Pro AVL MEA September–October 2023

PACKING A PUNCH

Ebimpé Stadium gets a refit in time for the Africa Cup of Nations

EMBEDDED AUDIO AT DUBIDUB STUDIOS

ZYLIA’S 3D VISION IN AUDIO

PLOTTING A NEW COURSE AT MASJID MISR

MOVE THE AIR,

AVAILABLE MODELS:

STAGEPAS 200 PORTABLE PA SYSTEM

MIX IT UP BATTERY PACK CONVENIENT, CREATIVE REMOTE CONTROL ALL IN ONE

STAGEPAS 200BTR PORTABLE PA SYSTEM

DIAL IN AND VIBE OUT

Editor’s Letter

Skill shortages in AV – it’s one of those interesting topics where no one’s quite on the same page. Ask my colleagues working on Pro AVL Asia what the current landscape for jobs is like and they’ll shrug their shoulders wondering if anything’s changed. Yet nearly every work-related conversation I’ve had in the past few months with companies in the Middle East prompts concerned looks. There’s a huge skills shortage in AV right now, and it’s impacting different sectors and territories in vastly different ways.

It’s not necessarily a problem that can be fixed quickly – thorough experience can’t be gained overnight. But, despite this, if you’re one of those people in our industry that’s always dreamed of moving into more

qualifications to offer, I think that now is probably the ideal time to do something about it.

The cover feature in this issue is an exploration of the reworked sound system at one of Africa’s biggest stadiums, the Olympic Stadium of Ebimpé, which is now being powered by scores of Powersoft amplifiers and a 28-cluster Biamp/ Community speaker system. Quite remarkably, it was Protech Distribution’s first-ever stadium project and delivered something that not many stadiums in Africa have before: full-range audio distribution throughout the stands rather than just intelligible audio serving comms.

Richard Lawn General manager rlawn@proavl-mea.com

Caroline Moss Contributing editor cmoss@proavl-mea.com

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

Adrian Baker Production manager abaker@proavl-mea.com

Sue Gould Advertising director sgould@proavl-mea.com

Karen Wallace Editorial coordinator kwallace@proavl-mea.com

Chris Yardley Video editor cyardley@proavl-mea.com

Sue Su Guangzhou manager ssu@proavl-mea.com

Carolyn Valliere Sales associate cvalliere@proavl-mea.com

Libby Stonell Digital content editor lstonell@proavl-mea.com

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

Marne Mittelmann Circulation manager circulation@proavl-mea.com

Cooking up a Soundstorm

Since 2016, MDLBEAST has been nurturing local musical talent, hosting live and online events and producing artists on its MDLBEAST Records label to accelerate the growth of MENA’s music industry. Three years later, MDLBEAST curated Soundstorm Festival, said to be the Middle East’s largest gathering of artists and fans with over 200 acts and three-quarters of a million visitors over four days. For the most recent edition, the push to offer unique experiences saw Soundstorm invite Polygon Live and its L-Acoustics L-ISA Immersive Hyperreal technology to create a stage for VIP audiences.

Polygon Live is a 360° sonic experience where speakers play spatialised sound synchronised with an immersive light installation, while different aromas are dispersed around the stage. The Polygon stage at Soundstorm offered an audio canvas that allowed performers to freely move sound

Avid acquired by STG affiliate

Avid has announced that it has entered into a definitive agreement to be acquired by an affiliate of STG in an all-cash transaction valuing Avid at approximately US$1.4bn, inclusive of Avid’s net debt. Under the terms of the agreement, Avid stockholders will receive $27.05 in cash for each share of Avid common stock.

“Since our founding over 30 years ago, Avid has delivered technology that enables individuals and enterprises who create media for a living to make, manage and monetise today’s most celebrated video and audio content across the globe. We are pleased to announce this transaction with STG, who share our conviction and excitement in delivering innovative technology solutions to address our customers’ creative and business needs,” said Jeff Rosica, Avid’s chief executive officer and president. “STG’s expertise in the technology sector and significant financial and strategic

resources will help accelerate the achievement of our strategic vision, building on the momentum of our successful transformation achieved over the past several years.”

William Chisholm, managing partner of STG, added: “STG has admired Avid’s heritage as a category creator and pioneer in the media and entertainment software market for many years. We are excited to partner with Jeff and the management team to build on the company’s history of delivering differentiated and innovative content creation and management software solutions. We look forward to leveraging our experience as software investors to accelerate Avid’s growth trajectory with a deep focus on technological innovation and by delivering enhanced value for Avid’s customers.”

www.avid.com

www.STG.com

encompassing the audience with surround and overhead layers to create a whole-body experience.

“We chose to use L-ISA because of the simplicity and intuitive nature of how the controller acts. It is a very hands-on and creative platform for spatialising content, while also being a very aesthetically pleasing user interface to work with. The power of the processors allows for an incredibly high channel count, while the management of channels and in-depth scope of snapshots within Controller provide an extremely comprehensive and robust means of show management,” explained Matt Hill, spatial sound engineer at Polygon.

Using L-Acoustics Soundvision software, the team designed a solution based on the L-ISA configuration used recently at Wonderfruit Festival. The 1,500-capacity VIP stage was

encased by a circular perimeter of 102 shipping containers stacked to a height of 7.5m, which would create disturbing acoustic reflections.

To mitigate this, Polygon worked with acoustic consultants, Vanguardia, who recommended a solution that included covering the stacks with acoustic material and moving the stage 15m off-centre, thereby reducing reflections.

The final L-ISA configuration, installed by Dubai-based rental company MediaPro, featured four arrays of eight L-Acoustics Kara deployed as a frontal system, with a surround ring of eight arrays of four Kara rigged from the Polygon truss structure and facing its centre. The elevation configuration comprised eight X15 coaxial speakers in a ring, all facing directly downwards. Low-end enhancement was delivered through 16 ground-stacked KS28 subwoofers.

“We knew we were offering something very different at Soundstorm and that L-ISA was the technology that could achieve it,” said Polygon founder and CEO, Nico Elliot. “To ensure this new concept was fully understood, we worked with the MDLBEAST team prior to the festival, organising training for the DJs who were performing at the VIP stage via webinar and sharing our own 10-minute synchronised sound and lighting piece to showcase how to use the L-ISA processor.”

“MDLBEAST does everything to the max and we wondered how our 3D sound stage would stand out among the magnificent stages at this colossal event,” added Polygon’s Adam Nicholas. “But it became clear we had produced something significant. The audience connected with this simply delivered, beautiful stage with sound that envelops and lights that are just enough.”

www.l-acoustics.com

www.polygon-productions.com

Providence acquires d&b Group

d&b Group has announced a major investment by Providence, a private equity firm specialising in growthoriented investments in media, communications, education and technology. With the support of Providence, d&b plans to further strengthen its global position in the professional audio market while also further integrating its capabilities in the Audio Visual, Lighting and Media (AVLM) solutions sector. As part of the transaction, the d&b management team will also acquire a stake in the company, ensuring long-term leadership and strategic continuity.

“d&b bears the hallmarks of a classic Providence investment – it is a business with innovation at its core, clear market leadership and loyal customers. d&b’s passionate team has advanced and

defined industry standards and exceeded client expectations for the last four decades. We believe d&b will continue its growth trajectory by delivering spectacular experiences to audiences across the globe,” said Robert Sudo, managing director, Providence.

“The needs of customers in live entertainment are becoming ever more complex, which has expanded d&b’s addressable opportunities. We were impressed by d&b’s passionate management team and with Providence’s resources and network, we are committed to supporting d&b’s strategic plan,” said Andrew Tisdale, senior managing director, Providence. www.dbaudio.com www.provequity.com

A console view of the MDLBEAST stage

The Polygon Live VIP stage

Digital Projection transforms Khawaneej Mosque

The Khawaneej Mosque in Dubai was brought to life thanks to Digital Projection’s Titan and M-Vision laser projectors during Ramadan. Throughout the month of celebrations, every night between 8pm–2am, the Khawaneej Mosque provided audiences with a video mapping projection loop animation by Digital Projection’s partner, Artabesk. This show was a part of in Dubai Reflection, which was organised by Dubai Tourism.

In order to overcome the challenges posed by Dubai’s light pollution, the installation required high brightness levels alongside high-resolution capabilities without compromising colour accuracy. To achieve this, Artabesk turned to Digital Projection’s Titan and M-Vision laser projector ranges.

Artabesk used three Titan Laser 37000 WU projectors, complemented by seven M-Vision 23000 WU. “One of the most crucial parts for us was to ensure the mapping was perfectly aligned and the brightness was high enough,” stated Mounir Harbaoui, architectural projection designer and founder of Artabesk. “In order to create a stunning visual experience for the audience, the projectors needed to boast impressive brightness levels. This is the reason we chose these specific models from Digital Projection.”

Robe rig stands proud in Tel Aviv

choreographed with precision. Harbaoui projectors to the creation process, which demanded a great attention to detail: “The key was in the intricate elements, which is why we needed to have high-resolution

Artabesk mapped the Khawaneej Mosque using very small layers of images, resulting in intricate animations of various colours and patterns. A Dataton Watchout media server, capable of handling high-resolution media files, enabled each projected image to cover an area of approximately 20m x 13m. Given the sanctity of Ramadan and the mosque, Artabesk decided against accompanying music, focusing only on the

The audience was said to be amazed by the captivating video mapping show delivered by Digital Projection’s technology. “We are really proud of the result and the positive feedback we got from the spectators,” concluded Harbaoui. “The stunning projection and colourful, animated patterns truly brought the Khawaneej

way from the front-of-stage mosh pit to the periphery of the arena and to those enjoying from further away.

“MegaPointes are a go-to building block for me,” he enthused, saying that the multi-functional fixture’s versatility and brightness make it ideal for this task. Like any genre of electronic music, speed is a lightshow must, so MegaPointes have always been spec’d as lightning quick movers.”

Fourteen of the 56 MegaPointes were located behind the set LED screens for blow-through effects, with the rest dotted around the stage floor and used for the spectacular bursting gobo and laser-like beam looks that defined Nissim’s set and helped make it a show-stopping night for all.

The 24 ESPRITES were rigged along the top at the back of the set structure, a great position for shooting down onto the stage and sweeping out across the audience area. Cohen also loves the power, gobos, optics and speed of these and their ability to combine “seamlessly” with the MegaPointes. “These two fixtures have the same movement, style and feel,” he said, “and the colours match beautifully.”

Tel Aviv-based lighting designer, Elad Cohen, recently assisted regular client DJ Offer Nissim in headlining the Tel Aviv Pride Festival, specifying a large Robe rig including MegaPointes, Spiiders and ESPRITES.

The festival, which celebrates all aspects of LGBTQ culture and life, was staged in Ganei Yehoshua Park in north Tel Aviv, and was the culmination of two days of one of the biggest events of the year in Israel in

what is said to be one of the most popular gay capitals of the world. “We wanted to make a massive impact with the show and the whole performance,” explained Cohen.

