelligent two-band, window-gated automatic gain control (AGC), RDS/RBDS generation, remote control/monitoring via HTML5 web browser, diversity delay, silence detection and Orban’s proprietary Less-More control along with multiple factory presets.

www.orban.com

COMPLETING ITS Evolution Wireless Digital EW-DX microphone system, Sennheiser’s EW-DX EM 4 Dante receiver is a network-ready, four-channel receiver in a 1U rack space. The receiver offers connectivity via Dante (including AES67 support) for AoIP, XLR-3 audio outputs and unbalanced ¼-inch jacks. With no intermodulation, frequencies can be placed at 600kHz intervals, or 300kHz intervals in Link Density (LD) Mode, making frequency management easier, while the switching bandwidth of 88MHz leaves room to manoeuvre in a congested spectrum and can accommodate up to 146 channels in standard mode or up to 293 channels in LD mode. The receiver is also fitted with an integrated antenna splitter with antenna power and signal loop-through, which means up to 16 channels can be daisy-chained directly without the need for any additional devices.

For network-based systems, the receiver’s four network ports allow for flexible configuration modes. Once the receivers have been set up, a frequency scan can be initiated via one EW-DX EM 4 Dante unit and the receiver will auto-deploy free frequencies across all connected receivers, including EW-DX EM 2 and EW-DX EM 2 Dante receivers. Custom frequency lists can also be loaded into the receiver. Meanwhile, transmitters are sync’ed via BLE from a distance of up to 20m with parameters determined via the receiver menu. The EW-DX receiver also gives users the option to perform a walk test to check signal integrity across the stage or performance area.

The manufacturer has also announced the release of its new Q-SYS control plugin for the TeamConnect Ceiling Medium (TCC M). As part of the Q-SYS Ecosystem, software and hardware manufacturers collaborate with Q-SYS to create solutions that integrate with its cloud-manageable audio, video and control platform. The Sennheiser TCC M plugin integration has been fully vetted and endorsed by Q-SYS with a Q-SYS Certified badge.

Finally, Sennheiser has released Spectera, said to be the world’s first wideband, bidirectional, low-latency digital wireless ecosystem. For a full report, visit page 52. www.sennheiser.com

Latency Five-Band, Ultra-Low-Latency Five-Band and Two-Band. The platform also

Not so secret seven PRODUCTS

DESIGNED TO integrate with the wider Hollyland Pyro Series, the Pyro 7 is a wireless video monitor that combines TX, RX and a 7-inch monitor screen in one compact device. Its Auto Dual-Band Hopping (ADH) technology not only resists interference and supports a long operational range of up to 400m, but also enables Pyro to operate on both 2.4GHz and 5GHz bands. Featuring SDI/HDMI loopout and RTMP streaming, it has a latency of 60ms to deliver smooth and responsive video monitoring. Joining the company’s Pyro S and Pyro H transmitter units, the Pyro 7 can connect one transmitter to four receivers, allowing all crew members to monitor live video simultaneously. Meanwhile, its customisable shortcut keys provide the convenience of dual-camera monitoring. Hollyland’s upgraded HollyOS offers enhanced image analysis capabilities and allows for bulk video file export via SD card.

Designed exclusively for streamers who need quick deployment for platforms like X, Shopee, Tokopedia, Instagram and Facebook, the VenusLiv V2 is a livestreaming camera that

TWO NEW headsets have been launched by partyline developer PunQtum with the aim of reinventing the current product line. The PunQtum Q915 and Q925 are both described as delivering lightweight and comfortable wear combined with advanced audio technology.

end user. Coupled with an adjustable boom that’s wearable on either side of the device, the Q915 and Q925 are flexible headsets designed to deliver seamless communication. The Q915 is a one-ear headset, while the Q925 is its dual-ear counterpart. Both come with a four-pin XLR connector cable.

installed livestreaming apps include an image overlay and green screen functionality which allow streamers to remove the background and switch to virtual scenes whenever necessary.

Preset lighting modes (auto, 2-point, 3-point)

quick adjustment to deliver more natural-looking images for faces, objects and backgrounds. Its built-in face recognition system automatically captures facial images and brightens up complexion.

Meanwhile, connectivity is simple: an embedded capture card and a UVC-supported USB-C port enables streaming directly with a single cable, and its built-in sound card supports adjustments to high-, medium- and low-grade reverberation and other sound effects. It supports 3.5mm and HDMI, as well as other audio/video transmission ports, and has an Ethernet port in addition to Wi-Fi connectivity. The camera uses a high-quality 4K lens featuring 12MP effective pixels, an f/1.2 aperture (equivalent to f/6.3 on a full-frame camera), an 80° field of view, a minimum focus distance of 0.5m and less than 1% edge distortion.

www.sounddevices.com PunQtum introduces next-gen headset

Devices’ A20-SuperNexus receiver expands the company’s Astral wireless product family with more channels, flexibility and versatility in a single wireless receiver. Designed for large productions, live events, international tours and festivals, it boasts a base 16 channels that is expandable up to 32 channels of clean RF in a 1U 19-inch rack enclosure. The A20-SuperNexus receiver is operable worldwide due to its 169–1,525MHz global tuning range and has built-in HexVersity (two- to six-antenna

Sound Devices’ RF Mirror Mode for full redundant operation.

Meanwhile, the A20-Outpost-NL system allows for remote-mounting NexLink antennas via Ethernet, and the A20-Opto expansion box adds native Optocore audio I/O to the A20-SuperNexus receiver for DiGiCo console interconnectivity. Sound Devices has started integration work with DiGiCo to put RF control directly into the workflow of audio engineers.

of the System 20 PRO, a self-managing, plugand-play, 2.4GHz digital wireless system that is scalable to 20 channels and has been designed to deliver “dependable, high-quality audio”, regardless of location. Designed for hassle-free deployment, the system is said to overcome the challenges of conventional wireless microphones, such as TV station interference and frequency coordination, complex intermodulation calculations and remote antenna cabling. Capable of receiving up to four transmitters, the system features the ATW-R1440 which can remain docked in the half-rack chassis or, adding versatility, be mounted remotely (up to 100m away) and connected via Ethernet-standard cabling. Up to five chasses can be linked using included RJ12 cables, creating a stable, multichannel system with the simultaneous use of up to 20 channels. The user can also choose the most effective

HD mode (20 channels) to maximise channel count. Audio can be submixed within each receiver for situations with limited mixer input channels. Chassis displays show system ID,

Seamless setup and management are controlled via Audio-Technica’s Wireless Manager software, which is capable of managing multiple UHF, 2.4GHz and DECT wireless systems from a single

screen. In addition, AES128 encryption comes standard for security. The transmitters included in each system are paired and ready to use out of the box, and offer all-day operation on a full charge. Each receiver channel can be paired with up to four transmitters, allowing users to instantly switch between different transmitter configurations.

The System 20 PRO transmitters are available in bodypack and handheld microphone configurations for performance and presentation. Both have two antennas built into the transmitters, OLED displays and slide-to-mute switches. The bodypack transmitters are fitted with water- and sweatresistant cW-style locking four-pin connectors for use with a variety of Audio-Technica microphones. In brief, a white version of the ATH-M20x is now available to enable users to match their go-to headphones with their creative environment.

www.audio-technica.com

A20-SuperNexus

VenusLiv V2

L-Acoustics puts the focus on audio over aesthetics with HYRISS

L-ACOUSTICS HAS turned its attention to making great audio match the importance of the visual aesthetics by creating more immersive and “emotionally resonant” environments. As a result, the French manufacturer has unveiled HYRISS, the Hyperreal Immersive Sound Space, which is suited for a wide range of applications, from

FORMING AN integral part of firmware update 10.3, DHD.audio has announced the DHD Control API, providing a secure interface between the company’s range of audio production systems and third-party devices and software. The version 10.3 firmware will be available across DHD’s entire range of production equipment. According to the manufacturer, DHD Control API enables modern and secure communication within media networks, advancing integration and control to a high level of security. It also extends operational versatility beyond existing APIs by providing access to the entire core audio and logic system. This allows integration “at a whole new level”, adding many new possibilities that customers can utilise. The DHD Control API is built upon standard web technologies such as WebSocket for realtime communication and HTTPS/REST, both formatted in JSON. It supports certificatebased transport layer security encryption (TLS) for all traffic as well as token-based access control. The API’s documentation will be made publicly available to encourage industry-wide adoption, with example integrations and code samples also provided.

