Pro AVL MEA September–October 2022

Welcome

The news of Saudi’s latest megaproject, The Line, highlights the Kingdom’s serious future ambition perfectly. If you thought building a smart city in the middle of the desert was already a slightly ludicrous idea, then confining the construction to just a 200m-wide, 170km-long sliver seems like madness. But if this project does somehow see the light of day, it’ll be an absolute coup for pro AV at just about all levels, likely pushing the boundaries of what’s currently possible for most, if not all, sectors of our industry. And it’s but one of the many upcoming megaprojects nestled within the new NEOM smart city. Harking back to the creation of Dubai’s The Palm, the OXAGON will rise from the ocean and aims to be the new Middle East manufacturing hub, placing a clear target on the back of Dubai. But how much of a certainty is this progression? We all know what happened with Jeddah Tower – long touted to be the first over 1km-high skyscraper, it was supposed to steal the crown away from the Burj Khalifa. It’s now sat desolate, having stalled in its construction nearly 15 years after the idea was first floated. We know it has the resources, but only time will tell whether the Kingdom has the long-term determination to make it a reality.

As The Line gives us a glimpse into a possible utopian physical future, the metaverse is where the digital world will one day become an everyday reality for many and we’ve explored the topic for the first time in our business feature on p82. Our cover story for this issue, MGX Studio, is also a particularly interesting read as it explores a cuttingedge side of the industry for the first time – extended reality and augmented reality video production.

Where safety is concerned, there must be sufficient light for the aerial and other artists to see each other and their various grab-points and props safely, with all the simultaneous crowd-pleasing lighting effects expected of a nail-biting, high-octane Cirque extravaganza.

“Safety and making it look awesome are both critical elements naturally and I always try to deliver both within the same solution. The safety factor is not an add-on, but an integral part of the design from the outset,” noted Kunttu.

Robe equips Jeddah’s own Cirque

King Abdallah Sports City (KASC) stadium in Jeddah has put on a specially commissioned Cirque du Soleil production titled Fuzion for the 2022 Jeddah Season Festival. The show is a tribute to the company’s creative legacy and celebrates its theatrical achievements.

The show narrative was based on the adventures of two friends, Antonio and Sebastian, who, with the world in need of more creativity, friendship and love, embarked on a quest to create magical universes in which these can flourish.

Directed by Mukhtar Omar Sharif Mukhtar with creative direction by Stefan Miljevic, the lighting and set were designed by Mikki Kunttu who used 186 Robe BMFL moving lights – making up half of the lighting rig.

The lighting brief included making an “elegant, theatrical and vivid” impact, with the goal of

Broadcast Solutions has acquired the systems integration division of Thum + Mahr in Monheim, Germany. Managing partners of Thum + Mahr, Peter Thum and Hanno Mahr, have decided to continue the systems integration division under Broadcast Solutions, after more than 40 years of what they deem successful activity. The realignment aims to offer customers improved services and to better its ability to handle larger projects smoothly.

Thum + Mahr will continue at its Monheim am Rhein location as an independent subsidiary of the Broadcast Solutions Group with an existing team of 18 employees. While Thum and Mahr will continue as advisors, former Thum + Mahr MD Stefan Mertens will continue to manage the business as COO. CEO of Broadcast Solutions, Stefan Breder, will act as CEO of Thum + Mahr.

Mertens commented on the acquisition:

“I am very much looking forward to further developing Thum + Mahr in my new function and the new constellation. I am sure that the cooperation of both companies will only positively affect our customers. Together, we can act more flexibly and more strongly on the market and respond even more individually to our customers’ needs.”

Breder added: “With Thum + Mahr, we welcome an experienced team under the umbrella of Broadcast Solutions; this has many advantages. The fields of activity of both the companies complement each other perfectly. We can jointly push our activities in both the German-speaking region and the international field.”

www.broadcast-solutions.de www.thummahr.com

recreating the splendour and atmosphere of a classic big-top. Kunttu selected 127 BMFL Blades and 59 BMFL WashBeams as the primary lighting fixtures, supplied by lighting vendor, PRG Middle East.

“The BMFL is a fantastic multipurpose fixture and I think it was a game-changer in so many ways. It’s still a great workhorse, widely recognised worldwide and you know what to expect in terms of quality and excellence.”

The set and lighting design took big-top shows as a starting point, working with a similarshaped stage as classic Cirque productions with stage and lighting rigs shaped to accommodate acts like the Wheel of Death, combined with the close proximity of a 270° audience. Unlike a traditional big-top venue where the rigging, flying and access are restricted by the nature of the construction, the Jeddah venue gave flexibility.

Fuzion was the first time Kunttu had used Robe BMFLs to light this style of show –although he’s used them on several other productions – and he was said to be “extremely satisfied” with the results.

Kunttu worked alongside two programmers, Matti Leinonen on lighting and Alex Hautamäki mainly on video and some lighting, all three using grandMA2 light consoles. Video content was designed by Olivier Goulet, with Leinonen remaining in Jeddah to run lighting and video for the duration of the Season Festival.

www.robe.cz

SAUDI ARABIA

Acrobats at Fuzion

L–R: Wladislaw Grabowski, COO of Broadcast Solutions, with Stefan Breder, Hanno Mahr and Peter Thum

Brompton Technology set to grow with £5.1m investment

Brompton Technology has secured a growth capital investment of £5.1m (US$6.1m) from specialist private client alternative investments business, Connection Capital.

Richard Mead, Brompton Technology CEO, spoke on the benefits the investment will bring to the company.

“We are seeing unprecedented growth in demand for our cutting-edge, robust, tour and virtual production-ready LED video processing products from our

core industry sectors, as well as a lot of exciting potential for our technology to be applied to new markets. While our focus on quality and dedication to customer service will remain the same, Connection Capital’s investment gives us the ability to scale up rapidly to meet demand and address the new opportunities that are presenting themselves.”

“Brompton Technology is an excellent example of a successful business that pivoted, almost overnight, into virtual

production for film and TV during the pandemic and is now emerging even stronger than before,” commented Miles Otway, partner at Connection Capital. Alongside Connection Capital’s investment, Neil Gaydon, a highly experienced non-executive chairman, will also join Brompton’s board. Gaydon has a track record of successfully delivering growth in technology companies, including as CEO of Pace from 2006–2011.

grandMA3 joins the Saturday Showdown

SOUTH AFRICA

Lighting designer Ryan Lombard decided that South Africa’s newest DSTV gameshow the Saturday Showdown was the time for him to make the switch to an all grandMA3 solution to run through lighting and video graphical content.

The show was recorded at Urban Brew Studio 10 in Johannesburg, produced by Red Pepper Productions for broadcaster Mzansi Magic and designed as a sportthemed entertainment gameshow with a large cash prize. Lombard specified a grandMA3 light as the main console for graphics and lighting, coupled with grandMA3 onPC running on a dedicated computer on the network accessed via a grandMA3 onPC command wing which was used to trigger all the reactive LX and AV cues as different sections of the games were played.

Two MA Network Switches and one grandMA3 processing unit were also part of the package delivered by lighting and LED vendor, Blond Productions, creating a complete grandMA3 system.

In the showdown, five teams faced off in the knock-out competition, competing in five rounds of games that tested both their general knowledge and physical coordination.

The set – designed by Michael Gill Designs and built by SDS – was divided into two areas, the arena or field, where the action took place, and the

commentator/studio setup where the competitors were also seated for the relevant segments.

Fifty-two moving lights were on the rig and used for effects and precision lighting, with 60 Sceptron LED pixel battens, utilised as set eye candy, also being run from the grandMA3.

Substantial quantities of LED strip were part of the set practicals as well and there were 62 LED fixtures for set specials, keys and

arena lights with another 120 LED PARs for stadium lights, uplighters and truss warmers. Eight individual video feeds controlling digital content appearing on the LED surfaces around the studio were received from a Hippotizer Boreal+ MK2 media server into the grandMA3 system. Many of these were related to what was happening with the gameplay, for example when the teams won a game or scored goals, and were triggered via the console together with the lighting cues.

Mead concluded: “We are fortunate to be in a leadership position in a rapidly growing market. This investment will enable us to capitalise on growth opportunities and deliver outstanding visual experiences to more and more people worldwide. We are excited to start a new phase of our journey with support from Connection Capital.”

www.bromptontech.com www.connectioncapital.co.uk

AVIXA has released its 2022 Industry Outlook and Trends Analysis (IOTA), which highlights that while general economic expansion has slowed due to Covid-19, the pro AV sector is growing fast, with an annual growth rate of 5.9% from 2022–2027.

“As Covid-19 restrictions decline and people regain comfort with gathering in-person, the economy is transforming and pro AV feels a surge in demand,” said Sean Wargo, senior director of market intelligence, AVIXA. “Up to this point, the strongest solution areas were those

offering adaptation to new behaviour, such as conferencing and learning. This has shifted to events and performance as we return to in-person.”

The venues and events market, arguably one of the hardest-hit sectors, has demonstrated its resiliency, with the market set to grow 9% by 2027 globally. The fastest-growing markets for pro AV include those that are recession resistant, like government, energy and transport rather than venues, media and hospitality.

EMEA faces the greatest headwinds due to the wide-reaching impacts of the

war against Ukraine, though growth is still relatively strong. While in-person brings a welcome surge to the venues market, energy, with 7.8% growth over the next five years, is also a key contributor

“I thought this was an ideal scenario to make the transition to grandMA3 and stay current and use the latest and most powerful control technology,” commented Lombard. “I soon felt really comfortable figuring out how to set up some of the more advanced functionality and especially the cues involving the media server. It was an absolute blast using the desk and the grandMA3 system.”

Lombard tapped into multiple systems for this show running a multi-user session for the main lighting console and the games console, together with MA-Net3 for the lights plus Art-Net and HippoNet for the media server to access and control the graphical systems.

Multiple feeds from the control room were fed into the MA system to switch between example cameras, the games computer live feed and the live scores. The live score images had to be split and chrome keyed later to remove the background so other graphics could be overlaid – all controlled from the grandMA3 and the media server.

“For sure it was a big learning curve, especially incorporating all the video elements, and it is an intricate tool that takes some figuring out, but it’s a huge lot of fun to use,” he emphasised.

www.malighting.com

thanks to sustainability efforts. Whilst the pro AV industry appears to be on the mend, there are still undeniable issues within the current environment such as supply chain challenges, rising interest rates as governments seek to mitigate inflation and a competitive employment landscape leading to labour shortages. All things considered, the IOTA study suggests that despite the unavoidable challenges the industry is facing, pro AV is definitely on the up.

www.avixa.org

Saturday Showdown

Neumann acquires Merging Technologies

Neumann.Berlin has announced its acquisition of Swiss company Merging Technologies, which will see both companies working together under the umbrella of the Sennheiser group. Sennheiser has taken over the shares of Merging Technologies entirely. With this step, Neumann.Berlin will enlarge its range of audio solutions.

“We plan to strengthen Neumann’s offering, particularly in the area of digital workstreams, in order to provide our customers with holistic audio solutions in studio quality. Merging Technologies’ products and solutions are an excellent complement to the Neumann product portfolio. We are therefore very much looking forward to working together with the Merging team,” said Ralf Oehl, CEO of Georg Neumann GmbH.

“Neumann.Berlin and Merging Technologies are a perfect match,

and the collaboration opens up new opportunities for both parties,” added Claude Cellier, founder and CEO of Merging Technologies. “Both companies share a passion for excellence and a commitment to always set new standards in audio.”

The existing portfolio of the two companies will remain unchanged. The first joint product of the partnership between Neumann.Berlin and Merging Technologies will be a Neumann audio interface that enables the integration of Neumann products into a digital infrastructure.

Merging Technologies will become part of the Sennheiser Group through the strategic partnership. Its team of around 20 people will continue to be located at the company’s site in Puidoux, Switzerland, but will work closely with the Neumann team in Berlin; the two companies see great potential for new joint collaborations, particularly in the area of development and innovation.

“We are very pleased to welcome Merging’s employees as part of the Sennheiser Group,” said Andreas Sennheiser, co-CEO of the Sennheiser Group. “As a family-owned company, we want to grow sustainably on the strength of our own resources in the coming years. To achieve this, we are investing significantly in our professional business.”

www.neumann.com www.merging.com

Ecler is at home on the Beach

SOUTH AFRICA

Originating from Barcelona and having come of age catering to numerous Spanish beach resorts, Ecler is very much at home on the shoreline.

Celebrating the legacy of its namesake, Cabo Beach Club offers a unique and upmarket

of its ease of installation characteristics including an integrated wall bracket and Euroblock connections protected from the elements by a rubber cover.

A seamless transition into the fine dining area and the

lifestyle experience for locals and tourists alike. Described as Cape Town’s trendiest outlet for beach dining, the premier location recently received an AV upgrade. Partnering with Output AV, Gearworx Technical Solutions opted to design, supply and install an Ecler background music system.

Serving guests for casual dining, the Beach Club relies on IP65-rated eMOTUS M50D ABS cabinets throughout the external zones. In addition to the 5-inch coaxial speaker’s wide 150° x 150° wide dispersion characteristics, the integrator specified the M50D on account

members lounge has been made possible by combining additional eMOTUS 50D models together with IC6 Class in-ceiling speakers secured into place by tile bridges. The addition of ARQIS SB6Ti wall-mounted subwoofers extends the lower frequencies down to 50Hz (–10dB). Networked BGM can be controlled on a zonal basis from a mobile device or the individual WPNET 4KV wall control panels courtesy of the EclerNet software platform.

www.cabobeachclub.co.za www.ecler.com

L–R: Neumann CEO Ralf Oehl, co-CEO Andreas Sennheiser and Merging CEO Claude Cellier

Audiotonix announces cloud-based broadcast production solutions

Capitalising on its group’s broadcast engineering experience and Intel DSP knowledge, Audiotonix has announced a key development in its broadcast cloud-based technology programme. The Proof of Concept (PoC) will provide the backbone for Calrec and Solid State Logic, to further develop cloud solutions based on their unique production workflows and feature sets.

software-defined, real-time transport protocols within the I/Os to provide specific connections, with transport wrappers providing the necessary integrity. Contribution, distribution and monitoring feeds can be served by different interfaces, facilitating the specific requirements of each task.

Adopting Audiotonix patented x86 CPU optimal core processing (OCP) technology, the cloud engine operates within a virtualised Linux environment optimised for lowlatency throughput, providing real-time and deterministic audio processing and mixing. The Calrec and Solid State Logic connected control surfaces provide familiar console and panel interfaces for mission-critical audio productions. The solution uses cloud-compatible,

“As a business, we continually strive to innovate on behalf of our customers to help them unlock growth opportunities through event scaling, utilise existing equipment more efficiently and help reduce their environmental impact,” commented Audiotonix group technology officer, Neil Hooper. “With cloud-based solutions, we aim to continue that process, ensuring our performance is as reliable and predictable as current technologies that our customers already rely on. We are also keenly aware that customers need flexibility and choice, so from the outset we are developing our cloud solutions for implementation across the core public cloud providers.”

www.audiotonix.com

Dubai’s Tr88house gets DAS Audio sound treatment

Tr88house, a family-friendly destination on Dubai Bluewaters Island, offers four entertainment zones for both adults and kids, including a trampoline ground, a laser tag zone, a playground and a mini-golf game. The client specified a sound system for various areas that customers both young and old can enjoy. Systems integrator Procom selected the Q-23-T Quantum speakers, the Q-43-T and the Arco-24T from DAS Audio. The CL-8-T ceiling loudspeakers were selected for the dining and entertainment area walls, while the Q-10 subwoofers were

chosen for their lows. The PA-500 and PA1500 were selected for the venue’s sound reinforcement.

Procom assisted in the venue’s visuals as well and delivered several 500mm x 1m LED screens for the lobby entrance. All levels were linked together by a single Dante network as part of the overall venue integration, to enable each floor to function independently or as one, depending on the needs of the venue.

www.dasaudio.com www.procom-me.com

The dining area

NEXO’s in-person Audioversity programme returns

SOUTH AFRICA

While it plans to continue and expand its online Audioversity programme, NEXO has reported that in-person Audioversity training is now back, with the first location being South Africa. Organised by local NEXO preferred rental partner, Sound Stylists, seminars in early July brought together experienced pro and novice sound technicians in the State Theatre of Pretoria.

“We taught our Audioversity 1 course covering sound reinforcement fundamentals, where all the typical sound system workflow is explained: acoustics fundamentals, system design, amplification and processing, remote control and network,” explained Nicolas Poitrenaud from NEXO Engineering Support, who was on hand to deliver the training. He continued: “Sound Stylists had deployed a comprehensive range of systems including

P8, P10, P12, ID 24, GEO M6, GEO M12, MSUB 18, MSUB 12 and NXAMP MKII, so students were able to get hands-on with all the latest technology from NEXO.”

Said to be the largest theatre complex in Africa with seating for 2,700, the State Theatre is already very much a “NEXO-house”, having been equipped for many years with NEXO systems including GEO S8, CD12 and PS 15 units.

“It’s great to be back in-person” concluded Poitrenaud. “Combining onsite and online training provides students with the best balance of accessibility and hands-on experience. Thanks to everyone in South Africa for their warm welcome and support.”

disguise acquires Meptik

disguise has announced its acquisition of Atlanta-based Meptik as it looks to further expand its capabilities in immersive entertainment. While both companies will continue to operate as separate entities, immersive productions, studios and installations delivered by Meptik will be powered by disguise, and the latter will leverage the former’s expertise to expand its global reach in extended reality (xR) and metaverse experiences. The joint team will also work together to develop new solutions, create product roadmaps and drive new standards in entertainment technology.

“Meptik has been a trusted partner of disguise for many years, growing to excel at bringing out the very best capabilities for disguise solutions,” said disguise CEO, Fernando Küfer. “Given that we have both been, in the past two years, bringing extended reality and immersive entertainment to the world, this acquisition

will expand on these efforts and lead the next era for extended reality and metaverse experiences.”

Meptik specialises in creating dynamic virtual worlds, with clients ranging from film studios to lifestyle brands, Fortune 500s and musical artists. With new disguise locations opening up around the world, disguise feels it is well placed to support a similar growth trajectory for Meptik. “We have always prided ourselves on our ability to service both sides of the xR equation –the creative and the technical – and we love creating dynamic virtual worlds that blow audiences away,” commented Nick Rivero, co-founder of Meptik. “Joining forces with disguise will enhance our ability to continue to serve our clients from start to finish while maintaining our down-to-earth spirit.”

www.disguise.one www.meptik.com

Lawo gives power to Kigali’s 104.1 Power FM

RWANDA

Kigali, the capital city of Rwanda, situated within rolling hills and valleys and is known for being a modern and vibrant place, acting as the country’s economic, cultural and transport hub. Aiming to mirror the beauty and modernity of the city, Kigali’s 104.1 Power FM, one of Rwanda’s first stations to adopt an IP broadcast infrastructure, has chosen Lawo’s virtual radio solutions to best serve listeners.

104.1 Power FM has virtualised its radio studios using Lawo RƎ LAY virtual radio software, aiming to give operators a flexible, fast workflow, requiring little traditional hardware. In this new environment, a large touchscreen for the DJ is at the heart of the action. Using a standard PC and Lawo RƎ LAY VRX software, coupled with VSC virtual sound card drivers, 104.1 Power FM has been provided with a complete solution.

Users are able to remotely control the Power FM radio station using only a smartphone. Ken Kayima, CEO of Power FM, explained: “Creating a radio station has

simple that presenters can focus solely on their programmes and listeners. Expansion for inputs or streaming is just plug and play;

that Lawo customers display in using our products to solve problems never fails to delight me. Ken and his team instantly grasped the possibilities that RƎLAY offers, and the benefits of an IP-based virtual radio infrastructure. With these, they developed a custom workflow concept that makes Power FM really stand out among Kigali’s radio stations.”

Kayima added: “Lawo’s virtual options are compelling. Virtualisation is where the world is heading and, as broadcasters, we can’t be left behind. Radio operations should be so simple that presenters can concentrate solely on delivering a seamless experience to the listening audience.”

Lawo’s distributor and technical specialist in Rwanda, Fred Martin Kiwalabye, said: “We are proud to partner with Ralf Schimmel and the Lawo team on this important project. Many stations in Rwanda are recognising the compelling economic reasons for using these new Lawo technologies to move from cablecentred infrastructures to neat IP solutions.”

and integrate any radio playout system.” Ralf Schimmel, Lawo’s senior sales director, Africa, Italy and Balkans, noted: “The creativity

NEXO’s Audioversity event in South Africa

Stranger Things gets treatment

Netflix and Sennheiser have announced an audio improvement for all viewers that access OTT content with standard stereo equipment. AMBEO 2-Channel Spatial Audio is now streaming on Netflix and is said to deliver an immersive audio experience with standard speakers, translating original immersive mixes into two-channel audio with a spatial experience “far beyond stereo”. During development, Sennheiser worked with Netflix and other industry partners to finetune the system, which is now available to license from Sennheiser.

Surveys among viewers have shown that OTT customers often access content with standard stereo equipment – be it on a mobile while travelling, via a tablet or because the home listening space does not allow for a full surround sound setup. The AMBEO 2-Channel Spatial Audio feature has now changed this. With sound experiences improved on TV sets, stereo systems, headphones, tablets and laptops, Netflix is the first streaming platform to implement AMBEO 2-Channel Spatial Audio on select titles such as Season 4 of Stranger Things “Sennheiser firmly believes in the immersive future of audio,” said Dr Renato Pellegrini of Sennheiser’s AMBEO team. “Creators all over the globe have been using our tools to create outstanding immersive works, pushing the boundaries of music and film production. With AMBEO 2-Channel Spatial Audio, we are now taking

the next step – making this new audio reality accessible to everyone.”

Scott Kramer, manager for Sound Technology at Netflix, said: “We feel AMBEO Spatial Audio offers a meaningful improvement for Netflix members. Re-recording mixers often tell me that it b etter translates their detailed immersive mix work to stereo. Crucially, this process preserves the original sound mix and respects creative intent with a remarkably clean sound.”

“What sets Sennheiser apart from other solutions is that the AMBEO rendering respects the original mix, tonal balance and dialogue integrity, which is exactly what the re-recording mixer is looking for,” explained Pellegrini. “The processing is in line with Sennheiser’s reputation to deliver tools that are ‘transparent’ and do not interfere with the original sound. In a nutshell: Sennheiser 2-Channel Spatial Audio seeks to translate mixer intent, not to overpower it.”

Re-recording mixer, Mark Paterson, commented: “I’m a huge fan of AMBEO. I experimented with it a lot on the Fear Street movies and was impressed with how the surround channel information was represented. I’m always looking for ways to get that cinematic sound at home and, on The Adam Project, I was able to make the mix sound really immersive on everything from high-end soundbars to iPhones which I believe helps the audience connect more emotionally. It’s been a perfect format

on Stranger Things. In the Atmos mix, Vecna’s voice wraps around you which is an important part of making him scary and larger than life. The fact that AMBEO is

Robe maximise drama and space for Brother

South Africa-based television lighting specialist, Blond Productions, has supplied technical production for a range of reality TV shows, including several iterations of Big Brother over the years. The company was called on to help with the long-awaited return of Big Brother Mzansi, produced by Red Pepper and broadcast on Mzansi Magic, as it hasn’t been on screens since 2016.

Blond’s head of the show lighting department, Ryan Lombard, designed and operated the lighting, working closely with a new set design created by Michael Gill, and several of his Robe moving lights including Esprites, LEDWash 300s and six of Blond Productions’ new iSpiiders. Blond made this initial purchase of 12 iSpiiders for the German version of I’m A Celebrity…Get Me Out of Here, which was shot in the South African bush, for which they needed some sturdy, weatherproof LED wash fixtures.

For Big Brother, Lombard needed to produce a nice general wash enveloping the studio floor that could also illuminate various set pieces around the walls and sides, complemented with key lighting.

The series was recorded at the Red Pepper Studios in Linden, Johannesburg, in a space that was formerly a parking garage, with the Big Brother house nearby. Due to the compact nature of this, all of the lights had to work in a truly multipurpose context to maximise the studio space.

Punchy back lights were required at the rear of the set, so the six IP65-rated iSpiiders were positioned upstage to provide these solid general back washes. “I didn’t need to worry about dust or any other environmental elements,” stated Lombard, referring to the iSpiiders’ sealed

able to help recreate that in stereo is very impressive to me.”

www.sennheiser.com

optical chamber. Blond also purchased the wireless DMX modules with its iSpiiders, which have proved useful for daisy-chaining fixtures together and saving on data cabling.

The Big Brother studio was a compact space, but the set design meant that it never appeared to be so on camera. Some of the 12 LEDWash 300s were positioned in the roof with the rest along the sides at floor level for eye and camera candy.

Lombard has worked with Gill of Red Pepper Productions on several previous projects, including the last two seasons of Big Brother Nigeria, and his challenge on this one was to blend and match the lighting to the set. “It’s always a pleasure working with Michael,” he commented. “We engage in a lot of discussion beforehand, and his environments are designed with lighting in mind, which makes the end results fun to produce and more visually coherent.”

www.robe.cz

SOUTH

Image courtesy of Netflix

The Big Brother studio

Campus Audio

We make learning a sound experience

Talk

Listen

With audio streaming on smart devices in best quality, the integration of hearing impaired students is perfected.

Control

Improved digital workflows with solutions that allow remote monitoring and service of all devices in the network.

Radio Wazaa trusts in AEQ’s Forum IP Split Lawo’s production efficiencies to rise with Fuji investment

MAURITIUS

Radio Wazaa is a private station in Mauritius with a licence to broadcast on FM on three frequencies, with the main programmes playing Bollywood music and local musical talent. In just a few months since its inception, it has attracted a solid fan base of young people, with more than 137,000 followers on social media.

Radio Wazaa’s technical management team decided to equip the main broadcast studio with an AEQ Forum IP Split digital console at its heart, due to its “robustness,

ease of operation and modular design”. Specifically designed for ONAIR broadcast control, it includes automatic monitor cut-off, cough cut-off, fader start signalling control, control signals for the automation of external equipment, management of external communications and intercommunication. The installation was completed with an AEQ Systel IP multiconference system.

Signalling preparations for increasing product demand, Lawo has made a significant investment in a high-precision SMD production line from Fuji Europe Corporation.

“As a manufacturer of top video and audio technology, we guarantee compliance with the highest production quality standards,” explained Lawo’s chief marketing officer, Andreas Hilmer. “Our products must provide our clients with years of reliable service around the clock, so it goes without saying that our manufacturing technology must

Janssen. “It supports in one machine the processing of smallest chip components up to large components. At the same time, it is possible to easily ramp up new productions or react to changes in package shapes. This creates a high degree of flexibility.” Designed to save working time and space in addition to extending the shelf life of parts and components, the new production line also includes an integrated vapour phase soldering furnace and automated component storage cabinets.

NMK Electronics opens immersive tech centre

advanced projectors, at a hub of technology like NMK’s showrooms. We already have a long list of integrators excited to learn how they can use this technology to create outstanding corporate installations for their clients.”

Igloo Vision and Epson have collaborated to create a new immersive workspace at NMK Electronics’ showroom in Dubai. AV integrators and companies looking for office technology can visit the room which displays floor projection and is powered by the Igloo Vision software suite, using Epson projection technology.

The workspace at NMK is the newest demo centre in the Middle East where Igloo technology can be experienced, with the concept also being utilised by organisations such as Accenture, SNC-Lavalin Atkin, BP and over 50 universities.

“We’ve been working in the Middle East for several years but, until now, we didn’t have a permanent location for integrators to visit,” said Jake Rowland, head of business development EMEA at Igloo Vision. “So, we’re delighted to showcase our technology in partnership with Epson’s

Abdulnassir Ali, sales manager, Display Solutions, Epson Middle East, commented: “Our dynamic collaboration once again with NMK Electronics has enabled them to create an immersive work environment with Epson’s solutions. Epson goes beyond the scope of immersive projection, ensuring high image quality in 360°. We have installed the compact yet versatile EB-PU2010B to deliver bright, true-to-life images, suitable for all types of environments. This solution has been paired with Epson’s other professional display products such as lenses and brackets for sharp, vivid imagery like no other.”

Alex Kemans, managing director at NMK Electronics, said: “We are proud to be one of the few companies in the GCC to launch innovative top-of-the-line AV technology and introduce it into the local market. We have also have been fortunate enough to have partners such as Epson and Igloo who support our vision of elevating AV standards across the region, looking forward to hosting our clients and partners.”

www.epson.eu www.igloovision.com

also be the most modern the market has to offer.”

Currently, its IP-based products are manufactured to standard at the company’s headquarters in Rastatt, Germany, where the 52-year-old brand employs about two-thirds of its approximately 300 worldwide employees.