The 7m-wide stage and set featured substantial LED surfaces designed by a creative team comprising the Rubi & Gal Studio and art director Shimon Shirazi for producers Vivo, and built by Stage Design. The lighting and sound were supplied by Argaman System, while video was taken

care of by Clean LED, with 470m of neon flex from LED Art.

Cohen explained that the art of lighting electronic music well is to have multiple layers of visuality that can be revealed or concealed and that will all work harmoniously together to produce spectacular results and all the energy needed to support the artists and music. Critical to the exercise is getting the excitement and mood reaching all the

He continued: “Each layer and each look needs to be clean, well-defined and stand out in its own right – only then can the differentiated layers have maximum impact. These Robe moving lights are among the best for achieving these specific looks.”

Cohen used 30 Robe Spiiders which were deployed on the stage floor where their zoom feature was said to be “perfect” for lighting all the scenic elements and props. www.robe.cz

Image courtesy of NEOmedia

Massive Local Stock, Global Innovation: Elevate Your Events with Our Expert Team 10X

BeWunder’s rapid expansion prompts a substantial inventory upgrade with cutting-edge equipment.

Panther heads to the Opera StageOne unveils its Demo Room

SAUDI ARABIA

Riyadh-based live production company Opera has become the first in Saudi to take ownership of Meyer Sound’s latest large-format line array system, Panther. As a long-time user of the manufacturer’s Leopard system, Opera was seeking a solution capable of providing higher audio output and throw capabilities that would allow it to service the larger events that are increasingly becoming an everyday fixture during the city’s busy Riyadh Season.

Opera provides complete AV solutions and rental for lighting, sound, video, staging, special effects, event logistics and full production services and has supported recent high-profile events including Taif Festival, Gamers Day, Riyadh and Jeddah Games Festival, Formula One in Jeddah and many more smaller festivals and celebrations.

Opera sound engineer, Noor Hijazi, said: “We love our Leopard system, so when we heard about Panther, placing an order was an obvious decision. It will give us the ability to service those larger productions.”

In total, Opera’s latest order encompasses 24 Panther line arrays (four of which are 110° coverage variants) and 20 2100-LFC subwoofers awaiting imminent arrival. These join the team’s existing fleet of 24 Leopards and 12

900-LFC subwoofers. Eighteen new MJF-210 stage monitors take the team’s full complement up to 24. The company has a sizeable existing stock of Lina line arrays which have also been expanded with the latest purchase by another 12 cabinets. In order to manage this new equipment, Opera has invested in eight new Galaxy Galileo processors and MDM-5000 and MDM-832 distribution modules.

“When I first met the guys at Opera, they knew exactly what they wanted and placed the order that very same day,” said Andrea Granata, Meyer Sound MEA sales manager. “The decision was based on prior experience with Leopard but also their own independent extensive research. They understood that for the type of job they were looking to cater to, they needed something bigger, and the timing was perfect as we had just come out with Panther. Given that the system had just launched, delivery times were not immediate, but we started a training programme straight away, led by our specialist Sana Romanos, to ensure that the team would feel comfortable deploying Panther when it arrived.”

www.meyersound.com

www.operamena.com

SOUTH AFRICA

South African distributor StageOne has recently transformed its Demo Room to offer customers a hands-on experience with a diverse range of products. Located in Hitech Village, Midrand, this revamped space showcases brands such as FBT, beamZ, Alustage and more. The strategic move provides customers with a unique opportunity to understand the value and

directly with our range of high-quality products. This hands-on approach will help our customers make informed decisions that align with their specific needs.”

For those passionate about entertainment lighting, the new Demo Room offers an immersive space to explore the beamZ range, while audio

benefits of the products through tactile, visual and auditory interactions.

Peter Berry, owner of StageOne, shared his excitement about this transformation: “This is a significant move for our company. We are dedicated to meeting and exceeding our customers’ needs, and this upgrade allows us to do just that. Our updated Demo Room gives our customers the opportunity to interact

enthusiasts can discover what FBT has to offer. The Demo Room’s auditory section features a variety of products, from line arrays and stage monitors to subwoofers, column speakers, weatherproof speakers and column arrays. It also boasts Alustage’s professional staging and trussing systems.

www.stage-one.co.za

Windhoek banking institution steps into the digital age

One of the largest banking groups in Namibia has recently opened a new branch in Windhoek’s Maerua Mall. On a mission to innovate the banking sector in Namibia, this banking institution designed its latest branch with the digital age in mind and rolled out the upgraded format to two further branches at Rehoboth and Windhoek Lifestyle Centre. The integration of all three sites was led by Stage Audio Works (SAW) Namibia.

The brief for the latest branch at Maerua Mall, and the rollout of upgrades to further branches, called for the installation of multiple digital screens, intended for the purpose of displaying information and showcasing branded content. SAW Namibia specified and installed a full Samsung visual system in each of the branches.

“The client was clear that the content on the digital screens needed to be managed remotely through a centralised system,” recalled Joppie Maritz, managing director at SAW Namibia. “We worked with the client to understand each branch’s specific requirements and use cases in order to specify three unique systems appropriate for each of the premises.”

“It was exciting to be part of this installation and work alongside the client on its transition into the new digital era of banking,” confirmed Maritz. “Thanks to this upgrade, they are now able to offer their clients state-of-the-art banking services throughout the Namibian capital.”

www.stageaudioworks.com

Listen to the invisible: add #TOAsound.

Maerua Mall stands out as the largest of the three installations. It includes 85-inch HDR 4K UHD Commercial wall displays and a 55-inch video display wall that commands attention due to its placement in the branch window. Device and content management is provided through MagicINFO, while playback to the videowall is controlled via a single Samsung Signage Player Box.

The Rehoboth and Windhoek Lifestyle Centre each received one 75-inch HDR 4K UHD Commercial Smart LED Display, also with MagicINFO support, allowing for content to be managed remotely. “MagicINFO allows the client to manage content and devices within a single solution,” explained Maritz. “This offers unity across the bank’s visual merchandising.

IP-A1PC238 IP Ceiling Speaker

Require an indoor audio solution that integrates easily into your existing IP network? With its understated design, the new TOA IP-A1PC238 IP Ceiling Speaker blends seamlessly into any environment.

A single standard network cable provides both power and connectivity to your network. Customize each speaker with individual volume levels according to ambience noise levels and optimize it for various conditions such as the time of day, coverage for the distance required, and the extent of an emergency. Well suited for receiving announcements in the waiting or treatment room.

Image courtesy of SonjaKilianPhotography

Core Productions beams with grandMA3 and Claypaky

Core Productions, a Cape Town-based company, has taken ownership of a grandMA3 onPC command wing XT and eight Claypaky Axcor Beams 300s, all supplied by DWR Distribution.

“I think all the companies that fought through the pandemic are doing well,” said company founder, Bernard Gramann. “The biggest change we have seen is that most live events now have a virtual element. We are doing more hybrid events than just standard meetings or events. In addition, we have had to upgrade our skills in content creating, editing and recording.”

In 2018, Core Productions purchased a dot2 XL-F and a dot2 F-wing. “We still love and use our dot2s and because they have been perfect for us, we wanted to purchase another console,” Gramann explained. “Unfortunately, the dot2s are now discontinued and this forced us to go with grandMA3.”

With a real console feel, the grandMA3 onPC command wing XT includes

pre-installed onPC software on the built-in MA motherboard. If connecting a touchscreen monitor, the user has control of 4,096 parameters. “The grandMA3 onPC command wing XT is a little console with the capabilities of a full-size console,” commented Gramann.

In addition, Core Productions has taken ownership of its very first Claypaky lighting fixtures, specifically eight Axcor Beam 300s. “It’s a really capable fixture with all the features you would expect from a beam light,” Gramann added. “It’s bright enough to stand next to our other LED fixtures without a great difference, and it has awesome gobos. We needed more beam fixtures and wanted to go with an LED light source as it’s the way forward in the industry, and the Axcor is well-priced for what you get. We are very happy with the fixture.”

www.claypaky.it

www.dwrdistribution.co.za

www.malighting.com

Independence and beauty take centre stage

providing loudspeaker systems to the world’s top sound companies,” said Alessandro Manini, R&D director of TT+ Audio. “Our target is to leverage this experience to address the full range of challenges faced by touring sound professionals and large-venue system installers. Starting from a no-compromises philosophy, we spent the last two years testing and refining the GTX system in both indoor and outdoor venues to find the perfect mix of power and sound clarity for all types of events.”

Attendees were very much in agreement, as Anil Kumar, MD of Dubai-based AVenger Electronics, stated: “As the saying goes, ‘logic can get you from point A to point B, but imagination can get you anywhere’. It completely supports the wonderful works that RCF’s AV engineering team have produced in response to their original ideas.”

Having travelled over with Kumar, sales manager Joseph Rebero had been to the factory on previous occasions as the exclusive UAE and Oman distributor. He said: “What

caught my attention on this visit was the brand-new warehouse facility. RCF always takes extra time to introduce new products, but they make sure that the quality and performance will be the best to compete with the top-rated companies in their category.”

And on the outdoor demo, he was equally enthusiastic: “I appreciated how the GTX12 performed. Keep in mind that we were standing at a distance of more than 100m and yet the sound quality on my phone was quite clear. But the highlight, from my perspective, was being at the Stadio Olimpico. RCF had arranged for special permission so that we could go in front of the stage and listen to the sound. According to the stage engineer, 88 GTX 12 tops in four stacks were being deployed along with 48 subs.”

RCF recently hosted a series of presentations, tours and demos, kicking off at its headquarters in Reggio Emilia and culminating with a concert from one of Italy’s most popular artists, Ligabue, at the Stadio Olimpico in Rome. The beautifully hosted occasion was the unveiling of the launch of its brand TT+ Audio as an independent entity. Over 120 attendees from around the world were given full access to the impressive production setup at the HQ, the new 20,000m2 logistics centre which opened earlier in the year as well as product presentations by key RCF personnel and an exquisite al fresco dinner in the hills outside the town with live entertainment.   The focal point of the first day, however, was the live demo of the GTX line array system –the first product to come from the TT+ Audio stable. “Our new GTX line array system is the culmination of 70 years of experience

Also having clocked up the airmiles to attend the event was Tomoki Matsui, marketing manager from Onkyo Tokki, who had made the journey over from Japan. “We’ve been distributing RCF since 2017, and it was amazing to be a part of the TT+ Audio launch,” he commented. “It was great to be able to hear the new GTX system in Rome. The sound clarity and quality were just incredible. We believe the premium audio quality and flexibility of the GTX system can fit into a wide range of venues, with XPS 16KD DSP power amplifiers at its core.”    Fausto Incerti, RCF general manager, welcomed the new brand with a clear mission for the future: “For over 70 years, RCF has pioneered audio engineering. With the debut of TT+ Audio, we embark on the next phase of this journey, introducing a dedicated team that will drive the future of sound. The establishment of TT+ Audio marks a new chapter of opportunity for us. We look forward to the road ahead.”

www.ttaudio.com

L–R: Bernard Gramann and Reon Swart of Core Productions

Stadio Olimpico in Rome

Introducing ATEM Mini Pro

The compact television studio that lets you create presentation videos and live streams!