Meanwhile, the RM1 has been designed to bridge the gap between podcast and broadcast. Featuring integrated audio processing capability, the mobile audio mixer and multichannel interface is an all-in-one audio solution housed in a compact, lightweight desktop unit capable of operating from a wall outlet or USB linked power source. Developed for easy configuration in varying styles of content creation, it aims to provide users with high signal quality and versatility for creative activity such as podcasting, web radio, livestreaming and remote or onsite broadcast contribution. To make vocals stand out, presets can be tailored for every voice and style. Features include an audio equaliser, compressor, limiter, multitrack recorder and on-air tally. The AutoMix feature automatically balances all incoming audio channels, managing background music and unwanted distractions for a cleaner mix. The RM1 also brings other automation features such as automatic gain levelling and control. To enable the user to focus on content creation and not be distracted by the technology, the RM1 delivers a signal ready for distribution.

dhd.audio

Making Waves with dedicated MADI

WITH THE addition of a dedicated MADI version to its established Dante-compatible unit, the SuperRack LiveBox from Waves gives users the ability to access a wide

combination of hardware and software is optimised to run plugins efficiently and reliably. The addition of dedicated MADI connectivity reportedly ensures use in all

range of studio-grade VST3 plugins running natively in a robust turnkey environment. The 2U SuperRack LiveBox MADI supports up to 128 low-latency channels (64 coaxial and 64 optical at 48kHz; 32 optical and 32 coaxial at 96kHz).

Aiming to be quick and easy to set up in any live or broadcast setting, LiveBox’s

popular live console setups. Optional dual power supply provides power redundancy for extra reliability in any setting. Each SuperRack LiveBox MADI unit ships with the Waves Live bundle as well as the Waves SuperRack Performer plugin host.

www.waves.com

range of audio formats, from mono to Dolby Atmos soundscapes and beyond.

HYRISS leverages three core L-Acoustics technologies: L-ISA positions instruments in space, mimicking live concert settings; Ambiance uses state-of-the-art sensing microphones and the L-ISA Processor II to transform room acoustics; and Anima utilises

luxurious residences and yachts to high-end hospitality and corporate settings.

The HYRISS system combines discreet in-wall speakers, high-power amplification and advanced spatial audio processing to create adaptable, high-quality sound environments –anything from serene atmospheres for relaxation to dynamic entertainment venues. It therefore eliminates the need for dedicated media rooms by allowing a single space to effortlessly become a concert hall, sports stadium or cinema. It also supports a wide

SIGNIFICANTLY INCREASING

channel count from 24 to 64 channels for all 12 binaural mixes, the :vokal+ software upgrade for KLANG:technologies’ :vokal immersive in-ear monitor (IEM) mixing setup forms part of KLANG’s updated KOS 5.6 operating system. It brings the same rootintensity EQs found in KLANG’s :vokal system to DiGiCo console worksurfaces via the DMIKLANG card and is the result of a redesign and optimisation of the FPGA immersive audio core. The company says the launch of KOS 5.6 and the :vokal+ software upgrade delivers the same input channel count on both systems with the original mix count of each product. With the increased channel count on :vokal+, KOS 5.6 also introduces Group Spill on its :kontroller to provide users with easy access to all channels in a group through :kontroller’s channel banks. To make this easier for the user, KOS 5.6 also introduces several Quick Setup Wizards, such as the Setup and IP Wizards. Housed in a compact 1U chassis, the KLANG:vokal (and :vokal+) allows up to 12 musicians to pick up to 24 mono or stereo channels out of 64 Dante and MADI inputs. Based on KLANG’s ultra-low latency FPGA core, KLANG:vokal offers 12 mixes of 24 mono or stereo inputs at 48kHz and 96kHz.

advanced algorithms and machine learning to localise, spatialise, separate and immerse audio content beyond its original design. Each HYRISS installation will be crafted by certified experts. The manufacturer collaborates with qualified systems integrators and end users to define desired experiences, operational condition and budget, ensuring a personalised solution optimised for each unique space.

www.l-acoustics.com

as a free update for all KLANG immersive processors from the company’s website.

www.klang.com

KLANG KOS 5.6 is available

Riedel gives users more of the SAME

AN ALL-NEW audio processing software suite that the company says will “redefine the broadcast audio landscape with unparalleled workflow automation and flexibility”, the SAME Smart Audio & Mixing Engine has been unveiled by Riedel. SAME is based on the latest commercial off-the-shelf (COTS) server cluster technology to deliver

processing capabilities that scale with production needs.

With a suite of over 30 audio processing tools and mixers, the solution caters to a wide range of applications such as voiceover, automated mixing, audio monitoring or in-line process insertion. In combination with the universal inputs of Riedel’s range of Network Stream Adapters (NSA), users will be able to create a fully automated signal path from mic to ear.

SAME’s Audio Pilot is intended to give a “big picture” of all running productions, offering a view of multilocation productions for centralised monitoring and management. The Audio Pilot also introduces a process- and mixer-independent audio monitoring system with fully automated monitoring path switching. The company’s new management platform, Riedel STAGE, is said to simplify the mixing and matching of devices, roles and personnel without the need for protocol or IP knowledge, streamlining operations and reducing setup and training times.

Beyond SAME, the German brand has also launched the new Virtual SmartPanel (VSP), a

software solution enabling users to leverage their mobile devices for remote intercom connections. The VSP introduces a virtual hybrid infrastructure that seamlessly integrates with the Artist-1024 platform and is characterised by a user-centric design that is as functional as it is intuitive. The VSP also leverages the Riedel STAGE management platform.

Lastly, the company has announced two new additions to its NSA series: the NSA-003A and NSA-006A. The interfaces are designed to advance IP-based audio and intercom workflows, offering flexibility, reliability and seamless integration for professionals in broadcast, live events and studio environments. The NSA-006A is designed specifically for audio workplace environments, offering a set of features tailored to modern IPcentric workflows. The NSA-003A, on the other hand, is a two-wire analogue intercom adapter that combines a compact design with advanced functionality.

www.riedel.net

Sustainable audio Amplifying CloudPower

APEX HAS released version 1.3.4 firmware for its CloudPower installation range. The update introduces several new and refined features for all four-channel CloudPower amplifier models and for the 16-channel CP716D, alongside upgrades to the IntelliCloud control software.

To speed up amplifier setup and loudspeaker

now be copied and pasted between amplifier channels. To prevent unwanted hands-on access, CloudPower’s front panel rotary encoder can now be locked from the IntelliCloud WebUI.

V1.3.4 also adds a Locate function, helping the end user to match up an amplifier being controlled in IntelliCloud with the corresponding physical unit in a rack full of CloudPowers.

DESCRIBED AS an agile recording solution developed by live sound engineers for live sound engineers, LiveTrax from Harrison Audio is the company’s latest software offering for modern studio and stage settings. It is a multitrack recording and virtual soundcheck software that integrates with Allen & Heath live consoles. LiveTrax is designed for capturing live performances ranging from small, intimate events to large-scale concerts and productions. It focuses on the essential tools required for capturing live recordings quickly and efficiently without complication. Its user-friendly interface is simple to use for podcasting, soloists, band rehearsals and large orchestras. LiveTrax reportedly eliminates the unnecessary features of a fully featured DAW in a live environment, allowing users to easily capture any performance with confidence.

The software allows users to refine any mix before a live show begins, promoting

Also, the Relay, General Purpose Input (GPI) and Standby connectors on CloudPower’s rear panel are all enabled in the new firmware, permitting fault indication and muting of all channels to fulfil EN54 VACIE fire alarm requirements and allowing amplifiers to be placed in an energy-saving standby mode via IntelliCloud or UDP command.

www.apex-audio.be

D&B HAS announced the latest update to its cloud-based sustainability management software for the live event industry, SustainSymphony. The update now aligns the platform with the 17 Sustainable Development Goals (SDG) set by the United Nations to address a wide range of global sustainability and equality issues.