To meet anticipated demand, Lawo has invested in three new Fuji AIMEXseries pick-and-place machines, which can assemble around 30,000 components per hour down to the smallest component size – EIA 01005 –which equates to twice the diameter of a human hair.

“AIMEX IIIc is a machine platform that enables any type of production and changes in the package shapes used,” commented Fuji Europe Corporation managing director, Stefan

Lawo chief supply chain officer, Christian Luki ć , is justifiably proud: “With this significant investment of around €1m in our Rastatt production line, we are securing Lawo’s future viability as a manufacturer of highquality hardware products and ensuring that we can continue to map the full vertical range of manufacturing within the company. This enables us to remain independent in the future, and to ensure our quality standards as befits a premium manufacturer of broadcast and media technology. This sophisticated production line works much more precisely than its predecessor as it reduces the possibility of errors nearly to zero and reduces setup times while significantly increasing placement speed.”

www.lawo.com

Philipp Junker, Lawo team leader, electrical production and Christian Lukić

Johannesburg-based Gripelectric Worx, the busy company of freelance gaffer Emmanuel “Manny” Sitole, has recently purchased eight of Astera’s PixelBricks from DWR Distribution. The PixelBricks are said to be the first of their kind in South Africa.

Having already owned a set of Astera’s Titan and Helios Tubes, he was already familiar with the brand, the quality and functionality of the Titan LED engine. “I love the fact you can clamp them together and create different shapes,” he stated.

“They are perfect for lighting action, environmental scenes like clubs and other scenarios needing some ‘live’

The efforts of GCC distributor Thomsun in expanding and supporting the Neumann business in the Middle East has been recognised with Thomsun earning a Neumann.Berlin Top Dealer Award for 2021. Having assumed distribution for the German brand relatively recently, the distributor wasted no time in constructing a demo and testing room located alongside its music shop in the Mall of the Emirates to showcase the manufacturer’s monitors.

“The award of Neumann Distributor of the Year for the Middle East to Thomsun has been thoroughly deserved,” explained Mig Cardamone, Sennheiser’s Middle East director of sales and marketing. “It has been a pleasure working with Davis

elements of lighting. You can just pull a PixelBrick out of a case and deploy it anywhere – on a desk, in a roof, on the floor, in a fridge, etc. – and it will look like part of a set.”

Sitole uses the AsteraApp for controlling the PixelBricks, but also likes the option of running the fixtures via DMX off a standard lighting console.

The Gripelectric Worx PixelBricks went straight out on a Netflix series that Sitole was working on for two months which involved several location shoots. He is already considering purchasing Astera’s 2m Hyperion Tubes.

www.astera-led.com

Varkey and Mikhail Sujan to establish a solid distribution footprint for the Neumann Studio monitors in the UAE in our first year working together in 2021. We’re excited about the prospect of growing together as we bring to our customers the value-add distribution that Thomsun have been delivering in the region for many years.”

Thomsun general manager, Davis Varkey concluded: “This only fuels our drive to deliver outstanding customer service and share our industry know-how to enable our customers to make their best investment in pro audio.”

en-de.neumann.com www.thomsunmusic.com

SysControl App

Freelance gaffer Emmanuel Sitole

L–R: Arik PK and Mig Cardamone from Neumann with Davis Varkey and Mikhail Sujan from Thomsun

Sennheiser solution touches on all bases at AUB

Founded in 1866, the American University of Beirut (AUB) is a centre with a focus on freedom of thought and expression, the establishment seeking to educate men and women committed to creative and critical thinking.

The university was looking for a microphone solution for hybrid learning that allows both students and instructors to communicate effortlessly with a remote party over a web conferencing platform. Up until the upgrade, instructors had to repeat each student’s question so that the remote party could hear them properly. The AUB team worked closely with Systech Middle East, the local Sennheiser distributor, to complete this project.

Sennheiser’s TeamConnect Ceiling 2 was selected for the university. The size of the 60cm x 60cm microphone fitted well into the false ceilings, meaning that teaching staff no longer need to carry around a microphone or worry about changing batteries, allowing them to concentrate on teaching. “Sennheiser TeamConnect Ceiling 2 was absolutely the right choice for videoconferencing in our meeting rooms,” said Joseph Azar, IT manager for audio, video and multimedia at the AUB.

“Being satisfied about a solution without knowing that it is even there is a huge sign of success.”

en-ae.sennheiser.com

TVU Networks has announced that Ihlas News Agency (IHA) has taken delivery of 30 TVU One mobile 5G ready transmitters for use throughout the Middle East, as well as Europe, Asia and the Americas. As part of an agreement between Alen Elektronik and IHA, IHA will continue its implementation of TVU One devices in all provinces in Turkey and all overseas offices.

“We’re looking forward to a strong and strategic relationship between TVU and IHA that furthers the news agency’s mission to provide high-quality, late-breaking coverage from anywhere in the world,” said Emad Qawasmi, sales director, MENA, TVU Networks. “We’re confident they’ll see significant

improvement in the quality of their newsgathering efforts with the addition of our latest 5G-ready mobile transmission technology.”

“With the TV One, international news agencies like IHA can enter a whole new phase of remote broadcasting, with worry-free operation, anywhere in the world, even in the most unstable network conditions,” said Rafael Castillo, vice president, EMEA and Latin America, TVU Networks. “We’ve partnered with major cellular networks around the globe to ensure that broadcasters can take advantage of 5G infrastructure for remote reporting.”

TURKEY

The university needed a touchless solution due to Covid-19

Arthur Holm puts court back in control

Arthur Holm DynamicX2 motorised screens have been installed at the Supreme Court of Nigeria (SCN), the country’s highest court. Located in the Central District of Abuja, in what is known as the Three Arms Zone due to its proximity to the offices of the Presidential Complex, the National Assembly and the Supreme Court, the SCN enlisted MBR Computer Consultants, an information communication technology consultancy based locally in Abuja, for a variety of integration services that included adding retractable technology inside the courtroom that could be used during proceedings.

Decision-making in the legal field –whether by judges or a jury – is a complex and sensitive process, with lawyers, judges and jurors needing to view and listen to evidence, exhibits and testimonies in document, video and audio formats. As a result, any audio and video presented must be of the highest quality and clarity.

The DynamicX2 monitors are built from a solid aluminium block, with a vertical motorised movement and an automatic 20° tilt to provide the best visibility and viewing

angle. Each monitor can be customised with single or double retractable microphones, speakers, voting systems, USB connectors and a camera.

The addition of the DynamicX2 motorised monitors allows most trial participants to attend trials remotely, promoting efficiency and cost effectiveness. Remote hearings require audio and video equipment that is reliable, while providing maximum quality and security. Space also needs to be maximised, and courtrooms need to be flexible to accommodate a variable number of people. For example, the use of high security communication media platforms allows

Hall Technologies opens Experience Business Centre

monitors and microphones is that they provide flexibility in situations where social distance measures are required between attendees. One out of every two or three monitors and microphones can be made to appear, if necessary, and the rest can be left hidden and protected inside the furniture.

accelerated the use of this technology, which proved to be crucial to avoid the judicial system’s paralysis during lockdown.

www.arthurholm.com www.mbrcomputers.com

SLS Production powers Sean Paul in Riyadh

SAUDI ARABIA

SLS Production has collaborated with 360 Productions for the Riyadh Season Festival Closing Ceremony, having worked together for the past three years on several concerts across Saudi Arabia. SLS was responsible for the complete AV production setup to event execution, providing solutions for stage, audio, lighting, special effects and video.

The event organisers shared the technical riders of the artists due to perform prior to the event as well as the details of the venue in order to set up the stage accurately. SLS’s technical team visited the site and put together technical drawings to better understand the stage layout, although it helped that the company had worked at the venue previously.

The centre will be at the Perpa Ticaret Merkezi/Electrical and Electronics Trade Centre in Istanbul and is part of a partnership with ASELGrup. The centre will offer new distribution partners, training classes and dedicated EMEA sales staff and will act as a significant hub for global growth and support.

“Welcome to our global partners in EMEA and beyond. This EBC is the first of its kind in Turkey. It is a great place for our partners to get a hands-on demo of our products, training, as well as design ideas leveraging our full-scale solutions. We are

forward to connecting and fostering relationships in the region,” said VP of sales and marketing, Hall Technologies, Hal Truax.

“This Business Experience Centre will be the first of its kind in our area to show end-to-end solutions to global customers,” said Gökhan Olcun, general manager of ASELGrup. “We are showcasing several different workflows particularly important to these global markets, and all featuring Hall Technologies solutions.”

www.halltechav.com

The opening acts, Michel Fidel and DJ Rodge, were backed by a 200-piece orchestra and 100 backing singers. Headliner Sean Paul also brought his band, requiring precise stage monitoring and IEM. The system was networked via Luminex gigacore 10 switches with Meyer Sound Galaxy 816s on a redundant AVB network, servicing Meyer Sound’s Leo M and Lyon M/W as main hangs, Lyon M outfills and Milos with 700-HPs as delays and 1100-LFCs in an end-fire configuration. The consoles used were a DiGiCo SD7 and SD5 at FOH and an SD10 as monitors, chosen for its head room, and a Waves plugin for processing. For monitoring, a Shure PSM 1000 was selected, as well as 12 L-Acoustics X8 monitors for the orchestra. Clear-Com’s HelixNet and FreeSpeak were used for communications.

For the lighting, a selection of Robe Lighting products were used, including Mega

Pointe, Spiiders and Tetra 2. A Martin Mac Viper Profile was also chosen as well as a grandMA2 from MA Lighting. A Resolume Arena 8.9mm LED screen was used for graphics shown to the audience.

In terms of challenges, setup times were tight, alongside some logistical issues that were quickly overcome. Overall, SLS felt the event was a success, made even better by the crowd being in great spirits.

PK Sound sets up camp in the Rocky Mountains of Canada Venuetech helps deliver Jun’s sleek yet sturdy sound

Located in the heart of Downtown Dubai is Jun’s – a restaurant run by award-winning chef Kelvin Cheung, serving North American and Asian dishes in a contemporary venue with an edge. To create an audio experience for Jun’s guests as they dine, Venuetech was assigned to overlook the installation of Jun’s complete audio distribution system consisting of its audio brand partners: Active Audio, LEA Professional and Audac.

Jun’s restrooms and adjoining hallway are rigged with three CALI424 Safelatch two-way 4-inch ceiling speakers with Twist-Fix grilles. These speakers come with a rear dome that maintains the performance and the sound quality, regardless of the location of the installation.

PK Sound is now fully operational in its newly purchased 4,600m2 headquarters and manufacturing facility at the foot of the Rocky Mountains in Alberta, Canada. With significantly more space for PK’s manufacturing, engineering, R&D and operations departments, the move enables the company to capitalise on growing demand with shortened lead times for new product deliveries.

“Over the past few years, we’ve grown our company by consistently and strategically investing in our team and infrastructure. Our new facility gives us the capacity to meet our current growth trajectory and realise our ambitious product roadmap over the next 10 years and beyond,” said CEO, Jeremy Bridge. “We’ve streamlined operations, considerably augmented our manufacturing capabilities and expanded our R&D and engineering efforts to continue advancing line source technology through mechanical design and integrated robotics.”

Features of the new facility include vastly expanded woodshop, electronics assembly and warehouse areas that enable PK Sound to grow its manufacturing capacity fourfold while enhancing quality standards; the PK Alliance Centre education and demonstration room; mixed office spaces, labs and breakout rooms conducive to collaboration across various departments; and staff amenities including a full gym and workout room, music studio and a sizeable staff lounge overlooking the mountains.

“This period of rapid growth has seen us expanding our team across virtually every department,” commented PK Sound COO, Arlen Cormack. “Our new facility combines open-concept labs and workspaces with plenty of office space for a more collaborative and productive environment. We’ve expanded our production capacity and, along with considerable attention to supply chain management, drastically shortened lead times for orders, despite the challenges currently facing manufacturers across our industry.”

The PK Alliance Centre allows the company to welcome more current and potential

partners to the Calgary headquarters for training, testing and business development opportunities. Most recently, it was instrumental in the development and validation of the next generation v4 DSP presets for the Trinity range of robotic line source systems.

“In addition to being better poised to address market requirements and efficiently deliver high-performance products to our sales and user network, we’ve allocated the space and resources to create an unparalleled visitor experience,” said James Oliver, chief strategy officer with PK Sound. “With all departments and disciplines more closely interwoven, guests can experience the full breadth of a high-tech manufacturing environment, from conceptualisation through design and development to education and deployment. We’re excited to welcome more of our partners from around the world to our home base in Canada and connect them with the teams and technologies behind the most dynamic live sound solutions in pro audio.”

Twenty-four of Active Audio’s Vendome 5 loudspeakers have been selected for their wood finish, complementing the elegant aesthetics of Jun’s interiors. The 5-inch point sources are matched with five SB110 compact subwoofers by Active Audio, distributed for even low-end coverage with subtle bass response. Slim with a minimalsized footprint, the SB110 subwoofers are barely visible to Jun’s guests.

The sound system is powered by five CS704 four-channel IoT-enabled amplifiers by LEA Professional. Offering a builtin Wi-Fi access point, the CS704 from LEA’s NETWORK CONNECTSERIES was the selected solution to run a parallel configuration on every channel.

The six ALTI 4 two-way pendant loudspeakers by Audac bring the sound to Jun’s outdoor patio area. Encased in a sleek yet sturdy body rated for longterm outdoor use, the ALTI 4 is suited to the rough-edged exteriors of Jun’s.

The three CALI424 in the restrooms and the six ALTI 4 outdoors are connected to a separate CAP412 four-channel 100V power amplifier from Audac. With the NMP40 SourceCon Network audio player module made compatible with Spotify and used as a USB source, the restaurant can switch and use any of the preferred sources. The brain behind the operation is the M2 Matrix Mixer, suited to Jun’s analogue system, which is connected wirelessly using the Audac Touch 2.

www.venuetech.ae

Stage Audio Works adds depth to KAUST’s Museum of Science and Technology

render engine that facilitates projection onto any surface. This is utilised for some of the larger interactive exhibits, including an object theatre zone, where three projectors deliver a multi-screen immersive experience.

Each kiosk is supported by its own individual Lenovo P330. “The previous system required 5U per exhibit,” explained Nathan Ihlenfeldt, SAW’s CTO. “We’ve reduced the number of racks in the server room from eleven 40U server racks to merely four, which is a considerable improvement. On top of that, each PC requires 80W, so we calculated that this new and improved system runs on 1⁄8 th– 1⁄10 th of the power consumption of the previous system – a testament to an all-round efficient integration.”

The King Abdullah University of Science and Technology, referred to as KAUST, is an internationally renowned science and technology institution. It takes its namesake from the former King of Saudi Arabia, Abdullah bin Abdulaziz, who decreed its foundation, intending it to “serve the people of the Kingdom and benefit all the peoples of the world”. The organisation received a US$20b endowment, placing it among the most well-funded universities in the world.

The Museum of Science and Technology in Islam (MOSTI) was created later, on campus. MOSTI seeks to highlight the plethora of contributions made by Muslim

It’s been fitting, therefore, to utilise cutting-edge interactive technology to lead people through the exhibits, forming an immersive exploration of the various artefacts and relics. formula D_, an experienced design company that specialises in impactful visitor experiences, secured the tenure for the technological curation of the site, and brought in Stage Audio Works (SAW), which helped specify, supply and integrate the equipment.

The video element comprised the lion’s share of the integration, with 13 Christie laser projectors implemented throughout the museum. These are

Another key attraction is a large 10m display closet. Previously, the interactive element was supported by touch foils situated behind the glass, which were technically limiting and unsightly. SAW replaced this with a laser scanner that picks up multiple touchpoints across the cabinet, which works far better. Additionally, almost 40 Iiyama touchscreen panels have been installed throughout

On the audio side, several Genelec 4430As were selected for the primary directional loudspeakers, plus a 7360A subwoofer for low-end support. Genelec’s Smart IP technology helps to streamline the installation, with PoE technology drastically reducing the cabling required for a more aesthetic result. They integrate seamlessly within a Dante AoIP network so that each loudspeaker can be configured remotely and separately if required. A couple of the directional loudspeakers were repurposed after being upgraded to be Dante-compatible. The entire system is managed via a Q-Sys system, with Netgear switches handling the audio and video distribution across the network.

“Overall, KAUST MOSTI was a very successful installation,” concluded Ihlenfeldt. “Aside from some unavoidable delays caused by Covid restrictions, everything went to plan, from the design stage through to the implementation and maintenance. We’re looking forward to what the future holds for our foray into the Middle Eastern markets.”

SAUDI ARABIA

Martin planting

Martin Audio has recently introduced a dedicated environment page to its website, detailing its approach in response to the climate emergency. The company has announced the funding completion for planting 50,000 trees, plus an ongoing commitment to plant another new tree for every line array cabinet sold.

Managing director of Martin Audio, Dom Harter, said: “As a global leader in the pro audio industry, and as part of the wider Focusrite Group, environmental sustainability is a major opportunity for us to demonstrate climate leadership and values, define good environmental practice and benefit from an opportunity to meaningfully engage with our staff, customers and the wider audio community. Working alongside Andy Land, head of sustainability for Focusrite Group, we have been outlining our approach and commencing the work.”

Land added: “Our approach to environmental sustainability extends to our complete operation, aiming to embed us within the circular economy. We believe the only way to make sure we’re doing the right thing is to look at our products in detail across the whole lifecycle, starting with production, then logistics, energy consumption and end-of-life treatment.

“It’s going to take time, but we’re aiming to map the lifecycle of every product and, through this detailed work, we’re starting to uncover the environmental hot spots in our products, and what we can do about it. The work will not only involve holistic sustainable design, but also packaging, energy efficiency and the headquarters building.”

Commenting on the treeplanting proposal, Harter said: “It’s well-known that forests are among the most important carbon sinks on the planet, and they also harbour enormous levels of biodiversity. Unfortunately, global forests are continuing to decline, which could lead to entire regions becoming uninhabitable if there isn’t change.

“We’re doing what we can to help reverse this by collaborating with the experts at Ecologi and their trusted partners to have already planted 50,000 new native trees. This is part of wider afforestation projects that will transform the local landscape, increase

biodiversity, improve resilience to climate change and, over time, as these trees mature, they will sequester carbon within the soil to fight global heating. Furthermore, we are committing to planting a new tree for every line array cabinet sold moving forward. In other words, it’s a small step in paying it back and paying it forward.”

www.martin-audio.com

Rising

ISRAEL

Reality TV singing competition, Rising Star, has upgraded its audio system to a DiGiCo Quantum console, which was required to manage a challenging run of live shows, serving FOH and monitor demands from one surface.

Head of sound at Rising Star, Yossi Edri, has used DiGiCo consoles on all of his recent projects, including live TV productions, the Israeli-hosted 2019 Eurovision Song Contest and Dancing with the Stars. He said: “Quite simply, Quantum feels like home. The first feature that amazed me when I initially used the console was the seemingly endless number of MADI connections, and the fact that it has perfect integration with the Optocore fibre network, which is a familiar platform for me, and is, in my opinion, the best network protocol the audio industry has to offer. It was the logical choice to specify DiGiCo for the next series of Rising Star. In this production, the ability to add racks, consoles or any other stream to and from a broadcast van is simple and can be done in a matter of minutes. Sometimes we needed to accommodate special performing guests to the show with an extra band, so the scalability of the system gives me the ability to do anything the production needs without any problem or concerns.”

Herzliya-based PA company, Ariel Hamzani, provides AV equipment for the Rising Star series, offering an inventory including two Quantum 338 consoles and a Quantum 225, accompanying SD-Racks

and MQ-Racks, and an Optocore HMA network.

Working with his team of engineers –Dor Yakoboviz, Yaron Goren and Uriah Rubin – Edri specified the Quantum 338 console with 32-bit SD-Racks run over an

approximately 20 contestants, who must perform live in front of a celebrity panel, with weekly eliminations decided from votes submitted by the live audience and viewing public via an app. The show also features special guest appearances

can select it via their touchscreen, which sends an OSC command to the console. This makes the console send their mic to the appropriate aux send,” explained Edri.

The snapshot system is also a favourite for Edri. He has been using DiGiCo’s Timecode and Snapshots features for a number of years on various projects in live sound and TV. “Since this show involves both music and broadcast, we have to be both precise and artistic. Using the Quantum system, we can achieve both. The flexibility of the snapshot system is a tremendous help for us in this way,” Edri confirmed.

“One of the key DiGiCo features for this show is the ability to use a specific aux position for every node. I tend to use Pre-Mute Send several times but I always need it in a certain channel/ node. Quantum allows me to do it without any tricks, and there are a lot more aux positions to choose from, in addition, of course, to the Nodal Processing itself –it’s just there,” Edri said.

Optocore fibre network to manage the FOH and monitor requirements, for each of the weekly live two-hour shows. In addition, Edri fitted a DMI-DAC interface card to the console, providing 16 analogue outputs on two 25-way “D” connectors to manage the celebrity panel in-ear mixes, as the panel is located near the FOH console.

Running over a two-month period each season, the competition features

and performances, and is hosted by two presenters, whose contributions in the show make an interesting use of DiGiCo’s third-party OSC command options.

“From FOH, we are communicating with a touchscreen device that was designed and built especially for the two hosts of the show, who are located backstage. When they want to talk to a specific judge’s IEM, and give them a task to complete, they

“By using the Nodal Processing in combination with the new channel strip algorithms in Mustard Processing, as well as Spice Rack’s flexible insert processors, I can achieve precision that I couldn’t before. Managing both FOH and monitor sound from the same console, the possibilities create a new level of precision we have yet to encounter,” he concluded.

www.digico.biz

The LED Studio has further expanded its on-the-ground support, logistics and stock operations for the Europe, Middle East and Africa regions with a new EMEA HQ located in Cyprus. With installations

now in over 40 countries, the new space will allow for enhanced SLAs, additional stock locations and will support The LED Studio in its wider sustainability mission as the company continues to unveil

technological advances and move into new territories.

Andreea Timis has been appointed as commercial director EMEA to run the operations from the Cyprus HQ. Timis joins from Musion 3D where she played a significant role in securing, planning and executing some of the most prestigious hologram installations across the globe.

She commented: “The team at The LED Studio are creative thinkers and apply logical engineering to their products and solutions to turn client desires into reality. It’s an exciting time to be part of this innovative brand, that will open many avenues for our clients and the industry.”

Rob Bint, CEO at The LED Studio, commented: “The LED Studio is going through a massive period of growth, having recently expanded into the US. Our Innovation Labs include a 3,200m 2 facility in Swindon UK, a studio in London and offices throughout Australia, Brazil, Hong Kong, Cyprus and China.

Andreea will be pivotal to our EMEA success as she spearheads projects in the region.”

www.theledstudio.co.uk

Head of sound at Rising Star, Yossi Edri

Andreea Timis

Everything under control

What first attracted you to AV and what was the technological landscape like at the time?

Back in 2002, I started working for Londonbased Audio-Partnership, working on a new division focusing on distributed in-home multi-room audio called Opus Technologies. Back then, this was very new and exciting technology but everything was analogue, before HDMI and IP systems were really established. I moved to Dubai with Opus and that role saw us installing many multi-room projects in villas and apartments in the GCC, which by 2005 had also progressed to adding video distribution. After the 2008 financial crash, the market shifted from residential projects to commercial. I joined Crestron as the GCC sales manager where I learnt a lot about more-detailed automation and also (by now) HDMI with the first versions of their DM solutions. I then spent eight years in the Mitsubishi Electric VIS division as the GCC BDM for displays, mainly focused on control rooms using DLP cubes. They already used a lot of Datapath processors and this was my first introduction to the Datapath brand.

What’s Datapath’s mission and what makes the company unique?

Datapath is a company with a 40-year heritage. We started making multi-display graphics cards a long time ago and built on reliability to eventually bring out a complete end-toend solution, including capture cards, video processing chassis and software, all developed and built in the UK. We aim to supply a bespoke

purpose-built machine within 10 working days of the order and offer the highest levels of support with engineers based all over the world – and with my own support right here in Dubai for the Middle East.

What’s the biggest barrier to further adoption of AV-over-IP?

IP has taken longer to implement in some industries here than others. Many control rooms still have old or outdated specifications and often do not have the infrastructure for HD AV-over-IP. If it’s a brand-new control room, then we can advise on how to collect the source signals and deploy them to the videowalls or operators using IP. However, IT security or another division of the company then often

comes into play and it can become tricky due to different packages being tendered for the AV or IT parts of the project. Another barrier is getting good engineers to understand the AV IP bandwidth requirements and to separate the IT and AV-over-IP networks, having to also ensure they know how to set up the switches. It’s a lot different to plugging in an HDMI cable.

Trying to get it put in later can be a disaster. We can transmit and receive 10G signals with our Aligo hardware, which will give pristine quality and low-latency images, but still they must have invested in the fibre network first.

Where do you see the control room market heading?

building design stage, otherwise contractors will only supply what is needed to suit that contract.

There are several directions that things can go in: stay centralised or go distributed, stay hardwired HDMI or go fully IP, or be a hybrid of both. There isn’t one size that fits all. If it’s security and has unlimited IP cameras then it makes sense to use an IP-focused solution like our Aetria system, especially if they also want to see the images on the local desktop PC as well as the videowall. However, if it is purely to show a captured PC and they have high levels of IP security with no network connections possible, then the centralised solution should not be discounted. Ideally, it should be both, as between our Aetria, Aligo and Arqa, we can offer very low latency on IP and HDMI sources, show webpages, VNC or remote desktops and share from the workstation to the videowall easily. Every project should be looked at individually rather than a copy and paste of the last. Not every project has unlimited budgets, so you have to be flexible, which is one of Datapath’s great strengths.

Steve Simpson

Simpson worked wth PKE Gulf WLL to create a new race control setup at Bahrain International Circuit

HH teams up with ApexPro for sub-Saharan Africa

ApexPro has been appointed as the sub-Saharan distributor for British manufacturer HH Electronics, a professional audio manufacturer from within the Headstock Group.

“We are extremely excited about our partnership with HH Electronics,” commented ApexPro director, Justin Acres. “The entertainment, tourism and live events sectors in southern Africa are poised for a much-needed comeback following the restrictions on business imposed by the Covid-19 pandemic. As new venues open, and those that survived the lockdowns look to attract new patrons, the demand for high-quality, low-cost, expandable professional audio systems is on the rise. We can’t think of a better manufacturer to fill this gap than UK-based HH Electronics.”

Technical director at ApexPro, Mark Malherbe, concurred: “The iconic 1984 Concert in the Park was powered by HH Electronics power amps, a gig I remember well. HH Electronics has a much-deserved reputation, established over more than half a century, for innovation, excellence and affordability across its product range. The systems designed and engineered by

the HH Electronics team are ideal for our market, and I am confident that our clients will agree.”

HH was established in 1968, by Mike Harrison, an electronics engineer who identified a gap in the market for solid-state

amplifiers for the then rapidly expanding TV broadcast network market. The company sold its iconic TPA amplifier to nearly every TV studio across the UK as well as to many recording studios in the late 1960s and early 1970s. In 1970, the BBC published

stringent requirements for a new amplifier, and HH Electronics responded with the AM 812 amplifier, which became a global standard for broadcast corporations for decades to come.

“We are extremely happy to be announcing this new relationship with ApexPro and we look forward to working closely with them as they develop the HH brand within the African market,” added Ian Wright, international sales director for the Headstock Group. “ApexPro has a long history in the African pro audio industry with an understanding of all vertical markets. They are truly a wonderful company that provides great service, support and training, and their knowledgeable staff are equipped to handle the most challenging of projects thrown at them. We are proud to be working with them and alongside the other quality brands they represent, and we are excited about the future and all that we can achieve together. A long-term solid relationship has begun and we wish them all the very best.”

www.apexpro.co.za www.hhelectronics.com

AV Distribution, the dedicated distribution division of the Stage Audio Works group headquartered in Midrand, South Africa, has announced an exclusive distribution agreement with Hollyland.

Established in 2013, Hollyland’s wireless solutions are expressly designed for wireless audio and

video transmissions and wireless intercom systems for real-time team communication.

According to AV Distribution general manager, Ashley Coleman, Hollyland is a valuable addition to the brand portfolio. “Hollyland products combine versatility with innovation and a refreshingly robust build quality,” she noted. “Suited to a

wide range of applications, from media production to broadcast, livestreaming and more, Hollyland’s wireless audio and video solutions will be particularly welcomed by our partners serving the broadcast and live events sectors.”

www.avdistribution.co.za www.hollyland-tech.com

Dalma Electronics has been appointed as the exclusive distributor for Warm Audio products in the MENA region.

Founded in 2011, Warm Audio is an American manufacturer of a range of studio equipment created under the principle of building sonically highend recording products but at a price affordable for the majority of recording engineers and musicians.