Blackmagic Design is a leader in video for the television industry and now you can create your own streaming videos with ATEM Mini Pro. Simply connect HDMI camera s, computers or even microphone s. Then push the buttons on the panel to switch video sources just like a professional broadcaster! You can even add titles, picture in picture overlays and mix audio! Then live stream to Zoom, Skype or YouTube!

Create Training and Educational Videos

ATEM Mini Pro includes everything you need. All the buttons are positioned on the front panel so i t’s very easy to lear n. There are 4 HDMI video inputs for connecting cameras and computers, plus a USB output that looks like a webcam so you can connect to Zoom or Skype. ATEM Software Control for Mac and PC is also included, which allows access to more advanced broadcas t” features!

Use Professional Video Effects

ATEM Mini Pro is really a professional broadcast switcher used by television stations. This means it has professional effects such as a DVE for picture in picture effects commonly used for commentating over a computer slide show. There are titles for presenter names, wipe effects for transitioning between sources and a green screen keyer for replacing backgrounds with graphics.

Live Stream Training and Conferences

ATEM Mini Pro has a built in hardware streaming engine for live streaming via its ethernet connection. This means you can live stream to YouTube, Facebook and Teams in much better quality and with perfectly smooth motion. You can even connect a hard disk or flash storage to the USB connection and record your stream for upload later!

Monitor all Video Inputs!

With so many cameras, computers and effects, things can get busy fast! ATEM Mini Pro features a “multiview” that lets you see all cameras, titles and program, plus streaming and recording status all on a single TV or monitor. There are even tally indicators to show when a camera is on air! Only ATEM Mini Pro is a true professional television studio in a small compact design!

ATEM Mini Pro US$319

ATEM Mini Pro ISO US$535

ATEM Mini Extreme ISO US$1,399

Immersive event space in Morocco is powered by Extron

In Morocco, an 800m2 round auditorium with a domed ceiling has been built through cooperation between Mohammed VI Polytechnic University and Office Chérifien des Phosphates.

servers output signals to one of the matrix switchers over HDMI. That XTP II matrix switcher then distributes the predefined synchronised content and any other selected source signals from

Genelec helps to create Instagram-friendly studio

The latest addition to the glamorous area of Downtown Dubai, Soul Sound Music Art Production is a new recording facility that compressors, EQs and monitors to meet the specific needs of the project, and combined this with a proper wiring and cabling infrastructure to minimise signal degradation and interference,” recalled Abu Zahra. “I designed the studio with appropriate dimensions to avoid standing waves and resonances that can affect sound quality. I also ensured proper sound isolation and minimised unwanted reflections through the use of materials like diffusers, absorbers and bass traps.” Abu Zahra continued: “Genelec monitors are known for their exceptional audio quality and accuracy. They deliver transparency and accuracy and have a wide frequency response. They are also reliable, with a fantastic build quality, and their performance can be adapted to the room with GLM software. On top of all of this, they have an established reputation as the best studio monitors available.”

as transparency of the reproduced sounds when recording and mixing. The two solutions also provide different listening perspectives for artists and engineers, and I positioned the 1234s and 1032s in an optimal configuration to achieve accurate and balanced audio reproduction.”

With the control room used as a single space to handle mixing, recording and mastering, the use of GLM calibration software has been key to the project. “GLM changed my life by fixing the frequency curve where needed,” stated Abu Zahra.

The end result is something that both the owner and the designer are very happy with. With Soul Sound now open for business, Abdo feels that the new facility has lived up to his initial dream. “I want this to be the go-to recording studio that allows young artists to experiment with their music.”

www.genelec.com

Drawing on Extron’s XTP and Quantum Ultra platforms, the space is fitted with an immersive AV system intended to fill the walls and ceiling with images, colour, sound and light. Atrait Consulting designed the installation and a subsidiary of construction group VINCI, Cegelec Maroc, was the AV integrator.

To create the required level of immersion, content from 66 sources ranging from media servers and players to PTZ cameras and a live production switcher are available for display on a curved 313° videowall surround and video projections onto the ceiling via the Extron platform. Since the AV cables would run next to a high-voltage line, a multimode fibre optic cable infrastructure and an Extron XTP system and Quantum Ultra videowall processor were decided on as the ideal design solution.

“On this high-end application, dedicated to showcasing end user innovation and engineering spirit, we were looking for a robust and reliable system able to provide best-in-class performance, flexibility and ease of use,” said Eric Jondot, general director at Atrait Consulting. “The Extron solution perfectly matched our requirements in this challenging project.”

The AV system supporting the event space consists of two Extron XTP II CrossPoint modular matrix switchers working in tandem and a Quantum Ultra videowall processor. Sixteen Modulo Pi Kinetic servers calculate data and render video in real time. The Kinetic

the control room racks over fibre optic cables to XTP scaling receivers mounted with the displays.

The system also facilitates synchronised lighting control and 54 audio zones. An Extron 15-inch TouchLink Pro touchpanel works together with an IP Link Pro control processor to provide intuitive control for all AV system functions, including four themed productions available to demonstrate AV system capabilities for prospective space renters.

www.extron.com

The solution installed by Abu Zahra features a pair of 1234s as the main studio monitors complemented by a pair of

The domed auditorium

The control room

Soul Sound’s Smart Active Monitoring system

L–R: Aziz Abdo and Hosni Abu Zahra

ON YOUR MARKDATA - GO!

 Modular system for customized infrastructure solutions

 Wide range of modules for fully networked media technology concepts

 Classified cable-bulkware according to EU Construction Products regulation (EU CPR)

 Ready made Network and Fiber Optic Systems for mobile and installation applications

High-quality, certified connection components

SOMMER CABLE based in Straubenhardt/Germany was founded in 1999 and is now one of the leading suppliers of professional high-quality cable and connection technology with a focus on the audio, video, broadcast, studio and media technology sectors. The product range including the in-house brands HICON, CARDINAL DVM and SYSBOXX covers cable bulkware, connectors, connection cables, individually adaptable distribution systems and electronics. A B2B shop with over 25,000 products is available 24/7.

Professional Studio Event Technology

CPR-rated CAT.7 & CAT.8 installation and connection cables

SDVoE introduces integration with Symphony

The SDVoE Alliance has announced its integration with AVI-SPL Symphony, a user experience management platform to administer, monitor, control and analyse multi-vendor AV, UC and spaces across environments. The SDVoE API expands Symphony’s view into the full technology deployment of customers. Industry professionals can now control and manage SDVoE devices alongside other system devices via Symphony.

Justin Kennington, president of the SDVoE Alliance, said: “Our goal in designing the SDVoE API was to create a solution that would work in parallel with other management platforms, like Symphony. Together with AVI-SPL, we are pleased

to introduce integration with AVI-SPL Symphony to streamline and enhance workflows for managing a myriad of devices in collaboration spaces.”

“Symphony’s purpose is to minimise the struggles of end users and IT staff as they leverage and deploy technology. We want technology to work for us, not against us,” said Laurie Berg, vice president of Symphony product operations. “Working with organisations like SDVoE gives Symphony a broader portfolio of devices to centrally monitor, more guided and detailed incident management, increased implementation of workplace standards and strategic analysis for future decisions. End users have an optimal experience and IT resources have peace of mind.”

www.avispl.com

www.sdvoe.org

THE PLATFORM WITH THE AMPLIFIER ON BOARD THE PLATFORM WITH THE AMPLIFIER ON BOARD

Unica is the next-generation cloud based amplifier platform designed to provide a safe and consistent user experience for any size application, whatever your installation requirements and efficiency goals might be.

Unica cloud based amplifier platform. Unlock the power of consistency.

day, also in collaboration with Venuetech, took place at the HQ of events technology supplier, Artes Events. Both events were focused on the EW-DX Wireless Microphone System. Sennheiser’s Ryan Burr led the presentations as well as a hands-on demo with attendees, concluded by a question and answer session. A spokesperson for Venuetech said: “We

extend our thanks to the wonderful and knowledgeable teams at MediaPro and Artes Events for attending the training days and accommodating us.”

www.artesme.com

www.en-ae.sennheiser.com

www.mediapro.tv

www.venuetech.ae

Attendees at the Artes Events training day The MediaPro team

ARRI lets the light in for Laâlam

ARRI has been called on for a short film entitled Laâlam – the Emblem, shot by Algerian cinematographer Walid Benyahia. Director Ahmed Agoune and the cinematographer aimed to capture the period drama with an organic image and that’s where the ALEXA Mini came in as the camera of choice.

Its wide dynamic range was chosen to ensure that intricate details in both highlights and shadows were preserved, which was said to be essential for many of the daylight scenes.

Benyahia also relied on ARRI M-Series lights for the lighting of the film. “One

of the main challenges we faced during the production was the need for quick and efficient setups. We encountered unpredictable weather conditions, and it was essential for us to be able to adapt swiftly while maintaining the highest quality standards. The ALEXA Mini’s ease of use and its compact form factor proved to be invaluable in this regard. It allowed us to move swiftly between setups without compromising on the image quality or the artistic vision of the film,” said Benyahia.

www.arri.com

Modulo Pi powers immersive heritage in Saudi Saudi Arabia

In Saudi Arabia, the Heritage Commission is responsible for preserving and advancing the Kingdom’s heritage sector. As part of its mission, the commission supports initiatives aimed at developing national heritage assets, raising awareness and interest around them, and preserving them for future generations.

A decision was made to enhance the visitor experience at the archaeological and heritage sites in Saudi Arabia, through the creation or renovation of Visitor Centers. Yanbu City was chosen for the first Visitor Center.

Specialising in the creation, production and implementation of cultural projects,

Samaya Investment was entrusted with the Visitor Experience’s immersive room. The room was designed to take visitors on a journey through the history of Al-Sur District, with a 180° projection of a movie combining live photography and 3D graphics. Six Epson video projectors were installed to project onto the walls and floor of the immersive area and are powered by a Modulo Player Pro media server from Modulo Pi. The media server is responsible for audio and video playback for the whole room, as well as soft edge blending for the walls.

www.modulo-pi.com

Yanbu City’s Visitor Center

AFFA gets accurate with AEQ Calum Scott comes to Cape Town

In a bid to ensure fair play and accurate refereeing decisions, the Association of Football Federations of Azerbaijan (AFFA) has recently received an upgraded Video Assistant Referee (VAR) system from Broadcast Solutions. This marks another milestone in the growing popularity of VAR technology, which has been widely adopted collaborated with Broadcast Solutions in 2022 to implement a VAR system designed specifically for its needs. The initial system included three permanent Video Assistant Referee Video Operation Rooms (VAR-VOR) situated at the Baku stadium, supplemented by a mobile VAR system housed in a 3.5-tonne transporter. The successful deployment of the first phase led to AFFA obtaining official certification from FIFA VAR.