The integration of the SDGs into SustainSymphony includes a new feature that highlights SDG-related actions within the user interface to make it easier for event organisers and users to monitor and track their contributions and sustainability.

Event activities and data collection related to the 17 SDGs are clearly marked in the platform’s interface. This is aimed at simplifying the process for users integrating sustainability goals into their event planning. Furthermore, an SDG matrix has been added to the event

reports, providing organisers with a detailed overview of how their event activities align with

now to all users of SustainSymphony at no additional cost.

www.db.group

greater predictability. When paired with an Allen & Heath console, LiveTrax becomes a fully fledged mixing tool. It can create a

marker when recalling a mixer scene, jump to follow scenes during virtual soundcheck, synchronise tracks names and follow

transport commands from the connected console.

LiveTrax also displays input level meters before track creation, providing full visibility of the user’s input signals prior to recording. The tool allows for effortless switching between “Multi Out” (consecutive multitrack playback) and “Stereo Out” modes for swift virtual sound checking.

LiveTrax also functions as a digital “tape recorder” for capturing live productions of any kind, including band rehearsals and even podcast sessions. The tool’s marker function facilitates straightforward mapping of setlists, song structures or memory locations that can easily be “drag-and-drop” rearranged for later convenience. After the show, sessions can be imported into Harrison’s Mixbus DAW for advanced editing, mixing and mastering.

www.harrisonaudio.com

SAME Audio Pilot VSP

Unified control PRODUCTS

SHURE HAS announced the release of ShureCloud, designed to provide unified control and management of Shure Microflex Ecosystem devices and IntelliMix Room DSP software licences from a single user interface. The cloud-enabled centralised management platform brings “intuitive workflows” that IT managers and AV integrators will be familiar with, while real-time remote management access allows users to manage, monitor,

optimal operation. Users can also push updates to ensure all devices are running on the latest firmware and will receive instant alerts of issues, enabling quick resolutions with minimal downtime. The Shure Wireless Workbench Scan Library application is also now accessible within ShureCloud.

The platform’s interface is described as simple and familiar, especially for customers who regularly work in a variety of cloud platforms.

government or higher education. Additional features, including self-registration and an expanded monitored device portfolio, will be introduced in the coming months.

ShureCloud combines an off-premises platform to remotely monitor, update and manage Shure hardware and software products across a broad spectrum of applications and industries. According to the manufacturer, the foremost advantage of ShureCloud is the ability to manage all Shure devices from one, easy-to-use platform. Device monitoring enables users to view device status and performance in real time to ensure

Time for T

THE LATEST V4.1 update for SSL’s System T introduces tools for automated cloud deployment and a “Dual Channel View” mode in the Tempest Control App (TCA). It also includes additional immersive audio production features, with channel paths and busses available in formats up to 9.1.6 and additional FX for the built-in FX Rack providing parallel compression on every channel path. Available across all System T consoles and DSP engines, including virtual, the V4.1 update delivers immersive 9.1.2, 9.1.4 and 9.1.6 channel paths and busses, in addition to existing 9.1.2, 9.1.4 and 9.1.6 monitoring capabilities. These join advanced immersive panning tools, a range of multichannel FX including the SSL Bus Compressor, multiband compression, dynamic EQ, delays and a “Link Bus” architecture for dynamics processing across objects and beds. Additional effects have been added to the System T FX rack, including SSL’s Blitzer “vibe” compressor and Sourcerer isolator. Parallel compression on every audio path is also now available, with each channel dynamics section now featuring a wet/dry

introduces a new graphical interface for designing user experiences, enabling them to stream live and on-demand content, create and manage digital signage and distribute TV and in-house content over existing networks. The platform is designed to complement VITEC’s 4K-enabled EP6 endpoint.

A user management application within the platform lets customers invite, manage and control internal access to specific parts of the ShureCloud platform. Each individual user can customise the site layout and tailor the interface to meet their specific needs, highlighting key metrics and controls. ShureCloud provides a suite of security features using accepted standards such as GDPR, TLS 1.2 MQTT and HTTPS. Data encryption ensures secure communication between devices.

www.shure.com

With updated elements for designing dynamic digital signage and interactive portals, as well as a redesigned canvas with expanded functionality, the ArtioCreate content creation interface reportedly makes creating content on the Avedia Platform quicker and easier. Also new to the Avedia Platform is the Avedia Wayfinding solution, a licensable option enabling the creation of touch-interactive wayfinding maps, allowing visitors to navigate multi-floor buildings or multi-building campuses. When users draw paths to various points of interest, the Avedia Platform algorithm will determine the quickest route from the point of origin. A toggleable accessible routes feature ensures that visitors with impaired mobility are also catered for by the Wayfinding solution. Release 7 of PRISM is now available, featuring adaptive bitrate HLS, low-latency

control. V4.1 software also adds “automated deployment” tools for System T Cloud, allowing scriptable deployment for unattended installation. Licence delivery has also been automated, enhancing System T’s agility in distributed production models.

Meanwhile, SSL has partnered with sonible to create a new series of production-focused plugin bundles. The first bundle features SSL’s Bus Compressor 2 with sonible’s

encryption. PRISM is a real-time IP video transcoding system that enables content to be adapted to an optimal format for efficient delivery to any device. Its adaptive bit rate and HLS output ensures compatibility with a wide range of devices and platforms, whilst its ability to create different quality levels provides a seamless and uninterrupted viewing experience. Its integration with Akamai CDN further ensures interoperability, whilst a host of security enhancements, including encryption to UDP TS transcoding channels, provides robust security. Meanwhile, the MGW Diamond-H is a compact and energy-efficient encoder able to handle multiple 4K video signals allowing users to take video from various sources, encode and send it on the network for a smoother workflow and enhanced connectivity. It also supports PoE+ and HDMI loop-through to streamline installations and reduce the need for additional power sources. The MGW Diamond-H encodes up to four channels from two sources at HD resolution, or one at 4K and offers one 12G-SDI and two HDMI 2.0 inputs.

www.vitec.com

combination is said to bring instant cohesion and clarity to any mix without the need for

extensive manual fine-tuning. Finally, the manufacturer has also introduced GateVerb, the latest addition to its growing lineup of FX pedal-style plugins, and a new range of System T fader tiles and Tempest

www.solidstatelogic.com www.sonible.com

Boost your ControlSpace

AIMING TO boost both speed and efficiency, Bose Professional has expanded its ControlSpace ecosystem with two featurepacked add-ons. Providing networked control, mixing and monitoring of Dante-enabled audio systems for commercial spaces, ControlSpace now boasts the CS Accelerator, a software tool that automates and reportedly speeds up audio system design by up to five times, and CS Cloud, a cloud-based monitoring service. Both features are designed to make system design more accurate, as well as provide monitoring and insights in real time,

processes and increasing consistency by automating much of the signal path and processing design.

Meanwhile, CS Cloud brings scalable management, monitored performance and greater insight and reliability to networks with ControlSpace processors by enabling installers to anticipate issues and troubleshoot systems remotely. It provides system monitoring, troubleshooting and instant notifications through email, Teams, Slack and other popular platforms. ControlSpace Cloud is fully scalable and can be configured to monitor a single room

audio solution

FOHHN AUDIO has announced its Fohhn Gallery platform for immersive audio applications. In addition to Fohhn loudspeaker systems, at the heart of the solution is the company’s new processor which handles rendering and signal management. The system has been designed to enable the realisation of threedimensional sound worlds and complex multichannel projects.

The software installed on the 19-inch processor server can be operated without a separate PC and enables the control, placement and movement of audio objects and live inputs in the room. In addition, the

use of various input and output formats from binaural headphone playback, 5.1, Dolby Atmos, IMAX 3D to full dome environments with 128 channels is possible. For connection with Fohhn amplifiers, the device is equipped with a Dante interface and supports the OSC and EMBER+ remote control protocols.