Based in the UAE and having operated in the region since 2014, Dalma has established close relationships with a number of important clients spanning federal governments, corporations, retailers, entertainment and small-tomedium businesses, with which it hopes to introduce the Warm Audio product offering. The American brand also joins a variety of other equipment in Dalma’s portfolio, including media equipment, IT and pro audio solutions.

“Our goal in partnering with Warm Audio is to bring back the classic way of making recording studios in today’s technological

world by introducing Warm’s range of classic, vintage-style microphone preamplifiers, compressors, equalisers and microphones,” commented Dalma’s general manager of sales and purchasing, Tahir D Muhammad.

“We want the new generation to remember what it was like recording in the early days –but with upgraded technology – and be able to get their hands on those classic analogue tones. We were looking for a brand that has the complete range of gear to build a professional recording studio and the only brand that is suitable for our project and distribution was Warm Audio.”

and microphones that are designed, developed and tested in-house in Texas. The products have been used around the globe in major live music venues, commercial recording studios, home/ project recording studios, broadcasting control rooms, houses of worship, and on live tour and festival sound rigs.

“Dalma is not only ideally placed to service the entire MENA region, but it

also understands the right target market and has solid plans to promote our brand locally,” added Warm Audio’s EMEA business development manager, Paul O’Brien. “There are a number of studio projects upcoming that cannot afford high-end brands due to current pricing issues and this is where Warm Audio can benefit. We can offer almost the same quality as those high-end brands but keeping within their budget.”

www.dalma.ae www.warmaudio.com

SOUTH

The ApexPro and HH Electronics teams

Thomas Gmeiner to become CTO of Stagetec

Thomas Gmeiner will become Stagetec’s new CTO, as the company

positions have included professional audio, consumer electronics and automotive at Harman/AKG and Knowles, among others. In describing his ambitions for his new Stagetec position, Gmeiner said: “Development is impelled by creative individuals who are often highly diverse. As CTO, I will particularly enjoy the challenge of orchestrating a team, managing and focusing the expert knowledge of the best minds and achieving a result that is clearly more than the sum of each individual’s input. To achieve this means having an arranger who never loses sight of the big goal and makes sure that the development stays on track. The result is always a team effort that everyone enjoys and, of course, is proud of.”

Wolfgang Salzbrenner, Stagetec’s CEO, said of Gmeiner’s role and the company’s future: “I am convinced that bringing in Thomas Gmeiner is essential for achieving innovative top performance.”

www.stagetec.com

Eventide Audio appoints new EMEA sales manager

EMEA

Eventide Audio has announced that Bohan Xie has been promoted to sales manager for EMEA. He is responsible for leading sales efforts for the company’s hardware and software products in those regions, as well as expanding the scope of distribution for Eventide products. Xie joined Eventide in 2016 as a software engineer, developing software and apps that work with Eventide hardware. In 2017, he was named regional ambassador and he has been travelling extensively to represent Eventide since then. In 2020, he was promoted to sales engineer to work with more partners and help with the manufacturing and logistics of Eventide hardware products.

www.eventideaudio.com

It has been announced that Brian Tulley has joined Datapath as its new strategic procurement manager. Tulley’s role will see him working with both internal and external partners, to secure components required to support Datapath’s business objectives. He has previous experience in technology procurement having held senior roles at General Electric and Rolls Royce.

Tony Jones, director and co-founder of Datapath, welcomed the addition of Tulley to his team: “As part of our ongoing global growth, we’d like to welcome Brian to the Datapath family. Brian has an impressive track record in global procurement and, during a period of considerable pressure on supply lines, we are delighted to add his skillset to the team.”

Quintuple appointments for CTME

MIDDLE EAST

Spencer is proficient in managing multinational teams, with a particular passion for live events. He is now responsible for the management of crew bookings, where he will ensure every event has the right calibre of people assigned. Sharing Spencer’s love for live events, Peltret has a creative mind and brings a wealth of knowledge of the Middle East and Africa. Joy has over 20 years of experience in the events industry, having worked on Expo 2020 Dubai and the Dubai World Cup.

Clinton has 10 years of experience as a project manager within the live events industry, having worked on Red Hot Chilli Peppers concerts, and has built strong relationships with worldwide clients in that time. Sheomangal has a diverse portfolio across sectors such as corporate, sports, weddings, festivals and large events spectaculars. He has worked on the FIFA World Cup, David

on board as we approach our busy season. A warm welcome to you all from the management team at CTME,” concluded Andy Reardon, managing director, Creative Technology Middle East.

www.ctme.co

Brian Tulley Greg Babbs welcomes new and familiar faces

Tulley added: “I am delighted to announce my new position with Datapath. Throughout the pro AV industry, they are known as the market leaders in video processing and

content management. Procurement of technology components has become a very hot topic throughout the AV industry in the past 18 months or so – along with many other business sectors – and I am looking forward to applying my experience at Datapath to ensure our customers continue to experience the high levels of service and minimal lead times for which we are known.”

Returning to Datapath following a successful spell at IP surveillance storage manufacturer, Veracity, is Greg Babbs, who has been appointed business development manager for EMEA. The new role will see Babbs working closely with Datapath’s EMEA sales teams to drive new business – particularly solutions involving its Aetria solution for control rooms

Creative Technology Middle East has

Guetta concerts, F1 Jeddah and Cirque

Thomas Gmeiner

Bohan Xie

L–R: Croft Clinton, Jemma Joy and Bhans Sheomangal

L–R: Samantha Peltret and Joshua Spencer

QSC has announced the creation of the Pro Audio Leadership Team, which will be led by David Angress as senior vice president and general manager. Also joining the team are Perry Celia, appointed VP global sales and service, David Fuller to VP product development, Ray van Straten to VP brand, marketing and training, and Linda Lee to senior director, operations. Along with the formation of the QSC Pro Audio division (which maintains the QSC brand name), the company’s AV/IT business will operate independently as the Q-SYS division.

Angress spoke on his appointment:

“Throughout the years, I have always had the greatest respect and admiration for QSC – its people, culture and portfolio of innovative, market-leading products. The Pro Audio division is gearing up for an incredible phase of transformative growth and I couldn’t be more excited about the opportunity to serve as its leader going forward.”

Celia takes the reins of the division’s global sales and service functions after having served at QSC for over 14 years. Fuller’s 12-year tenure at QSC has included leadership roles such as senior director, international sales as well as senior director, entertainment product strategy. Van Straten joins the team as a 20-year veteran of QSC, having led the company’s retail sales, marketing, training and brand functions, as well

David Angress leads Pro Audio division and

colleagues as well as several new faces. I have been closely monitoring the progress that Aetria has been making within the global control room market and I am really looking forward to continuing that momentum here in EMEA.”

David Griffiths, Datapath’s VP global sales, welcomed the return of Babbs to his team: “Greg’s technical talent and multilingual skills make him a popular figure both within Datapath and with our customers and we are delighted to welcome him back to the Datapath family.”

as previously serving as VP of its Live Sound business unit. Lee rejoins QSC with 23 years of growth in key operations and supply chain roles, most recently as senior director of global supply chain and operations at Identiv. Jatan Shah, president and chief operating officer, QSC, concluded: “Our leadership team of Perry Celia, David Fuller, Ray van Straten, Linda Lee and, more recently, David Angress will most certainly guide our business to great success in this next, exciting period of growth and innovation.”

David Angress

L–R: Perry Celia, Linda Lee, David Fuller and Ray van Straten

EMEA

Anna Ferrer joins INFiLED Key Digital selects director of distribution

INFiLED has welcomed Anna Ferrer as the new marketing manager for EMEA. She will oversee all its marketing activities in EMEA, develop and implement new strategies and continue to enhance the brand in the region.

Ferrer brings 20 years of experience in the manufacturing and technology industry. She has a particular interest in product management, with entrepreneurial experience in the digital start-up ecosystem.

“We are delighted to have Anna on board,” said Marco Bruines, CEO of INFiLED EMEA. “Her expertise, broad knowledge and years of experience in marketing and the international technology industry will be key to bring INFiLED’s presence to a higher level, as its business in EMEA is growing rapidly.”

“I am delighted to join INFiLED and be part of the company’s growth together with its professional team. My challenge will be to enhance the brand and to develop high

market,” explained Ferrer. “At INFiLED, we are prepared to attend the most demanding solutions for high-end projects worldwide.”

www.infiled.com

Key Digital has announced the appointment of AV industry sales veteran Robert Taylor to the position of director of distribution channel sales.

In his new position, he will be responsible for leading and growing Key Digital’s distribution business. Previously, Taylor held sales positions with manufacturers Biamp Systems and TOA Electronics, served as regional manager for Southeastern Communications (SECOM) and ran his own design/installation firm, Audio Concepts.

www.keydigital.com

DTS Illuminazione announces new managing director

DTS Illuminazione has announced the appointment of Carmen Savarese as managing director. Starting from 1 July 2022, the company has issued a new organisation chart, adding a general management position.

Savarese has covered the role of international sales manager in DTS for the last three years. She joined the company from Tomcat USA and Area Four Industries America, where she was vice president, sales and marketing. Previously in the Italian branch of the group, Litec Italia, Savarese

has gained an overall 16 years of experience in the professional entertainment industry. Simone Francia, executive vice president, will flank Savarese in this new company asset and commented: “The founding family, first and second generation, will still maintain the guide of this historical Italian company. President Dante Latteo and myself strongly believe that Carmen is the most skilled person to have in the top management team at this crucial moment for the growth of our family company. Carmen will have the full responsibility for the leadership and business development of

DTS. She will play a key role in meeting the company’s growth and goals and will also be instrumental in consolidating our reputation among the industry key players.”

Savarese said: “It will be through the specific skills acquired in my career and the support of a fantastic team, that I intend to improve the efficiency of the whole company. I’d like to confirm the will of the founders and current owners, which I strongly support, that the main production processes will stay in Italy.”

Waves Audio launches new office and team in Dubai

Waves Audio has now established a branch office in Dubai. Waves is said to have recognised the region as a major growth potential in the field of quality audio processing, and Dubai explicitly, as a valuable growth centre for expanding sales to GCC countries.

Waves’ Dubai office will be closely supporting authorised Waves GCC dealers with all professional audio requirements including DSP solutions for music production, recording, mixing, mastering, sound design, postproduction, live sound, broadcast and commercial audio. The operation will be overseen by Waves’ sales manager, Vinod George, and Abraham Richard, who will operate as a Waves product specialist.

George possesses an engineering degree specialising in electronics and communications. Before joining Waves, he was employed for over a decade with multiple distribution houses in the UAE, handling pro-audio brands like QSC, Biamp and Electro-Voice for the GCC region. He commented: “I am privileged to be part of Waves Audio, a technical Grammy Award-

winning company, and I look forward to building up our brand presence within the GCC region.”

Waves’ product specialist Abraham Richard’s background includes live sound and system engineering for conferences and concerts in India and

the GCC, concentrating on Dubai and the Kingdom of Saudi Arabia. He has also worked in design and system integration for installed sound and communication projects, and as an audio engineer in India with Reynolds Sound & Lighting Service for shows like the NH7 Weekender

music festival and Sunburn Arena. Having moved to Dubai in 2016, he worked with MediaPro, working on music concerts (Andrea Boccelli and various Arabic artists) as well as Formula 1 and Formula E. Richard has recently finished a six-month tenure working as an FOH engineer for Neumann&Müller event technology for World Expo 2020.

He commented: “I am excited to be the first point of contact for support and solution demonstrations in the region and to work alongside the pro audio community at large. I am looking forward to meeting our customers and expanding the Waves user base.”

Mick Olesh, managing director and EVP of sales and marketing commented:

“With Waves’ strategic growth, both in the number of unique products it has to offer and the diverse and wide-ranging pro audio fields it supports, we are delighted to have a Dubai-based office in order to expand our reach and to cater and support the GCC pro audio community.”

WORLD

Robert Taylor

Carmen Savarese

Abraham Richard

Vinod George

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From famine to feast in the Middle East

NO SECTOR HAS ESCAPED THE NOVEL OBSTACLES presented over the last several years, but the live events industry has been particularly hard hit. Ammanbased production company Triple Technology (TriTec) AV has of course been no exception. Having gone from supporting a high number of large-scale events in 2019, the market was suddenly ripped out from under the Jordanian company’s feet and a long dry spell followed. While the company had been slowly making waves across the wider region in the years preceding the pandemic via an outpost in Dubai, Covid forced a rethink and the decision to double down on the home market instead.

TriTec AV has always set its sights on the big league, and the Jordanian market has proven to be a highly prosperous sector for live entertainment, which led to the company’s prior involvement on high-profile events such as presidential speeches, papal visits, A-list music concerts and top-tier sporting events. As the industry has opened back up in full force, the team has quickly found itself the preferred supplier for nearly all largescale music concerts in the country, resulting in backto-back work for the first time in months.

Having just engaged in a mammoth 12-week stint of major concerts across Jordan, this homegrown approach has clearly been a winning formula. Crucially, as TriTec AV owner Marwan Abujaber explains, it was proof that the less than promising start to 2020 was over: “While we had done a couple of shows out in the desert back in September last year and some others in the Red Sea port of Aqaba, we had a very quiet start to this year.”

Kicking the season off in late May, Recovery Fel 7oush saw the TriTec AV team head to the Bisharat Golf Course in Amman to support a concert for 4,000.

Translated from Arabic, Recovery Fel 7oush means

for the remainder of the season. TriTec was enlisted to handle the complete technical production for the concert, which featured performances from the likes of Autostrad, Yazan Sarayrah, Stitch and Guitani. The team was particularly excited for this concert as it would be the first opportunity to put the company’s new pair of DiGiCo Quantum 338 mixing consoles to work in a reallife setting. “Recovery was the first concert of the new season and also the first big concert where we’ve been able to use the new DiGiCos, so we were naturally very excited,” says Abujaber. “It’s been quite a story getting to this point.”

After first getting hands-on with the equipment at Prolight + Sound Frankfurt, it was decided that the Quantum 338 mixing console would be the most appropriate upgrade path for the company’s existing fleet of DiGiCo SD9 and Yamaha PM5 consoles.

Abujaber placed an order for a single Quantum 338 in the middle of last year for an October show, but a mix-up at Heathrow Airport security meant that two Quantums unexpectedly ended up in India and two SDRacks in Jordan. “One of the reasons for picking the Quantum is that we were increasingly getting requests sent over with technical riders from international bands listing it and we knew that if we wanted those tenders, we’d have to raise our game. But there was a national religious holiday in India in October, so the country was completely off the grid – the desk was sitting in the airport doing absolutely nothing for a month and a half,” explains TriTec AV sales and marketing director, Najib Albakhit. “It ended up being something of a blessing in disguise as it gave us greater urgency in deciding to purchase a second unit.”

Upon finally receiving both units in February, DiGiCo VP of sales Ian Staddon and technical sales manager

“recovery in the garden”; an apt description of the evening. Not only would the event give the company its first opportunity to work with new equipment purchased during the downtime, it would also set the tempo

TriTec AV founder Marwan Abujaber operating the Quantum 338

Fernando “Fer” Delgado visited Amman to conduct comprehensive training with the TriTec AV team, with the company pulling out all of the stops to make it a memorable visit.

“We see ourselves as a centre of excellence rather than as a company competing head-to-head with others in the industry; we’re very accommodating,” shares Abujaber. “I

invited everyone locally in the industry to come along and explore the new technology. Quantum is really something brand-new for Jordan. We started off with an introduction about the brand and its technology and then we took an in-depth look at the desks. I think Ian really appreciated us bringing in not only 20-plus people from other companies but also a load of students from the SAE Institute.”

Bearing all this in mind, it made perfect sense for the new Quantums to be debuted at Recovery, the first largescale concert to follow. The 338s were connected via dual SD-Racks over an Optocore fibre link, with one for FOH and the other for monitors. “It was a great experience running the desks and the SD-Racks together with the 32-bit cards. The sound quality was pristine, and the bands and the promoters noticed the difference, so it was a clear improvement on the delivery of the show. It gave new life to the sound system and everyone was happy with the quality,” commented Albakhit.

In addition to the Quantums, TriTec AV deployed a main 24-box FOH Adamson Y18 solution with groundstacked T21 subwoofers tuned with Lake Processing, and paired it with a d&b audiotechnik M2 monitor and sidefill system. Additional equipment included a stage backdrop of Absen LEDs and an all-new complement of 40 Claypaky Xtylos moving heads controlled from an MA Lighting grandMA2 console. While riders typically tend to be more relaxed on the lighting side, TriTec AV was concerned that some of its existing portfolio was beginning to age.

“Our lighting rig was beginning to get quite dated and we were keen to explore new technology. We’ve been working with Claypaky for many years. The colours of the new Xtylos are magnificent, and it was an easy purchasing decision as we’d be getting something that hasn’t been used before in Jordan or the wider region,” says Abujaber. “Having a laser source gives a very nice array of colours, it’s very bright and the fixture is also very efficient in terms of power usage. It was a good step forward for the company on all fronts. Xtylos is a fantastic product and I’d like to thank Claypaky for the support provided throughout this significant purchase.”

With Recovery Fel 7oush declared a massive success, it was straight over to the Dunes Club for TriTec AV the following weekend in support of Summer Jam, an annual 14-hour-long concert organised by Beats Events for an audience of more than 5,000. The line-up was a mixture of local and regional acts spanning EDM and popular music. “The organisers really wanted to go big after Covid by laying

who remembers the days of carrying a Soundcraft Europa on my back, and the feeling of release once we switched to the Midas Heritage. It’s impressive how much power is inside that tiny Quantum box.

“I truly believe that paying double or triple the price for a piece of equipment is a worthwhile investment in the long term. Our latest purchases have allowed us to continue pushing the bar of what’s technically capable in Jordan. This is essential as the market is constantly moving forwards and the quality of productions rising alongside.”

The trio of events capped off a record opening to the season, which the TriTec AV owner hopes has set the bar for the months ahead. “Obviously we can’t predict what might happen from a health standpoint, but we don’t foresee any more closures,” predicts Abujaber. “There is ripe demand at the moment – people are thirsty to go back to the entertainment industry; however, I think matters will slow down again as work life continues to return to normal. If everything carries on as it has recently, both this summer and next should be really great for business. Jordan is an emerging market that is developing very nicely as a station for tours. I like to think that we are the desert watering hole for the thirsty international touring market.”

on something really special, so they called in the cavalry,” smiles the TriTec AV owner. In June the gear moved down to the Ayla Resort by the Red Sea in Aqaba for the Ayla Music Festival, a two-night event for more than 4,000 VIP guests, before finally ending up back at the Dunes Club for the Red Bull Jukebox global event.

“We had a very short changeover between events and the Quantum was absolutely instrumental in shortening that changeover,” says Abujaber. “We had such an exaggerated number of inputs to work with, yet everything could be preconfigured and patched in advance, saving lots of time on the night – all we had to do was load up the new configurations. It was a dream. The size of the console is also very manageable, and this is coming from someone

Ironically, this could leave the team with a new predicament – a warehouse stocked full of new investments that require an ever-growing team of talented engineers. “If we want to continue to grow bigger and maintain being a centre of excellence, we’re really in need of more good technicians, whether that’s at a low level or an engineering level,” says Abujaber. “It’s very tricky to find good staff generally in the industry, but even more so locally in Jordan. We really look forward to nurturing the future industry and this was evident at our Quantum showcase with SAE students. We’re 100% behind those kids and I hope that we have been able to help inspire the next generation of talent that can continue to drive Jordan’s market forwards.”

www.digico.biz

Ayla Musc Festival took the equipment and team to the Red Sea town of Aqabar

DiGiCo technical sales manager Fernando “Fer” Delgado giving Jordanian engineers a walkthrough of the Quantum 338

The view from FOH at Recovery Fel 7oush

TriTec AV sales and marketing director Najib Albakhit operating the Quantum 338

Fortune favours the brave

ROSEBANK HAS LONG BEEN KNOWN AS ONE OF THE fastest-growing upmarket suburbs in Johannesburg, but although the pandemic was not kind to its bustling restaurant hub, Proud Mary saw an opportunity where others were fleeing. It takes tenacity, conviction and perhaps a sprinkling of luck to open a glamorous, premium dining space in the middle of a pandemic and at a time when other serious heavyweights around the country were closing their doors.

Within Rosebank lay a gem in the form of an old, vacant bank with a 750m2 floorspace. This provided the perfect setting to establish the new upmarket Proud Mary brand – a midcentury-inspired, all-day restaurant and wine bar on the ground floor of The Bank – a 13-storey mixed-use building containing penthouse offices, the five-star Voco Hotel and co-working spaces. Well-known in the local hospitality industry having completed a string of successful hotel and restaurant projects, BC Security and Audio was enlisted by the Proud Mary owners to elevate customer experience.

Active in the local market for more than a decade, BC Security and Audio’s business has pivoted throughout that time. Founded by Stasko Galovic, the company started out by focusing on security and CCTV before slowly but surely expanding into the world of professional AV. A core ethos is the desire to provide its clients with the best possible service, taking on only a single project at a time to ensure undivided support and attention.

Proud Mary found itself in need of a scalable sound system that could provide uniform sound dispersion throughout all areas of the restaurant. It needed to handle various sources at different volume levels, requiring both flexibility of the system and ease of use for the staff. Involved in the project from the outset, the systems integrator had a specific set of equipment in mind for the job, and quickly contacted local distributor Alpha Technologies for assistance with designing an all-Bose infrastructure.

“The entire 750m2 floorspace needed to be covered equally and absolutely no structural changes were permitted,” recalls Alpha Technologies sales manager, Johann Snyders. “Cable routing from the various loudspeaker positions back to the equipment rack proved the biggest challenge. This was, however, bridged by introducing separate overhead cable trays for the loudspeaker cables and volume control cables. BC Security and Audio were keen to use Bose for the project, as they are very familiar with the brand and the products’ performance. Furthermore, the restaurant owner was seeking an upmarket product as the venue is situated in one of the wealthiest suburbs in the country. The Bose brand is wellknown among the regular clientele visiting the restaurant.”

team designed an initial system plan. Once permission to occupy the premises was granted, the team could make changes to the design to suit specific requirements. “Our aim was to provide aesthetically pleasing loudspeakers to

Nestled in the heart of Rosebank’s once-bustling restaurant hub, Proud Mary is the latest modern eatery to emerge as the area seeks to rekindle past fortunes

Staff from Bose wall

satellite speakers conical dispersion across the main FS3IISUBB flush subwoofers extending the response down to 50Hz. Four Bose FreeSpace

DS16SEB, four FreeSpace DS16FW and three FreeSpace DS40FWs speakers handle the breakaway areas.

The from amplifiers,

DS16SEBs extend audio to the outdoor areas

FreeSpace FS3SB surface satellite speakers provide 160° conical dispersion across the main areas

Renewing expectations

YOU MIGHT NEVER HAVE STEPPED FOOT INSIDE ONE of the many Hard Rock Café (HRC) outlets spread throughout the world before, but there’s a good chance you would already have certain expectations in mind were you to visit. If the nostalgia-driven décor of famous instruments and artists pictures is one major staple of the HRC brand, the expectation that you’ll also be able to go there and enjoy a top-tier live performance or sporting fixture is the other. These are the things that Dubai’s Hard Rock Café has excelled at since first opening its doors back in 1997, a quarter of a century ago, and what has enabled it to remain among the city’s premier concert and event venues ever since.

Located in Dubai Festival City, HRC Dubai is the only branch operated by the brand locally and serves as a major gathering point for guests, tourists and residents to attend concerts, watch live sporting events and dine in the restaurant. So, as Dubai’s concert and events venues react to the returning flock of tourists, HRC Dubai’s management was keen to explore an upgrade to its existing projection solution.

The rationale was firstly to remedy existing issues plaguing the playout system, namely poor quality and a dim visual display, and secondly, to ensure that the venue was technologically aligned with Dubai Tourism’s goals of encouraging tourists back to the city. “Entertainment is one of the most important elements of the Hard Rock Café experience,” explains Katherine Misquith, the Dubai outlet’s general manager. “People don’t just come here to enjoy our great food, they also look forward to an evening of live music and a show. A strong quality projector with high-resolution projection helps to enhance the Hard Rock Café’s live show and the overall experience of our guests.”

The management contacted local supplier NMK Electronics, which set the HRC team up with Epson’s local representatives.

After discussions, the decision was ultimately made for the venue to deploy the manufacturer’s EB-L1505UH laser projector. The state-of-the-art solution offers 12,000-lumen WUXGA performance and promises to deliver vivid colours ideal for large rooms and venues like HRC Dubai. Adding to the reasons behind the venue greenlighting the new unit were its flexible installation credentials and low-maintenance operation.

“In the past we’ve had to work around some image quality issues,” says Misquith. “A lot of videos that we show were often shot originally in the 1980s or ’90s, and so their quality isn’t

great. Our technical team had also previously faced technical issues with the old projectors, such as blown bulbs and lighting fading out the screens. Our guests, especially during the last FIFA World Cup, found it very difficult to watch the daylight games because of the clarity and the colours of the screen – we had many complaints during that time.”

It was for these reasons that a more suitable large screen solution was required. Since being installed, the team at HRC Dubai has been operating the projector for more than 14 hours a day to a crowd typically exceeding 400 people. During concerts, the venue’s audiovisual team has been able to enhance performances further by making use of advanced techniques such as projection mapping and edge blending. Additionally, the projector has 360° installation flexibility, allowing it to be placed virtually anywhere in the venue without suffering from loss of brightness or image distortion. It also has a built-in camera to help with calibration and the capturing of diagnostic images.

“The stunning display created using the new Epson projector has helped us to enhance our overall guest experience,

optimise the viewing experiences of live events and use the latest projection technologies for taking concerts and live streams of sporting events to the next level,” notes Misquith.

“It has a stunning display that make visuals seem bolder, brighter and more creative.”

As the Hard Rock Café Dubai continues its next phase of hosting live events, the organisers are appreciative of the manufacturer’s five-year, 20,000-hour product warranty to provide peace of mind over such an important investment.

“We’re really happy to have installed the new laser projector,” concludes Misquith. “With the support of Epson’s technical team, installation was quick and simple, and thanks to the projector’s long durability, we’ve already seen significant cost savings in projector maintenance, along with better quality visuals. Our regular guests have definitely noticed the difference and appreciate the better quality viewing experience.”

www.epson.com

With a visual solution no longer befitting its globally recognised brand image, Hard Rock Café needed to revitalise its projector offering

The projection the

Bringing the virtual to life

IN THE SPACE OF JUST 24 MONTHS, THE PERIPHERAL technologies of extended reality (XR) and virtual production (VP) have gone from relative obscurity to occupy centre stage in the world of video production. This seismic shift is illustrated particularly well by Istanbul’s MGX Studio.

Rewind to the start of the pandemic and MGX Studio was but a figment of MGX Film owner Müşvik Guluzade’s imagination. The Mandalorian had recently debuted on Disney+ on living room screens, redefining the process of filmmaking and setting a new bar for not only what was possible but for what viewers would quickly come to demand.

“ILM [Industrial Light & Magic]’s The Mandalorian project was a lesson for the whole world,” recalls Mete Mümtaz, MGX’s VP specialist. “After seeing how quickly VP technology was developing and gaining a huge place in the sector, we realised that some great projects could be made with this technology in Turkey. After a lot of market research, the necessary equipment –LED displays, processors, render computers – began to be purchased and the foundations of the studio started to take shape. Being the first VP studio in Turkey is both revolutionary in this respect and innovative in terms of being a studio that advances the largest production companies in the global arena.”

On-set VP, also known as virtual studio or sometimes XR, is increasingly being used in television, commercials and film production, using LED panels as a backdrop against which video or computer-generated imagery can be displayed. MGX’s virtualised setup allows it to create environments of any type, at any time – creating potentially huge cost savings. “Time control is the biggest benefit that excites both us and our customers,”

shares Fatih Eke, CTO and studio manager at MGX Studio. “We don’t have to wait for the sun to come out, or for it to set so that we can shoot night scenes. Directors don’t have to skip shots or scenes because the weather changes. You have full control of the environment, which means no more wasting time because the conditions are not perfect.

“Budgeting is also a major benefit,” he adds. “VP is a much cheaper process than regular filming. Reducing the number of locations needed by filming using an LED volume in a studio saves on having to pay hefty booking fees at multiple locations or pay for travel between each location.”

Prior to laying the foundations of MGX, the team closely followed many VP and XR projects currently taking place. “At the same time, we established a wide network and communication with suppliers who could provide all the equipment needed to build the studio,” explains Mümtaz. “We examined software and hardware that could be useful to us in XR and VP technology and included the most optimised ones in our studio’s workflow.”