To address the challenge of connecting venues that are distant from the main VAR

hub in Baku or lack a dedicated fibre optic connection to the nationwide VAR system, Broadcast Solutions has now delivered an additional mobile VAR unit to AFFA. This new system empowers AFFA to be even more flexible in meeting the league’s requirements.

The VAR van has been designed as a lightweight vehicle to ensure unrestricted mobility. It features three workstations for a video referee, a video referee assistant and a replay operator. In addition, a review area system – comprising monitors, an AEQ TP8116 intercom user panel and a stagebox – is positioned on the sidelines of the football ground.

Both locations, the van and the review area utilise AEQ equipment to facilitate audio signal distribution and intercom communications.

The OBVan is equipped with an AEQ CrossNET intercom matrix and three AEQ TP8116 intercom

Ultra Events called on a d&b audiotechnik sound system to support English singersongwriter Calum Scott’s recent performance at Zevenwacht Wine Estate in Cape Town. The concert was part of his Bridges album tour, supported by local artists Craig Lucas

“On the day, we did not have enough time to do a site inspection and had to quickly redesign the stage position due to weather and increased ticket sales,” he noted. “Therefore, we needed to redefine the parameters on setup day. There were

panels, featuring 16 programmable keys spread across four pages. These user panels include individual volume control for each communication crosspoint, DSP and ECO canceller.

To facilitate efficient video signal routing, the chosen solution involves the use of AJA’s KUMO systems. Communication between the on-field referees and video referees is facilitated by Vokkero’s radio systems with headsets.

www.aeq.eu

www.broadcast-solutions.de

and Werner Bekker, and attended by 2,000 fans. The event was organised by Breakout Events, with Ultra Events responsible for delivering the technical solutions.

“Zevenwacht Wine Estate is an interesting venue, as the front row is at stage height and the back row rises to an elevation of 8m due to a natural slope,” explained Costa Champanis, Ultra Events owner. “The brief was to provide great-sounding audio for all guests, from the front row to the back row.” Ultra specified a full d&b audiotechnik system to meet these requirements. The main PA system consisted of 12 d&b V8 mid-high loudspeakers, with four V12 flown in L-R arrays with eight elements per side, supplemented by 12 B22 subwoofers in a spaced CSA array. d&b M4 loudspeakers were deployed for front fill and as monitors, with the whole system driven by d&b’s D80 power amplifiers.

With the budget and system defined, a suitable system design was created by Ultra Events’ audio HOD, Patrick Dudgeon.

also noise restrictions at the venue with residential areas close by, but we could easily verify the array and subwoofer positions with the R1 software at low volume. Inclement weather disrupted our ability to properly tune the system, but by defining the venue layout, as well as the prediction of the system response and relative delay times, it allowed us to open up a PA system that was close to perfect.” With the weather finally clearing, the Ultra team were ready to hand over to the artists’ sound engineers to kick off the event. “After only a few minutes of tuning, we were ready to hand over to Calum Scott’s sound engineer for him to create his magic – he was suitably impressed,” concluded Dudgeon. “The venue was filled to capacity and the system performed beautifully, while the crowd enjoyed a memorable evening.”

www.stageaudioworks.com

www.ultraevents.co.za

Crocodile park snaps up Cyclops Lighting fixtures

Dubai Crocodile Park, an attraction in Dubai where visitors can encounter some of the world’s most impressive crocodiles, required lighting fixtures for its museum to emphasise the statues. Working alongside Procom Middle East, Dubai Crocodile Park decided Cyclops Lighting was the brand of choice, specifically the PR20W and the FR50T LED profiles and Fresnels.

Small in size, the PR20W fixtures were strategically placed to illuminate specific areas of each dinosaur exhibit, creating a sense of depth and dimension. The PR20W fixture is a white LED light, ideal

for showcasing artwork and artefacts in a natural way, while being compact and convenient to move around the exhibit.

In addition, the LED FR50T Fresnels were used to cast dynamic and dramatic lighting effects around the dinosaurs, adding another layer of realism. This fixture features tunable white LED technology, allowing the exhibitor to adjust the colour temperature to its lighting needs. All the fixtures were hung using Truss Tech C-Clamps.

www.cyclopslighting.com

www.procom-me.com

SOUTH AFRICA

The VAR van

FIRST OF ITS KIND KIND OF AMAZING

INTRODUCING MICROFLEX® ADVANCE™

MXA902

INTEGRATED CONFERENCING CEILING ARRAY

The MXA902 is the first-ever audio conferencing solution to combine a state-of-the-art array microphone, loudspeaker, and IntelliMix® DSP into a discreet, ceiling-mounted system that’s perfect for small- and medium-sized spaces.

Backstreet’s back in Cairo

audio coverage. To meet this challenge, Adamson was selected as the brand of choice. Walid Antar, general manager of Technology Middle East, who oversees branches in the UAE, KSA and Egypt, collaborated with Andrew Espergen, manager and sound engineer of the Egypt branch.

Adamson’s E15 line array speakers were carefully selected for their wide dispersion and high-quality audio throughout the venue. Each line array comprised the E15 speakers with under-hanged E12 units. The venue’s size necessitated a sound system capable of effectively covering the entire area, ensuring an immersive experience for approximately 15,000 attendees.

were positioned to enhance the low-frequency impact and depth, while 48 S10 speakers served as front fill, ensuring sound delivery to the audience in the front rows. To optimise sound distribution across the expansive venue, 12 E12 speakers were utilised as a delay line. Finally, four S10 speakers were placed onstage as side fill.

Technology Middle East required a unique sound system capable of meeting the audio requirements for a recent highly

anticipated Backstreet Boys event held in Cairo, Egypt at the ZED East. The concert presented a unique challenge in terms of

A total of 60 Adamson E15 line array speakers were deployed, distributed as four line arrays, each consisting of 15 E15 speakers and three E12 speakers. Additionally, 48 Adamson E219 subwoofers

Antar said: “The powerful sound, exceptional clarity and reliable performance of the Adamson system truly created an immersive and unforgettable audio experience for the attendees. At Technology Middle East, we take great pride in having the largest Adamson system in the region, and we look forward to our continued partnership with Adamson in delivering outstanding audio solutions for future events.”

www.procom-me.com

www.thetechnology.me

MGG’s Quantums power Pretoria concerts

Three performances over a four-day period saw a 30,000-strong crowd at the Loftus Versfeld Stadium in Pretoria come to life recently. The Bethel Music SA Tour, Theuns Jordaan Tribute concert and the Boots and All Country Festival featuring Kip Moore were all produced by The Hit Factory and saw MGG serve as the technical supplier across the board. MGG incorporated one of its two new DiGiCo Quantum 338 consoles, along with a Quantum 225.

“It’s such a privilege to do large-format concerts like this again, and to see a massive crowd of people just enjoying themselves gave us goosebumps,” enthused Günther Müller, MGG project manager. “This, paired with the fantastic artists and supported by the A++ technical team in South Africa, was an experience like no other. It’s such a privilege to work with a team who are 100% invested and passionate about their job. Our heartfelt thanks to Murray Lubbe and Johan Ferriere from The Hit Factory for this event.”

Prior to the festival, MGG took ownership of its 10th DiGiCo console, specifically the Quantum 338, supplied through DWR Distribution. MGG already owns two S21s, two SD9s, an SD10, SD11, two SD12s and a Quantum 225.

“Most of our consoles have Optocore functionality with our new SD-Racks populated with 32-bit cards,” explained Müller. “It’s great to invest in consoles that are built for future updates and scalability. The DiGiCo console capabilities are constantly upgraded by software updates which means we don’t have to invest in new hardware every few years.

Our older consoles are still in mint condition, so the investment into the Quantum consoles was not a replacement but rather an addition to the family.”

Bethel Music, an American music label and worship movement from Redding, California originating out of Bethel Church, presented its Johannesburg leg of the tour first. The show included a Quantum 225 at FOH and Quantum 338 for monitors and was mixed by Bethel’s international audio engineers. “The team at Bethel Music specified DiGiCo, the platform they use at their church,” said Müller.

“They were the first to use our 338 and the monitor engineer was super chuffed to have the console as we initially promised them an

SD12. The 338 arrived just in time for the show.”

Two days later, MGG was setting up for the Theuns Jordaan Tribute concert, said to be a legend in the Afrikaans music industry.

Petru Palmer relied on the Quantum 338 for the monitor mixes for the artists, while Gert Watson on an SD12 was responsible for the band monitor mixes. The Quantum 338, again with Palmer controlling the monitor mixes, was used for the final show, the Boots and All Country Festival featuring Kip Moore, who was visiting South Africa for the first time.

“I loved the Quantum 338,” commented Palmer. “The screens are a huge improvement, especially in the daytime, with less glare and

they’re way more responsive. I also loved the Mustard Processing on some of the channels with the different EQ and compression options. The most important upgrade, being a monitor engineer, is the Nodal Processing. Overall, a very nice upgrade.”

He added: “Thank you to DWR’s Kyle Robson for taking time out of his holiday to personally deliver the 338. He also popped in during setup to check if were all good. We just have peace of mind knowing he is a phone call away should we require assistance.”

www.digico.biz

www.dwrdistribution.co.za

www.mgg.co.za

L–R: Mark Gaylard, Kyle Robson and Günther Müller

ZED East

TEAMCONNECT CEILING SOLUTIONS

Be heard in the room -

everywhere.

TeamConnect Ceiling Solutions benefit from Trusted Sennheiser Audio Quality to offer audibly superior ceiling microphones for modern hybrid conferencing and presentations. The solutions are part of the Sennheiser TeamConnect Family and are designed for meeting rooms and lecture or collaboration spaces that are either mid-sized (TeamConnect Ceiling Medium) or large (TeamConnect Ceiling 2).

Remembering Stephen Lakin

“A true pioneer of the industry in the Middle East, Stephen’s leadership and innovation paved the way for countless others to follow. His remarkable contributions have left a far reaching indelible mark on the entire world

celebrate and reflect on the extraordinary life he lived. Stephen’s passion for excellence, dedication and visionary leadership, have guided us on a remarkable journey of growth and success over the years. His indomitable

today – a team driven by innovation, collaboration and a shared commitment to creative and technical excellence.

“His legacy will forever be an integral part of our company’s identity, and his contributions will continue to inspire us as we move forward. We will honour his memory by upholding the values he instilled in us and continue to drive Protec to new heights in the Middle East and in the UK.” We here at Pro AVL MEA want to pass on our support to his family, friends and colleagues at this difficult time.