Fohhn Gallery is the result of a collaboration with Tom Ammermann from New Audio Technology. The German company develops software and hardware for the production and playback of immersive audio content.

www.fohhn.com

DESIGNED TO supercharge the device’s multiple-client functionality, Fourier Audio has released its free v1.2 transform.engine software update which enables VST3 plugin states to be stored and recalled during live productions. It allows users to easily recall Cues over a MIDI connection from either a mixing console or show control software. The update also enables different engineers who are sharing a single transform.engine to operate unique Cuelists targeting different chains at the same time. This support allows multiple users to control plugin states in different chains – or even the same ones – on a single server.

As part of Fourier Audio’s DiGiCo integration, a specific mode responding to MIDI Controller Change messages on Controller Numbers 16–19 is also available. For other applications, Cues (contained in Cuelists) on the transform.engine

A busy summer Instant recall

HDBaseT extension

can also be triggered via a direct MIDI cable connection transmitting MIDI Note On, Program Change or NRPN messages.

www.fourieraudio.com

AUSTRALIAN VIDEO specialist Atomos has unveiled a trio of enhancements,

and Adobe to enhance camera to cloud workflows. The free-of-charge firmware update equips monitor-recorders with cloud-based tools and services to enable faster turnarounds and remote collaboration for creative video projects, and means any connected Ninja or Shogun can send footage directly to Frame.io V4 without uploading through Atomos Cloud Studio. Ninja Phone can already upload footage directly to the platform using the iPhone app, and Atomos says a free firmware upgrade for C2C connectivity will be available soon.

Meanwhile, the Ninja Phone has been given a series of additional upgrades, including 4K and 4K DCI Apple ProRes recording, monitoring, 10-bit H.265 streaming and playback, as well as support for Apple’s iPad Pro series. The Ninja Phone connects professional cameras and lenses via HDMI to an iPhone 15/16 Pro or Pro Max – and now an iPad Pro – and records directly to 10-bit ProRes or H.265 10-bit. The update means Ninja Phone users can also record and playback 4Kp 24/25/30 and 4K DCI

THE AMP-260-DNT from WyreStorm is a two- or four-channel network amplifier designed to cater to the advanced audiovisual needs of professional environments such as medium or large meeting rooms and university lecture halls. The unit integrates both local line level and Dante audio inputs, ensuring flexible connectivity and superior audio distribution tailored to the acoustics of the space. It comes with a dual power supply capability,

for modern conference rooms and to simplify and enhance the user experience. The 4x2 switcher integrates video, audio, USB, control and Ethernet functionalities and comes with dual USB-C and dual HDMI inputs, automatic switching capabilities and advanced USB 3.2 ports. Each input port supports cable lock connections, providing secure and stable connections for presentation devices. The switcher reportedly ensures seamless

24/25/30. An optional extension bracket for Ninja Phone can also now be fitted to the 11- and 13-inch iPad models, transforming them into high-spec, on-camera, industryleading P3 1,600-nit reference monitors. Finally, updates to the company’s Shinobi II photo/ video monitor provide touch auto focus as well as photo and video control for Sony, Canon, Panasonic, Fujifilm and Nikon. In what Atomos describes as a “world first”, the update adds on-monitor touch auto focus and focus subject tracking in both photo and video camera modes. The first camera models to be supported are from Sony (A7 MkIV), Canon (R6 Mark II),

327; LED status indicators for operational monitoring; line level audio loop-out for amplifier daisy-chaining; five-band EQ, up to 200ms delay and other DSP features; versatile installation options for rack or ceiling mounting; front panel buttons for intuitive volume control; and comprehensive control methods including RESTful API over HTTP/S.

The MX-0402-MST conference presentation switcher from WyreStorm has been designed

FOLLOWING ON from the introduction of Prism Player and Prism Zero, Avolites has announced the latest version of Prism. Named Prism One, it’s a development the manufacturer describes as an important milestone for the application suite. Prism is Avolites’ software application suite for video previewing, adjusting and encoding for the manufacturer’s Ai platform.

Created predominantly for lighting designers, key features include an added preview window, cross fade on a layer, hardware

functionality to nearly the entire product line. The SW-540-TX-W has also been replaced with the more advanced SW-640L-TX-W, enhancing performance and capabilities. Lastly, the NHD-510-TX integrates HDMI and USB-C inputs and supports 4K60 4:4:4 video resolution, providing crystal-clear image quality across all applications.

www.wyrestorm.com

decode acceleration for H.264/H.265 and control over multiple banks and layers, in addition to live input and NDI input, and virtual return and region of interest on outputs. Together with Synergy, the company has added control to surface and layers, NDI previews, cross fade duration and speed control, as well as updates to improve playback performance on AiM, NotchLC and HAP media.

www.avolites.com

Ninja Phone

Shinobi II

Seen, heard and booked with Biamp

AIMING TO deliver conferencing bars and cameras for bigger conference room spaces, Biamp has unveiled the Parlé VBC 2800 Conferencing Bar and Vidi 280 compact ePTZ conference room camera. Both models feature dual 4K UHD ePTZ camera systems with AI auto framing that automatically switch between cameras for the best shot. This dual camera system boasts a 120° horizontal field of view and up to 16x digital zoom with a 50-megapixel image sensor to capture meeting attendees further down the table in larger meeting rooms. With integrated acoustic echo cancellation and AI noise reduction that Biamp says suppress distracting sounds, the Parlé VBC 2800 uses a 27-microphone array, while its Biamp Beamtracking technology tracks and mixes conversations from around the room. Biamp’s one-touch AI-powered Biamp Launch means the bar can easily be set up and optimised for any room’s unique specifications. Alternatively, the Vidi 280 is a small, standalone camera that is easy to mount around a display

and connect to room experience systems, including unified communication platforms such as Microsoft Teams or Zoom, as well as BYOM systems such as Biamp MAX Connect. It uses a five-element microphone array and can also be paired with the Parlé ABC 2500a conferencing audio bar for a higher performance AV meeting

Biamp has also introduced updates to its Evoko Workplace and Naso room scheduling panels. The update unifies desk and room scheduling solutions into a single cloud-based platform to integrate with the company’s revamped Evoko Naso room scheduling panels and Evoko Kleeo desk booking devices. This eliminates double bookings and provides real-time visibility into room and desk availability. Rooms or desks can be booked from a single mobile app or web portal, with interactive floorplans displaying occupancy status.

Extending these capabilities, the company has also launched the Biamp Workplace which consolidates the Evoko Workplace and SageVue into a single ecosystem for centralised AV

Modular upgrade to 4G

WOHLER TECHNOLOGIES’ OPT-RMOC-12G module provides the ability to migrate a 3G-SDI capable monitor to a 12G-SDI (4K) capable monitor. It includes a single BNC as well as an SFP cage for a 12G-SDI or ST 2110 (@1080p) input and works with most 1U and 2U iSeries inrack monitors. Installed in the option card slot, the OPT-RMOC-12G is capable of monitoring

monitoring, management and optimisation across Biamp’s entire portfolio. Key capabilities include comprehensive Evoko room and desk scheduling and real-time device monitoring, system alerts, remote management for firmware updates, usage analytics and centralised administration. The launch version features management and monitoring support for Tesira DSP, Devio SCX conferencing hubs, Tesira and Voltera amplifiers, TesiraLUX video encoders and decoders, and Evoko scheduling panels.

www.biamp.com

16 channels of audio (iAM & iVAM Series), plus a single video input on the iVAM Series. Both audio and video are selectable from a choice of sources connected directly to the card, or

VSN V3 now available with Xeon

DATAPATH’S VSN V3 videowall processor is now available with Intel’s Xeon CPU processor to meet the demand for high-resolution, high-demand control room applications. The VSN systems are already available with Core i9 or i7 processing power and the addition of a Xeon processor now gives the VSN V3 a further CPU option, with a clock speed of 4.8GHz and a 16MB cache. In addition, memory options are the highest in the manufacturer’s range – up to 128GB – with USB 3.0 included to support high transfer speeds and connectivity to the latest devices. Each VSN V3 can be preconfigured with Datapath Image graphics, Vision capture and SQX IP decode cards for specific project requirements of various sizes. For efficiency, the VSN V3 chassis has been designed to optimise airflow to improve

heat management and reduce noise. This design, along with a new platinumrated redundant power supply, makes it reportedly the most efficient VSN to date. Datapath engineers have designed the latest VSN backplanes to ensure stability and cool operating temperatures.