The technology behind the game-changing process that allows productions to be filmed in an immersive setting continues to see new developments each month. When MGX opened its doors in early 2021, it officially became Turkey’s first VP house. However, it also rivals some of the best technical setups to be found anywhere in the world. Its expertise in this regard has been developed organically from within. “The pandemic was at its peak, which had a profound effect on the film industry – but one that could be mitigated thanks to the advantages of VP,” adds Mümtaz. “However there were also disadvantages. During the installation process, the companies from which we purchased

Istanbul’s MGX Film has been going to great lengths since the beginning of the pandemic to evolve the world of virtual production

The

the equipment could not come to our studio. We had to build and learn every piece of equipment ourselves from scratch. Although this was a big challenge for us, it means that we now have a thorough experience of building everything properly, which will aid us greatly in the long run.”

The idea was that once MGX had taken its first steps in achieving the “know-how” of this new technology, it could serve as a partner to guide and help steer the technology and industry forwards. “While the advantages and convenience the technology provided was what fascinated us when we first set up,” continues

with the equipment that would power it centring around a 100m curved LED wall measuring 15.92m x 4m (WxH) and constructed from LDSISP02.6XR Ledeca LED panels. Additionally, 125m2 of Ledeca LED panels form the ceiling, which is used for lighting and reflections. The walls are driven by Brompton Technology Tessera SX40 4K LED processors together with Tessera XD data distribution units. The entire system is powered by the disguise XR workflow, which consists of vx and rx media servers and is used for both broadcasting and real-time rendering.

“Our high-tech LED screen has a 9600x1536 pixel resolution and is constructed in a 50 x 8 panel configuration,” explains Mümtaz. “We are also using three Brompton Tessera SX40 processors and five Tessera XD 10G data distribution units to provide a 10-bit colour depth image and Unreal Engine to create and publish 3D content. According to the incoming project, we create 3D scenes using Unreal Engine and pass them through a certain process to optimise them in the disguise workflow. During this process, we create the scenes together with the director and director of production in order to make them look cinematic and aesthetic. Likewise, the art director is also involved in this process to understand the texture of the 3D scene we have created and to create props and décors suitable for it. After the rendering is complete, we test on the LED screen. We make it suitable for shooting with a cinema camera, we do our rehearsals and we are ready for shooting.”

Aside from the technical benefits, this workflow greatly streamlines the entire production process as the team is able to work closely with scriptwriters and other talent throughout.

“Because we are trying to create the projects that come to us in a way that is suitable for VP while we are still at the stage of scriptwriting, we’re able to introduce this technology at the initial stages,” explains Mümtaz. “The advantages it provides for budget and time management can determine the fate of the project and affect its course. We adapt the incoming projects and the films and series we will shoot ourselves to the VP workflow. In this way, the advantages of this technology are also decisive in the completion of the projects.”

With an initial project deadline already fast approaching, the installation and studio construction process was completed at speed. “We had a project with a very close start date while the installations were not yet complete,” recalls Mümtaz. “So we had to complete everything in a short time without any errors. I’m glad to say that we succeeded.”

While the installation and construction were fully completed in late 2021, the pipeline process, which was created for the acquisition of know-how and which determines the workflow and the management of large projects, continues to develop all the time. “The new dynamics brought by this technology deeply affect the film and video production industry and will continue to – the perspective and conveniences it provides attract the attention of all manufacturers,” says Mümtaz. “As it is a technology and concept that continues to evolve and change, I think we will see it grow even more in a few years. Based on my observations on completed projects within our studio, all departments have enjoyed working here and want to experience it again. It seems obvious to me that the industry will further adapt to this concept and wants to take advantage of it. The diversity of dynamics and technological equipment used evokes an instinct of learning and orientation in all teams, and this is something we want. Art directors, directors, DoPs [directors of photography], camera crews and all other on-set crews know that while experiencing VP technology, they can create an unlimited number of worlds within a studio and use their creativity and horizons to infinite potential.”

MGX’s story begs the question: how much longer will “traditional” filming and production continue to be commonplace? When VP allows for better control of all aspects of the filming environment and the benefit of completing productions for increasingly less money, why produce content any other way?

Real-world props can be added into the scene just as easily as virtual ones

The ceiling LED wall in this instance serves the environmental lighting requirements

Land of opportunity

silhouette of contemporary modern architecture now stands in its place. The JW Marriott Hotel Istanbul Marmara Sea marks the spot where ocean tranquillity sits within touching distance of Istanbul’s metropolis, creating a retreat in the heart of Ataköy with awe-inspiring sea views at every turn that will divert corporate entertainers and high-class vacationers from the congested city 30 minutes to the north. Having transformed building aggregates into beach sand, the stylish entertainment and business venues within the latest JW Marriott Hotel endeavour to incorporate an AV design that functions without distracting guests or bewildering operators.

The task of balancing a wow factor with discretion fell to established Turkish systems integrator and distributor Atempo Group. Founded in 1985, the company continues to impress property developers with a long list of eye-catching projects that extend far beyond national borders, into the Russian Republics, Europe and Africa. The company’s latest reference on the rising Ataköy shoreline matches ever-increasing guest expectations with high-resolution audio, high-definition displays and ambient lighting designed to match the mood of any occasion.

Working closely with the general building contractor, Atempo’s engineers threaded an intricate network of fibre, BNC, triax, coaxial, power, HDMI, loudspeaker and Category cabling from the ground-floor lobby area up to the 17th-level Presidential Suite. “It wasn’t as straightforward as it may seem,” confesses Atempo project and sales manager Aytug Biyikoglu, standing in the 200m2 ballroom. “For example, as this is reclaimed land, we could not excavate deep enough into the concrete below and as such we had to rule out the insertion of some floor facility panels.”

Appointed hotel staff operate climatic, lighting and AV parameters from wall-mounted Extron TLP 725 Pro 7-inch touch panels in the 535-capacity ballroom. At the heart of the control system, an Extron XTP II CrossPoint 1600 matrix provides video and audio switching in addition to bidirectional control. Specified for its ease-of-use features and functionality, the 50Gbps digital core also provides a high level of futureproofing by supporting video formats up to 8K over the Cat5 cable infrastructure. The addition of ShareLink Pro 500 presentation gateways allows content to be transmitted from computers and smartphones connected to any of the six floor panels.

Divisible by partitions into three sections, the ballroom houses five NEC 10,000-lumen LCD laser projectors that

the ceiling on automated scissor lifts. Visual content can be sourced from a PC, DVD player, three Panasonic PTZ cameras or any of the six local HDMI inputs for displaying onto the five 3m x 2m motorised screens. The remaining outputs are reserved for the Vimeo Livestream player that sends live video from the ballroom for transmission to the other hotel venues and platforms such as YouTube.

For events requiring more lighting impact, fixtures including ETC LED Source Four 2s can be added. Inserted discreetly into the 6m-high ceiling, six ETC Prodigy EXO hoists can be lowered into position at the touch of the TLP 725 touchscreen whenever an event demands such luminaires. Attached to anchor points, the unique external structure allows the mounted upright powerhead in the ceiling void to support scenery, lights, drapes and other suspended loads.

For audio, 12 EV 8.2HC 8-inch coaxial ceiling speakers powered by Dynacord PCL1415 amplifiers are sufficient to provide clear, even dispersion with high intelligibility. Higher SPL events can be staged by patching any of the eight portable

Atempo has lent its expert eye to Istanbul’s newest JW Marriott creation, discovers Richard Lawn

Ballroom events rely on Shure BLX4R UHF wireless transmission for clear speech

The Ballroom EV 8.2HC ceiling speakers are powered by Dynacord PCL1415 amplifiers

EV Evolve 50 powered speakers at the venue’s disposal, or an external sound reinforcement system, into the mobile facility panels. In addition, event broadcasting is made possible with the inclusion of a broadcast patch panel incorporating BNC and triax connectors hidden behind a wall panel.

While the ballroom’s rear wall glazing offers a distracting view of the Marmara Sea, the remainder of the venue is windowless. As such, the AV and lighting controls need monitoring from the first-level control room that houses the racked units and control surfaces. Operated by a Panasonic AW-RP50 remote controller, Panasonic PTZ cameras provide a visual panorama of the venue, while a pair of Mackie CR-X outputs provide accurate audio monitoring.

Receiving its audio signal inputs from a DX168 portable expander, an Allen & Heath dLive C1500 12-fader console is managed from a 12-inch touchscreen. Bidirectional digital audio networking for up to 64 channels has been created with the insertion of a DM0 module for digital mic splitting, multitrack recording and future system expansion. “Owing to the shallow floor depth, we could not permanently install the DT164-W 16-input/four-output expander within the venue, which led to the creation of a customised portable enclosure that can be patched in for larger events,” furthers Biyikoglu.

The inclusion of a Xilica Neutrino A1616-N digital processor extends the Dante digital audio network from source to speaker. “Dante is convenient, easy to use and will futureproof audio expansion over Cat5 well into the future,” explains Atempo programmer Koray Erkan. “Up to four sources of audio can be streamed from one room to another via a PC with licensed software.”

Twelve Shure BLX4R receivers enable UHF wireless transmission from a combination of Shure Beta58 handheld and lavalier models via two celling-mounted UA844+SWB antenna distributors. In addition to a Denon DN-300C II CD player, audio can be sourced from the in-house licensed music programme via Dante. Controlled from Extron wall panel touchscreens, the five meeting rooms that vary between 28m2 and 71m2 in size

adopt similar AV signatures with Polycon videoconferencing. The addition of an Extron DTP Crosspoint 84 presentation switcher and Extron ShareLink processors provide bilateral AV transmission between the ballroom and the five meeting rooms. Receiving their HDMI inputs via an Extron IN1806 scaling presentation switcher, each room is furnished with a 3m x 2m (WxH) motorised projection screen or NEC 75-inch LED display.

Two Dante networked Shure SCM820 Intellimix eightchannel mixers enhance audio quality whenever multiple

microphones are being used, selecting channels to open to the mix bus while attenuating other channels. Display soundbars together with Electro-Voice ceiling speakers powered by Dynacord PCL1415 amplifiers serve as the dedicated audio outputs. Bilateral audio signals are enabled with the addition of a racked Xilica Neutrino A0808-N processor.

The spa soothes guests with calming music sourced from an analogue XLR audio interface receiving local inputs via Bluetooth or the hotel’s Dante network. Differentiating itself with wall-mounted Crestron touchscreens that also control climate and lighting parameters in addition to AV, the spa is equipped with Electro-Voice ceiling speakers in addition to wall-mounted Electro-Voice EVID S-44W compact speakers augmented by an in-wall 40S 8-inch subwoofer.

Sharing the same Dante and HDMI network, the three hotel restaurants feature similar digital AV components including Electro-Voice EVID speakers and NEC displays. Guests lavishing in the Presidential Suite can entertain themselves with Bose 5.1 surround sound. Adjacent to the seafront, the patio area is lined with IP54-rated weatherised EVID-S8.2 8-inch enclosures pole-mounted in pairs. Primarily specified for their consistent and uniform background and foreground music reproduction, the unique pre-assembled mounting system saved time onsite for the Atempo installers.

Up to 2.6km2 of land has been gained from Istanbul’s coast and opened for urban use in recent years by filling in the sea. This makes the hotel’s 2,500m2 of event space a comparative drop in the ocean. However, Atempo’s audio, video and lighting blueprints confirm that each one of those square metres has been scrutinised on behalf of the client and, more importantly, their guests. Now all’s said and done, the Atempo team is waiting for more surprises to quite literally emerge from Istanbul’s depths.

www.atempo.com.tr www.marriott.com

Content from Panasonic PTZ cameras and HDMI inputs are output to 3m x 2m screens

IP54-rated EV EVID-S8.2 enclosures are pole-mounted in pairs outside

Dan Daley looks at the exponential boom in podcasting

WE’RE AT THE 20-YEAR MARK SINCE APPLE introduced the iPod and with it the concept of podcasting. The idea of the podcast, however, remained a tiny niche in the world of online media during most of this time. The number of new podcasts a year didn’t break the 100,000 mark until 2018, and keep in mind a podcast requires very little in the way of infrastructure: a basic microphone, a digital recorder with basic editing capabilities (it doesn’t even have to be stereo) and an internet connection. It takes more components than that to set up a lemonade stand. But between 2019 and 2020 the number of new podcasts a year more than quintupled, and by 2021 they were headed towards 750,000 a year. The audience for podcasts has nearly doubled since 2017, according to Edison Research, with advertising revenue expected to hit US$2b in 2022. How did podcasting go from just a nerdish hobby to a multibilliondollar industry?

It’s complicated but interesting. There were some key “storytelling” podcasts, like Serial and The Moth, that did for podcasting what I Love Lucy and The Honeymooners did for television a half-century earlier, a case where content made the technology it rode on culturally indispensable. As some podcasts attained mass-market followings, bigger players like Spotify and a slew of hedge and private equity

A letter from America A letter from Europe

funds jumped in, acquiring content producers and investing massive sums themselves in original content. That dynamic was accelerated when podcasting began to generate its own stars, such as when the rabble-rousing Joe Rogan brought his show to Spotify for $100m.

What that’s meant for the pro audio business has been manna from heaven. All of a sudden, there was a huge new market for budget condenser microphones. The same for semiprofessional headsets, a market heretofore reserved for local high school football broadcasts and gamers. What podcasting has meant to pro audio cannot be understated. For instance, it literally created the USB microphone category. Shure, Røde, Sennheiser, Audio-Technica – every major and pretty much every mid-level mic maker on the planet has adapted one of their existing products with a USB port and an OK preamp, and you’d be hard-pressed to find one costing more than $250. The phenomenon has also certainly boosted external preamp sales at least a little, for those Range Rover drivers who demand the absolute best. And headsets? Remember a decade or so ago when wearing headphones in public had become a fashion statement? Now, headsets – complete with mic booms – are showing up on Pinterest and Etsy.

Microphone makers haven’t quite reached the point that loudspeaker companies did about 25 years ago when they

realised that the house of worship market had grown to the point where it needed its own department to manage the sector. With few exceptions, such as Gimlet Media which Spotify bought in 2019 for $200m, and a handful of other massive podcasting facilities that turned to studio designers for their construction, such as Gimlet which brought in the renowned John Storyk of WSDG, the podcast industry is largely one of millions of small sales, a commodity enterprise much like what the project studio sector turned into in the 1990s.

The podcast market has started to cool off a bit. None of the 10 most popular podcasts in the US in 2021 debuted in the last couple of years. It could eventually become more like the record business: a thin, extremely lucrative layer at the top and a pile of indies below, looking to get noticed and get a piece of that pie. That wouldn’t be the worst thing that could happen: the music industry has come back as a nearly $26b baby. Even if podcasting only fulfils that $2b prediction, it could provide more-than-acceptable ROI for the few hundred bucks it costs to get started. All you really need is a microphone, the internet and a pulse, and the dream can be yours. Just make sure your mum says it’s OK to use the basement.

Phil Ward ponders the fate of the latest historic recording venue to go on the market

THERE IS AN ADDRESS IN LONDON NW6 THAT RIVALS Abbey Road in NW8. No, not for the quality of its pedestrian crossings, although nobody has been killed during rush hour for at least 20 years. In Broadhurst Gardens, EMI’s great rival Decca had one of the few alternative orchestral recording spaces in the city, along with a couple of pop music rooms famous for three things: the infamous failed Beatles audition, although we don’t hold it against them; Tony Clarke’s seven progressive rock albums developed with the Moody Blues, although we don’t hold it against them; and hundreds of the UK’s best hit singles of the 1960s and ’70s.

Since 1980 it’s been used by English National Opera as a rehearsal and office facility, which means its basic infrastructure remains intact. Now, according to specialist studio real estate broker MJQ, the entire plot is for sale. ENO is moving out and moving on. Cue the usual flurry of activity: hand-wrenching conservationists attempting to get the site listed on the Grade 2 category of special architectural interest; nostalgic sound engineers hoping that an avenging rock angel will save it with cash – the current property listing says “Offers in Excess of £10.5m”;

and salivating housing redevelopers aiming to achieve a great deal more than that.

At this stage we simply don’t know the fate of this icon, but MJQ is expert in marketing studio spaces fit for purpose and, being run by sound engineers with a rich family history in the recording business, is bound to do its utmost to keep the building away from the bulldozers. Unfortunately, the company has been kept very busy over the years when dispersing the equipment from well-known facilities they couldn’t save. Sadly, too, we have a grim precedent for what might happen, recently executed in this part of Europe.

Studio Davout was the closest thing to Abbey Road or Decca that Paris had to offer. Studio A covered 300m2, could accommodate 100 musicians and was described by its founder Yves Chamberland as “the size of a concert hall but without the audience”. It too had subsidiary rooms used for pop and jazz, and hosted luminaries as far back as Michel Legrand, Serge Gainsbourg and Nina Simone and as recent as Pharrell Williams and Eminem. You want bigger names? Try Madonna, U2 and the Rolling Stones. Opened in 1965, early photographs show Legrand, Catherine Deneuve and others of the Parisian in-crowd du jour mingling coolly

in existential black and white. A lugubrious-looking Legrand conducted the emotional final session before Davout’s ultimate closure in April 2017.

Jean-Loup Morette, a Davout engineer from 1982, admits on Clique TV that he will mostly miss “the conviviality of sympathetic musicians and like-minded technical professionals” during the best years of his life – and, rather appropriately, that he “ne regrette rien”. Footage of the actual demolition in September 2018 is available on YouTube, a bright orange Hitachi excavator mauling into the fabric of the studio with its unflinching claw.

In a very learned journal called Built Environment, academic Chris Gibson argues: “What we hear when we listen to recorded music is not just a product of musicians’ creativity, but a performance created in particular spaces and through affective relations between musicians, producers, engineers and technologies.” As they vanish, at least we can say that the particular spaces of Europe will resonate in those recordings, by definition a documentary registration of all those decades of human interaction and leaving something, as the Moodies would have it, to our children’s children’s children.

the hatches to shelter from the Covid-19 storm that’s raged over the past two years, Hall Research ambitiously opted to brave the elements by rebranding itself. Retaining the legacy of Hall, the dynamic new management team led by newly appointed CEO Jason Schwartz swapped “Research” for “Technologies” in the company name. That seemingly simple change of a word would signify the start of a new era and a transformation in virtually every aspect of the company’s business.

Schwartz was drafted in as CEO in 2020 following the retirement of founder, Ali Haghjoo. “In the two years that have followed, the team has changed, our portfolio has changed and our strategy has changed, so we had to alter the name,” explains Schwartz during our interview on the eve of the InfoComm show in Las Vegas.

Credit to the CEO for only being a few minutes late after being involved in a car accident on his Uber ride there. Schwartz is unflustered, direct and looking forward to the three-day event. Over the course of the interview he would

Hallmark of success

continually demonstrate how he has projected the same sharp focus towards fast-tracking Hall Technologies in its quest to become a leading global AV brand. It would appear the pandemic didn’t have a chance of slowing him down.

“It’s ironic, but the lockdown helped us to focus on achieving our goals as we were all stuck behind closed doors,” he says. “During that time, we brought on a whole new leadership team, put together a software development team from the ground up and built a whole new portfolio. With the largescale adoption of videoconferencing, technology became the new intermediary between people, and this will remain in fashion for a long time. As a result, the pro AV industry probably fast-forwarded around 10 years as it was pushed to the front and centre of everyday life.”

At the time of Schwartz’s appointment, Hall was pursuing strategic growth opportunities under the direction of Blackford Capital following the Independent Sponsor’s 2018 acquisition of Hall with Gun Lake Investments (GLI) serving as the majority share investor. Following a shareholder buyout in which GLI

assumed management control in Q1 2022, Hall also received an additional growth equity investment from GLI with an aim to stimulate rapid organic growth centred around product expansion. Gun Lake Investments is the non-gaming private capital investment arm of the Match-E-Be-Nash-She-Wish Band of the Pottawatomi Indians and is headquartered in Grand Rapids, MI.

In the three decades since its debut in 1984, Hall Research established itself as a renowned and reputable supplier of video distribution, switching, scaling, conversion and control systems. So, when Hall Research was put out to pasture in January 2021, the newly emerged Hall Technologies vowed to continue and build upon its legacy by providing best-in-class solutions for the most demanding needs.

“Previously, Hall did not create solutions,” continues Schwartz. “If an integrator was building an educational campus or a conference room, Hall Research was often overlooked. By blending our renowned hardware with software, Hall would transition itself to become a solutions-based provider. I’ve interacted with pro AV in the past, but it’s dominated by a couple of large players and is made up of predominantly SMEs [small and medium-sized enterprises] that have not been overly disruptive. I made it clear to the investors that if I could get some talented people onboard, we could change that and have some fun.”

Hall’s product roadmap is heavily based on the rollout of the IoT-based cloud control platform HIVE and other collaboration products. A suite of products has been unveiled in quick succession, including the Apollo TRK1 technology room kit, 4K PTZ cameras, the EMCEE200 presentation switcher and the scalable VERSA 4K video-over-IP solution for the digital signage market. “The combination of the existing Hall portfolio,

Richard Lawn interviews Jason Schwartz, CEO of Hall Technologies, which has used the pandemic as an opportunity for reinvention

Gun Lake Investments assumed management control in Q1 2022

Hall Technologies’ CEO, Jason Schwartz

Hall’s product roadmap is based on the rollout of IoT-based cloud control platform HIVE

the continued development of HIVE and the GLI relationship has created a fully fuel-injected sports car that is poised to accelerate,” says Schwartz. “Hall could have continued to grow the HIVE product roadmap slowly but, with a huge demand for what we’d developed, we had to advance. In addition, it’s quickly differentiated itself significantly from what our competitors can do.”

Schwartz accepts that Hall is competing in a very crowded market, where the brand will ultimately differentiate itself and succeed by adding value and longevity. “When you consider the technology that we produce for a lecturer teaching a class or for an executive entering a conference room and plugging in equipment, you do not want to wait for 15 minutes for a technician to explain to them how to operate it. Our goal is to simplify the offering and to ensure that it can be easily used. By blending software and hardware together that is interchangeable,

As well as establishing a software division in India, Hall also appointed an exclusive distributor in the country last year.

In addition to representing Hall Technologies, Bangalorebased Nteck Systems is heavily focused on the unified communications market, with Inogeni, Opticis and streaming solutions provider CrowdBeamer in its current portfolio.

“Following product development, our biggest growth strategy is the export market overseas. It is a combination of making sure that you have products that work and targeted messaging. We are focusing on EMEA and APAC in equal measure, by carefully analysing how our products will be received and whether we will need to change the sizes or modify extensions, inputs, outputs and so on. You cannot take the messaging that works in the US and expect it to work in Spain, Thailand or Japan, so we will invest in incountry marketing and expertise. There are own-language

our customers can start small and swap out as they grow or upgrade later. It’s a scalable process where we grow with our customers, so you can leverage the investments you’ve made in the past.”

A company relocation to Dallas, Texas from its original headquarters in Tustin, southern California, took place in late 2021. “I love southern California and lived in the state for over 20 years,” muses Schwartz. “However, to accommodate growth we needed a much larger facility and, economically, this wasn’t possible as real estate in Orange County is very expensive. One of the main reasons we selected Texas is because it’s a distribution hub with the Dallas/Fort Worth airport just 10 minutes away. For our domestic customers, this means expedited shipping, and our products can be in our customers’ hands within two days. In addition, the Dallas talent pool is growing monthly and will continue to benefit us into the future.”

Open and inviting, Schwartz explains that the new headquarters also houses the Hall Experience Center. “We are essentially living and breathing in a HIVE-enabled environment where control is used throughout for seamless collaboration. By using our own and huddle rooms packed with solutions. Our customers not only fly in to have meetings with us, they also experience the solutions we have to offer.”

The rebranding and relocation of the company coincided with a new leadership team including CFO Matt Kingsley, VP of sales and marketing Hal Truax and VP of technology Ken Eagle. “In my humble opinion we have performed wonderfully by recruiting unbelievably talented personnel over the past 18 months. We don’t have the luxury of having a large team, so adding talent is the key ingredient to making this work.”

Hall’s hardware engineers relocated to Dallas, but the bulk of the new software engineers recruited during the pandemic are based in India. “Building a remote team without interviewing individuals in person was one of the more interesting achievements. If you recruit the best talent, you can implement your strategies a lot better than restricting yourself to one location. Although we prefer to have as many workers based in the office, where creativity sparks are more common, some of our original team remain in California, so hybrid practices are the way forward. Covid made it easier and more acceptable to justify remote working practises.”

considerations to factor in, you must understand it and it must make sense.”

A CEO with a vision has ensured that the rebranding of Hall from Research to Technologies was not only cosmetic. Among the testimonies to Schwartz’s vigour are the promotion of a solutions-based portfolio, new leadership and software development teams, together with a relocation during the pandemic. Now that the company is established at base camp, the summit beckons with new goals.

“Our portfolio will continue to tap into adjacent industries to the pro AV world but are not necessarily classed as such,” he says.

“The pro AV world does not exist in a small box – it is whatever you decide it to be. Ultimately, we want to create an environment where suppliers and customers love to work with us, so the key is to understand what makes the end user happy. Quite simply, that is the hallmark that differentiates us.”

And in the two years since Schwartz has been at the helm, it’s quite clear that Hall has more than made its mark.

The company relocated to new Dallas premises in 2021

The Apollo TRK1 technology room kit

Hall Technologies has unveiled new 4K cameras

L–R: Hall’s Ken Eagle, Jason Schwartz and Hal Truax put finishing touches to the ISE booth in Barcelona Hall

distributor and systems integrator, unafraid of tackling Africa’s biggest integration projects while simultaneously keeping the local market stocked with a wide selection of its own-brand audio, video, lighting and staging solutions, and adding a uniquely African spirit to its global reach

This hasn’t been the result of any predetermined plan; the company’s course has changed abruptly several times throughout its journey. “Back in the early-to-mid-1990s, our current majority shareholder and group CEO Will Deysel founded the company having been working in an entirely different field – installing elevators into buildings,” explains technical director Nathan Ihlenfeldt. “At the same time, he started a speaker repair and audio rental company with one of his friends, they quickly began to get interested in speaker repairs, reconing and fixing drivers at the component level. It turned out that there was a massive demand, so much so that Will was able to completely leave his previous career behind.”

There’s been no looking back since. These circumstances laid the foundations for what would become Stage Audio Works and, by the early 2000s, the fledgling company had struck up several business partnerships. At its formation, the goal was simply to introduce ever better and sophisticated technology to local South African customers. “We continued to focus

largely on the staging side and, for a number of years, the company was doing really well in the rental staging space,” says Ihlenfeldt. “But there was also a desire to move into sales and distribution.”

SAW’s first break into this niche came after assuming distribution for German PA manufacturer AD-Systems, bringing

stands, and there were a couple of brands that Will jumped on, such as cable manufacturer Sommer Cable and Amphemol connectors. But our really big distribution break came in 2005 with German powerhouse d&b audiotechnik. At that time, the landscape was quite different; you had maybe two or three really established players that already represented the main audio brands. It’s been a brilliant partnership with d&b and we have been their distributor ever since.”

Success in the rental and staging market enabled the company to bring the first large-format array system into Africa’s rental market. “We were still operating a hybrid rental/ sales model for a couple of years,” explains Ihlenfeldt. “It really worked well because it gave people making smaller investments access to a larger system. There were a number of big shows back in the day where we just provided a PA and racks and they provided the whole production. That proved a very successful strategy for us.”

While this is a frequently travelled path for distributors and rental houses looking to expand their services, it also introduces several issues. In SAW’s case, it attracted unwanted attention regarding strategy and market competition.

“As a result, we gradually retreated from rental around 2008–2009,” notes Ihlenfeldt. “We were still involved in productions,

Audac pendant speakers deliver refined audio at Midgard Country Estate

AV inside Capital City Church International (3Ci) was completely refreshed by SAW post-pandemic

A d&b T-Series system with ArrayProcessing powers the Caudan Arts Centre in Mauritius

The Office of the Prime Minister in Windhoek, Namibia

but largely in a technical support role, which we continue with today.”

SAW’s focus naturally shifted fully to distrbution and manufacturing in a bid to become a more specialised supplier. “To this day in South Africa, there’s a kind of old boys’ club that people associate with the industry; SAW never had that legacy. We were the new kid on the block. There were just four or five of us at the time, but the energy was high – we were all quite young, excited and really willing to put the effort in, but were always up against more established competition, especially on the larger projects.”

It was decided that the team’s efforts would be better spent avoiding strongly competitive sectors. Ihlenfeldt and Deysel stem from church backgrounds, and the megachurch movement was beginning to kick off in the region. “We made a conscious decision to really pursue the worship market as a lot of our competition weren’t, and still aren’t, really there,” recalls Ihlenfeldt. “We were convinced this would be a huge market we’d be able to tap into. Knowledge is thin on the ground, so the main thing we do is simply offer good advice as

often, these organisations are seen as cash cows and are even taken advantage of. Our approach was that we were going to do things right, offer good consultants and trade in an ethical way.”