Electro-Voice provides sound for Tizi Ouzou stadium

sound system was provided by sub-Saharan distributor, ApexPro.

The Dante audio-enabled sound system with integrated redundancy was designed by Turkish partner Atempo and meets the sporting requirements, but also provides flexibility to host other events.

A total of 112 EVH-1152D/94 cabinets have been arrayed in clusters of three and

flown from the stadium roof to cover the various bowl seating areas. A further 102 EVID-S5.2T provide the under-balcony fill to ensure an even sound level throughout the stadium, and four EVID-S8.2 complete the system. Twelve Dynacord IPX10:8 power amplifiers drive the EVH and EVID-S5.2T loudspeakers for the bowl; the EVID-S8.2 models are powered by a pair of L1300FD amplifiers. An MXE5 Matrix Mix Engine provides DSP processing, with Sonicue Sound System Software used for efficient setup and control.

www.apexpro.co.za

www.dynacord.com

www.electrovoice.com

Lawo goes to Zimbabwe’s Midlands State Uni

Midlands State University has recently enhanced its radio broadcast capabilities with the installation of Lawo IP-based radio equipment. Lawo provided the university with two of its crystal radio mixing consoles for two new studios. The systems integration was carried out by B+I, Lawo’s partner in South Africa.

Midlands State University operates its own radio station, which serves as a vital platform for educational purposes and provides handson experience to its students. The addition of the Lawo equipment will further elevate the university’s broadcasting capabilities, offering advanced features and integration with modern IP-based workflows.

The collaboration between Lawo, B+I and Midlands State University exemplifies a shared

commitment to innovation, education and the advancement of the broadcasting industry in Zimbabwe. The new radio studios will enable students by way of hands-on training to develop essential skills in radio production and broadcasting, preparing them for successful careers in the industry.

“We are thrilled to be a part of Midlands State University’s radio station expansion project,” said Ralf Schimmel, senior sales director Southern and Eastern Europe, Africa at Lawo.

“Our crystal consoles have been specifically designed to cater to the evolving needs of modern radio broadcasting, providing exceptional audio quality, intuitive operation and extensive networking capabilities. We are confident that

Midlands State University will greatly benefit from these cutting-edge solutions in their efforts to educate and empower future broadcast professionals.”

Speaking about the project, the spokesperson for Midlands State University commented: “We are delighted to partner with Lawo and B+I in the development of our radio studios. The crystal consoles’ outstanding features and Lawo’s industry expertise made them the perfect choice for our broadcasting needs. This investment will greatly enhance our students’ learning experience and provide them with a platform to produce professional-grade radio content.”

www.lawo.com

Analog Way joins Q-SYS Technology Partner Program

Analog Way has announced it has joined the Q-SYS Technology Partner Program. This programme enables software and hardware technology partners to create solutions that integrate with Q-SYS, a cloud-manageable audio, video and control platform.

As part of the programme, Analog Way has worked closely with Q-SYS, which

has fully vetted and endorsed the Analog Way LivePremier plugin for Q-SYS with a Q-SYS Certified badge (developed with Q-SYS and supported by Analog Way and Q-SYS). This plugin allows easy control of any presentation switcher of the LivePremier series, including screen and layer content control, preset recall, preview/programme transition,

multiviewer management and audio routing.

Philippe Vitali, director of product, Analog Way, said: “We are delighted to become a member and to provide our customers and partners with a Q-SYS certified plugin, designed to greatly simplify the integration of our LivePremier 4K/8K presentation switchers into Q-SYS.”

“We are proud to have Analog Way join our programme and work collaboratively with us on a plugin integration that will enable elevated experiences for our shared customers,” said Geno Zaharie, principal, alliances and ecosystem, Q-SYS.

www.analogway.com

www.qsys.com

A typical workspace at the uni

DPA helps to propel South Africa’s rising music industry

SOUTH AFRICA

The International Federation of the Phonographic Industry’s Global Music Report 2022 revealed that sub-Saharan Africa experienced an impressive 34.7% surge in music sales in the previous year, with South Africa leading the charge with a 30% year-on-year increase in sales. African artists are reaching global audiences, propelling the South African music industry into the spotlight. And with global recognition comes the opportunity for South African producers and sound engineers to showcase their talents and compete on equal footing with professionals from more established markets.

First to accept the challenge is Simphiwe “Smooth” Mhlanga, an up-and-coming sound engineer. Mhlanga’s journey into the world of sound engineering began as part of the production crew at Hope Restoration Ministries in Gauteng while he was still in high school. His passion for music and sound led him to pursue formal training specialising in film, television, radio and broadcast.

Mhlanga ventured into the world of freelance sound engineering. The pressure of the live music scene taught him a deep appreciation for reliable gear and on-the-spot problem-solving. “Being a freelance sound engineer is an incredible learning experience for any young technician. You are only as good as your last job, and there are no second chances. It taught me the value of having professional quality, well-maintained equipment that meets the highest industry standards on every single gig,” he explained. As Mhlanga’s reputation grew, he became the sound engineer of choice for some of South Africa’s most promising music talents.

Mhlanga took a bold step early on in his career by investing in an inventory of audio equipment, including a set of DPA 2028 Vocal Microphones. “The DPA 2028 mic is a handheld vocal condenser that can be used wired or with a wireless system and is perfect for capturing the energy of high-intensity performances. It is specifically designed for the live stage, and offers exceptional sound quality, transparency and versatility,” explained DPA product specialist at ApexPro, Keith Karimi.

Mhlanga emphasised the importance of serving the artist’s needs as a priority: “While many performers may not initially be aware of the difference top-quality

microphones can make, they come to appreciate it once they experience it firsthand.” His ongoing commitment to enhancing the quality of local performances by using the industry’s best tools is said to have garnered recognition and praise from artists and audiences alike.

www.dpamicrophones.com

L–R: ApexPro’s Keith Karimi with Simphiwe “Smooth” Mhlanga

From theory to practice

SOUTH AFRICA

d&b audiotechnik recently concluded a workshop tour in South Africa in collaboration with local distributor Stage Audio Works (SAW). The workshops took place in Cape Town and Johannesburg and were led by Janko Ramuscak, senior application, training and support consultant at d&b audiotechnik.

“Our workshops were tailored to address the needs of regular users of our line array systems,” explained Ramuscak. “We explored the physical design of loudspeaker cabinets and the underlying principles of line arrays, helping demystify common misconceptions along the way. The sessions also focused on subwoofer deployment and emphasised the importance of robust sound system planning, especially in line array setups. Our software ecosystem, featuring ArrayCalc for planning and R1 for remote control, significantly streamlines

this process, and it is important for us to share these technologies with our users.”

The workshops were attended by audio engineers and system technicians wanting to enhance their proficiency in deploying d&b

CTME expands its inventory to meet growing demand

“We covered the whole process, from gathering room dimensions to planning a line array system and then physically deploying it,” recalled Ramuscak. “After running through a fast and effective commissioning process, attendees could not only see but also listen to all the phenomena discussed in the classroom, such as directivity control and the effect of different time alignments.

systems or refresh their existing knowledge base. Following the theoretical training, attendees were given the chance to put the theory into practice, with d&b V-Series loudspeakers available for hands-on practice.

“My time in South Africa for these workshops has been truly enriching,” reflected Ramuscak. “The passion exhibited by the participating audio engineers is commendable and the numerous questions and interactions underscore the industry’s hunger for knowledge and improvement.”

www.dbaudio.com

www.stageaudioworks.com

UoS goes hybrid with Lightware

The University of Sharjah (UoS) is the largest university in the United Arab Emirates and a rapidly evolving educational venue. For several years, the university has been implementing a digitalisation programme for its campus. So far, CCTV, access control and classroom technologies have been deployed across its premises. However, the need for hybrid technologies has recently become a focus for the university. The teaching personnel needed touchless control, preferably available from personal devices to avoid infection, and they expected seamless connectivity and a simple solution. On top of that, the IT team looked for the technology that would keep the instructors’ devices powered and running for hours throughout their challenging schedules of lecturing, presenting and running video conferencing.

MIDDLE EAST

Creative Technology Middle East (CTME) has significantly bolstered its lighting department in recent months, with its portfolio now boasting over 2,000 fixtures from brands such as Robe, Ayrton, Elation, MA Lighting and Luminex. Most recently, the company has become the first in the region to stock the new Proteus Excalibur moving heads from Elation Professional, a fixture it says is highly sought after due to its brightness capabilities and IP rating, which allow for the creation of “immersive and impactful” designs. Faced with consistently growing demand, CTME has already made plans to further expand its lighting stock once again in the near future.

“These investments reflect our dedication to meeting the market’s evolving needs and solidifying our position as a dominant force in the lighting industry,” commented CTME managing director Andy Reardon. “Our exceptional team of professionals work closely with our clients to design and deliver immersive lighting experiences that create unforgettable moments. Their expertise,

creativity and commitment to excellence have contributed significantly to the department’s rapid growth and success.”

Aiming to establish itself as the region’s premier rental house for the live events market for INFiLED products, CTME has also announced that it now maintains an inventory of over 2,000m2 of the manufacturer’s products and is also an exclusive regional supplier of INFiLED ART 4.6 and ER 5.9 solutions. Its significant investment reportedly enables the company to cater to events of any scale, ensuring clients receive the highest quality LED screens for their productions.

Reardon continued: “Our significant investments with INFiLED have allowed us to elevate our LED offering to new heights and offer our clients even more cuttingedge event technology solutions. We are committed to pushing the boundaries of innovation, and we are excited about the endless possibilities that lie ahead.”

www.ctme.co

The university’s exterior

When Covid waged, the UoS used docking stations for switching. In larger classrooms, beyond projectors and interactive whiteboards, there were voice-lifting devices. Docking stations deployed in about 100 classrooms caused plenty of headaches for the IT personnel, with frequent freezing, the need for debugging and firmware upgrades, de-powering, etc.

The university IT team set off to search for a solution with a clear vision of the goal and awareness of the task’s complexity, eventually deciding on Lightware’s TAURUS UCX-4x2-HC30. “It was 10 years ahead of the competitors, very intelligent, very powerful and not very expensive,” said Khaleel Ahab Dajani, senior AV officer at the university.

It took just four weeks for the university’s IT specialists and the contractors to install 170 units of the TAURUS UCX, proving its ease of deployment. The switchers have enhanced hybrid classrooms with touchless intuitive control available for instructors with the QR code via authenticated Wi-Fi access on their personal devices. The TAURUS UCX has enabled the use of classroom peripherals like cameras, microphones, keyboards

and mice. With their laptops connected to a switcher supporting 60W charging, the UoS’s instructors are confident that their devices stay powered whilst presenting or at UC sessions. The IT team has increased its efficiency by monitoring and managing all the TAURUS UCX units remotely.

www.lightware.com

BeWunder inventory set to be 10 times bigger

BeWunder emerged in November 2022 as a spin-off under the leadership of managing directors Jens Gießler and Felix Erdmann. This transition marked a strategic shift for the company, empowering its team to deliver event solutions tailored to diverse scopes and scales.