The chassis also includes unique hot-swappable fan technology for uninterrupted 24/7 use and maintenance in critical installations.

www.datapath.co.uk

inputs connected to the in-rack monitor. The module also adds Remote Monitoring capability for use with Wohler’s MAVRIC cloud-based monitoring service. MAVRIC enables users to

Barco

look at video, listen to audio, see audio bars, levels and loudness via a web browser, and is accompanied by a Mobile Application for Apple/ Android. Wohler says it unifies teams by centrally providing alerts and communications inside MAVRIC.

www.wohler.com

BARCO HAS its OverView range of tiled LCD videowalls with the introduction of the OverView LVD-5521D and OverView KVD-5521D 55-inch 500-nit units, part of the ENB 1.8mm and UNB 3.5mm bezel generation respectively. Featuring automatic colour and brightness calibration and noiseless operation, the panels have been designed to complement the manufacturer’s UniSee platform. The new additions reportedly offer significant advancements in seam width reduction and uniformity enhancements, and make sure that the intermodular seams are minimised for a smooth visual experience. Barco’s Sense X algorithm is said to ensure that a perfectly balanced image is consistently produced across the entire wall for “superior visual uniformity and performance”.

The OverView LVD-5521D and KVD-5521D use the Video wall Manager software to make it

to feed four displays in loop-through with 4K@60Hz content, reportedly results in easy connection with a limited number of cables. Both products are ecolabeled with a Barco ecoscore A. Compared to the previous model, the KVD-5521D consumes 20% less energy, representing a significant improvement in energy efficiency.

www.barco.com

Biamp Workplace

Evoko Workplace

Vidi 280

Seeing both sides of the story

OPTICAL PRODUCT specialist Lumens has introduced PTZ cameras at opposite ends of the spectrum – one is the world’s first dual camera speaker tracking PTZ with picture-in-picture output, the other a nocompromise, entry-level model.

Designed for meeting rooms, radio studios and vlogging applications, Lumens’ VC-TR60A automates the entire production process to deliver framed shots for use in video conferences, presentations, interviews or training. Featuring integrated speaker tracking, its directional sound sensors can detect the location of active human voices, enabling the camera head to shoot the current speaker and re-frame as other voices enter the discussion. Its AI audio tracking also enables the camera to differentiate between sounds made by human and non-human sources. Capable of outputting dual stream video, the VC-TR60A features a panoramic camera in its base unit, with a main 12x zoom camera attached to

its robotic arm. Its two imagers can also produce a composite picture-in-picture effect in-camera with output over HDMI and USB, incorporating both the wide-angle view and the tight shot.

Meanwhile, the company’s VC-R31 HD PTZ is an entry-level model designed to deliver the same stability, performance and durability associated with Lumens’ other cameras. Based around a highsensitivity Sony sensor, it boasts a 12x zoom, simultaneous HDMI, and USB and IP outputs, and can be powered using the supplied adapter or over PoE. Its 72.5° horizontal field of view makes it suitable for installation in spaces requiring a wideangle lens, and it is also compatible with Lumens’ CamConnect Pro voice tracking system, making it ideal for automated multi-camera meeting rooms and video studios.

www.mylumens.com

Grass Valley brings a little bit of everything

GRASS VALLEY has been keeping busy with the launch of three switcher products tailored for low- to mid-tier productions, two entry-level cameras and two additions to its Densité Modular Platform.

The three switcher products comprise the K-Frame VXP video processing frame, Karrera V2 switcher control panel and the Sport Producer X. The K-Frame VXP is the latest addition to GV’s K-Frame XP family, offering enterprise-grade production switcher capabilities in a 5U chassis, and is suited for venues, stadiums, houses of worship, fly packs and smaller OB vans. It supports UHD 4K 2160p, HD and 1080p 3G formats for consistent, high-quality production across all resolutions.

The Karrera V2 is a user-friendly interface, available as either a two- or three-stripe surface. Karrera V2 panels are designed to

drive any of the K-Frame video processing frames, offering a familiar user experience at a more accessible price point. The Sport Producer X, meanwhile, is the latest AMPP application solution that combines production switching, replay, graphics, audio production and multiviewers into a single interface.

Building on the success of the LDX 90 series, two entry-level cameras have also been released: the LDX 110 and compact LDX C110 version. Both are native UHD cameras suitable for a wide range of applications including sports, studio and entertainment productions. They offer a native UHD 2⁄3-inch CMOS-Imager equipped with Global Shutter technology to ensure image capture in every operational mode, and both support native HDR and WCG (Wide Colour Gamut) operation

(PQ, HLG, S-Log3), with onboard custom LUT processing within the camera head for precise HDR-to-SDR conversion. The LDX C110 also comes with XCU connectivity, a feature only previously found on higher-end models.

Finally, the company has launched the ACE-3901 next-generation 12G modular agile computing engine and the XIP3911-GRID firmware for its XIP modular processing platform. Designed to meet the growing demand for high-density IP gateway solutions, the ACE-3901 offers up to 400Gb IP bandwidth per module and up to 256 12G-SDI or 384 3G-SDI gateways within a single 4U Densité frame. This reportedly provides up to a tenfold increase in density and a fivefold reduction in cost per channel.

www.grassvalley.com

Carbonite Ultra Solo targets small-scale operators

DESIGNED TO deliver professional switching in a cost-effective package that means smaller operators can still create

Video has launched the Carbonite Ultra Solo. The device is a compact UHD production switcher available in two versions: an all-in-

control surface electronics within a compact unit, and a 1U frame that can be controlled by separate hardware or a software-based control panel. It reportedly brings all of the performance and ease of use of the Carbonite mid-sized production switcher to the small switcher market.

Key features of Carbonite Ultra Solo include full support for HD and UHD operations, with input, output, ME and MiniME count identical regardless of the switcher format. The full ME provides six keyers, while the MiniMEs, with two independent keyers each, support the feeding of on-set monitors or IMAG displays. An internal RAVE audio mixer is integrated, delivering a professional toolset for audio processing, mixing and routing, while the Production Sequencer tool assists operators with repeatable elements within live production. In addition to Memory or Custom Control macro operations, the sequencer allows operators to link a series of

tasks, events or device controls together for repeatable playback.

In addition to the compact switcher, Ross has also announced the launch of the Ultricore Tally, a tally control and management solution for coordinating complex live productions. As a software application that is installed on Ultricore BCS, the Ultricore Tally can be used either as a standalone tally solution or in conjunction with other functionality from Ultricore to deliver a comprehensive control experience. It is said to go beyond the basic functionality of tracing on-air signals from origin to monitoring point and offers a range of interoperability, scalability and configuration flexibility. This includes direct support for an extensive collection of industry-standard communication protocols to interface in real time with Ross equipment and third-party devices.

www.rossvideo.com

Extending IP with Ikegami’s IPX-100

THE LATEST addition to Ikegami’s range of full, broadcast-quality production equipment, the IPX-100 extension unit is a fully featured, IP-oriented mini base station. Designed to operate as a self-contained unit, the IPX-100 includes an integral signal generator which allows system configuration before cameras or other sources are connected. Prior to the event, ST 2110 connectivity can be set up independently by IT specialists. On the day of the event, the cameras can then be connected to the IPX-100 by a conventional SMPTE-hybrid fibre cable with up to 3.5km cable extension. The IPX-100 powers the camera head. Serving as a gateway to IP, the IPX-100 converts the broadcast signals to ST 2110-compliant signals. It is also available with an optional 3G/HD-SDI input/output to serve as an external SDI-to-IP or IP-to-SDI converter. To allow direct connection of a field monitor to the IPX-100 to control the related video signals on location, there is an HD-SDI video monitoring output.