It was a decision that paid off handsomely; not only was SAW able to gain a commanding lead in the local worship integration market but has retained many longstanding clients along the way. “We would put ourselves in the position of the client to make wise decisions because, in the church market, projects are often using money that was donated to them. We won a lot of major projects after that, and at the same time d&b’s profile internationally was starting to become more recognised for live touring. We now have the dominant position in the worship market in Africa.”

The company’s in-house focus has expanded dramatically over the last decade, but it hasn’t taken its eyes off wider market movements, some of which have taken the team far out of their comfort zone. Examples include the range of in-house manufacturing capabilities amassed over time, including its Stage Plus, Pixel Plus and Plus Audio brands, all highly successful endeavours. “The next evolution is to have our own family of OEM brands, including lighting, video and audio products, that are going to be road-tested in the African market,” says Ihlenfeldt.

The onset of the pandemic threw another spanner in the works, which SAW was able to turn into an advantage, thanks partly to these manufacturing capabilities. “We took the decision early on that it wasn’t good for anybody’s mental health to become overly negative about the situation, plus we were quite uniquely positioned. As a result, we were able to develop a whole lot of interesting solutions directly related to the situation at the time.”

One of these efforts was Streamworks, a live event streaming solution geared towards South Africa’s patchy internet.

“We took what we’d witnessed in the market and went a step further to develop our own platform as live production companies that knew nothing about livestreaming were, all of a sudden, trying to sell it to their clients,” continues Ihlenfeldt.

“Streamworks is maintained and hosted locally by us. We’ve put a lot of time and energy into figuring out the best way to deliver virtual events to South African audiences. This continues to be very successful, and some companies have even built businesses around it.”

The latest twist for SAW has been the spin-off of its inhouse distribution arm into a separately run entity. “We have some brands that we sell through a reseller channel into the commercial/corporate market, so we’ve started a new subsidiary company called AV Distribution,” says Ihlenfeldt.

“The SAW brand is now focusing slowly on what we are calling projects business: firstly, rental and staging, and then the integration markets that we service directly – worship, museums and attractions, sports and performing arts. We’re also offering integration-as-a-service for companies that are not traditionally systems integrators, but might have access to the AV portion of a project. It’s working well for us, especially in the rental retail market.”

Well-accustomed to unexpected obstacles in its path, SAW has become battle-hardened over time. Without trying to rock the boat too much, or too fast, the company has flipped each new setback around and turned it into a long-term opportunity.

www.stageaudioworks.com

HIGH END PTZ CAMERA UHD LARGE SENSOR PTZ CAMERA

PTC-300 features a 20x optical zoom lens, an UltraHD sensor with great image quality and is introduced as a regular baseband model featuring HDMI, 3G-SDI and dual streaming

Control real-time pan, tilt, and zoom camera movements with the network controller RMC-300A and serial controller RMC-180. With configurable preset positions supported. The large 1/1.8 sensor captures images in resolutions up the 2160p50/60 and ensures good performance in lower light situations such

” as theatres.

More information on www.datavideo.com output.

SAW’s signature is evident at Nandos Mall of Africa

Pixel Plus screens at popular retailer We Are EGG

Advancing passively

With the third-generation of the PCX beam-steering column speaker series, Renkus-Heinz is pushing the sector forwards – passively

AS THE SON OF LOUDSPEAKER INNOVATOR RALPH and grandson of company founder Harro, Brandon Heinz represents the third generation of the Renkus-Heinz dynasty. Celebrating his 33rd birthday during the preview day of InfoComm 2022, Brandon was happy to discuss – between standing room-only demonstrations – the virtues of the brand’s newly launched PCX passive column speaker series.

Strengthening the company’s status as an electroacoustic designer for the architectural audio space, PCX expands on the broad Renkus-Heinz column array range, building on the success of its flagship Iconyx self-powered steerable loudspeakers, which the Californian manufacturer launched in 2006. “With Iconyx, we really did find our stride and our niche,” says Heinz, who was just 17 years old at the time. “Prior to that, we had carved a name for ourselves as a high-power, high-output point source loudspeaker brand. Our focus on control helped us lean into column technology because column speakers are all about control – that in turn has really shaped us over the past 16 years. These developments have changed the company into what it is today. We now offer five digitally steerable product families, and PCX distinguishes itself as a passively steered column using some of that technology.”

When a decision was taken to discontinue one of the passive columns, the sales department in Foothill Ranch received resounding feedback that a new passive solution was required to fill the gap. “Passive columns tend to sell at a ratio of around 10:1 in relation to steerable columns, so we were missing out on a large segment of the market,” Heinz continues. “As RenkusHeinz does not operate on the same economies of scale as its competitors who primarily produce passive columns, we knew we could not compete on the lowest price point. Ultimately, we decided that the Passive UniBeam technology would serve as a key differentiator among the other passive columns available.” Renkus-Heinz’s Passive UniBeam technology addresses each transducer with a specially designed passive filter network to generate an asymmetrical vertical dispersion pattern, shaping the coverage downwards and delivering consistent front-to-back coverage with minimal side lobe artefacts. Incorporating neodymium three-inch full-range drivers within a 112mm x 121mm enclosure ticks the optimal intelligibility and minimum aesthetic boxes.

“By implementing the UniBeam algorithm from our digitally beam-steered products, we are essentially adding a progressive delay,” explains Heinz. “Each transducer is driven with progressively increasing amounts of delay along the height of the array. Basically, we address each transducer in the array with a specially designed passive filter that changes the time domain and amplitude domain necessary to generate the UniBeam in the passive domain. It’s not a beam-steerable product necessarily, but it is a beam-steered product adopting the same technology integrated into our digital products.”

Under the technological leadership of Ralph, Renkus-Heinz has been working on the PCX project since the outset of the pandemic. “My father was the key player behind this,” says Heinz. “Ralph figured out how to implement the UniBeam algorithm into the passive domain and how to develop the passive filters necessary to generate the UniBeam. However, it is customer feedback that drives the development of our products. Whenever we develop a sound solution in-house, we always arrive at a point where we need to gauge customer feedback.”

Available in three different sizes – PCX4, PCX8 and PCX16 –the enclosures include a wall-mount bracket with an option for a pan and tilt bracket, while the Passive UniBeam technology enables flush mounting in most applications. The combination results in the lowest possible architectural intrusion without compromising audio coverage. “The aesthetics of our

enclosures are hugely important as the sound system will ultimately live in an architectural space. Therefore, we need to ensure that we respect the architecture and comply with the visions of the interior designer and architect. In addition to addressing the pattern control and the architectural discretion, the passive PCX also adds some unique benefits in terms of architectural discretion. The biggest are from the pattern control, resulting in a higher direct-to-reverberant ratio, leading to better speech intelligibility compared to speakers with less pattern control at a price point that other loudspeaker systems may not be able to hit.”

All three models are IP64 weather resistant as standard and salt spray and UV resistant, and rigorous high/low operational temperature and humidity testing is conducted prior to shipping. For added security and weatherproof protection, an aluminium grille and a gland/conduit knock-out input cover has been added, while a low insertion loss transformer with tap switch for 70V and 100V constant voltage is also provided, as is compatibility with EASE Focus 3 software.

“By offering ease-of-use from an integration perspective, you save time and money for the installer and the likelihood is you’ll gain repeat business,” concludes Heinz. “Whether you install them in a corporate boardroom or on a cruise ship, these cabinets are going to look and sound good.”

Renkus-Heinz’s Brandon Heinz with the thirdgeneration PCX beam-steering columns

Taking care of the future

Robert Trebus, d&b audiotechnik’s director of sustainability, discusses the manufacturer’s impressive eco credentials, which won recognition in June at the German Awards for Sustainability Projects in the recycling category for the CPO (certified pre-owned) remanufacturing programme. The company was also named a Green Guardian by the Green Events and Innovations Conference and IQ magazine in 2021

Tell us more about the ESG department you head up within d&b

Environmental, social and corporate governance (ESG) evaluates the extent to which a corporation works on behalf of social and environmental goals that go beyond the traditional role of a business. Today, modern companies pursue a holistic approach that takes into account the wider needs of society and employees. This is how our staff initiated the entry into sustainability management 10 years ago: at their request, we started to make the company more sustainable by joining EMAS (Eco-Management and Audit Scheme), a voluntary EU sustainability management and auditing system for companies that want to improve their environmental performance. It’s the highest degree you can get: every year you set sustainability targets for the next year, and there is a certified external auditor who checks your results; only when you’ve reached your target do you get your certificate for the year ahead. We’ve been doing this for nine years and over that time we’ve made massive improvements at our German headquarters in Backnang. For example, we’ve replaced all the lighting with LED, we operate two combined heat and power (CHP) plants and are getting two more this month, we have 15 electric vehicle charging stations, a bicycle leasing programme, sustainability cooperation with educational institutions, waste reduction programmes and we support a larger recycling system. We publish our environmental report every year. On top of this, we get ISO 14001 certification as part of the scheme, and we participate in the WIN-Charta to make companies more sustainable, supporting the 17 sustainable development goals of the United Nations.

When did your own involvement begin?

It started with a circular economy project three years ago. d&b is now over 40 years old, and we were wondering what happens to all our used equipment once it reaches the end of the line. We are proud of our equipment, and we don’t feel good if we hear it’s ending up in a landfill, so we began the circular economy project. We developed a remanufacturing concept where we take old equipment at the end of its life, break it down, repair, change and update it to make new equipment out of the old, then sell it on, with a warranty. Recycling and remanufacturing are two pillars of the circular economy, and we’re the first and only manufacturer in the pro audio industry to offer this. We launched our CPO remanufacturing programme just three or four months before Covid, and we thought at first that most customers would come from touring. Then Covid happened and the first projects were install. Now we see a change again and mobile customers are coming back, so it’s available to both kinds of customer. To be an early adopter and

drive this innovation was the right decision for us and the feedback has been very positive.

How does the CPO remanufacturing programme work?

At the moment it’s designed for the J Series large-format line array system, which has been on the market for around 12 years. We started with this because it’s a prominent, successful range. We buy the system from its owner; it has to be in an acceptable condition for its age and there is a checklist to complete. The system is sent back to our

remanufacturing department, the checklist verified and the equipment cleaned and broken down into individual components which are checked and measured to see if they are still within the original manufacturing specifications. If they are faulty we repair them, and if they are completely destroyed we recycle and replace them. Out of these components we build the new CPO loudspeakers. The biggest component is the chassis itself, which needs to be reworked, including redoing the coating so it looks like new, then we rebuild the speaker using the same manufacturing process as for the original model. At the end we do a final quality control check, measuring the speakers and comparing the remanufactured speaker side-by-side with the original specs, and, if it’s not the same, we don’t sell it on. The remanufactured loudspeaker is guaranteed to have the same specifications and features as a new one. Remanufacturing is the highest-quality grade of product rework; there is an EN 45553:2020 European standard and a BS 8887 British standard that define quality and the individual steps. If you follow these, the end product is classified as new. Our CPO programme saves over 85t 2e per year. The product carbon footprint of a CPO loudspeaker is approximately 80% less compared to a new J-Series model. The remanufacturing process also has a very positive impact on the sales price, proving it’s no more expensive to buy a sustainable product.

We are all aware of these, and this is why politicians are promoting the circular economy as the future of business. Even if you have problems with critical resources you can still build new products, and I believe it’s the way forward. We started with this in Backnang, and a year ago we decided to open a second remanufacturing department at d&b North America in North Carolina. We see ourselves as a premium manufacturer and there are a lot of people who’d like to own d&b but have never had the budget. This gives them the chance to.

What other sustainability issues are Wyou working on?

The biggest problem with festivals is audience travel. When people go by car, 60–80% of the event’s emissions come from private travel. There are strategies to bring festival locations closer to cities in the form of urban festivals, with access to public transport, which will result in significant carbon footprint reductions. But when you bring festivals closer to cities, you come up against local government noise pollution regulations. We identified quite early on that if you play music in festival areas where there is no audience, you also waste energy.

This programme seems to be particularly relevant right now, given the supply chain problems the industry is facing

Robert Trebus, d&b audiotechnik’s director of sustainability

L–R: d&b’s Robert Trebus, former federal minister and patron Brigitte Zypries and Nadine Etzel, d&b manager, corporate, with the German Award for Sustainability Projects

We improved the loudspeaker system design with better control of soundfield and optimum area for hearing the music. With our technology and software, results can be predicted and planned before the event takes place. By working with the NoizCalc and ArrayCalc tools, larger open-air venues can massively reduce noise pollution in the environment. If festival organisers can confirm in advance that they can reduce this noise pollution, they’ll get the go ahead from local government who’ll see it won’t adversely affect the neighbourhood. Coldplay has just gone public with this: they demanded that their sound system should be 50% more energy efficient than their previous tour in 2016–17 to reduce their carbon footprint. Firehouse Productions (NY) which has supported Coldplay tours since 2016 decided to use d&b GSL and KSL loudspeakers and D80 amplifiers, which demand less input power and have enhanced energysaving features. They worked closely with our R&D and product management department, deploying the tools and software typically used for R&D work. From these projects, we learn every day what the market requires. It’s very helpful for us because it changes our design concept so we can bring new products and services to

Clients, partners and artists have heard about what we are doing and have started telling us that sustainability is important to them, asking us for ideas. We work together with them to try and understand their touring business models better; the carbon footprint details productions cause. We work together with sustainability consultancies, we analyse their studies and learn what we can do in the segment we work in. Over the past two years we’ve built a robust network with universities doing research in these areas and we bring our knowledge back to specific customers to find out how we can improve their projects. For example, on larger festivals and tours, we learned that diesel generators are a real problem. But people were telling us that trying to move away from them presented another problem: they didn’t know the real power consumption of their PA. They were making a rough estimation and, because they weren’t sure, they added 25% on top. Studies done last year showed this was wrong as people were actually using much less power than they estimated, so we can help them work out their power consumption to reduce the amount generated, and move to

years ago we started looking at making our equipment more energy efficient, and we sell a complete system where the amps, DSP and loudspeakers come together to deliver the audio quality required, working with the system configuration to make it as efficient as possible.

What else are your clients asking for when it comes to sustainability?

When talking about a sustainable event, customers and artists don’t just talk about the audio system in isolation. We’ve learned that we need to offer solutions, strategies and processes for the full event infrastructure. Two years ago, White Light and SFL joined the d&b group and now, as a full service provider of audio, video, lighting and media solutions, we can help to make events more sustainable across the whole group.

What’s next for d&b’s ESG department?

We’ve evolved the group massively over the past two years, and our new members – SFL and White Light – are part of the newly formed d&b solutions business. We’re now taking the next step in working towards climate neutrality in all our facilities and offices across the group. In the past two years we’ve reinforced a focus on helping our customers and partners to make their venues and events more sustainable. It requires thought, new technological ideas, a full group strategy. Sustainability is not a switch you can suddenly flick on, it’s a process where you can improve from event to event, from day to day. It’s a permanent, ongoing improvement. Every month you make it a bit better in an aim to reach the global climate neutral target.

How are you interacting with your clients to address their particular concerns?

In 2021 d&b was recognised as a Green Guardian by the Green Events and Innovations Conference and IQ

Coldplay has demanded their next sound system is 50% more energy efficient than their previous tour (pictured)

Refurbishing a J8 enclosure

A final QC check measures the remanufactured speakers, comparing them with the original specs

The excellence of Made in Italy

Adamson takes new approach to object-based mixing

THE FLETCHER Machine is an audio rendering processor promising simple operation with highly efficient spatialisation tools. Described as an entirely new development in object-based mixing, it utilises amplitude and time localisation to ensure that objects are clearly perceived at their intended position. The rendered signals that are sent to loudspeakers are calculated from the objects point-of-view, which the manufacturer says ensures the best spatial coherence for most listening positions.

The Stage Unit is a 3U rackmount device capable of controlling either 64 or 128 inputs and outputs, with the more compact Traveller Model being able to handle either 32 or 64 inputs, paired with 32 outputs. Both devices are available with hardware configurations operating in AVB/MADI or Dante audio at 48kHz or 96kHz. All configurations keep latency at a low 1.33ms. The platform’s user interface is based on a digital mixing desk approach and includes a complete set of mixing tools, including EQ and compression for each object, up to four auxiliary sends and up to eight VCAs, loudspeaker positioning in three dimensions

and a high-quality integrated reverb with “vast amounts of control”. The Fletcher Machine can also receive OSC and MIDI messages so it can also be controlled using external devices, and it can be interfaced with tracking systems to accurately track object movements. Remote operation software is available for either Mac or Windows operating systems.

With the introduction of the IS213 subwoofer and the IS5c coaxial loudspeaker, the manufacturer has also extended the IS-Series. Intended for use in ground-stack configurations and small spaces, the IS213 subwoofer is a compact, high-powered subwoofer. The enclosure is loaded with two 13-inch ND13-S kevlar neodymium drivers that incorporate the Canadian brand’s Advanced Cone Architecture. Mounted in an efficient front-loaded enclosure, the IS213 is housed in marine-grade birch plywood and is equipped with two front and two rear speakON NL4 connectors or barrier strips. Integrating handles for lifting and rubber scuff guards on the top and bottom for mating with additional IS213s when

vertically stacked, the handles can be removed to allow it to fit into tight spaces.

Designed as a fill cabinet or as a standalone loudspeaker within smaller applications, the IS5c is a compact, lightweight, passive two-way coaxial loudspeaker. Offering a 100° conical dispersion pattern, the enclosure comprises a 1.4-inch dome compression driver coaxially combined with a 5-inch LF transducer. Housed in marine-grade birch plywood, the IS5c is equipped with two speakON NL4 connectors and a two-point barrier strip. A plate and screw rigging system located on the top and bottom of the enclosure promotes installation within a variety of applications. Both the IS213 and IS5c can be fully weatherised.

In brief, Adamson has released the latest update to its Blueprint AV proprietary audio system design and simulation software. Version 1.3.2 adds profiles for Adamson’s newest IS-Series cabinets, the IS213 ultracompact, install-focused subwoofer as well as the IS5c coaxial point source enclosure.

ALCONS AUDIO has introduced the CRS12/9090 to its portfolio, a two-way, passive-filtered, full-range loudspeaker designed to meet the requirements of current and future immersive, surround-sound formats. Featuring the manufacturer’s patented proribbon driver technology, the CRS12 combines clarity and intelligibility with what is described as an “unusually” high dynamic range.

The CRS12/9090 system comprises the RBN401 pro-ribbon driver for the high frequencies and a vented 12-inch mid-bass for LF reproduction. The HF section has an 800W peak power input, enabling a 1:16 dynamic range with reportedly up to 90% less distortion from 1kHz to beyond 20kHz.

Crucial for the imaging in height channels of immersive systems, the speaker’s patented 90° horizontal and patent-pending 90° vertical dispersion characteristics offer a wide and consistent coverage up to the highest frequencies. By using identical MHF components as in Alcons’ screen systems, voice matching between screen and surround systems can be achieved, resulting in a wide and uniform sound stage throughout the entire listening area. The 10° slanted baffle, together with the upside-down speaker arrangement and the enclosure design, allows for low-profile wall or ceiling mounting.

The CRS12 is available in 8Ω and 4Ω versions and, for full system performance,

WITH THE introduction of the CF1025BMB, Celestion has added a 10-inch diameter ferrite magnet, cast aluminium chassis professional audio driver to its portfolio. Designed primarily for bass and mid-bass applications, the UK manufacturer is promoting its adoption as a bass unit in compact subwoofer applications. Featuring a 2.5-inch multi-layer voice coil providing 300W (AES) power handling and 92.5dB sensitivity, the CF1025BMB operates within a frequency range of

45Hz–5kHz. An elastomer surround enables a longer Xmax compared to conventional 10-inch mid-bass speakers for reproducing lower frequencies. A smooth performance up to 2kHz promotes the CF1025BMB for two-way

designs which require added lowfrequency performance. Designed using in-house software deploying FEA (Finite Element Analysis) modelling techniques, Celestion has enhanced

needs to be driven by an ALC controlleramplifier. The Signal Integrity Sensing prewiring ensures complete cable/connector compensation between the CRS12 and ALC, which the manufacturer says increases response accuracy, regardless of cable length and system impedance.

Typical applications include use as the height layer in immersive surround-sound systems for performing arts theatres, screening rooms, postproduction facilities and dubbing stages, as well as premium home cinemas and quality-conscious PLF cinemas.

www.alconsaudio.com

ATLASIED HAS embarked on developing Dante-enabled loudspeakers across its entire ecosystem of connected products with the launch of three PoE loudspeakers with onboard DSP. Replacing point-to-point analogue and digital connections with software-based routing, the audio-over-IP solution transports audio over standard 1GB Ethernet networks anywhere on the network. The first three Dante-networkable loudspeakers are the DA-APX paging horn with an IP56 rating, the DA-22SYS 2x2 8-inch coaxial ceiling tile and DA-PM8GD 8-inch coaxial pendant mounted speaker. In addition to being PoE powered and Dante ready with onboard DSP capabilities, all three models can be adjusted for level and EQ adjustments, SoundMasking applications and speaker tuning remotely via the AtlasIED Discover application. The software is a deployment and management application that expands the remote control of installed networked devices.

The HPA series of high-power amplifiers has been expanded with the creation of the HPA2408. The compact, lightweight

HPA2408 integrates eight 300W channels that can each power 4Ω, 8Ω, 70V or 100V speaker loads. Designed with a Generation II Class-D output topology, the latest addition is equipped with a front panel display featuring stepped level controls protected by a cover. The HPA2408 remains stable during fluctuating power conditions while tailoring

and limiting the amount of AC required in any given application. In addition to remote turn on, fault reporting and balanced line inputs with sensitivity settings, the HPA2408 incorporates an accessory card slot for an optional DAC8 Dante card.

Designed to provide reliable mass communication and public address solutions, the IPX Series of IP endpoints has been expanded. The IP-APX is an IP56-rated, constant directivity loudspeaker fitted with a high-output horn for intelligible audio in outdoor applications. Designed to be wall- or pole-mounted to accommodate car parks, athletic fields and other areas where PA notifications are delivered, the paging horn registers as a communication endpoint directly within Singlewire’s Informacast, AtlasIED’s GCK and Syn-Apps’ Revolution advanced notification applications.

The IP-Console-GH is the first IPX endpoint to offer an Android phone from which announcers can deploy pre-recorded or live announcements by zone or throughout a facility. In addition to the handheld IP phone, the console features a 10-inch touchscreen interface and a gooseneck microphone for transmitting multicast messages directly to a network of IPX speakers.

The Strategically Hidden Speaker (SHS) family of multi-function loudspeakers has grown with the SHS-3T2-HD. Featuring a curved profile, the SHS-3T2-HD has been specifically designed for shallow, hard deck ceilings. The discreet, low-profile audio

performance capabilities that repotedly translate into longevity and exceptionally low distortion. In addition to the extended low-frequency performance, a smart airflow vented magnet assembly provides dynamic heat dispersion by minimising power compression during operation. Enhancing lower distortion within the optimised T-pole magnet assembly maximises the stability of cone movement for enhanced Bl symmetry.

www.celestion.com

solution benefits from Adaptive Dispersion Lens Technology, which consists of a 3-inch diameter lens and a micro trim ring. Designed primarily for healthcare, hospitality and corporate facilities, AtlasIED has created

the Z Series of digital sound masking, BGM and paging solutions. Connection via Cat5 cabling allows the SHS-3T2 and SHS-3T2-HD to integrate with the Z Series Z2-B and Z4 -B high-definition acoustical system. The Bluetooth-enabled models feature integrated pink and white noise generators for sound masking applications in addition to a mic/line input for paging. Colour customisation is offered with AtlasIED’s DesignLab colour match process, which uses high-resolution UV printing technology to replicate ceiling colour and texture onto the SHS lens.

DEVELOPED IN partnership with Powersoft, the DA amplifier series has been released by French loudspeaker manufacturer APG together with the SPOT2.6, a passive full-range compact loudspeaker.

The SPOT2.6 comes equipped with a pair of 6.5-inch transducers and a HF compression driver loaded with a 70° x 50° constant directivity horn. The speaker is said to offer perfect directivity control over a wide frequency range thanks to the two low-mid d’Appolito mounting transducers coupled with the rotating horn for high frequencies.

The SPOT2.6 is available with a range of optional accessories, including a stand base, U-Brackets for horizontal and vertical installation and link plates for clusters of up to three loudspeakers. Available in 4Ω (SPOT2.6/4) and 16Ω (SPOT2.6/16) variants, the units come with a five-year warranty and can be coupled with an optional 200W external transformer for 100V line setups.

The DA amplifier series launches with two models. The DA8 and DA12 are four-channel amplifiers with signal processing, as well as analogue, AES3 and Dante/AES67 inputs and outputs, and a bright 4.3-inch IPS touch display. The four channels reportedly offer high power and voltage, allowing for high SPLs even when running 8Ω or 16Ω loads. They are capable of delivering 4x2,000W (DA8) and 4x3,000W (DA12) at 4Ω. The amplifiers’ power supply has been designed to operate

anywhere in the world and an internal energy storage system allows the amplifiers to keep performing consistently in the event of a power drop. The amplifiers can be controlled via the touchscreen, with functions including preset recall, gain, delay and muting. Both units can also be controlled remotely using Powersoft’s ArmoníaPlus software.

www.apg.audio

DESIGNED FOR medium-throw live and fixed installation applications, Audiofocus has developed the Carys C6 loudspeaker.

The passive column is the first in its class to be equipped with a 6.5-inch AMT (Air Motion Transformer) HF driver, dual 6-inch LMH and triple 6-inch LF transducers. Capable of producing a maximum SPL of 135.5dB, the Belgian manufacturer has incorporated a specially engineered horn and waveguide that delivers broad horizontal coverage and tight vertical pattern control with a H/V of 120° (+5°/–20°).

Incorporating a 15-inch neodymium LF transducer with Tetracoil technology, the accompanying Carys C15LS is a combined LF/sub. Capable of producing 137dB SPL,

the cardioid designs of the Carys C15LS and C6 mean they can be placed close to walls or in corners. Tuned full-range cardioid vents also allow increased gain before feedback when used to reinforce headset and lavalier mics.

By utilising the plug-and-play amplification and audio connection devoid of additional amplifiers or cabling, the Carys C6 can be mounted on top of an accompanying C15LS for a quick full-range PA setup. Flexibilityof-use features include alternative wall or rigging bar mounting options and recessed powerCON, etherCON and XLR connections at both ends.

www.audiofocus.eu

K-ARRAY BRAND KGEAR has added two products to its growing catalogue. The first is the GH4 ultra-compact point source 4-inch satellite that features a high-performance, full-range driver. Thanks to the cabinet design in the shape of a cube, the GH4’s dispersion pattern reportedly guarantees a much lower emission on the back side of the speaker, improving sound control and preventing loss of energy in unwanted directions.

The robust stainless steel enclosure design with IP64 rating provides durability even in the worst outdoor conditions, while the matte black or white textured finish gives the GH4 a sleek look to match any environment. The unit can be used as a single point source speaker, as well as mounted to create an array from multiple units to obtain even higher performance and directivity. The size-to-performance ratio and flexibility make the GH4 suitable for a wide range of fixed installations, such as smalland medium-sized live venues and pubs/ clubs, residential entertainment, as well as large-scale deployments for broadcast, theatres, hospitality, transportation hubs, theme parks and houses of worship.

The second new addition is the GP12A, a portable high-performance subwoofer and column system that features a 12-inch subwoofer with a ferrite magnet and a modular line array column with 16 2-inch drivers with neodymium magnets, a combination that KGEAR has engineered to deliver a high SPL in a compact format. The active version has a 4x 750W RMS Class-D amplifier with programmable DSP and it can drive up to three full GP12 passive systems at the same time.

The column drivers feature an alternating angle pattern that increases the dispersion up to 140° on the horizontal plane to provide an immersive sound field while assuring a long throw and a narrow vertical dispersion. The GP12A comes with four factory presets to adapt to any needs.