Owing to its growth and expansion into multiple regions of the Middle East, BeWunder has heavily invested in upgrading its inventory of equipment. This infusion of new resources and local kit availability further bolsters its capacity for delivering event solutions to all project requirements.

Strategically located warehouses across the region also contribute to BeWunder’s ability to execute projects in the Middle East with shorter turnaround times.

Felix Hübner, head of equipment at BeWunder, said: “As we approach another exciting season here in the Middle East, the first since our transition into BeWunder, the team is ready and better equipped than ever! With our new warehouses set up across the Middle East, BeWunder is equipped with large quantities of the newest gear from brands such as L-Acoustics, d&b, DiGiCo, Yamaha, Panasonic, Barco, disguise,

AV Stumpfl, INFiLED, ROE Visual, Robe, Martin, CLF Lighting, MA Lighting, Riedel, StageSmarts and more.

“We are excited to take on all the incredible opportunities that are coming up

in the next few months and look forward to bringing our signature BeWunder expertise and quality as a value add to our projects.”

www.bewunder.com

Norwood Productions opts for the grandMA3

SOUTH AFRICA

Norwood Productions, a South African company that offers a full turnkey experience from assisting with event planning to supplying technical equipment, has taken the plunge and purchased a grandMA3 onPC command wing XT from local MA Lighting distributor, DWR Distribution.

The owner of the company, Chris Norwood, is thrilled. “We are very pleased with the

MA3 console,” he said. “It’s always great to stock well-established, reliable brands. As always, the support from DWR is greatly appreciated and everyone on the team is such a pleasure to deal with.”

Duncan Riley of DWR said: “We are so chuffed to be part of your journey, Chris. Thank you.”

www.dwrdistribution.co.za

The new CVA series of Amplifiers outperforms all competitors, making them the very best in class.

Singer Ross Learmonth is wild about Astera

SOUTH AFRICA

Ross Learmonth, frontman of popular

Learmonth said: “I needed something light, portable and different for this new endeavour,” he explained. “I wanted to create a distinctive mood and atmosphere in the room as people would be hearing this music for the first time.”

He considered a few options, and one of the people he consulted in this quest was

Cameri Theatre Tel Aviv invests in Robe

Duncan Riley of DWR Distribution, also Astera’s South African distributor. Riley thought of Titans due to their wireless capabilities, and he invited Learmonth to a demo at DWR’s showroom in Johannesburg. “It was exactly what I was looking for,” declared Learmonth, who purchased a set of Titan Tubes to take on the tour.

For most of the shows, Learmonth would have six Titan Tubes on stands placed around the stage at the back, plus two fixtures for uplighting himself and drummer Denholm Harding with whom he played as a duo. Some shows also featured special guest musicians who could also be easily and effectively lit by

Each fixture can be controlled individually – in this case by guitar tech Scott Coetzer using the AsteraApp on his smartphone. Learmonth was very happy with the results. Having the Asteras on the road with them made “a huge difference,” he stated, transforming some potentially “drab” looking stages into bright, positive spaces.

Some shows they played were in daylight, and the Titan Tubes were bright enough even in those conditions to make a difference, adding texture and interest to the overall picture. The Titan Tubes were such a success on the tour that Learmonth used them for the album photo shoot as well.

“They made both the show and album studio shots look incredible, I had a photographer travel with us on the last gigs and it was a lot of fun working out how to approach staging and photo shoots with the lights in mind. We wouldn’t have achieved such a high level of visuality in the touring work without them,” he enthused, “it’s an amazing system.”

www.astera-led.com

Achadim lit by Nadav Barnea, explained technical manager Shabi Aaron Nahum. The very first Robes in the house were ParFects. After making the decision to invest for the production, the venue specifically needed lights with good shuttering, zoom and dimmer curve as the seven ESPRITES are deployed on the front bridge. Nahum said: “The shutters are perfect, they do not move even 1% on recall,” adding that the quality of the light output also impressed him.

The 20 Tetra2s are rigged on the upstage bars of the Cameri’s main hall and were also picked for the intensity and colour, as well as to illuminate an 8m-high rear screen, which

Volaris Group acquires DisplayNote

Volaris Group has announced its acquisition of DisplayNote Technologies. This deal will help accelerate DisplayNote’s mission to create connected experiences in meeting rooms and learning spaces worldwide.

The Cameri Theatre in Tel Aviv is one of the busiest and most recognised in Israel and, since 2003, has been located in the vibrant cultural hub that is the Tel Aviv Performing Arts Centre. Founded over 70 years ago, the theatre is focused on producing local works.

It has five halls, the largest with a capacity of 1,000, and has recently invested in Robe ESPRITE moving lights and Tetra2 moving LED battens. These were the first moving lights in the venue and were initially purchased for a production of Kaymim

All these Robe luminaires are now part of the house rig and used daily on all the shows, including those by Bambi (Avi Yona Bueno), one of Israel’s best known lighting designers, who was lighting The Chabadnikim, a musical show directed by Gilad Kimchi and Udi Gottshalk with his long-term programmer, Alon Cohen. Bambi said: “They are absolutely amazing fixtures, very elegant and with such a great range of effects. The shutters and the

The designers used the Tetra2s as a back curtain and for other effects for this show which featured an elaborate set designed by Eran Atzmon. The Cameri Theatre’s new Robe lights were supplied by Danor Theatre and Studio Systems, Robe’s Israeli distributor.

Rob Turner, group leader at Volaris Group, stated: “Our decision to acquire DisplayNote was driven by their customer-first approach and culture of innovation, underpinned by industry-leading technology. Their vision of strong long-term customer relationships and industry-leading innovation aligns with ours, helping position both Volaris and DisplayNote for continued growth.”

Paul Brown, CEO of DisplayNote, said: “With Volaris, DisplayNote has found a home that shares our vision and helps us continue to support and expand our customer and partner ecosystem, whilst still innovating and growing the team.

“Importantly, DisplayNote’s journey of innovation and customer dedication continues. Customers can expect the same level of commitment to providing high-quality products and services and will see the same familiar faces leading the way.”

www.displaynote.com

www.volarisgroup.com

Above and below: technical rehearsals of The Chabadnikim

Sole Certi ed Fiber Assembly Lab in the GCC for LEMO and NEUTRIK

Provides expert craftsmanship in assembling, terminating, and testing SMPTE cables. Ensuring reliable and high-performance connectors with precision and guaranteed superior signal transmission, exceptional durability, and seamless compatibility for demanding broadcast, audiovisual, and video production

O ers professional-grade expertise in assembling and terminating rugged OpticalCon cables and connectors. Ensuring reliable and high-bandwidth optical signal transmission, for critical applications in the broadcast, audiovisual, and live event industries.

Extended Mix feat. D Scott

Sound engineer Dave Scott reflects on more than 20 years of live and studio mixing in Amman

HAVING TRAVELLED TO JORDAN ON A SHORT-TERM contract in 2009, British engineer Dave Scott remains in the capital city of Amman some 14 years later. Prior to his selfimposed exile, Scott was the go-to-engineer for numerous native Liverpudlian acts, played a major role in Oasis’s Supersonic and Definitely Maybe recordings, produced several historic albums and was tour manager for the Brian Jonestown Massacre. As appealing as the local cuisine or mean temperatures are, Scott proclaims the diversity and boldness of the Jordanian music scene as the reasons behind his extended stay.

Like many other journeymen of his era, Scott was a musician who quickly realised he could earn more by managing and controlling the audio mix than playing chords. “I’d always harboured an ambition to be that guy behind the mixer, so I convinced a couple of small acts to let me mix their live performances. When I first got involved in the local music scene, I started to appreciate the bands and their unique musical styles. There was so much going on in Liverpool that I had been totally unaware of but, as my skills developed, I gradually gained respect from these bands.”

Four decades on and those early traits of tuning into the performing act have served him well. Having ascended the heights of the UK indie music scene, Scott confesses that he was looking for a challenge and a new sound when he landed in Amman. “Whilst working on my short-term contract, I met some of the country’s original artists who asked me to return after my contract ended in 2010. What I discovered here was an undergrowth of creative artists and writers who were not being served well by the local live music scene or the record production environment. Rather than try and approach this with any kind of arrogance or sense of superiority, I wanted to offer artists better production values than what was on offer.”

Scott quickly found himself in high demand. Local bands such as Autostrad, Jadal, AkherZapheer, Jabak Al Mareikh, El Far3i, 47 Soul and El Morabba3 all called upon his experience and open mindedness. Although the artists were attracted by his supposed signature style of mixing, with huge heavy drums, big spacey vocals and guitars flying around, Scott is hardly fixed in his approach, with an extensive and experienced catalogue of instruments and genres. “I’d like to

be an indie scene and it took some time to discover who was creating their own original material. Technically speaking, all Jordanian artists are independent as there are no record labels to fund, market and support them. The indie scene as a kind of genre, was practically non-existent. Bands such as Autostrad and El Morabba3, that are now quite well known, were in their infancy around that time.”

Rather than relating to a particular genre of music, Scott describes “indie” as music created independently of corporate influence, whereby artists have more room to explore. “Once I’m on the same page as the artist, I can help them realise their ideas and hopefully translate that all the way through the process to the final release. Although we all have reference points and influences, I’m not interested in replicating something that’s already been done. Jordan has several bands and artists displaying a very eclectic range of influences and in doing so they have managed to form their own sound. It’s great to witness an artist burning off all their initial influences and creating something original.”

As an experienced engineer, Scott now feels part of the Jordanian music community. “I am valued by some artists who

understand where I’m coming from and from those who see my input as a relatively minimal expense that is worth investing in. It shows a level of commitment to their art. I produce better results on those projects I’m involved in from the start, including preproduction rehearsals with the band, supervision of the recording sessions, overdubs and finally the mix. This can be too expensive for some of my clients, so I’m often left with just the mix of less than great recordings. Where the recording engineer’s art is undervalued, the wholesale returns to that dreaded ‘fix it in the mix’ mentality. Owing to the diminishing returns on recordings these days, I don’t take it personally.”

A common problem of his adopted country is the difficulty in finding locations to practise and play music. “The shortage of available venues is holding back music and is perhaps the single

Onsite in Amman’s Jabal Qa’ala-topaz

Waiting for the tour bus in 1991

rates. This creates huge financial obstacles for artists wishing to stage any live performance.”

Scott has continually divided his skills over four decades between studio recording and live sound engineering. “The live work is seasonal and there’s more of it, but when the show is over its largely forgotten. I am more creative in the recording studio and when I produce something, I know that it will still be around for years to come. There are huge differences between the disciplines, but they interact and having a knowledge of both is beneficial, especially now that studio mixing is practised in a live environment.”