To enable camera control on location, users can connect an Ikegami OCP-300/-500 via Ethernet to the IPX-100, even if an IP connection to the wider ST 2110 infrastructure is not yet established. A PC

running Ikegami XE Web View software can simultaneously be coupled to the network hub, enabling system supervision via an optional Protocol Gateway. Automated setup can be performed using an NMOS IS-04/IS-05

feed from the IPX-100 to a local or remote central automation system.

The supported video formats provided as standard include UHD (2160p59.94/50), HD (1080p59.94/50, 1080i 59.94/50) and HD-HFR in 1080i/p (2x/3x/4x speed) and 720p59.94/50. Additional supported standards include SMPTE ST 2022-7 redundancy, ST 2110-10/-20/-21/-22/-30/-40 and ST 2059-1/2 PTP synchronisation and a range of control protocols such as NMOS IS-04/IS-05.

Furthermore, the IPX-100 can optionally output JPEG-XS signal streaming data (software option) at selectable rates of high (1/6), medium (1/8), low (1/16) and minimum (1/32). Other options include a 3D-LUT output for HD simulcasting (compatible with 33x33x33 or 65x65x65 .cube files created using DaVinci Resolve), HD to 4K-UHD upscaling or a data trunk output.

www.ikegami.co.jp/en

Capturing the action Vizrt focuses on broadcast market

CANON EUROPE has added to its EOS R system with the EOS R1 and EOS R5 Mark II, designed to “take professional photography and videography to new levels”. Both offer a streamlined workflow process and intuitive user experience, with assistive technologies powered by a new Accelerated Capture imaging platform that has been added to support the processing of large volumes of data. Along with Deep Learning technologies, the cameras can reportedly unlock higher performance and new features in several areas,

creative project. Both cameras feature the latest version of Dual Pixel CMOS – Dual Pixel Intelligent AF. This includes multiple enhancements including the ability to more accurately track subjects, by identifying the face and upper bodies of players and avoiding obstacles or other players.

THE PTZ3 Plus and PTZ3 UHD Plus

the need for additional hardware and further

range of hybrid professionals to tackle any

range.

www.canon-europe.com

when talent turns away from the shot, with an auto 0.5–10s timeout/reset if the presenter leaves the presentation area, and the camera never tracks off-set or breaks a green screen effect thanks to edge limitation. Blackboard detection locks the camera in place when it identifies a presentation area for a more enjoyable viewer experience.

To simplify setup and use of camera tracking data for AR or Extended Reality (XR) system setups, the cameras embed the open FreeD tracking data protocol in the NDI|HX stream itself, adding camera position, rotation and lens data metadata into every frame. This reportedly removes

the mini XLR port, any microphone or audio source can be connected to ingest audio in the same NDI|HX stream, powering +48V microphones with no amplifier needed. Two-step confirmation prevents accidentally powering non-powered microphones. This reduces setup complexity for AV deployments and remote production needs, and offers easier integration with various workflows and less equipment needed.

In brief, the manufacturer has also released Viz Libero Free, a free edition of its flagship sports analysis software, Viz Libero.

www.vizrt.com

to capture the headline shot every time, while the EOS R5 Mark II is built for a wide

PTZ3 Plus and UHD Plus

Max to the cloud AJA removes bottlenecks

AVAILABLE IN 24TB and 48TB compact models, and including a 12-card RAID 0

The manufacturer has also released an end-to-end workflow for producing cinematic

Capable of handling up to 12K Blackmagic RAW digital film files, the fast flash-based memory core is designed for multiple users sharing large media files between editors, colourists, audio engineers and VFX artists. Complete with a status monitor output, the broadcast replay system can connect multiple HyperDeck recorders and DaVinci Resolve 19, which includes a new media player, news cutting and replay features. Featuring large parallel flash memory cores for media files, the Blackmagic Cloud Store models can input 12 M.2 flash memory

range, so cinematographers can shoot 90fps stereoscopic 3D immersive cinema content to a single file. The custom lens system is designed specifically for URSA Cine’s largeformat image sensor with accurate positional data that’s read and stored at the time of manufacture. This immersive lens data –which is mapped, calibrated and stored per eye – then travels through postproduction in the Blackmagic RAW file itself. Finally, the Blackmagic Camera for Android adds digital film features and controls to Samsung Galaxy and Google Pixel phones,

SEVERAL NEW added to AJA’s catalogue, including to the company’s next-gen KONA IP25 video and audio I/O card featuring bidirectional SMPTE ST 2110 support, the OG-ColorBox colour management and nversion device for live production, a feature-packed v3.0 ColorBox update and an OG-C10DA openGear distribution amplifier card.

The KONA IP25 IP video and audio I/O card boasts 10/25GbE SFP connectivity, multichannel UltraHD support and other features that match the demands of full and hybrid SMPTE ST 2110 ecosystems. Designed for broadcast, TV/film, truck, venue, studio, school, HOW, greenfield station and post environments, as well as AJA Developer Partner solutions, the eightlane PCIe Gen 4.0 card adopts the latest IP standards. It provides uncompressed bidirectional SMPTE ST 2110 support and is compatible with many third-party creative and

Matrox extends KVM series

REPORTEDLY THE world’s first open standards-based, IPMX/ST 2110 IP KVM extender, Matrox Video has launched Avio 2. The latest addition to the manufacturer’s IP KVM product line, the Avio 2 HDMI IP KVM extender is said to provide unparalleled video quality and performance, with support for up to 4K60 4:4:4 resolution, delivering real-time remote performance.

The Avio 2 integrates with existing infrastructure and scales efficiently for installations of any size. Enabling secure, realtime KVM-over-IP extension and switching over 1GbE and supporting true uncompressed 4K 4:4:4 over 10GbE networks, the Avio 2 IP KVM extender is described as suitable for the most

demanding applications, such as handling of detailed content that requires high colour fidelity and image quality.

A versatile IP KVM technology with multiple codec options, including support for JPEG XS, the Avio 2 “raises the bar” for performance and reportedly enhances both productivity and operational efficiency in mission-critical environments. As part of the IPMX standard, the Avio 2 supports NMOS, an open API for device discovery and connection management, facilitating signal routing and control via thirdparty systems in broadcast and live events workflows.

www.matrox.com

Vision Preview mode, ARRI Alexa 35 LogC4 Wide Gamut 4 WVO support in Live Mode via the Colorfront licence, a configurable ACES AMF pipeline, support for .CLF and .CTF files and the ability to configure the SDI and HDMI outputs for colour space and bit depth. A hot-swappable openGear distribution amplifier card for analogue signals, the OG-C10DA features eight BNC outputs, plus one BNC output with an option for loop out or

Designing ColorBox’s colour management and conversion toolset into an openGear form factor, the OG-ColorBox delivers ultra-low latency, high-density 4K/UltraHD high dynamic range (HDR) wide colour gamut (WCG) video processing, extensive HDR/WCG conversion options, colour correction and custom LUT processing for live production. It supports “nearly any live production colour needs”, from colour correcting specialty cameras to processing camera Log and real-time SDR/

video, bi-level and tri-level video reference, AES3-id digital unbalanced audio and LTC signal-type distribution. Built-in compatibility with Ross DashBoard software assists remote OG-C10DA configuration and control, so production teams can distribute multiple copies of a signal and extend the composite video content with gain adjustment for long cable runs.

www.aja.com

URSA Cine Immersive

OG-C10DA

Christie debuts the Jazz 1DLP Series

DESCRIBED AS a series that promises exceptional performance without a premium price tag, the Jazz Series of 1DLP projectors from Christie has debuted with two models: the DWU2400-JS and DWU1800-JS. Both feature WUXGA resolution in a light and compact form factor, delivering 23,750 lumens and 17,800 lumens, respectively.

The Jazz Series features include advanced electronics, including Texas Instruments’ 0.8-inch HEP (High Efficiency Pixel) DMD for improved colour and contrast, and a more efficient cooling system design. Weighing

WUXGA projectors in the same brightness class that use a 0.96-inch DMD.