Thanks to its flexibility, quick setup and compact form factor, the GP12A/GP12 is an effective solution for small and medium temporary and fixed applications where performance-to-size ratio is important, such as small stages, tradeshows, broadcast and corporate.

www.kgear.it

DEVELOPED FOR applications with reflective surfaces or space constraints, CODA Audio has announced the expansion of its HOPS (high output point source) range with the launch of the HOPS12T. The three-way point source HOPS12T incorporates 12-inch neodymium cone drivers with 4-inch voice coils adapted from the AiRAY line array. Dynamic Airflow Cooling (DAC) technology and phase linearity are included, while both the 90° x 60° and 60° x 40° variants are rotatable. The HOPS12T enclosure incorporates exchangeable Instafit Magnetic Waveguides that allow adjustments to directivity, ensuring broadband energy can be focused where required and away from reflective surfaces. Vertical and horizontal U-Brackets are available, in addition to an integrated mobile suspension for quick attachment of a flying frame. A quick release grille ensures no further tools are required. Weatherproofed as standard, the HOPS12T can be used as a standalone full-range system when paired with the U4 subwoofer,

www.codaaudio.com

VOID ACOUSTICS has unveiled an addition to its IP55-rated Cyclone series to serve as a smaller, more compact solution for outdoor entertainment venues. The Cyclone 4 offers additional versatility as a solution where a lower sound level is required compared to the Cyclone 55. Cyclone 4 is a passive two-way loudspeaker design housing a 4-inch cone driver and ¾-inch soft-dome tweeter. Frequency response is stated to be 83Hz–20kHz (±3dB) and dispersion is 70° x 70°. Power handling is 30W (AES) with a maximum output of 102dB continuous and 108dB peak. The ABS enclosure is available with optional colour customisation to better blend in with its surroundings and the

Yamaha launches VC and VXH Series

DESIGNED FOR commercial installations, Yamaha has released its VC ceiling and VXH pendant speakers. The two-way VC Series incorporates six models, all available in black or white. Three models come with back cans and three without, with all the speakers featuring low-profile designs that can be installed easily, even in limited ceiling or wall spaces. The units come with large mounting clamps with non-slip treads for secure mounting.

The VC8 has an 8-inch woofer and a 1-inch tweeter; the VC6 a 6.5-inch woofer and a 0.8-inch tweeter; the VC4 a 4-inch woofer and a 0.8-inch tweeter; the VC8N an 8-inch woofer, a 1-inch tweeter and no back can; the VC6N a 6.5-inch woofer, a 0.8-inch tweeter and no back can; and the

VC4N a 4-inch woofer, a 0.8-inch tweeter and no back can. The no back can versions have been designed for installation in limited ceiling spaces.

All six VC Series speakers are engineered for optimum BGM and voice reproduction. The speakers provide direct support for low-impedance or high-impedance connections – 16Ω in low impedance is advantageous when connecting

impedance system. A built-in carrying band increases safety during installation and the speaker comes with paintable grilles with magnetic catches.

The VXH Series pendant speakers have been created for high, open structures and sloped ceilings. Featuring a 120° dispersion pattern, the 6.5-inch VXH6 has a peak power handling of 300W and is designed for use where the speakers are to be suspended at a relatively low level. The 8-inch VXH8 has a narrower dispersion pattern of 75° and a higher peak power output of 360W, for higher suspended positions. Users can mix and match both models, as well as with other speakers in the Yamaha

Weighing 5.7kg and 7.2kg respectively, the VXH6 and VXH8 support high- and low-impedance connections, while the speaker wattage can be easily switched even after installation, thanks to the straightforward tap selector. This minimises the need for additional units, letting users design systems to precisely meet the needs of a space.

ACCESSIBLE TO OEM manufacturers only, the ICF061.00 is an IP65-rated 6.5-inch 6Ω coaxial with 86dB sensitivity, 100W program power handling and a 70Hz–22kHz frequency range with constant directivity, suitable for any stealth in-wall or in-ceiling installations which may be exposed to high levels of water, salt water or humidity. The unit is totally sealed and uses a ferrite motor structure for the 6.5-inch woofer and a neodymium motor structure for the

with high excursion capability (2.1-inch and 2.5-inch peak to peak respectively).

To complement the Powersoft IpalMod technology, both models have been designed using Lavoce’s proprietary Loudspeakers Design software and advanced FEA techniques. Key features include Ultra-Low Distortion (harmonic and intermodulation) and Reduced Power Compression, achieved by ensuring symmetrical force factor Bl(x) and stiffness,

marine-certified 24mm soft dome tweeter, both of which are fully optimised using FEM techniques to maximise projection.

To support the IP65 rating, the R&D team engineered a basket made from ABS material and used a marine-grade coated PCB for the built-in sealed crossover to prevent corrosion, together with a polypropylene cone with UV inhibitors and NBR rubber surround for the 6.5-inch woofer. The addition of silicone insulated lead wires is said to further enhance durability for outdoor applications.

The mounting depth is only 81mm and, for a fast and easy installation, the ICF061.00 incorporates a simple and robust hooking system so there is no need for access above a ceiling or behind a wall, and an edgeless mesh grille with a magnetic locking system for a near stealth installation. MOQ-dependent, the ICF061.00 is available to purchase unbranded or with a customer branded rear label and, later this year, will also be available with a 70V/100V line transformer, named ICF061.00X. The Italian manufacturer has also released the SAN184.50iP and SAN216.00iP high motor strength neodymium subwoofers, designed to partner with the Powersoft IpalMod amplifier and software platform (8,500W @ 1Ω).

The SAN184.50iP is a 3,400W program power 18-inch with 2Ω nominal impedance, while the SAN216.00iP is a 5,000W program power 21-inch with 1Ω nominal impedance. Both are characterised by having very high motor strength, high efficiency and high power handling, together

full motor magnetic flux saturation resulting in flat inductance over excursion and current L(x,i) and by the optimisation of thermal behaviour.

Using two SAN184.50iP 2Ω or one SAN216.00iP 1Ω with the IpalMod in an optimised and very robust cabinet design

reportedly delivers overall efficiency of the amplifier-loudspeaker system, together with an improvement of the audio performance at the lowest frequencies. Fully optimised, the system combination can deliver more than double output SPL capability compared to conventional subwoofer designs, with the added benefit of no perceived ageing of the speakers. For rental and install companies, this can result in a reduction of the amount of subwoofer cabinets typically required for a project, saving on physical storage space, logistics costs and onsite power consumption.

www.lavocespeakers.com

grade stainless steel grille.

K-array nominates osKars in latest innovations

OFFERING DEEPER sound, higher SPLs and enhanced tonal definition, K-array has developed the Thunder-KS series of subwoofers. Fully managed by integrated DSP processors, the Thunder Series of active subwoofers includes powerful Class-D amplifiers. Thunder’s electronics deliver the power signal to the subwoofer itself and up to three additional channels of amplification and processing, so that an entire stereo system can be controlled using one active unit. The Thunder-KS series of subwoofers benefits from next-generation intelligence (osKar) together with IEB sound processors that manage an entire ecosystem through various control platforms. Incorporating a USB player and web stream receiver, the osKar operating system can also control the main DSP functions, including volume, routing and presets, directly from the device.

The remote control of the Thunder-KS subwoofers can be managed via three software platforms ranging from the K-framework for Windows and Mac, passing from a more intuitive web app and arriving at the more simplified mobile app (Wi-Fi). In addition, there are also APIs and plugins to control the devices via third-party controllers together with LEDs located on the front of each unit.

Housed in Finnish birch plywood and finished in black or white polyurea paint, the front mesh is treated with a powder coating to provide salt and weather resistance. Side handles are completely integrated into the chassis, while flexibility is enhanced with the inclusion of an M20 threaded flange on the top for combining with stands and pins of the Pinnacle and

array and in clusters composed exclusively of subwoofers. The dedicated amplifier for the ThunderKS line features a powerCON True connector housed in a self-shelter recess within the sub chassis.

With Kommander, K-array has embarked on a new chapter for the manufacturer’s amplifier catalogue and a new era for cloudbased technologies. Comprising

amplifier is housed in a 2U stainless-steel chassis. Equipped with optical limiters and protections on the signal – overcurrent, short circuit and temperature – each amplifier is loaded with configurations necessary to drive any K-array passive product.

Equipped with 4–8 independent output/ input channels, the Kommander amplifiers are fully configurable owing to the integrated DSP offering control over the EQ and level of each channel, routing matrix and delay. Tuning is managed courtesy of the Integrated Electronic Brain (IEB) implemented into K-array amplifiers. The built-in microelectronics driven by the osKar integrated operating system features expansive sound processing offering complete user control over the system performance. A mobile app and dedicated professional interface, volume, signal routing, presets and a complete USB player can be remotely monitored and controlled.

The Kommander, Thunder and Mugello amplifiers are the first products on the market to incorporate Audinate’s Dante Ready licensing programme.

www.k-array.com

COMPRISING THREE models, Peavey Electronics has introduced the PVs Series subwoofers. The PVs 12, PVs 15 and PVs 18 are 12-, 15- and 18-inch single-vented, bass-powered subwoofers housed in high-density enclosures. Incorporating Peavey’s proprietary drivers and power amplifier modules, the PVs subwoofers feature bass enhancement for added bass impact and built-in crossovers. DSPbased crossover, compression, limiting and EQ are included. The rear of each

cabinet includes two high-pass outputs and one full-range thru XLR together with an XLR/1⁄4 -inch combo jack input. A polarity switch enables polarity reversal of the subwoofer, allowing for better low-frequency response in select environments. To prevent interference, ground lift raises the cable shield from the ground, and a threaded pole mount is included with an included speaker pole.

www.peavey.com

DESIGNED SPECIFICALLY for large displays, the SLS-1A has been purposebuilt to create a new sound field when paired with large-format displays. Sony reports that the speaker will solve common problems for large spaces with large display formats, such as unfavourable acoustics, separation of visual and sound, and the inability to install the speakers in a way that creates a prioritised listening experience for each viewer.

One key feature of the modular bar-style speaker is its wide sweet spot, which creates a clear sound field in larger spaces. The SLS-1A is equipped with eight p r oprietary magnetic fluid speakers that use a flat and square diaphragm to achieve clear, high-quality sound with little distortion.

Eight channels of DSP and an amplifier with a maximum output of 10W are built into minimal housing. In addition, the eight speakers are arranged at a narrow interval of 48mm. This is said to not only suppress sound distortion but also enables beam control that controls the direction and angle of sound delivery with a high degree of accuracy.

The SLS-1A can be aligned vertically or horizontally, which boosts its flexibility

and multiplies its potential installations in different environments. Its modular approach means that several speakers can be added through a single Dante connection. The speaker features onscreen centre sound localisation technology using a line array display with a central “phantom” speaker, making it suited to large displays where centre channel localisation is challenging due to speaker position, but also creating a uniform sound experience no matter where a viewer is positioned.

With the introduction of TEOS Meet, Sony has announced the next generation of its workspace management solution, TEOS. The platform has been designed to help organisations achieve a productive workplace as they return to the office, giving users complete control of booking, sharing and collaborating together, in person and remotely. The core features of TEOS Meet reflect the requirements for businesses to reimagine operations in the new workplace, where users are able to remotely book meetings, see capacity at the office and reserve desks and share their content in meetings.

pro.sony.com

K&F updates its VIDA L

THE VIDA L is the heart of Kling & Freitag’s VIDA system and is a 48-channel signal processor with a multichannel amplifier. Due

to the high resolution within the system, users can control the beam in real time in steps as small as 0.1°. The J-Beam algorithm is the latest addition to the VIDA platform. With the manufacturer’s standard beam, it’s possible to tilt the beam and control the vertical opening angle; with J-Beam, users can now continuously adjust the level distribution within the beam and achieve the same volume from the first to the last row if needed. The open FPGA-platform enables the manufacturer to constantly work on new technologies which will be added to VIDA in the coming years.

Kling & Freitag has also released its CA 106 PRO. With its multifunctional housing and a rotatable horn, it’s been developed for use in almost every application. And with the speakON channel selector, users can connect several speakers in line and still feed them with separate signals. In addition to low distortion and high gain before feedback, the CA 106 PRO can be used on its own in smaller events or as a fill system in larger installations, or even as a personal monitor. It’s best paired with the D-, PLM- and IPXSeries amplifiers but its crossover-design means it can be used on linear power amplifiers.

www.kling-freitag.com

Renkus-Heinz redefines columns with PCX Series

OFFERING OPTIMAL intelligibility and minimum aesthetic impact in the architectural audio space, the US-based loudspeaker manufacturer has expanded its column array loudspeaker portfolio with the addition of the PCX Series. Building upon its flagship Iconyx loudspeakers, the PCX Series provides an additional solution as a unique passive loudspeaker.

Passive UniBeam technology addresses each transducer with a specially designed passive filter network to generate an asymmetrical vertical dispersion pattern, shaping the coverage downwards and delivering consistent front-to-back coverage with minimal side lobe artefacts. A discreet appearance ensuring the lowest possible architectural intrusion has been aided by incorporating neodymium 3-inch fullrange drivers. The combination of an included wall-mount bracket (optional pan and tilt) and Passive Unibeam enable flush-mounting in most applications.

The PCX4, PCX8 and PCX16 models are weather resistant (IP64) as standard, salt spray and UV resistant, in addition to being subject to high/low operational temperature and humidity testing. Each model includes a gland/conduit knock-out input cover for added security and enhanced weatherisation. Low insertion loss transformers have been added with an accessible tap switch for 70V/100V constant voltage operation in larger, distributed audio systems. Specification is aided by compatibility with EASE Focus 3 software, allowing system design and verification with predictable results within a standard software wizard.

RCF TRK PRO interfaces with musicians

RCF HAS created USB 2.0 bus-powered audio interfaces for music production and content creation with the introduction of

incorporates 48V microphone preamps and line inputs, an internal six-channel digital mixer with advanced DSP, Bluetooth audio input and remote control for both single and

has been designed to record and monitor with detail. The TRK PRO 1 is a small onein/two-out interface and the TRK PRO 2 is a two-in/two-out model with zero-latency monitoring and removable rackmount ears. Features include mic and instrument/ line combo inputs, independent gain control with signal-peak LED, independent headphone volume control and an LED output meter. Housed in a metal chassis and integrating linear mic preamps and 24-bit/192kHz converters, audio performances can be directly recorded to any computer-based DAW. A front control panel includes variable direct/software mixing ratio, independent headphone volume and +48V phantom power. Connecting to iOS or Android devices, both models are USB class-compliant.

Over a quarter of a century on since its original launch and RCF continues to evolve the ART series of portable loudspeakers. Combining all of ART 9-A characteristics together with an onboard digital mixer, Bluetooth and advanced control capabilities, the ART 9-AX is the latest

The XPS 16K amplifier boasts 4x 4,000W continuous power outputs, routing options with four analogue and digital AES/ EBU inputs/outputs, Dante audio networking and a complete set of tools for signal processing and tuning. It combines two 40-bit floating-point SHARC DSP chips at 96kHz and two more 32-bit DSP chips to independently manage audio processing and signal routing for maximum sound quality and

Operating solo or paired with other speakers and subwoofers in wired or wireless mode, ART 9-AX’s available functions and parameters are accessible from the rear panel via a capacitive colour touchscreen with encoder knob. Alternatively, a dedicated app can be downloaded to iOS and Android devices. RCF LiveRemote allows full control of the internal ART 9-AX engine to recall and save presets, set desired volume levels, perform tuning and adjust EQ, reverb, compressors and FX settings. Adjustments can be made to True Resistive Waveguide, FiRPHASE and Bass Motion Control. The 2,100W biamplified Class-D electroacoustic design also

output delays, IIR/FIR equalisation, crossover filters and thermal/RMS/peak limiting. The XPS 16K also includes RCF speaker presets with signal processing options for “fast and accurate system tuning”. The XPS 16K integrates four Ethernet ports on the rear panel with an internal 1Gb/s switch so that users can daisy-chain multiple amplifiers or integrate the system into any existing Ethernet infrastructure. Several XPS 16K devices can be connected to other RDNet-compatible devices, or to one or more computers running RDNet software without requiring an external RCF CONTROL Series device.

Wharfedale Pro extends appeal from studios to concert halls

WITH THE launch of the WLA-1 Hybrid Curvature Array, Wharfedale Pro has developed 12- and 15-inch full-range elements together with a 21-inch subwoofer. Designed and engineered by IAG’s international R&D team, the drivers are manufactured in Europe by Beyma. Providing consistent dispersion coverage on both the horizontal and vertical planes with the sound radiating from a singular source, the full-range WLA-112 and WLA-115 elements adopt a coaxial design in combination with an EVO-Fold high-frequency waveguide. In addition, a dedicated FIR preset library creates a flatter phase front. Utilising a 21-inch Beyma driver with a 4-inch Quattro voice coil, the WLA-121SUB is a controllable flying subwoofer. Versatility of use is enabled as the WLA-1 system can be deployed in various setups. These include configuration with a sub-top pole mount or as a flown array with the optional common fly frame or as a horizontal system with the optional WLA-1 Link hardware. Adopting Class-D amplification, the WLA-A is an active line array that is further enhanced with rear panel internal DSP using FIR presets. Ethernet control also delivers remote system management tools through a single cable. The line-up consists of dual 8-inch array elements, two active floor monitors, a dual 15-inch flown subwoofer and the WLA-218BA dual 18-inch 2,400W (continuous) subwoofer. The system is also compatible with the WLA-28 common fly frame and WLA-28 dolly frame.

The UK brand has also added two new models to the Diamond Studio Monitor series. The latest 5- and 6.5-inch monitors incorporate distinct black cones and share the same components, drivers and sonic detail as

the Bluetooth Diamond Studio models. The black low-frequency driver cones are made of woven fibreglass, which is extremely rigid and lightweight compared to alternative paperbased cones. The material reportedly delivers enhanced low-frequency dynamic response and a very fast transient response. The Diamond Studio-5 and Studio-7 models can produce 140W and 150W (continuous) output respectively. With dedicated “HF Level” and “LF Level” rear panel controls relating to two discrete amplifiers, the amp stage is matched to the correct HF and LF drivers.

An entry-level model has been added to the DP amplifier series in the form of the four-

channel DP-4030. Weighing 4.5kg, the 1U unit can produce 4x 675W@2Ω, enabling more loudspeakers to be driven by a single amplifier. The rear panel combines speakON compatible outputs and XLR balanced inputs together with protected DIP switches for the various input/output configurations to be set. These include stereo, mono and bridge modes in addition to the input sensitivity which can be switched between 35dB or 32dB.

Providing high power output and stability at 2Ω, the DP Series of multichannel amplifiers has been extended with four new DP-F models featuring Ethernet control. FIR DSP functionality common to the DP-N series has also been added. The DSP provides FIR

filtering with 512 taps, bringing linear phase response and a more controlled output. Providing a wide range of AC power input, the DP-F amplifiers can cater to voltage fluctuations between 90V and 260V in addition to driving 70V/100V line systems.

APEX HAS added two new CloudPower fourchannel amplifiers, together with a firmware upgrade for the series. The 4x1,500W CP1504 and 4x3,000W CP3004 extend the potential applications for CloudPower to encompass sports stadiums, live venues, theatres, upscale houses of worship and more. Both amplifiers can be monitored and controlled remotely from any device via Apex Cloud, allowing integrators to make adjustments without the need for a site visit and creating opportunities for value-added remote monitoring services.

The V1.2 firmware release for CloudPower includes additions to the IntelliCloud remote WebUI. Among the standout new features are a mixer facility offering 10 inputs for each amplifier channel, plus a built-in signal generator to assist with system setup and troubleshooting.

With the release of V1.2, CloudPower amplifiers can now be controlled over a network using the UDP protocol, allowing for greater integration with third-party control systems such as AMX and Crestron. The new firmware also further extends the depth of control accessible from the amplifier’s “one knob” front panel UI, including hands-on access to parametric EQ, crossover, limiter, signal generator and mixer functions.

9.5-inch footprint. It uses DSP to incorporate oudspeaker-specific configurations and user-definable setups from E-, xS-, xC- and T-Series, equalisation and delay functions. The amplifier has been designed to drive smaller loudspeakers and can be mounted under tables or ceilings as well as in a rack. It’s also suitable for the setup and deployment of small Soundscape systems. Signal processing extends the level of functionality of the onboard features. These include a range of loudspeaker-specific filter functions plus a user-definable eight-band EQ, which facilitates system tuning. The delay capability covers a range of up to 300ms. The DSP unit has a fixed latency of 1.1ms.

and protection capabilities. The user interface of the amplifier consists of LEDs for power, data and channel information about signal, gain reduction, overload and mute status.

The 5D is the first d&b amplifier with integrated Dante networking. This feature allows for flexible system configuration changes and convenient deployment of decentralised system designs. According to the manufacturer, the 5D amplifier improves the affordability of a d&b system, opening up d&b technology to more projects around the world, both small and large.

Diamond Studio

DP-F series

Neumann expands its headphone portfolio

FOLLOWING THE the NDH 20 headphones in 2019, Neumann.Berlin has extended the series with reference-class studio headphones for mixing and mastering applications in both stereo and immersive formats. Calibrated via MA 1 Automatic Monitor Alignment, the NDH 30 reproduces the linear sound image of a Neumann loudspeaker setup in a portable format. Providing a highresolution stereo panorama with precise localisation, the NDH 30 retains the metal construction of the closedback NDH 20, but the entire

acoustic system has been redesigned, including optimised dynamic drivers. The open-back headphones record a low harmonic distortion and an even response audio spectrum absorbers.

binaural mixes of immersive content, including gaming and VR, other features include large, soft earpads and a

Shure brings new flagship to

SHURE HAS added a new flagship ceiling mic array to its series of Microflex Advance networked array microphones. Describing its launch as ushering in a new era, the MXA920 features Automatic Coverage technology that provides preconfigured audio capture with minimal setup and also employs Next Generation Array Architecture for enhanced directional pickup and more natural speech. Plus, the onboard IntelliMix DSP delivers noise and echo-free performance as well as audio clarity and intelligibility for AV conferencing across room types such as executive boardrooms, higher education hybrid classrooms, corporate and government meeting spaces. Two form factors (Square and Round) support design integration.

The MXA920 is certified for Microsoft Teams when used with the IntelliMix P300 DSP and Microflex MXN5C networked

black or aluminium) options that are all paintable to match the room’s décor.

Mounting options for in-ceiling, onceiling, pole or wire rope configurations make it possible to integrate the MXA920 into formal conference rooms or modern spaces where architecture makes a statement.

The microphone manufacturer has also recently introduced the SBC210LM, a portable, standalone charging housing compatible with its SBM910, SBM920, SBM910M and SBC-AX battery charging modules. It’s described as the ideal solution for any cart or bag used for location sound and can go anywhere mobile broadcasting and wireless meet. It can also be used as an accessory for nearly all Axient Digital users who find themselves working on-the-go, including, but not limited to, those leveraging the portable capabilities of the ADX5D.

AMS Neve delivers studio sound to the home

USING THE same transformer-balanced technology as the largeformat 88RS, AMS Neve has delivered its first dual mic preamp and USB audio interface in the form of the 88M. The front-end recording system is complemented with mastering-grade AD/DA conversion to produce what the UK manufacturer claims to be premier studio musicality and fidelity.    Incorporating advanced analogue and digital components, the USB-powered 88M has been designed for project studios, home studios and location recordists. With an ability to record and monitor on the go, other features of the portable dual mic preamp and

connectivity and the inclusion of professionalgrade conversion.

Austrian Audio makes music with

AUSTRIAN AUDIO has announced the launch of the OC16, a large-diaphragm condenser microphone designed with high-end features. Like the OC18 and OC818 models, the OC16 is said to produce a transparent and natural sound thanks to a combination of the handmade in Vienna CKR capsule and Austrian Audio’s Open Acoustics Technology approach. The OC16 is a robust microphone equipped with a patented CKR6 ceramic capsule. The design is inspired by the CK12 capsule which was made out of brass. Austrian Audio opted

for industrial ceramics instead as it is a highly insulating material that has the same mass and acoustic properties as brass, but is far less error-prone in production and can be manufactured much more consistently. Each capsule is made by hand in Vienna, tested and measured in-house before it leaves the factory.

The Open Acoustics Technology reduces acoustic problems such as unwanted reflections and standing waves within the microphone. Thanks to the elastic capsule suspension, the mic can be positioned very

Xilica and Sennheiser launch hybrid conferencing kits

XILICA AND Sennheiser have strengthened their partnership with the launch of two new pre-validated, plug-and-play room kits for medium and large collaboration spaces. The room kits, designed with IT standards in mind, bring PoE-powered Xilica and Sennheiser audio-conferencing solutions together in one compact in-ceiling system, with all components connected over CatX network cable. This is said to speed deployment for enterprise and education customers modernising their meeting and learning spaces, as no copper cable or proprietary audio connections are required.

The Xilica x Sennheiser Room Kits are purpose-built to solve the specific challenges of medium and large collaboration spaces.

and distributed ceiling speakers that address the requirements of collaboration room audio across a larger space without termination or proprietary wiring. The pre-validated solution reduces the costs of building an audio-conferencing solution from individual components, while also providing installers with a practical system that is quick to deploy.

Xilica HearClear acoustic echo cancellation and Sennheiser’s TruVoicelift functionality work together to further lift voice intelligibility, reduce audio artefacts and eliminate room and acoustic distractions that limit clear communication. Xilica Solaro QR1-UC DSPs include a 2x2 USB audio interface that offers volume and mute

Both bundles include a Xilica PoE-powered DSP and a Sennheiser beamforming microphone array (TeamConnect Ceiling 2) to reduce noise and eliminate echo in challenging acoustical environments. The kits also add Xilica’s new CatX-connected inceiling speaker systems to optimise in-room audio and streamline architecture.

The Medium Room Kit includes a Xilica Solaro QR1-UC DSP, Sennheiser TeamConnect Ceiling 2 microphone, one PoE+-enabled Xilica Sonia Amp and two Sonia C5 in-ceiling speakers. The Large Room Kit includes all of the same technologies but with four Sonia C5 in-ceiling speakers and a Xilica XTouch 80 touchscreen for simple in-room control.

The kits are easily installed, with no mains power requirement, full in-ceiling installation

the OC16

close to even the loudest sound source, reducing unwanted noises, bass boosts and distortion.

The OC16 has been designed as a flexible mic for a variety of instruments, including drums, electric and acoustic guitars, pianos, wind and string instruments, and can also be used on a desk for podcast recordings, dubbing of video content or online conferences.

status sync for Microsoft Teams, and Zoom, adding value for hybrid applications and allowing remote workers and students to raise, reduce or mute from their computer keyboards.

The Medium Room Kit and Large Room Kit are adaptable to a wide variety of spaces, including auditoriums, board rooms, conference rooms, lecture halls and training spaces, as well as standard classrooms. Larger enterprises and universities have the added benefit of configuring kits with Solaro QR1’s advanced DSP functionality prior to deployment. This allows customers to easily standardise kit components to serve the specific needs of each space.

DESIGNED FOR small/medium-sized rooms and huddle spaces, Biamp has expanded its portfolio of audiovisual solutions with the introduction of the Vidi 150 conferencing camera. The Vidi 150 comprises the same features as the Vidi 100 including a 4K camera with a 120° field of view, an 8MP sensor and a built-in microphone array. Added features include manual electronic PTZ (ePTZ) with user-definable presets, automatic participant framing and ePTZ, all of which can be controlled with an included remote.

Joining the premium Vidi 250 conferencing camera with a 12MP sensor, the latest Vidi introductions create a complete line of professionalgrade cameras. Advanced features include optics that eliminate image distortion, smooth automatic participant framing, zoom and focus functionality. Flexible mounting options allow positioning above, below or to either side of a display or off any wall.

Four of Biamp’s conference room audio solutions have been certified for Microsoft Teams Rooms. The bundles contain a TesiraFORTÉ X or Devio SCX processor, Parlé Beamtracking ceiling microphones, Desono C-IC6 ceiling loudspeakers and PoE-powered amplifiers, in addition to mounting accessories and category cabling to complete the installation.

With each bundle, automated system deployment and configuration is made possible by Biamp Launch. This identifies and configures every device in the system, performs a tuning cycle, measures acoustic characteristics of the room, applies recommended signal processing, echo cancellation, speaker tuning, noise reduction and Microsoft Teams Rooms settings, before generating a dashboard highlighting performance settings before and after optimisation.

www.biamp.com

CREATED TO improve flexibility and efficiency, especially in multichannel scenarios, L-Acoustics has launched the LA7.16i offering 16x16 architecture in a 2U chassis with seamless Milan-AVB redundancy. Each of the 16 output channels delivers up to 1,300W

information, which is analysed by the DSP to dynamically match loudspeaker system needs. The PSU can then provide extremely high short-term peak power or lower power over longer hold times. This energy is delivered intelligently to the advanced Class-D output

Hall Technologies unveils TRK1 Technology Room Kit

HALL TECHNOLOGIES has released the Apollo TRK1 Technology Room Kit, a turnkey solution for 4K smart classrooms. The threepiece kit provides enhanced connectivity and control features, while remaining intuitive and easy to use. The solution delivers connectivity and control using a Valens VS2010 processor, accepting four HDMI devices and multiple USB hosts to share power and control audio and video up to 4K@60Hz. The ability to broadcast by room, floor or building is said to provide the highest level of security with capabilities to broadcast emergency messages or announcements, whether in corporate or education campuses.