Having subscribed to digital two decades ago, Scott’s analogue skills remain sharp, but he feels nostalgia can sometimes be an obstacle towards progress. “I was booked into a London studio to mix a new Jordanian/Palestinian band called 47soul who were 70% electronic with a two-inch tape machine, an analogue console and outboard. The studio didn’t have an alignment tape for calibrating the machine and the engineers didn’t know the difference between 456 and 499 tape. Having run a few test tones I discovered that only half of the 24 tracks were responding acceptably, so I recorded directly into Pro Tools.” In a live setting, however, Scott reverts to being the analogue kid. “Analogue is like riding a bike – you never forget. On those occasions when I am operating a Midas Heritage or a Yamaha PM4000, everything comes together quickly and that gives me confidence before the show. I know that I can react instantly to multiple issues and can simultaneously see the signal path of every input and output. This is a luxury that digital has taken away.”

Like he did for Oasis in 1993, Scott continues to try and record a live session in the same room. “Managing that aspect with associated audio bleed and headphones mixes is a very analogue workflow. It’s also essential for getting the best band performance and knowing when you’ve got that special take of a track. You can’t do that when you separate everything too much, where the emphasis on playing correctly takes over rather than allowing the magic to spontaneously happen. The first album I

produced in Jordan was done mostly live with a cheap Mackie live desk and a couple of old ADAT machines. The artist was terrified at the prospect, but it was an important album for the Arab indie scene with some great indefinable qualities.”

Having fully adjusted to life away from Merseyside, Scott is settled in Jordan, but he has not subscribed to some aspects

Promotion Region: Middle East

of the local culture. “I’m used to people arriving late now, but don’t get too annoyed by it. Time management is considered a low priority and it is slowly getting better. But poor timekeeping costs money in the studio, and in a live setting it steals valuable soundcheck and preparation time.”

In his familiar Amman surroundings, Scott admits that he still misses “good Chinese food, the old Victorian parks of Liverpool and cycling everywhere” but, in essence, he’s at home. “In the very early 1980s, I was playing guitar in several bands while teaching myself sound engineering and getting involved in the technical side of the music business. I never intended to do sound engineering for a living, but 40 years and several million album sales later, I am still doing it.”

Abu Dis, East Jerusalem

Staying on track

– a

Have there ever been any hairy moments while on the track?

In my first race, right after the first corner, two riders collided directly in front of me and I just about missed it myself. And while fighting for position in another race I was pushed off the track onto the grass but managed to keep myself upright and get back on the track without too much drama.

you in your role at Adamson?

My day tends to start at 6am when I wake up and turn my phone on. I check emails and messages then jump on my road bicycle and cycle 70–80km, before heading to the office if I’m not travelling. If I’m overseas I’ll either hit the hotel gym or, if the location is suitable, I’ll take my bicycle on the plane and ride in the morning before heading to meetings. Due to the nature of the business, the day doesn’t end until the phone is turned off at night.

How and why did you get into motorsports?

When I lived in the UK, over the years I owned a number of tuned Minis, Japanese sports cars and fast Audis. I spent several years working for a German loudspeaker company, and during this period I would regularly make the journey into and through Germany on the autobahns in my fast Audi. I also once took the ‘Ring Taxi Porsche GT3 RS ride at the Nürburgring.

When we moved to Singapore it became very apparent, very quickly, that driving fast there wasn’t a possibility, and any car that was remotely interesting had a sky-high price tag – plus there was nowhere you could really drive said cars in Singapore. After moving to Chiang Mai, and travel came to a halt due to Covid, I decided to work towards a motorbike licence at the Honda facility there. Prior to this point, I had never ridden a motorbike but, after spending three days practising on a private course, I really enjoyed it. Following this, I dropped past a local track and saw some riders dragging their knees and elbows around the corners and thought – I need to learn to do that!

How do you find the time to train and compete around your work life?

In Chiang Mai we have easy access to smaller circuits to practise. I have a garage at Chiang Mai Circuit where

I keep both my track bikes (Honda CBR and Kawasaki Ninja). This track is open till 9pm and is floodlit, so I can show up early evening or on a weekend, put on my race suit and helmet and head out. Everything is sitting in the garage ready to go. There’s also a larger track located about two-and-a-half hours away, where a few of us drive up and spend the weekend riding, plus a number of other circuits dotted around Thailand.

What is the most memorable experience you’ve had while racing?

When you’re out on a track riding hard and practising, it’s the sensation of taking a fast corner at 160+km/h, and you can almost kiss the tarmac, it’s that close as you’re leant right over. But when you’re racing you do things you never do when practising. You push so much harder with less regard for what you think is the limit, just so you can get past someone or keep them at bay and, so far, I haven’t come unstuck thankfully.

What advice would you give to someone wanting to start motorbike racing?

In Chiang Mai we have a great facility called Fox Mini Circuit. It’s a very small learner and practice track providing small-wheeled 125cc bikes, along with an instructor. In a weekend or so, the trainers can teach you all the basics and eventually have you leaning into a corner on your knee within a very safe and controlled environment. This is how I learned. Essentially you need an instructor, a bike to learn on and a safe environment to do so. Be prepared to get it wrong, but know you’ll also be wearing a race suit, helmet and gloves, so at a slow speed you’ll be back up and on the bike in a minute.

What is it specifically about motorsports that is so beneficial to you?

The sensation of going fast, finding the limit and that it requires all your concentration.

I suppose you could compare it to meditation, as you won’t be thinking about anything else, just where you need to be on the track for the next corner and when to brake in order to tip it in at the right time, while carrying as much speed as possible.

Motorcycle racing is also a very physically demanding sport. The way the bike moves and turns is directly influenced by where you place your body, so it’s a workout at the same time, and those that know me will understand that this aspect very much appeals to me – I get to combine going fast with a physical workout.

Why do you think it’s so valuable to have a hobby like this outside of work?

You need to make time for these things, or you can get burned out or entirely consumed, and that’s where it can negatively affect both your physical and mental health and, in turn, your work and family life. I’m very big on work–life balance, and a huge believer in looking after yourself.

Adamson APAC MD, Ben Millson, talks with Libby Stonell about his love for motorsports

physically demanding passion that provides downtime from his time-consuming career

The collision – Millson is in the background

Ben Millson

THE POWER OF THE SYSTEM

> New XPS Amplifiers - up to 16,000 Watts Continuous Power

> Massive power headroom and ultra-low distortion

> Presets for RCF Speakers and Subwoofers

> Dante Network and Digital AES-EBU I/O

> 96-kHz / 40-bit floating-point DSP

> Suitable for Small to Arena Sized Audio Systems

> Vast Catalog of Speakers for Fixed and Touring Applications

> Excellent Signal-to-Noise Ratio and Dynamic Range

> Durable and Reliable Tour-Worthy Solutions

> Remote Management via RDNet Software

> FiRPHASE Zero Degrees Phase Response

> Bass Motion Control and BASS Shaper

*RCF Sound System example featuring an HL 6 Line Array system and HL 35-S Subwoofers powered by one 4-channel XPS 16KD DSP Amplifier with Dante Onboard.

From Gastro to Gym

LD Systems provides sound for the BB Club in Surat, India

OFFERING A GYM, TRAMPOLINE PARK, bowling and varied indoor and outdoor gastronomy, the BB (Black Bunny) Club in the West Indian city of Surat leaves hardly anything to be desired as a central contact point for fitness and entertainment. The operators’ demands on the visual appearance and sound quality of the sound system in the numerous rooms and areas were correspondingly high. For the supplier and integrator Evenflow Eternal, it was clear that the right solution could be found in the LD Systems loudspeaker portfolio. The result, according to Evenflow owner Ankit Vadodariya, was clear: “There is no location in all of Surat that comes close to BB Club in terms of design and sound.”

To provide the best possible sound for the different spaces, with their changing power and design specifications, Evenflow Eternal relied on a mix of several LD Systems speaker series – CONTRACTOR Series two-way wallmounted speakers for the hospitality areas and bowling hall, SAT G2 installation speakers for the Crossfit and Zumba rooms, and ICOA Series coaxial PA speakers for the large fitness area. “The management of the BB Club placed great importance on a consistent and uniform sound experience throughout the building, without compromising on transparency and efficiency,” confirmed Vadodariya. “They also wanted the speakers to integrate perfectly with the interior of each room.”

Vadodariya’s decision to go with LD Systems was made after an extensive visit to the Adam Hall Group headquarters in Neu-Anspach, near Frankfurt, Germany. There, the experienced integrator was particularly impressed by the research and development department in the Adam Hall Experience Centre, as well as the professional quality control. For the BB Club project, the Evenflow Eternal team also received comprehensive support from Indian LD Systems distributor Stagemix Technologies in terms of deciding placement of the speakers and subwoofers.

Gastronomy

In the rather quiet restaurant and café areas, Evenflow Eternal installed the versatile CWMS 52 two-way wall speakers (which feature a 5.25-inch woofer and 1.2-inch tweeter) from the CONTRACTOR Series on the brick walls (indoors) and posts of the pergola awnings (outdoors) to achieve even sound coverage. The CWMS 52s are also used in the bowling hall. Here, the all-round speakers can prove their assertiveness even in noisy environments –supported by the compact and powerful SUB 10 A 10-inch subwoofer with integrated three-channel power amplifier.

20 x LD Systems CWMS 52, 5.25-inch two-way wall loudspeaker

4 x LD Systems SAT 62 G2, 6.5-inch installation loudspeaker

4 x LD Systems SAT 82 G2, 8-inch installation loudspeaker

2 x LD Systems SUB 10 A, 10-inch active subwoofer

4 x LD Systems ICOA 12, 12-inch passive coaxial PA loudspeaker

2 x LD Systems ICOA SUB 15 A, active 15-inch bass-reflex PA subwoofer

Crossfit and trampoline

Two more SUB 10 A units provide motivating beats in the Crossfit/Zumba area, which are played via Bluetooth to the subwoofers by the trainers. The SAT 62 G2 6.5-inch installation speakers – which feature a bass-reflex design – are used here as powerful full-range systems, which integrate discreetly into the modern and urban fitness ambience. In the neighbouring trampoline area, the SAT 82 G2 8-inch version is used in combination with two SUB 10 A subwoofers. To safeguard both people and technology, the 120W (RMS) two-way speakers were welded directly onto the existing metal structures at a height of around 4.6m. “This type of direct mounting can prove problematic. However, thanks to the exceedingly robust SAT wall brackets, we had no problems in our case,” explained Vadodariya.