The DWU1800-JS and DWU2400-JS include active 3D support, and built-in warping and blending with Christie Twist. Complementary Christie Mystique Lite software works with an inexpensive camera to warp and blend up to three Christie projectors in a single horizontal array with the click of a button. The new projectors are compatible with seven of the HS Series lenses, as well as two new Jazz Series lenses, including an ultra-short throw option.

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Sharp NEC lowers cost of ownership

SHARP NEC

Sharp-branded laser projectors. The Sharp X141Q and Sharp X171Q professional installation projectors offer 4K+ shifting technology and are said to also benefit from improved DLP contrast and a great blending performance with improved fill factor as well as “perfect” border black level. As such, they are suited for use in higher education and corporate scenarios, as well as museums and immersive rooms.

The use of the laser light source within the new models is said to deliver an excellent colour performance with vivid reds. The models are equipped with new high-efficiency pixel (HEP) DLP for improved DLP contrast and better compatibility with WUXGA infrastructure. RB laser technology is highly efficient in producing the most intensely natural tones, minimising power consumption

Long-lasting imaging performance is safeguarded against dust contamination with an IP6X-rated sealed light engine, also minimising maintenance requirements. All of this means the X141Q and X171Q models reportedly promise long-life performance at a low total cost of ownership.

www.sharpnecdisplays.eu

control

PROVIDING ELEGANT control of any Bluesound Professional sound system on a single interface, the low-profile CP300 control panel is a wall-mounted, PoE+ powered 8-inch colour touchscreen that uses the pre-installed Bluesound Controller Android app to provide total functionality for commercial spaces. The dynamic touchscreen allows users to select playlists and control volume levels, and provides access to a Bluesound Professional partner

No rival

music service of their choice such as SoundMachine, Custom Channels, Sirius XM for Business and Qsic. The Android 13-based tablet comes with an easy-to-install wallmount bracket and a right-angled Ethernet cable; all that is required is a network connection to get started. Meanwhile, the device can be locked via a personalised PIN for added security.

www.bluesoundprofessional.com

AYRTON HAS launched its IP65-rated Rivale Wash, the first wash luminaire in the brand’s new Ultimate range. Forming part of the IP65 3 Series, the Rivale Wash has been developed especially for mixed indoor and outdoor use, including in salt-laden environments. The unit has been designed to emphasise volume and create depth. The 170mm Fresnel lens providing a 4° beam has been specially

A LunaBulb moment

ASTERA HAS expanded the potential of its LunaBulb with the LunaBulb Accessory Kit which incorporates a range of blockers, diffusors, reflectors and lenses within a single, lightweight portable case. The kit has been designed to further extend the ways in which the LunaBulb luminaire can be used on-set or during an event. Each LunaBulb Accessory Kit

includes four LunaShades, two Blocker and two Diffusor shades. The shades have a quick snapon fitting and can be applied to the traditional LunaBulb to change the directionality of the light or create a more diffuse appearance. The kit also features four LunaReflectors which fit the slimline format of the luminaire to increase its light output by reflecting it forward and

created for use with framing shutters, while also facilitating the use of geometric gobos or ovalisation lenses. The new Fresnel lens is said to significantly improve colour mixing and deliver 10% more light compared with a conventional Fresnel lens. The Rivale Wash’s proprietary 12-lens optical system offers a zoom ratio of 14:1 and a range from 4–57°.

The Rivale Wash is equipped with a new 430W high-efficiency, sealed, monoblock LED module calibrated at 6,500K, offering a luminous flux of 28,000 lumens with optimum positioning on the black body to achieve “perfect light neutrality”. A system of four individually positionable barn doors reportedly allows precise shaping capability over the full 100% surface area, regardless of lantern position.

The luminaire adopts a new, high-definition, progressive CMY colour mixing system that delivers colour reproduction as soon as the filter is inserted, regardless of the colour combination selected. An extended progressive CTO enables precise adjustment of colour temperature from 2,700K to 6,500K, and a seven-position colour wheel with special filters completes the palette of tools dedicated to colour creation. For greater flexibility of use, the Rivale Wash offers subtle adjustment of the colour rendering index from 70 to 88.

An indexable, rotating gobo wheel with seven adjustable-speed rotating gobos (in both directions), a CMY and RGB graphic effects wheel, a 15 blade iris, a 0–100% variable linear frost and a dimmer/strobe complete the effects package.

www.ayrton.eu

Also included are four snap-on dome LunaDiffusors for the LunaReflector which not only diffuse light but maintain the same look and diffusion density as the upper part of the existing Astera NYX Bulb. As such, when a LunaReflector and LunaDiffusor are combined, the LunaBulb emulates the appearance of Astera’s existing NYX Bulb, meaning that both products can be combined in a single production. Four snap-on optical LunaLens devices also come in the set. These are a slight diffusion that is added to the LunaReflector and imitate the front look of a PAR16 bulb. The devices blend colours while offering only a slight reduction in the output of the LunaReflector. Lastly, the kit boasts four White Snoots which can be screwed onto the LunaReflector to avoid glare and they are fully compatible with the snap-on LunaDiffusor and LunaLens.

Performance on the dot

SUITABLE FOR a range of outdoor and indoor fixed installations, Martin’s Exterior Dot Pro family of outdoor-rated RGBW LED dots is designed for both indirect and direct view creative video applications and includes three string-based dots: Exterior Dot-1 Pro, Exterior Dot-4 Pro and Exterior Dot-9 Pro. Each model offers full configurability in dot count, distance between dots and lead-in cable length. Additionally, the family features the connector-based Exterior Dot-HP Pro. Equipped with efficient RGBW LEDs, Martin says the range delivers high-intensity and “exceptional” lumen

and mood. Boasting versatile mounting and integration options, its open control interface

output, while its integrated colour boost technology enhances output for mixed and saturated colours. All models are fully gamut colour-calibrated, and calibrated dots feature a dedicated colour temperature channel to allow easy adjustments to create ambience

Exterior Dot Pro family as well as other upcoming

high-speed, high-capacity video processing to simplify fixture deployment. They require no local setup, support long cable distances and allow more fixtures per daisy-chain.

www.martin.com

Exterior Dot-1, -4 and -9 Pro

LightShark gets to the core

JOINING THE LightShark range – which comprises the LS-1 hardware console with assignable faders and rotary controls, the more affordable LS-Core, the LS-Wing Open Sound Control (OSC) hardware controller and three multiprotocol DMX streaming devices collectively referred to as LS-NODE – is the LS W1 remote control. It completes LightShark systems by providing a wall-mount touch device with eight programmable buttons to control scenes and trigger any other action from the console. With this device, which is configurable from the console, end users don’t have to access the software interface to execute common scenes and commands.

LightShark’s latest software upgrade (version 1.5.25) has also been released,

which applies to all products in the range. Among the improvements are a Responsive

UI that automatically rearranges to fit any screen regardless of its shape or size, plus

new functions such as “HighLight/LowLight” and Fixture Grouping. There are also new time-saving features such as Record Merge and Record Remove, which make it possible for programmers to include or remove their information in the selected Cue – or in all the Cues of a playback – without having to use the EDIT+UPDATE function.

Other key features include the implementation of ArtNet v4, the inclusion of Digital Patch, the introduction of Unicast and the inclusion of a WEB user manual within LightShark, which gives users access to step-by-step video tutorials and screen recordings so that they can learn new

A FOLLOW-UP to its smaller brother, the Opus X Profile, the Opus X4 Profile has been released by Cameo and features a 1,400W LED white-light engine which generates a light output of 50,000 lumens and provides powerful spot and gobo projections.