Two cameras aimed at corporate and classroom collaboration have also been unveiled. The HT-CAM-4K-EPTZ features an 4K ultra-high-definition output along with a new design. Additionally, the Full HD CAM-1080PTZ features highresolution video with a focus on colour rendition combined with a remote and intuitive control. Both are said to be ideal for online education, training rooms, videoconferencing, houses of worship, tele-medicine and unified communication applications.

Ambiance room enhancement software. With the LA7.16i, L-Acoustics has also introduced L-SMART, a suite of advanced power management technologies that allows designers to mix and match any L-Acoustics loudspeaker onto one amplifier. L-SMART uses proprietary predictive modelling algorithms to manage the power supply unit (PSU) and the individual amplification channels. Hardware sensors within the amplifier supply real-time

speakers, amplifiers and processors – that are already a necessary part of modern venues. Adding strategically placed microphones to capture the existing acoustical energy of a space, Ambiance processes signals from the mics through the L-ISA Room Engine that’s built into the L-ISA Processor II, where reflections can then be individually managed with separate EQ, time and space parameters, empowering a

Soka

sound designer to create a desired sound atmosphere for the space. L-ISA Ambiance can be controlled via the L-ISA Controller on both Mac and Windows platforms, through

the built-in configurations on the Processor or with Q-SYS and Crestron third-party

Adding to its range of solutions designed to meet the demands of the installation market, L-Acoustics has also introduced the Soka and its companion subwoofer, the SB6i. Inspired by the success and design principles of the Syva, the Soka integrates nine 3.5-inch MF drivers and three 1-inch HF transducers to impart a wide 140° horizontal coupled with a highly controlled 26° vertical directivity. The Soka and SB6i have been designed to be easily enclosed in-wall or discreetly mounted on-wall. Despite its diminutive size, the Soka delivers 124dB over a wide bandwidth that extends down to 70Hz when used with the full-range preset. Using the SPL preset, the Soka offers an even higher 130dB down to 100Hz. With two 6.5-inch neodymium LF drivers and the L-Acoustics Laminar vent technology found in the manufacturer’s concert-grade reference subwoofers, the 4Ω SB6i can operate down to 29Hz and produces as much as 114dB, again via two presets, matching coupled or decoupled configuration with the main

In brief, L-Acoustics has added unlimited free binaural output capability to its L-ISA Studio software suite.

COMPRISING THREE woofers and two tweeters, Beyma has launched the NMF Series of near- and mid-field transducers for inclusion within studio monitor and high-end loudspeaker enclosures. Designed for smalland medium-range listening distances where attention to detail is paramount, the NMF Series is said to exert extreme linearity and negligible distortion.

The three woofers – the 6NMFW (6-inch), 8NMFW (8-inch) and 10NMFS (10-inch) –comprise carbon fibre cones with high rigidity for pistonic behaviour, a Beyma Quattro voice coil for a high force factor to better control the moving mass, cast aluminium frames, electro-coated metal components, Bimax spiders and high-resistance NBR

surrounds for high linear and stable behaviour.

Designed to extend the dynamic range, the magnetic circuit provides the Quattro voice coil with a more controlled excursion within the linear range. The suspension system has been optimised with geometry and materials tailored for high damping and excursion control, avoiding common non-linearities and unwanted resonances. Maltcross technology provides a demodulating ring effect balancing the inductance versus excursion and allows a superlative cooling circuit where the air flows inside the airgap towards the voice coil in turbulent mode. A reduction in temperature and demodulation provides less

distortion at low frequencies. Optimised with the Finite Element Method software, the die cast aluminium LEX design frames provide a differential visual imprint in addition to optimised mechanical properties and

The T25S (silk membrane dome) and T25M (reinforced metal dome) tweeters have been developed to fulfil highly consistent readings. The tweeter can be mechanically coupled to the cabinet with the stiff aluminium die cast back chamber directly braced to the cast aluminium front plate. Equipped with a ceramic magnet and either a reinforced metal dome or silk dome, both tweeters come with a T-shaped pole piece covered with a copper cap to minimise harmonic distortion. The aluminium–magnesium alloy reinforced dome of the T25M enhances the frequency response linearity and the membrane moves as a piston, pushing the breakup close to 38kHz to reduce listening fatigue. Composed of a specific formulation polymer film, the wide surround allows larger excursion.

www.beyma.com

ADDING NEW functionality to its existing chassis connector products, Neutrik has announced the launch of its new Halo product range. The Halo series includes a new patented light ring together with an asymmetrical, non-metallic push tab into the A series chassis connectors. Halo product variants include the NC3FAH2-LR-DAE and NC5FAH-LR-DAE female XLR connectors, the NC3MAH-LR and NC5MAH-LR male

TWISTED PAIR cables are being increasingly used in digital audio applications. only one type of cable, wiring is simplified, resulting in a much lower budget than regular analogue audio networks. Tasker’s Ethernet cables are distinguished into different categories, according to transmission speeds and types of shielding.

Depending on the type of shield, unshielded pair cables are indicated as UTP (Unshielded Twisted Pair) and may or may not have a shielding on the grouping; if they do, they become S-UTP (Shielded – Unshielded Twisted Pair). There are also shielded cables with aluminium foil called FTP (Foiled Twisted Pair) and those with double shielding, which add a tinned copper braid on the grouping, called S-FTP (Shielded Foiled Twisted Pair).

For mobile installations, Tasker’s C725 (Cat5e, S-UTP), C728 (Cat6A, S-FTP) and C726 (Cat7, S-FTP) are described as flexible thanks to elementary stranded formation and are available with PVC jackets, LSZH or PUR, depending on the application. For fixed installations, cables with monofilar conductors such as the C727 (Cat7, S-FTP) are preferred, which are also available with different types of outer sheaths to suit different solutions.

Finally, the C722 B2ca is a LAN Cat6 SF/UTP, 4x2x0.25mm² section with multiple operative applications

WYRESTORM HAS launched the CABUSBC-15, an Active Optical USB-C to C cable said to be the perfect companion for its Apollo Series and Synergy switchers equipped with USB-C connections. The CAB-USBC-15 supports USB Alt-Mode, meaning that the cable supports 4K30 video passthrough in addition to two-way USB 3.2 Gen1 data transmission (5Gbps). The USB-C SuperSpeed data capability is ideal for fast file transfers or for connecting USB 3.0 equipped devices, such as conference cameras, for a reliable high-quality video transmission. Paired with a WyreStorm Apollo or Synergy solution, the cable can take advantage of the power of the 60W PD feature to keep devices charged while in use. The cable has a maximum pull tension of 20kg and a maximum turn radius of 0.5cm, making it suitable for walls/floor runs. A screwlock connector is featured on one end of the cable for ensuring the connection remains secure, especially in permanent installations.

The Essentials line-up from WyreStorm has been expanded with the 4x1 EXP-SW0401-8K and 2x1 EXP-SW-0201-8K HDMI switchers, and the 1x2 EXP-SP-0102-8K HDMI splitter. All support HDMI 2.1 and are compatible with the manufacturer’s latest 8K HDMI cables. The products are suitable for applications that need

XLR connectors and the NE8FAH-LR-DAE etherCON connector. By placing one or two SMD LEDs on circuit boards, the connectors can be illuminated for visual feedback such as input detection, transmission status, connection status, phantom power, operating mode indication and other information.

www.neutrik.com

to switch between emerging 8K sources while distributing 5.1 audio via source deembed or ARC, and distribute 8K content to 8K displays. The switchers support DSC 1.2a passthrough, an approved method of compression in accordance with the HDMI 2.1 specification, allowing up to a 10K@120Hz signal to be transmitted losslessy. The splitter is made to distribute one 8K source to two displays. Featuring 8K60/4K120Hz resolution and compatible with HDMI 2.1 1:2, the EXPSP-0102-8K comes with downscaling and audio de-embed features.

www.wyrestorm.com

and is approved for the maximum risk class

Stagetec advances its networking credentials

TAKING ADVANTAGE of IP technology and a central controller linked to the control surface, the Avatus audio console comes with four user interfaces. The user interface can consist of either one large console or several small control surfaces with separately installed metering if required.

Remote connections are possible across the network and accessible via browser or control software without added hardware. The basis of the distributed concept is to avoid any central operating controls with all operating positions having access to all functionalities. When linked to a Nexus network, unlimited resources can be accessed using audio inputs and outputs of any format. The integrated macro control ensures seamless integration of external systems into all applications with smooth workflows.

The flagship Avatus S is available in sizes from 12 to 96 faders for all applications with maximum overview and very fast direct access. Available from 12 to 96 faders with removable displays for wall or swivel arm mount, the Avatus D is a flexible option for auditoriums. Designed as a mobile extension for larger consoles or as a remote console wherever space is an important consideration, the compact Avatus C promotes comprehensive control in sizes

from 12 to 36 faders. Available as 24 and 36 fader consoles and boasting the shortest depth, Avatus E is suited for encoder centred operation and for small OB vans or venues with limited space.

The Stagetec community is growing with a network of partners to make management of audio and video signals available to all. With Nexus IP Link, internal audio connections can be distributed and controlled over an IP infrastructure of ST 2110-31-compliant audio IP streams. Nexus endpoints fitted with an AES67 card benefit from fully integrated audio distribution and existing AoIP features including redundant networking with ST 2022-7-compliant seamless protection switching and wide area networking connectivity for remote production.

Serving as the core future configurable IP-based Nexus I/Os, the XCPU-X is both a high-density control and AES67 network card for functioning the XFIP, XACI and XCPU components with full Nexus compatibility.

www.stagetec.com

Focusrite tells the world about Vocaster

VOCASTER IS a range of audio tools designed for the rapidly growing market of podcasters and other content creators. The range features two standalone interfaces –Vocaster One and Vocaster Two – and two studio packs – Vocaster One Studio and Vocaster Two Studio.

Vocaster One has been designed for the solo podcaster, while Vocaster Two is more suited for dynamic shows that feature two hosts, guests and/or audio segments. Vocaster Two features two mic inputs and two headphone outputs for recording and listening back. Users can also bring in guests over the phone with either Bluetooth or a single cable (TRRS-to-TRRS cable not included).

Both Vocaster interfaces feature a camera output, allowing users to record high-quality audio directly to the camera, removing the need to sync audio and video up later.

Vocaster Hub, the companion app for the Vocaster interface, is the central hub for setting up, recording and mixing. Users can control interface settings, set levels, enhance sound and route audio from a phone or computer.

The Vocaster One Studio Pack includes the Vocaster One interface, Focusrite’s Vocaster DM1 dynamic mic with a built-in grille and pop filter and the HP60v closedback studio headphones. The Vocaster Two Studio Bundle includes the Vocaster

Two interface, Focusrite’s Vocaster DM14v dynamic mic and the HP60v closed-back

Focusrite’s Clarett+ OctoPre is a professional-quality eight-in/eight-out ADAT microphone preamp with eight dedicated channel inserts and eight lowdistortion, low-noise mic preamps. Featuring Allanalogue Air, the unit is capable of emulating the classic Focusrite ISA 110 from the original Studio Console and, with connection to a 2Pre, 4Pre or 8Pre, it is possible to expand I/O via ADAT. The device combines improvements realised in the Clarett+ range to the manufacturer’s series of multichannel preamps.

The Clarett+ OctoPre boasts 118dB of dynamic range and –129dBu EIN with a fully balanced signal path that ensures inbound signals are clean and with ultralow noise. The first two channels offer a JFET instrument input intended to capture the true characteristics of guitars, while eight dedicated channel inserts allow users to add analogue equipment to the signal path. Phantom power for the mic inputs is switchable in blocks of four. The onboard AD/DA converters make all inputs and outputs available via ADAT at 48kHz.

www.focusrite.com

Wheatstone console for TV news teams

WHEATSTONE HAS unveiled a compact AoIP/AES67 networking audio console to support evolving TV news teams. Tekton 32 gives users 32 input channels (layered on 16 physical faders) in a 99cm x 43cm x 8.5cm frame suited to smaller news studios, shrinking sets and fewer production staff, and is said to be ideal for automation workflows and the occasional hands-on mixing by producers, directors or other news staff.

With all I/O managed through the WheatNet-IP audio network, the console/ control surface has no limitations with fixed connection points on the console chassis itself. Tekton 32 has access to all sources in the network and any channel can connect to any audio source or destination, using any preferred audio format at any time, whether it’s HD/SDI, AES, MADI, AoIP, analogue or

TDM. Unrestricted routing means being able to have all faders available to pull up whatever source you need, so that days of having to block out channels based on input type are a thing of the past, as is having to repurpose inputs because of physical chassis limitations.

Tekton 32 provides access to all resources in the network through a touchscreenenabled graphical user interface with a menu for adjusting EQ, dynamics, setting talkback, configuring mixminus feeds and bus matrices, muting mic groups, and managing sources and destinations. Monitors are user-supplied. Per-channel OLEDs display all relevant editing and operating functions at a glance.

www.wheatstone.com

Hybrid work models mean some are in the building, some are remote — and everyone’s on calls all day. Videoconferencing keeps your business moving. And the Bose Videobar™ VB1 brings the practical simplicity and stunning clarity of Bose to every meeting, for every participant, near and far. So teams can huddle up, feel more together — and get more done. REMOTE. TOGETHER.

TSL increases power monitoring

TSL HAS enhanced its range of Intelligent Power Distribution Units (PDUs) by increasing functionality and offering enhanced levels of power management

units also feature sequential, immediate or user-configured delayed start-up to minimise in-rush currents that can frustrate entire system power-ups. The changeover

Merging announces analogue solution for SHARC SoCs

instructed, the devices can selectively switch off when not in use, either remotely or onsite. Measuring 120mm x 482mm x 43.7mm, the Ethernet-connected PDUs have been designed to handle up to 32 amps with optional auto-failover/auto supply and the entry-level amps have been raised from 16 to 20. The design also includes an upgrade from 12 to 14 outputs, with each one delivering up to 10A.

In addition to comprehensive remote control through the secure/encrypted web browser access (HTTPS), the PDUs incorporate a front panel LCD screen for local monitoring and control. Current, voltage and power factor measurement for each outlet can be viewed from a front panel colour LCD UI. The updated

power spikes that can damage connected equipment.

Finally, on the control side, the manufacturer has introduced the TM1Tally, a compact, low-cost, high-end tally solution. Based on the industry-standard TSL TallyMan system, the TM1-Tally offers the same fully featured tally capabilities only with a limited number of connections to external devices. Customers can easily create simple or complex tally systems to suit any OB truck or facility environment. It can be connected to router control systems to provide a more compressive tally system that is agnostic to manufacturers’ equipment.

www.tslproducts.com

MERGING TECHNOLOGIES has released its AES67 embedded solution for the ADSP-SC5xx SHARC series of System on Chips (SoCs) from Analog Devices, Inc (ADI). Merging Technologies’ experience in the AoIP field (RAVENNA/AES67) and ADI’s experience in unified communications and pro audio applications, has led to a collaboration that broadens the range of AoIP solutions for manufacturers of electronics and, ultimately, integrators.

The availability of AoIP allows a much broader audience to access AES67 technology and enables OEMs to design AES67-based products using ADI’s ADSPSC5xx SHARC series of SoCs. The ADSPSC5xx SoCs integrate an Arm Cortex Core,

providing a control processor for enhanced integrated peripherals, including Gigabit Ethernet with IEEE1588 and USB. The ADSPSC5xx SoCs also integrate a single or dual SHARC+ DSP floating-point core with an onchip hardware accelerator. This combination is said to offer flexible audio connectivity and performance scalability across different pin-to-pin compatible products, while providing several on-chip memory options. By offering both single and dual core options, the SoCs will address from 1–64 channel configurations. For those looking for even more channels, Merging still continues to supply its own ZMAN boards.

www.merging.com

suppressors can be freely assigned to any of the input or output channels to provide

the ATW-3255 is a durable in-ear monitor system that’s described as easy to use and reportedly delivers high-quality

With design elements modelled after A-T’s 3000 Series UHF Wireless Microphone Systems, the 3000 Series IEM system features a rack-mount transmitter with front-panel controls and large OLED display, compact bodypack receiver and ATH-E40 professional in-ear monitor headphones. The bodypack receiver’s headphone amp and ATH-E40 headphone’s proprietary dual-phase push–pull drivers are said to combine to provide clear, natural sound quality on any stage. The 3000 Series Wireless IEM offers wide-band UHF coverage in the

ATDM-1012 is a 14-input/12-bus matrix mixer featuring 10 mic/line inputs with high-quality preamps and two pairs of stereo inputs, USB audio I/O, eight balanced outputs and two unbalanced stereo outputs. Ten additional digital inputs can be added either via AT-LINK digital connection or over Dante (with the Dante-enabled ATDM-1012DAN version).

The ATDM-1012 is suitable for hospitality, corporate and demanding courtroom settings or situations where mix-minus operation or audio pickup from specific zones within a space is required. Each input channel is equipped with phase inversion, low-cut filter and a four-band parametric EQ – these can be assigned to any of the 12 busses with individual volume setting through the routing matrix. Smart mixing capabilities offer four mixing groups and can either be gain sharing or gating mixers. Additionally, 10 AEC, 10 compressors/de-essers and eight feedback

In larger spaces, two Audio-Technica ES954 hanging microphone arrays can be connected to the ATDM-1012, allowing the mixer to control the horizontal and vertical orientation of the microphone’s four capsules for full coverage. Audio input/output settings can be made from the front panel, with more refined control available via the Web Remote manager software application. In addition, the mixer can be controlled through IP Remote protocol for additional external flexibility.

In other news, the 3000 Series Wireless In-Ear Monitor System has been designed by Audio-Technica to bring professional sound quality and features to all levels of performers and performance venues. Created for use by musicians, systems integrators, HOW technical personnel and owners of live performance venues,

than three times the tuning bandwidth of competitive models in its price range.

DESCRIBED AS a flexible and easy-to-use solution for a wide variety of installed audio applications, the 1U, 19-inch rack-mountable

SONIFEX HAS launched the AVN-DIO20, a MADI and AES3-to-Dante bridging device allowing MADI to connect bidirectionally with AoIP, together with eight stereo channels of AES3. The AVN-DIO20 takes a MADI feed, sample rate converts all 64 channels and places them on the Dante network, mapped using Dante Controller. It simultaneously takes the 64 channels mapped to the device on Dante Controller, optionally sample rate converts them and transmits them on the MADI output.

The unit accepts eight stereo AES3 inputs and places them on the Dante network, replacing 16 of the selected MADI input channels. The unit also sends eight stereo AES3 outputs which can be sourced from the Dante channels, in blocks of 16.

Combined with the existing AVN-DIO10 SDI-to-Dante embedder/de-embedder, the pair of products allow bidirectional

conversion between SDI, MADI, AES and Dante.

For users that don’t need to convert MADI, the AVN-DIO19 Dante-to-AES3 16-channel

I/O converter is a subset of the AVN-DIO20, converting up to eight digital stereo AES3 inputs and eight digital stereo AES3 outputs to and from the Dante network. The AVN-DIO20

accepts MADI signals from either a compatible SFP module or the coaxial BNC input. The input can be selected via the built-in web GUI or, by default, it will use an SFP module if it is inserted into the unit. The coaxial BNC output is disabled while the SFP is in use. There is also an additional automatic failover mode which, when selected, allows for automatic switching to the BNC input when the SFP signal is lost, providing glitch-free audio redundancy.

Powered using Power-over-Ethernet (PoE) using Neutrik etherCON connectors, there are primary and secondary ports for power and data redundancy. The AVN-DIO20 uses the latest Audinate Dante chipsets so is AES67 and Dante Domain Manager-compliant. A web interface is available for network and device settings, status information and firmware updates.

www.sonifex.co.uk

WITH THE introduction of its Pro Convert AES67 multi-format IP audio encoder, decoder and capture device, Magewell has extended its media processing and IP workflow technology into the audio domain.

Supporting standards and protocols including AES67, NDI and SRT, the device converts between different IP media technologies and serves as a

bridge between analogue audio, software

Capable of sending and receiving multiple eight-channel unicast or multicast AES67 streams, Pro Convert AES67 operates with third-party AES67 audio solutions and supports SMPTE 2110-30 for delivery of PCM digital audio-over-IP networks.

The device also transports uncompressed audio using the NDI

media-over-IP technology or compressed AAC audio using the low-latency SRT protocol.

Enabling local and remote production workflows that combine third-party products supporting different standards and formats, the device can also encode analogue audio into AES67, NDI or SRT streams to IP networks, in addition to decoding IP audio streams in these formats and protocols for analogue output. The compact hardware features unbalanced stereo 3.5mm input and output connections plus 4.4mm balanced stereo I/O.

When connected via USB to a laptop or desktop computer, Pro Convert AES67 can be used as a plug-and-play audio capture

device. For audio streaming applications such as internet radio, the device also offers AAC stream encoding and transmission plus AAC and MP3 stream receiving and decoding. A virtual audio matrix is accessible through the device’s browser-based user interface and allows routing or mixing of any analogue or IPbased input channel to any analogue, IP or UAC output. Encoding and processing parameters can be configured through the web interface, with centralised configuration and control of multiple Pro Convert units available through the Magewell Cloud multi-device management software.

WITH THE introduction of the GLM 4.2 loudspeaker manager software in addition to the 9301B multichannel AES/EBU interface, Genelec is advancing scalable immersive monitoring systems for up to 16 channels using one or more bass-managed subwoofers.

The integration of GLM system calibration software allows Genelec monitors to be accurately calibrated for level, distance delay and frequency response. The entire monitoring system is tailored to the room to produce mixes that translate reliably, regardless of the playback system. Powered by the AutoCal 2 automatic room calibration algorithm, the GLM 4.2 update includes the GRADE Room Acoustic Report, remote control of key parameters and improved symmetric calibration of groups of monitors and subwoofers.

By using the information gathered during the AutoCal calibration process, the GRADE report provides the user with a complete analysis of their room and monitoring system performance, in line with best practices, including ITU-R BS.1116 recommendations.

Free of charge this year, the report provides specific observations and advice on acoustical issues when fine-tuning a room’s acoustic treatment, adjusting monitor and listener positions, and optimising bass management. The report analyses variables including frequency response accuracy and early vs late sound at the listening position, time of flight accuracy, early reflection structure and a complete room acoustic analysis.

With MIDI remote compatibility in GLM 4.2, key functions including playback volume level and the activation of mutes, volume presets, bass management and monitor groups can be externally controlled. With the update, both large and compact monitoring systems in immersive setups can be calibrated, scaling listening distances down to 50cm. The calibration group ID and subwoofer group ID features improve how selected monitors are calibrated as symmetric groups with multiple subwoofers operating together in flexible topologies.

Designed to operate with Genelec 7300 series Smart Active Subwoofers, the 9301B

interface improves subwoofer configuration in immersive applications. The interface can support up to 16 channels of digital audio in a format that is compatible with the 7300 series’ single AES/EBU XLR input. A single 9301B therefore enables support for

16 channel formats such as 9.1.6 from a single subwoofer, with an additional 9301B providing compatibility with higher channel count formats such as 22.2 and others.

Waves brings users into worldfamous studios

WITH SCION, MediaMatrix has introduced a third-generation media and control processor.

Translated as a “shoot”, SCION represents the evolution of the Peavey Commercial Audio (PCA) brand to symbolise organic growth as a tree with branches growing as companion control and I/O products forming to shape a rich ecosystem known as the “S” series. The

MediaMatrix family of DSPs. The sDAB pre-configured models support eight-in x eight-out, 16-in and 16-out, in addition to special-order 16-in x 16-out and 32out configurations. The sDAB features balanced mic/line level inputs operating within a –60dBu to +24dBu level range with software-switchable +48V phantom on each input together with balanced line-level outputs providing up +24dBu

WAVES AUDIO has begun shipping the Waves Nx Virtual Studio Collection, a plugin bundle giving users virtual access to the acoustics and monitoring systems of worldfamous mixing rooms, on any pair of stereo headphones.

The Nx Virtual Studio Collection brings together acoustic models of multiple world-class studios to help engineers get perspective as they cross-check mixes in trustworthy acoustic reference environments. Each Nx plugin comes with several monitoring systems from the original studios, emulating the acoustic response of studio classics –including NS10s and high-end Ocean Way and Exigy monitors – for a total of four studios and 12 stereo and surround monitoring systems.

descendant of the MediaMatrix NION platform, SCION incorporates ADi’s SHARC DSP architecture to provide a scalable, configurable and flexible media and control processing system.

At the core of the MediaMatrix “S” series ecosystem is the native AES67 sNET protocol that can deliver up to 512x512 networked audio channels from a single device. The SCION frame can be configured from an entry-level device to a fully featured one with optional hardware modules. Sharing common elements of NION promotes backwards compatibility

increase. Each audio I/O connection features 3.81mm Phoenix/Euroblock connectors, each with individual plus (+), minus (–) and ground (G).

The devices support Dante and AES67 audio-over-IP, with control and monitoring via the nWare software suite. The integrated web UI promotes sDAB-tosDAB audio routing and distribution, together with control and monitoring from the standalone web server browser pages. In addition to being Dante Domain Manager-ready, dual RJ45 network jacks promote streaming audio

Nx uses channel crosstalk, interaural delays (ITD), filters (ILD), early reflections and head motion tracking to replicate the immersive experience of hearing audio in the real

world. All these are coupled with precision measurements of the actual studios, to deliver a three-dimensional representation of the original acoustic experiences.

www.waves.com

HOLOPHONIX updated for macOS

AMADEUS HAS released a native macOS version of its immersive sound processor solution, HOLOPHONIX, optimised specifically for macOS 10.15 and subsequent versions and

Native software offers an “almost unlimited” number of spatialisation busses and virtual sources – the only limitation being the number of physical output channels, which are limited

and convergence, for design system upgrades and a seamless migration path with NWare 3.0’s dual-compiler tool, enabling SCION and NION nodes to coexist in the same project. NIO cardbased I/O is also compatible with SCION. Under the same brand, PCA has developed the sDAB series of break-in/ break-out, rackmountable, networkable digital audio bridges for expanding audio I/O from sDAB to sDAB, or from the

and control over Ethernet. For monitoring and visibility, RGB front-panel LEDs provide metering and streaming status at a sample rate of 44.1kHz, 48kHz or 96kHz at 32-bit A/D and D/A conversion (AES67 at 48kHz). All sDAB models feature a 25-pin GPIO D connector for digital and dry contact closure

Intel 64/ARM processors. The platform offers 128 audio inputs and 16 audio outputs together with all of the current features continued within the original hardware.

Primarily intended for composers, artists and

www.amadeuslab.com platform branches

to 16. Every parameter of the HOLOPHONIX processor parameter can be controlled via the Open Sound Control (OSC) protocol. In addition, a virtual audio driver called HOLOPHONIX Bridge is available, allowing inter-application routing without additional latency, and therefore a direct connection with almost all DAWs.

LUMENS’ LC100 CaptureVision Station is an AV processor that mixes, streams and records a variety of sources for lecture capture, event production, legal recording and training. The LC100 is a two-channel device that accepts feeds from virtually any camera source (HDMI, SDI, USB or IP). Its audio inputs (including XLR) promote fast integration with installed microphones and sound systems for live switching, capture and streaming at a cost-effective price point.

sharp pictures, even when the camera is in motion or when the zoom angle changes.

Covering a wide 72.5° horizontal FoV and with plug-and-play USB, the camera is compliant with most video production and streaming applications, including Zoom, Skype, WebEx, Teams, Google Meet, Wowza, YouTube, OBS and Wirecast. Available in black or white, it can be positioned upright or inverted to suit individual needs.

Barco’s aim is TruePixaids complex multiprojector setups

VIOSO HAS introduced the latest version of its projection software, VIOSO 6. The standout enhancements of the update include support for a wide variety of different screens, from widescreen panoramas, full domes and simulation setups to complex projection mappings. Based on VIOSO’s patented auto-alignment technology, the platform is said to provide everything that a systems integrator needs to create perfect

Additionally, an array of calibration cameras is supported within the software to aid in the realisation of “all sorts of projects”. The in-depth functionality includes a full toolset for dealing with multi-projection setups, including colour corrections, black level compensation, geometry conversion and scattering compensation. One-click recalibration makes the maintenance of such systems controllable.

CREATED AS a purpose-built videowall for a variety of applications including control rooms, television studios, lobbies, boardrooms, auditoriums and corporate settings, Barco has launched the TruePix LED platform. The high-resolution 16:9 tiles are available in multiple options, with pixel pitches ranging from 0.9–1.9mm. Incorporating a unique mounting technology, TruePix is the first product to use Barco’s Infinipix Gen2 image processing system, reportedly ensuring no visual distortions, low latency, perfect sync and no tearing.

Infinipix Gen2 promotes dimming without any loss in colour accuracy. The proprietary smart calibration method for wide colour gamut support in addition to full colour balancing control will reportedly create rich and trueto-life images. An EcoPower mode promotes reduced energy consumption. An important aspect for control room environments, the SteadyView feature reduces eye fatigue, making TruePix one of the first purpose-built LED walls for critical applications.

Imperfections in the flatness of the walls and level of the floors can cause mechanical stress in the frames of the tiles, but this is countered by an auto-balancing system that ensures the LED wall is 100% level and frictionless. In addition, the installation time is also reduced as the tiles slide into place without requiring manual adjustments. The guided module insertion reportedly ensures a fully contactless installation, with no risk of tile damage.

Barco is offering batch-compatible modules should a module need to be replaced for up to 10 years. The cloud-based videowall management suite allows remote monitoring, diagnosis and control of a TruePix installation remotely. As the first LED product to leverage 5GB bandwidth, the LED platform also comes with an embedded four-way inter-tile communication and signal loop redundancy to further promote an uninterrupted data flow.

Barco has also extended its ClickShare solution for wireless presentation and conferencing with digital signage capabilities. Meeting room displays connected to ClickShare can be adopted as corporate branding tools by distributing digital signage messages. The first digital signage integrations have been adopted by ClickShare alliance partners Signagelive, Seenspire and Korbyt.

TWO MAJOR feature advances form part of Brompton Technology’s Tessera v3.4 software release. Extended Bit Depth unlocks higher PWM bit depth output with a free firmware update for all existing and new panels fitted with the Brompton R2 or R2+ receiver card.

Up to 3.3 additional bits of precision improves low-brightness performance, reducing visual

low as 0.00024 nits, just 0.000011% of the peak brightness. It does not reduce the peak brightness, so HDR highlights can still be displayed to their full potential, resulting in a contrast ratio of over 9,000,000:1 and over 23 stops of dynamic range.

Stacking, which is available on Tessera SX40 and S8 processors, allows multiple

artefacts and bringing out additional detail and nuance in dark areas of the image. This increase in dynamic range is said to offer a significant boost in performance for ICVFX and other LED on-camera applications.

With Extended Bit Depth, users can also reproduce HDR content up to 10 times darker than previously possible, without compromising peak brightness for HDR highlights. When configured for use on camera with a shutter angle of 180°, calibrated measurements confirm that a typical 2,160nits panel using Extended Bit Depth and Dark Magic can render brightness levels as

processors in a setup to be controlled together in unison. Any setting adjustment made on the leading processor will be automatically applied to all the others in the stack, saving users time as they don’t need to apply adjustments to each processor individually. It is also possible to customise which parameters will be synchronised across the stack, giving flexibility to suit a wide variety of applications, including both backup (failover) processors and control of large LED volumes.

SOUND DEVICES has introduced the Reporter Plugin for its MixPre-3, MixPre-6, MixPre-3 II and MixPre-6 II devices. With the

Digital signage messages can be distributed across a range of ClickShare devices located in a facility, without having to add hardware. Users can publish and push content from a preferred digital signage platform to all meeting rooms equipped with ClickShare Conference or ClickShare Present and other locations in the workplace. Once activated, ClickShare is enabled from the XMS cloud management platform.

SD card and loaded onto multiple MixPres to save time. The engineer will lock the MixPre into Reporter Mode by pressing and holding remains in Reporter Mode until unlocked, even

DESIGNED FOR medium- and largescale live events and permanent LED videowall installations, Analog Way has developed the Alta 4K series of multiscreen and multilayer 4K60 presentation switchers and

audio can also be de-embedded from the video sources and re-embedded on the physical video outputs for transmission to a display or recording device. An option is also available to add support for 32 channels of Dante

Analog Way climbs to new heights with Alta 4K family of live production switchers

BLACKMAGIC DESIGN has introduced a new family of ATEM Constellation HD live production switchers. The new models are a 1 M/E model with 10 3G SDI inputs, a 2 M/E model with 20 3G SDI inputs and a 4 M/E model with 40 3G SDI inputs. All models include full standards conversion on every SDI input, four ATEM advanced chroma keyers per M/E row, a DVE per M/E row, media players and a larger media pool. They are intended as a professional upgrade for ATEM Mini customers who need to expand or for large broadcasters who want to upgrade their studios to get a modern switcher.

Alta

videowall processors. Positioned between the Midra 4K series and the LivePremier 4K/8K systems, the Alta 4K presentation switchers combine 4K60 10-bit 4:4:4 image processing, HDR support, ultra-low latency, 4K connectivity, livestreaming capabilities and ease-of-use functionality. Currently comprising two products, the Zenith 100 and Zenith 200 presentation switchers fulfil demanding requirements within live corporate meetings, hybrid events, worship productions and large-scale 24/7 LED videowall installations.

Incorporating a dedicated multiviewer output to control all connected sources in addition to programme and preview screens, the Alta 4K switchers offer up to 16 inputs with 4K connectivity (HDMI 2.0, DP 1.2 and 12G-SDI) and up to six independent 4K60 outputs. The video outputs of the Alta 4K series can be configured as single screens, edgeblended widescreens or scaled auxiliary outputs, with each screen composed of a live background with native resolution and up to eight live layers.

Based on the French manufacturer’s fifth-generation scaling engine and an FPGA-based hardware platform, the Alta 4K series features HDCP 2.2 compatibility, advanced colour correction with custom external 3D LUTs and real-time SDR/HDR conversion and mixing, in addition to high frame rate processing at up to 144Hz.

Enhancing presentations, advanced real-time video processing capabilities include seamless switching on all layers, advanced borders, alpha channel support, Luma and Chroma keying, custom output formats and areas of interest (AOI). In addition,

audio networking. The inclusion of RTMP-based livestreaming promotes the streaming of any input or output to an online web service.

An HTML5-based user interface promotes ease of setup and control of multiscreen presentations. For fixed installations, the Alta 4K series offers TCP/IP control, AMX and Crestron drivers and the VideoCompositor solution for easy incorporation of Alta 4K video composition into a Crestron touchscreen application.

Analog Way has also made available a version 3.4 software release for its Picturall series of media servers. With the download, features include support for NDI live video streaming (input and output), advanced audio features, synchronised layer timecode over the network and enhanced show and server synchronisation for backup.

www.analogway.com

The ATEM Constellation HD switchers feature a compact rackmount design with a built-in control panel allowing for operation of the switcher during setup or for emergency use. Also included is a large LCD so users can see programme output and change switcher settings via onscreen menus. The compact design is ideal for portable live production, with the rear of the switcher including the connections for 3G-SDI inputs, 3G-SDI aux outputs, balanced audio and Ethernet for control. The top 4 M/E model includes RS-422 for serial control and MADI digital audio connections.

The built-in multiview lets users monitor multiple sources on a single monitor, while a wide range of broadcast-quality native transitions are included, such as mix, dip and wipe. Built-in talkback supports a five-pin XLR headset connector, plus a rear-mounted RJ12 connector for interfacing with industrystandard talkback systems, such as Clear-Com or RTS. With a built-in Fairlight audio mixer, the ATEM Constellation makes complex live sound mixing possible. The internal mixer has up to 156 input channels, with audio deembedded from all the SDI video inputs and passed to the audio mixer.

For news or virtual set work, the device also features advanced keyers for highquality chroma or luminance keying. The SDI inputs will also handle embedded audio and mix audio from all video inputs. In addition, the programme outputs include talkback, tally and camera control information, which means users can connect any of the switcher SDI outputs back to the camera for programme return, camera control and talkback.

www.blackmagicdesign.com

ATEN releases secure KVM switches

ATEN HAS introduced a range of secure KVM switches tailor-made to meet the stringent security standards certified by the National Information Assurance Partnership (NIAP). The PSD PP v4.0 Secure KVM Switch series is intended for use in sensitive applications that demand isolation between different network enclaves, such as government, military, healthcare and banking. A total of 32 variants in the series are scheduled to be released in succession, with options including two-, four- and eightport models, and different video interfaces

including DisplayPort, HDMI, DVI and single/ dual displays. All share the same capabilities in terms of video quality – up to 3840x2160 at 60Hz – and include strict audio filtration to protect against audio leakage, administrative configuration of keyboard/mouse port filtering to reject specific USB HID devices, secure port switching via pushbutton and Remote Port Selector (RPS) and LED indication to alert any unauthorised connection to USB HID devices.

www.aten.com

AJA HAS extended its line of H.264 streaming and recording devices with the HELO Plus, designed to help video professionals achieve a higher production value with greater cost efficiency and a smaller equipment footprint. Dual streaming outputs allow users to create assets with different parameter settings per output (bit rate, GOP length, frame rate, picture geometry, b-frame cadence, etc.) and feed each into one of two destinations, in order to create assets with different parameter settings from a single input or layered

graphics abilities. HELO Plus users can also select either of the encoders to drive USB, SD card or NAS recording, and can include the output of the graphics layout compositions. Additional features include SRT support, improved scheduling options and device operation, and group control for triggered start/stop operations with Ki Pro Ultra 12G.

The OG-FiDO-2T-12G and OG-FiDO-T-12G-ST are openGear-compatible 12G-SDI to fibre conversion solutions. The OG-FiDO-2T-12G is a dual-channel 12G-SDI to fibre transmitter that supports conversion of two independent channels of baseband 12G-SDI to LC fibre for simple transport of signals up to 10km. The OG-FiDO-T-12G-ST supports single-channel 12G-SDI to fibre conversion, enabling the transport of a single 12G-SDI baseband signal over ST fibre for remote or longdistance workflows. Both new models support HDR video, feature industry-wide compatibility with certified openGear products and support Ross DashBoard software for remote control and monitoring.

The FS4 4K/UltraHD and multichannel HD frame synchroniser and up/down/cross converter has received a v3.0 firmware update. Improvements include the ability to configure the HDR components of the SDI output VPID on a channel-by-channel basis – vital for improved VPID management –and new HDR test patterns. FS4 v3.0 also increases the frame buffering depth from six to 20 frames, offers enhanced ancillary data

management and features improved overall usability.

In brief, Bridge Live v1.13 introduces new multichannel synchronous transport for SDI backhaul or cloud contribution, enabling separate UltraHD or HD channels to be transmitted and received in sync; and Diskover Media Edition v2.0 includes plugins for the Telestream GLIM remote media player, helping creative professionals quickly preview media files in high resolution with colour accuracy via any web browser, and for the Telestream Vantage media processing platform to simplify media transcoding and generate proxy files and deliverable packages. The update also adds security enhancements to safeguard assets and streamline file searches.

www.aja.com

DESIGNED TO bring conferencing capabilities to meeting booths, huddle spaces and rooms up to 9m2 in size, Bose Professional has released the Videobar VB-S USB conferencing device.

Like the original Videobar VB1, Videobar VB-S operates across key unified communications platforms, including Microsoft Teams, Zoom and Google Meet. Four beam-steering microphones focus on voices within the room, exclusion zones

Mode that keeps in-room participants in view. For the single presenter such as a teacher, the Follow-me Mode frames dynamically frames and follows their movement.

For a final setup, the VB-S can be configured with the Bose Work Configuration software. Allowing users to manage their devices remotely, the software provides device status and control of critical functions for a single device or all the networked enterprise-wide devices. Device

DESCRIBED AS a ground-breaking multi-input, multi-room recording and livestreaming technology to drive active participation and experience for remote and hybrid learning, NewTek has launched CaptureCast – IP-based lecture capture and micro-broadcasting services that connect any room on-campus or any meeting room in a business to anywhere in the world using NDI.

CaptureCast harnesses the power of NDI by connecting camera apps on mobile, software screen capture and thousands of compatible devices like PTZ cameras.

Using NDI, CaptureCast also incorporates direct connection with video communication applications, including Microsoft Teams and Zoom. The platform allows remote learners

to access content in real time and rewatch and review on-demand.

The automation inside CaptureCast records any live devices, such as cameras, mics, tablets and document cameras, offering HD video out to enable remote learners to interact with video content more dynamically.

Furthermore, the platform takes any live capture and instantaneously replicates it across education and streaming platforms to empower remote learners to switch between viewpoints, cameras or screens to completely personalise and take control of their learning experience and interact with content as if they were in the room – live or on-demand.

www.newtek.com

IN A joint project, PTZOptics and the MIDI Association are bringing fully configurable MIDI control to PTZOptics’ line of robotic cameras. Affecting the manufacturer’s PT12X-SDI/NDI, PT20X-SDI/NDI and PT30X-SDI/NDI cameras, PTZOptics

has rolled out direct MIDI control to its current camera line via a free firmware update. Users can map camera commands including setting presets, call, pan, tilt, zoom in, zoom out, speed up and slow down to available keys on any MIDI device.

Once configured, the MIDI controller can steer and control the PTZ camera from anywhere in the world via the web MIDI API.

www.ptzoptics.com

BROADCAST PIX has unveiled two softwarebased, multi-format, resolution-independent and hybrid video production systems.

MeetingPix has been designed for small- to medium-sized government and corporate settings, offering all the tools required for comprehensive meeting coverage with the ease-of-use required by volunteer operators.

MeetingPix connects to PoE robotic cameras, like RoboPix and includes GuestPix, enabling remote participants to be integrated into the production. Sophisticated graphics, full automation and configurable UIs complete the package.

The 22-input GX Hybrid is a comprehensive, integrated production software solution and comes with a further eight channels of clips and graphics, six assignable outputs, 2TB of server storage and built-in streaming, recording and audio mixing. Suitable for local sports coverage or remote productions, the GX Hybrid, like all Broadcast Pix products, includes Remote Commander, which enables multiple remote-control surfaces and UIs to control a single switcher core, so the technical director could be in New York, graphics operator in Florida and camera operator in Boston, all connected via

DESIGNED TO support remote broadcasts, Marshall Electronics has developed a series of professional monitors, including the V-702W/ V-702W-12G, ML-702 and ML-503 models. Also available as a 12G-compatible model (V-702W-12G), the V-702W is a dual 7-inch

mapping, over scan and H/V delay modes and a log/HDR side-by-side comparison. The LED three-colour tally indicators and headphone jack promote audio deembedding and monitoring from the front panel.

LCD monitor that can be adapted for fly-packs, control rooms, routing rooms and other video system applications. Distinguished by looping video inputs, the V-702W comprises standard power and tally connections. The 3U 5-inch monitors adopt a slim design and feature two 1920x1200 colour displays that incorporate HDMI and 3G-SDI digital inputs with active loop-through. Features include waveform and vector displays, peaking filter, selectable markers and 1:1 pixel

Also measuring 5 inches or 3U in height, the ML-702 dual is 7-inch monitor with multiple input types and an integral tilt mount. In addition to AV inputs, the LCD display features 3G-SDI and HDMI inputs with active looping outputs. Created for fly-packs, control rooms and news vans, the ML-503 triple 5-inch monitor is a lower height version (2U or 3.5 inches) of the ML-702 offering front panel access to all the control functions.

www.marshall-usa.com

ADJ its Hydro power

DESIGNED FOR temporary outdoor use, the Hydro Profile features sealed metal casings to ensure that the light source, electronics and internal mechanisms are protected from dust, dirt and airborne particles. Capable of producing 25,000 lumens, the flagship Hydro Profile combines a 660W LED engine. Its beam can be manipulated using a four-blade rotatable framing system, alongside motorised zoom (6–45°), focus and iris, together with two frost filters. A CMY colour mixing system, combined with a variable CTO flag and six-slot replaceable colour wheel, provides designers with an extensive colour selection. Two gobo wheels, two rotating prisms (six-facet circular and five-facet linear) and an animation wheel

provide a variety of aerial effects and surface pattern projections.

Offering a compact and more budgetconscious IP65-rated spot solution, the Hydro Spot 1 features a 200W cool white LED engine. Capable of producing 25,000 lumens, beam shaping tools include a motorised zoom (for a beam angle of 11–22°), motorised focus, two frost filters (light and heavy), two rotating prisms (six-facet circular and five-facet linear), six rotating and replaceable gobos and two colour wheels.

Capable of providing a 15,000-lumen output, the larger Hydro Spot 2 model is powered by a 320W cool white LED engine. Features include an animation wheel, motorised zoom (for a

Ayrton lights the stage

AYRTON HAS unveiled two models in a new family of luminaires for stage lighting. Equipped with a 40W LED source with RGB+W additive colour synthesis, the Zonda 9 Wash and Zonda 9 FX fit into Ayrton’s Multi Sources 9 Series category.

The Zonda 9 Wash is intended for stage lighting in its truest sense. A silent ventilation mode has been

Both models share the same proprietary optical system comprising a 384mmdiameter dial of 37 lenses in PMMA, combined with 37 glass light guides with an output surface made of an optical micro-structure. The optical system can produce a light output of 25,000 lumens with a CRI of greater than 86. Endowed with a 50mm truncated transmitting lens with an optical surface equivalent to that of a 70mm round lens, the fixtures can produce an intensive beam with a zoom ratio of 14:1 and a wide zoom range of 4–56°.

Cobra is Ayrton’s first IP65 laser sourced fixture. Designed for rendering a D65 white point that allows perfect colour reproduction, the manufacturer reports that Cobra is the only luminaire on the

beam angle of 8–41°) and focus, two frost filters, CMY colour mixing, along with a variable CTO flag and independent colour wheel, two gobo wheels and two rotating prisms.

ADJ’s Ultra LB18 is a linear LED wash lighting fixture. Featuring 18 10W five-in-one colour-

possibilities, including white light with a colour temperature variable between 2,300K and 9,900K. The inclusion of a lime LED chip not only increases the palette of colours available from the fixture but also boosts the CRI of its white light output to in excess of 90.

Vari-Lite builds a new Profile

CREATED TO bring natural light to theatrical productions with precision key lighting, Vari-Lite has developed the VL1600 Profile. The moving head profile luminaire integrates an exclusive Vari*frost adjustable frost system for seamless graduated frost that diffuses the entire beam

The fixture includes a high CRI tunable white

feature set targeting theatres, TV studios and

productions, opera houses, music halls and performing arts centres. Initially integrated on the VL10 Beamwash, the VL*FX wheel has been updated on the VL1600 with animations designed to replicate natural lighting effects such as fire, water and earth tones. To simplify startup and minimise movement, the patented V*Track Calibration system calibrates pan and tilt on the fixture in less time.

www.vari-lite.com

Pixel control on a budget

have designed the economical E Series to deliver on performance

developed especially for this fixture to accommodate the quieter environment often required by stage lighting. The colour mixing of the sources is via concentric circles that can be controlled independently to adjust the size of the emitting surface and the luminaire’s power. A complete library of preprogrammed colours is accessible.

The Zonda 9 FX is designed for a multitude of applications, borrowing from the main features of the Wash version and offering infinite continuous rotation on the pan and tilt axes. Individual control of each LED allows users to create 3D volumetric effects. This includes a high-definition liquid effect produced from between its main lenses to create complex graphic effects, known as LiquidEffect, which can be used alone or in combination with the main LED matrix.

market capable of illuminating an object several kilometres away, with an output of 386,000 lux at 20m, a 38x zoom ratio and a zoom range of 0.6–23°. The unit provides continuous pan and tilt, a colour section and graphics that include 92 gobos, four prisms and XT-Focus, which permits the beam shape to be adjusted according to the operating distance.

commercial-grade pixel controller, the A4-S

two products – the E4-S, which supports up to 24 universes of LED pixel control across four outputs, and the E16-S, which supports up to 96 universes of LED pixel control across 16 outputs. Despite their compact size, the E Series controllers are powered by Advatek’s

www.advateklights.com

Zonda 9 Wash

FOR LARGE-SCALE events venues, GLP has unveiled the dynamic ArenaLED3, boasting 145lm/W efficiency and luminous flux of up to 73,500 lumens. The units can be clustered together, while the three lamp heads inside can be swivelled through 30°.

The ArenaLED3 can be individually adapted and aligned according to requirements to ensure a permanently homogeneous light distribution. Several units can be interconnected in 2.5° steps and installed at an angle of 15°. The fixture is equipped with 5,700K white light LEDs and a colour version with RGB colour control is also available. Both come in two mechanical variants.

Along with the ArenaLED3, the German manufacturer has cooperated with Zumtobel on the development of the Agilio series, which offers a high-quality white light LED source and high colour rendering. The multifunctional wash light is intended for flexible lighting tasks involving sensitive objects.

Providing DMX over Powerline (DoP), the GLP DoP Converter UM system can transmit

up to 10 DMX universes via a single power cable and is therefore able to provide a realistic alternative to standard wireless connections (WDMX, CRMX, etc.), which can be susceptible to interference when each requires a transmitter and receiver, and may otherwise be dependent on the inconsistencies of locally available radio networks.

LIGHTING BRANDS Strand and Zero 88 have upgraded the ZerOS console software and added integration with Strand Vision.Net, Color Kinetics KiNet and Philips Hue, making it easier for houses of worship and other settings to connect to other lighting systems in the facility with minimal infrastructure impact. The new update allows Strand and Zero 88 consoles running ZerOS to natively connect with other Signify lighting systems in the facility, ensuring multiple systems from a single manufacturer can work together.

ZerOS 7.12 includes the ability to accept input from a Strand Vision.Net control system via Ethernet. Users can press a button on Strand Vision.Net user interfaces such as touchscreens, control stations or the web-based Gateway-on-the-Go Interface to recall or adjust a cue on a ZerOS-based console without needing to interact with the console itself. Thanks to integration with Philips Hue, designers can also use Philips

ZerOS 7.12 also includes support for Color Kinetics KiNet, ensuring users can control their architectural lighting systems with KiNet, but then connect the system to the console for control during certain applications. Designers can control Color Kinetics luminaires from the console when they need to, while retaining the remote maintenance capabilities and Interact Landmark integration that KiNet provides.

www.strandlighting.com www.zero88.com

MA LIGHTING has released software version 1.7 for the grandMA3, which includes improvements to workflows with presets, recipes and phasers.

These include MAtricks in presets, a reworked preset editor, easier creation of recipes, faster programming of phasers and more intuitive timing and speed.

In addition, there are several other features that have been implemented, such as XYZ programming, preview functionality and a DMX tester.

Important menus like Backup and Patch have also been reworked for a faster and easier workflow.

ELATION PROFESSIONAL has expanded its KL “Key Light” Series of LED Fresnel luminaires with the full-colour KL Fresnel 6 FC. It projects shades across the full colour spectrum and meets the strict standards of performance venues that are light critical and noise sensitive. Designed for any application requiring high output soft light with precise colour reproduction and adjustable colour temperature, the KL Fresnel 6 FC highlights performers or scenery onstage in a uniform wash of soft field light. Offering a wide array of colour from rich saturates to subtle pastels and dynamic white light, it is an ideal key and fill light source for situations requiring colour quality and can be matched with Elation’s KL Fresnel 8 FC.

The KL Fresnel 6 FC comes with dynamic colour temperature adjustment and full colour control. It houses a 220W RGBMA LED engine

calibrated at 6,5000K and produces up to 8,000 field lumens with a motorised zoom range of 10–32° for easy adjustment of beam size. For illumination that is more precise with less light spill, adjustable and removable eight-leaf barn doors allow for customised shaping of the beam.

High CRI (92), TM30 (88) and TLCI (95) values mean that colour re-creation is reportedly accurate both to the eye and to the camera. As a flexible complement to any professional lighting

system with customisable effects to accommodate a variety of aesthetic design requirements,

Fresnel 6 FC has also been designed for whisperquiet onstage requirements.

The KL Fresnel 6 FC can adjust for light that shifts away from pure white towards green or magenta through a green-magenta shift adjustment and a virtual gel library. Capable of matching the white balance for camera,

Last but not least, the software release takes the next step in futureproofing the lighting control system, reacting to the rising complexity of shows and increasing requirements in different market segments through a parameter upgrade for most of the grandMA3 devices. grandMA3 fullsize and light (including CRV versions) will get 8,192 more parameters, the parameters on the grandMA3 compact XT, compact and replay units will be doubled, and all grandMA3 onPC devices will get 4,096 parameters.

www.malighting.com

users can easily shift the colour temperature without the use of ±green gels and filters. Additionally, the LED refresh rate can adjust up to 25kHz so there is no flickering when used with high-speed cameras.

DMX controllable with full RDM support, the luminaire offers manual control for standalone operation when desired for instant control of zoom, intensity, colour temperature, green shift and other important settings. Display and dedicated dimming and control encoders are conveniently positioned on the bottom of the unit for unobstructed access. The KL Fresnel 6 FC is also available in a poleoperated model for pan, tilt and zoom manoeuvrability while avoiding having to access the fixture by climbing on a ladder.

How low can a 10-inch driver go?

Heading into the metaverse

OUR PREVIOUS ARTICLE LOOKED AT HOW blockchain-inspired elements including non-fungible tokens (NFTs) could eventually merge in the so-called metaverse which, in the face of dying Web2 business models, companies like Facebook are pinning their future on. The metaverse is a virtual-reality world where people communicate, trade, play, learn and otherwise interact with each other. Unlike social Web2 platforms, where the user is the product, in Web3 the user can also be the decentralised owner and medium of exchange. Needless to say, audio and video technology are the primary drivers in this mixed-reality media world.

The term “metaverse” is a loose designation that Sean Wargo, AVIXA senior director of market intelligence, describes as “a virtual manifestation of any real-world experience”. As the technology powering the metaverse continues to grow in

capability, Facebook founder Mark Zuckerberg is just one big player going all-in, as he believes it will not only revolutionise the web but will also be a huge cog in the future digital economy. We’ve already witnessed a colossal surge of interest in and adoption of crypto and NFTs, and both are certain to merge in the metaverse. The aim for Facebook is to build a compelling virtual social world where users can freely interact and explore.

“In many ways, this idea started with gaming,” notes Wargo. “Pervasive online worlds have existed in gaming for decades. These spaces enable players to interact with each other using avatars, but what we are seeing now is a shift towards more everyday experiences being offered in VR, such as general meetups, formal events and meetings.”

This might still feel like a long way off, but surveys have found that, typically, just over half of workers believe that the metaverse could have a positive impact on hybrid work, while just under half are actively seeking an “office metaverse”. For businesses, the best time to consider how these future requirements may impact them is right now.

Some AV pros say that, for the time being, the metaverse is limited to specialist applications and verticals such as science, medical research and oil/gas exploration. However, recent trends seem to counteract that idea. Conferencing and collaboration are major parts of AV and there’s a natural potential here when it comes to its use in the metaverse. How long will it be before we are quite literally stepping into a virtual meeting room with a 3D representation of ourselves that can walk, talk and interact with both the virtual environment and other physical users?

“The opportunity set that has been highlighted for quite some time, but was amplified during the pandemic, was how few conference rooms had been equipped with effective videoconferencing solutions,” furthers Wargo. “What if we just bypass that and go right to a more virtual option? What makes the metaverse different from videoconferencing is the amount of investment and energy big tech companies are placing on developing the metaverse. This has moved the idea from a fringe, technical gadget to a mainstream conversation and part of a social connection.”

Extended reality (XR) production is also a steppingstone along this path. “XR is a version of this, where the real world can be overlaid with components of a digital/virtual world to enhance or augment it in some way,” he continues. “This could be contact information for a person standing in front of them, or sales offers for a store nearby. One could imagine a situation where that XR information is a gateway that allows the person to shift into full metaverse VR to interact with a person, brand, event or whatever. One way to think of XR is as a teaser that hooks into the larger metaverse.”

When it comes to the AV industry specifically, some obvious areas stand to benefit from this virtualised movement, the logical early sectors being venues and events. “These have already been looking for new ways to encourage audience engagement,” says Wargo. “Some are already experimenting in true VR, as we saw with virtual conferences during the pandemic. It’s a natural fit and evolution, particularly since the in-person business model was so disrupted. Retail is similar in that it is more and more an event industry as stores evolve into brand experiences, some of which can and will be fully virtual. Education and conferencing are next up, with virtual classrooms and meeting places as logical places for experimentation.”

So, while the metaverse hasn’t quite arrived yet, the time to take note is certainly here, and the dual worlds of visual production and meeting/collaboration feel like logical starting points for it to grow. Some of the major names in this sector also agree. Attempting to get out of the starting block in front of its competitors, XR specialist disguise recently launched a dedicated metaverse division to focus on these new opportunities, specifically noting that interested companies find it particularly challenging to navigate the technical elements needed to start building metaverse experiences.

“We believe in connecting the physical with the virtual worlds, to create gateways to the metaverse,” explains disguise CEO, Fernando Küfer. “Through this, we will enable a world that fulfils essential human needs: to connect, to collaborate and to be included. The promise of the metaverse is to unleash a new wave of opportunities for every kind of creator.”

In the second part of our blockchain and Web3 series, Simon Luckhurst examines the potential of the metaverse, a separate but often interlinked concept, for the AV industry