The combination of the 1,400W LED engine, 193mm front lens and particularly large 5–55° zoom range enables equally flexible use as a spot

and a profile moving head. The Opus X4 Profile is only slightly larger and heavier than the Opus X Profile, despite its large leap in performance, and is still just as flexible to handle. Thanks to its two rotating gobo wheels, a rotating animation wheel, iris and the four-way aperture-slider system, each with ±60° rotatable framing blades, the Opus X4 Profile features nearly all effects options. With saturated

Seamless response

ETC’S TWO- and four-port (non-DIN) models of Response Mk2 DMX Gateways now support NFC configuration. A tap from a mobile device running the Set Light app (v1.9 or later) allows users to retrieve a Gateway’s configuration, edit it in the app, then update the gateway with another tap, even while the gateway is powered off. This latest update to Response Mk2 DMX Gateways also adds Port Labels on the Gateways’ LCD screen. Users no longer need

to think about what’s plugged into a port and can also view and edit port information in

colours – especially its intense red hues – the spot profile moving head offers infinitely variable CMY colour mixing and two additional colour wheels. A linear CTO filter and two frost filters with 1–5° are also available. Furthermore, the fixture is compatible with all market-relevant control and transmission protocols. www.cameolight.com

the latest version of ETC’s Concert network configuration software (v4.5.1) and in the

Small is beautiful

ROBE HAS added to its growing inventory with the PAINTE Fresnel, the SVOPATT and the SVB1. The PAINTE Fresnel is a quiet wash solution for short- and mediumthrow applications in theatrical, television, installation, live or corporate settings. Its colour palettes use an advanced CMY colour mixing system, and the unit is equipped with a wheel with nine dichroic colours, variable CTO and Robe’s ChromaTint patented ±green. The unit has been designed for noise-sensitive environments with multiple fan controls and a choice of a TE 310W HP (High Performance) white LED engine for maximised output or TE 310W HCF (High Colour Fidelity) engine for optimal colour rendition with an inherent CRI of 96.

The SVOPATT features a contemporary housing with nine individual modules, each containing seven 40W RGBW multichips and a centre pixel also containing a 200W white LED strobe. An RLCT lens coating helps maintain high performance and protects against scratches and

scuffs while also preventing particle adhesion. Multiple modes and protocols include Art-Net and sACN for easy pixel mapping. Features

include a choice of RGB or CMY colour mixing modes, a variable CCT range, an onboard DataSwatch colour library with 66 preset colours and tungsten lamp emulation. Each individual module contains a noise-dampened motorised zoom, while the 3.8–50° zoom range enables the creation of tight beams or wide washes from each individual module.

The SVB1 is a multifunctional effect, beam and wash luminaire that delivers high-output and

available for existing Response Mk2 DMX Gateways. Users can activate features in the field with a simple upgrade to software version 2.1.0 or 3.1.0 via UpdaterAtor. For the security-conscious, NFC configuration can also be disabled using Concert on a per device basis, ensuring devices in publicly accessible areas cannot be reconfigured by unauthorised users.

www.etcconnect.com

rotation. With seven individual 40W RGBW LED cells plus a central pixel with both RGBW and a 200W white strobe LED module, the SVB1 offers full pixel mapping. The motorised zoom range offers precise 3.8° beams, up to expansive 50° washes, and the rapid speed and wide coverage are further enhanced by 360° continuous pan and rotation.

www.robe.cz

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Meeting the future with hybrid solutions

Brad Hintze, executive vice president, global marketing for Crestron, outlines suggestions for successful hybrid meetings based on the manufacturer’s research and contributions from specialist authors

THE RIGHT TECHNOLOGY AND MINDSET ARE CRITICAL to the success of hybrid meetings with a mix of remote and inperson attendees. Suddenly Hybrid: Managing the Modern Meeting by Karin M Reed and Joseph R Allen, PhD looks at the current state of workplace collaboration. From conversations with the authors and our own research report, Tackling the Modern Workplace by the Numbers (www.crestron.com/Inbound/Modern-Work-ResearchReport), here are some tips for successful hybrid meetings:

Understand (and adhere to) the concept of “meeting equity”

Crestron has been developing the technological framework for meeting equity with solutions such as the Sightline Experience, understanding the concept and the behaviours that buttress it. As noted on the Crestron blog: “Equity involves distributing resources based on the needs of the recipients.” Reed advocates having remote attendees speak first when opening the discussion; a great reminder that remote attendees are in the loop and their input is valuable. “The biggest pitfall that can develop in hybrid meetings is establishing a two-tiered system due to proximity bias where those who are in the office have greater access to information and opportunity,” she says. “In a hybrid meeting, you want to ensure all of the collaboration tools you use are connected. For example, use a virtual whiteboard rather than a physical whiteboard that can only be written on by those in the conference room.”

on training that are taught to students studying organisational psychology and management,” he says. “Any good training will likely follow the guidance provided in these courses, and this is true of a good hybrid meeting training protocol.”

Ensure the right technology is available for both in-person and remote workers

“I was leading a meeting from within a conference room, but the only technology available was an extra laptop which was situated on the table,” relates Reed. “There was no monitor to allow the in-room attendees to see the online attendees and vice versa. There was no way for them to interact at all. Everyone needs to be seen and heard in a hybrid meeting by all their fellow attendees. That means high-quality audio and video for both the in-room and remote attendees. While in-room attendees can usually see their remote counterparts’ faces well, sometimes it’s hard for virtual attendees to see the faces of the in-room attendees. Technology that supplements the broad picture of the meeting room with individual shots of those seated around the table allows the remote attendees to better read nonverbals that might be hidden by the simple ‘bowling alley view’ of the conference room.” This is achieved automatically with intelligent video solutions, with a suite of products including multiple monitors at the office location, which improves the meeting experience for in-person attendees, too. Having every participant in every other attendee’s line of sight as various collaborators speak actually makes the hybrid experience better than an all-in-person event.

Create an effective training programme for your hybrid staff

The best technological solutions for hybrid collaboration are those that require minimal training. However, according to Allen, it’s

Understand the responsibilities of both leaders and attendees in hybrid meetings

“The success of a meeting is shared by both the meeting leader and meeting attendees,” says Reed. The negative effects of tardiness, multi-tasking and hijacking the agenda can be amplified in a hybrid scenario. “Codifying rules like video use, turn-taking procedures and sharing out meeting minutes and action items in an accessible way can make everyone accountable,” adds Reed. “Sometimes, lead a meeting from within the conference room. Sometimes, lead a meeting as a virtual attendee. It sends a strong signal to your team that it doesn’t matter how you join a meeting. Everyone’s contributions are equally valued regardless of their location. Don’t click ‘end meeting’ until everyone has left, especially those in the conference room; the virtual attendees can see everyone walk out and know they aren’t being excluded from the conversation after the official meeting adjourns.”

Treat every meeting as a “high-value” meeting

Small spaces can now host big presentations that were usually reserved for large conference rooms. Every space needs to have the proper connectivity and presentation tech and, from a behavioural aspect, every meeting must be imbued with the same level of engagement and respect. “First, acknowledge remote attendees,” says Reed. This makes them feel that they are part of the team. “Get people talking. Sometimes, conversation can be stunted or stilted because it can be difficult to know when it’s your turn to talk,” she continues. “Cold calling with good intentions

Attendees should, however, be given the chance to simply pass on the opportunity to speak up. Turn-taking policies, establishing signals such as hand-raising or utilising a platform’s chat function, can drive engagement. Technologies that allow everyone – both inperson and remote – the ability to clearly perceive nonverbal cues through intelligent video solutions are extraordinarily helpful.

Use the “five Ws” to establish proper ground rules

The five Ws make a checklist to ensure that a meeting is efficient and even necessary.

Who: Too many participants make a meeting unwieldy.

What: Every meeting should be driven by an agenda that’s shared in advance.

Where: Organisers should opt for more in-person collaboration as topics grow more complex.

When: Meeting leaders should always consider time zone challenges for all the participants.

Why: “Not expressly stating a desired outcome for a meeting is like setting off on a trip without a destination in mind,” says Reed.

Use checklists to follow the methodology outlined above

“It takes the right hardware, software and skillware for a successful hybrid meeting,” says Reed. Adds Allen: “Establish policies that are remote-first. For example: create a culture where there are in-room allies – people within the conference room who are advocating for the voices of their remote colleagues to be heard. It requires a total mindset shift by all involved.”

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www.crestron.com/Inbound/Modern-Work-Research-Report