Fitness

According to the Evenflow owner, the fitness area in the BB Club proved to be a challenge, as it comprises the largest sound reinforcement area at around 250m2 and there is also always a high ambient noise level – due to weights and equipment being constantly used. “We needed a rich, assertive sound pressure to support the guests’ workout.” The solution: four ICOA 12 coaxial PA speakers with 12-inch woofers and 1-inch tweeter drivers, precisely aimed at the area from an elevated position via ICOA 12 UB universal mounts. Additional bass support down to 36Hz is provided by two active ICOA SUB 15 A bass-reflex PA subs.

www.adamhall.com

@bbclubindia

www.ld-systems.com

www.stagemix.com

Images courtesy of Prachi Khasgiwala

The following products are used at the BB Club:

PPDS partners with Avientek

PPDS, the exclusive global provider of Philips professional displays and dedicated AV software solutions, has announced the latest phase of its growth and expansion strategy in the Middle East, with a new partnership with AV and UC distributor Avientek.

Available solutions from PPDS will include digital signage, ePaper, interactive displays, direct view LED and business and hospitality TVs, as well as solutions including the recently launched PPDS Wave. PPDS also brings compatibility with many of the distributor’s third-party partners, including Crestron, Logitech and Wolfvision.

VM Manu, director at Avientek, commented: “Avientek is a distributor of AV and UC products and has been operating in the market for the past seven years. Working with PPDS, Philips professional displays are the right fit for our product line-up, which meets

LEA Professional selects Lebanon’s Technosound

MIDDLE EAST

LEA Professional has announced a distribution partnership with Technosound of Beirut, Lebanon to support its thriving customer base in the Middle East.

Technosound has more than 50 years of experience in the audio industry and is a trusted distributor in the world of Lebanese pro audio. It will represent the full range of amplifier solutions from LEA Professional. “We are always seeking new, dynamic partners to complete our offering,” said Georges Bitar, CEO of Technosound. “LEA Professional is a gamechanger in this industry, and we are proud to work with an innovative partner that is always looking to make things better, easier and more powerful.”

“Technosound has a stellar reputation in this region of the world and we are excited to continue building momentum for LEA Professional’s best-in-class amplifiers,” said John Dodson of ProCon AV, LEA’s sales partner in the Middle East.

“Lebanon and the surrounding Middle Eastern countries are critical growth areas for LEA Professional,” commented Scott Robbins, VP of sales at LEA Professional. “We are thrilled to have Technosound’s Pierre Fahed [director of sales and marketing] and the rest of the team on board. The company is experienced, has a great customer base and will be critical in helping advance LEA Professional and our cloud- and IoT-based technologies in this region of the world.”

www.leaprofessional.com www.techno-sound.org

Headed by Jean William, a prolific and talented lighting and show designer in his own right, Impact Egypt Solutions is based in Cairo and known as one of the oldest and best-respected entertainment technology enterprises in the country.

William founded Impact Egypt 33 years ago. The company engages in a wide selection of lighting, visual and multimedia projects, taking on multiple aspects including show design, installation and operation, keeping its 40 or so full-time staff busy.

William has always had an eye for Robe products and has wanted to work with the brand for a while, a scenario that is now possible due to a restructuring of the distribution setup. “The products are excellent, they are well-designed and robustly built, affordable and offer a

William and Robe’s Middle East regional sales manager, Elie Battah, met at ISE in Barcelona earlier this year and first discussed Robe’s repositioning in the region. “I was looking for someone with a great reputation and who was enthusiastic and invested in the brand,” noted Battah. “I’ve known Jean for a while, and the time is now right for us to collaborate. I believe the company will really maximise our potential and brand presence in Egypt. Egypt is a unique market, so it is great to have a distributor familiar with using the products in real situations every day, which assists communications and keeps in touch with our markets on multiple levels.”

The rental side of Impact Egypt Solutions is involved in numerous large and creatively staged conferences and

durability, long-term performance, customer satisfaction and competitive advantage. We are delighted and excited by the opportunities ahead with the partnership, and my team and our partners are thrilled to have them on board.”

Wim De Geest, executive director MEA, PPDS, added: “Avientek is a growing and internationally recognised market leader for delivering quality and innovative display solutions to the channel. As we continue to expand and strengthen on a global scale, it’s important we form partnerships with organisations that are strategically aligned with our efforts in bringing outstanding, longterm value to customers and doing business in the right way.”

advise on using the most appropriate and effective technology. The company will keep working in the rental market and William will continue to design and manage projects.

The Impact Egypt owner sees massive potential for the manufacturer’s new iSeries of IP-rated fixtures, particularly the iFORTE for large ballrooms and conference centres. On the rental side, everyone at Impact Egypt Solutions was impressed enough with Robe to purchase over 200 fixtures for stock. Initially the company will have about 200 different Robes in rental, but this figure is set to expand. William also has a branch in the UAE – Impact Dubai – which will keep a Robe system in rental stock.

www.robe.cz

VM Manu

L–R: Jean William and Elie Battah

AV Worx to distribute Dante Domain Manager

AV Worx has announced that it has been appointed as a distributor of Dante Domain Manager (DDM) in Southern Africa. This strategic partnership with Audinate enables AV Worx to expand its product portfolio and offer advanced network management solutions to its customers. As a distributor of DDM in Southern Africa, AV Worx will provide comprehensive sales,

training and technical support services. AV Worx is said to be well-positioned to meet the growing demand for audio networking solutions across various verticals, including broadcast, houses of worship, corporate applications, education, hospitality and entertainment.

“We are thrilled to partner with Audinate as a recognised distributor of DDM in Southern

Africa,” said Mark Malherbe, director of AV Worx. “Dante has become the industry standard for audio networking and, with the addition of Dante Domain Manager to

NMK Electronics partners with LG

NMK Electronics has signed a new deal with LG, which will see NMK Electronics distribute LG’s entire portfolio of information display solutions in Saudi Arabia. The LG product line-up available to NMK includes an extensive range of indoor and outdoor LED displays, signage screens, interactive digital boards, hospitality screens and advanced software solutions such as Super Sign and Procentric. Lim Heetaik, product director at LG,

Dino Drimakis, commercial director at NMK Electronics, said: “We are excited to add yet another leading video brand into our portfolio. This alignment with LG further cements our vision of making NMK the leading audio and video provider in the GCC region.”

The partnership represents a strategic alignment for both NMK and LG, particularly for large-scale projects underway in the Saudi region. NMK’s extensive portfolio – which

“We will offer comprehensive training and support to ensure that systems integrators have the knowledge and skills required to maximise the potential of Dante Domain

SOUTH AFRICA

SAUDI ARABIA

L–R: Dino Drimakis and Lim Heetaik

DWR Distribution welcomes new sales trio

SOUTH AFRICA

With the South African live events market picking up over the past year, Andrea Fowler, Jason Johnstone and Callan van Zyl have joined DWR Distribution’s sales team to help accommodate its growth.

Johnstone will work closely with Dylan Jones, DWR’s brand manager, for products from Absen, Green Hippo and Magnimage. Johnstone was initially employed on the technical side where he carried out servicing and repair work right

SI side of the business.”

van Zyl joins the DWR Distribution sales team following various roles within the industry. Highlights include starting his own mobile DJ company, before working at Gearhouse IVTM. He also worked as a rentals manager at Southern Lighting, and for the past three years at Broadcast Lighting where he expanded

Anders Olsen appointed to lead MEA at Blaze Audio

Industry veteran Anders Olsen has joined fledgling Danish company Blaze Audio in the newly created role of regional manager, MEA and export markets. At Blaze, Olsen will oversee an expandable sales network comprising partnerships with proficient distribution and systems installers in order to ensure fast growth in the region. He’s also tasked with cultivating strong connections with new distribution partners to enhance brand visibility and product understanding.

The young company was born out of the ashes of the pandemic in 2021 as a separate brand within amplifier module manufacturer Pascal A/S, specialising in producing digital amp solutions for hospitality venues, retail environments and installed audio reinforcement applications.

“To attract a capacity like Anders shows how far Blaze Audio has come in the last two years,” commented executive sales director

EMEA and APAC, Niels Tholander Lorentzen. “Anders will bring fresh perspective and strategic insight and potential to explore untapped markets due to his extensive expertise. We are confident that Anders will seamlessly integrate into our company culture, and we are excited to embark on this journey together.”

Olsen has been involved in audio since the age of 17, enjoying stints with companies such as DNH, Cambridge Sound Management, Apart Audio and, most recently, Biamp. “I am very excited to join a young brand such as Blaze,” he said. “It’s not only a very exciting growth journey, but also allows me to promote products engineered in my native Scandinavia to the wider world.”

www.blaze-audio.com

MANAGER

• WES HERRON • PRESIDENT LECTROSONICS

• KARL WINKLER

• EXECUTIVE VP OF PRODUCT DESIGN AND DISTRIBUTION LECTROSONICS

MEA

Jason Johnstone

Callan van Zyl

Andrea Fowler

Cesare Camparada joins Media Links Hochguertel returns to Ikegami

Having celebrated its 30th anniversary this year, Media Links has announced that Cesare Camparada has joined the company as head of market development for EMEA. In his new position, Camparada’s focus will be to work with existing clients, expand the company’s partner network and build Media Links’ business across the region. Camparada joins with over two decades of expertise in the broadcast and media technology industry.

Al Nuñez, president, Media Links, said: “His passion, dedication and reputation are a driving force for our expansion, and the timing of his appointment is critical as the adoption of media-over-IP solutions and our footprint continues to grow in the region.”

Cesare added: “Media Links has garnered great respect for its team, www.medialinks.com

Ikegami Electronics has announced an addition to its executive team operating from Germany. Gisbert Hochguertel has rejoined the company to handle broadcast sales and marketing throughout the EMEA region.

Hochguertel commenced his broadcast industry career at public broadcaster Westdeutscher Rundfunk Köln before joining Ikegami in 1991 where he was active in sales and product management for nearly a decade. He subsequently worked in a similar role at Sony Europe before moving to virtual advertising specialist LANE as head of broadcast.

“Gisbert is a popular, respected and wellinformed broadcast industry veteran with a good understanding of the broadcast and multimedia market,” commented Michael Laetzsch, broadcast and professional video division manager at Ikegami Europe.

and across the EMEA countries in promoting Ikegami’s strength as a technology partner. I also look forward to working with existing Ikegami equipment users and helping to expand the company’s customer base.”

www.ikegami.co.jp

Embedded audio

companies are now producing their content in Dolby Atmos instead of 5.1 or 7.1. Streaming also has a big part to play in this transition. We want to be at the forefront of this movement and that’s where the desire to create The Dream Room came from.

“The first goal with the space is to be sure that what you hear is as close to the truth as possible,” he furthers. “One aspect of audio production that all music and sound production communities share is the fact that you can’t control how the consumer will hear the final result. Your creations might sound great on good systems, but then terrible in semi-professional or bad setups, such as TV speakers. We do a lot of television work and VOD, and know most people are going to hear it through their TV speakers. As a result, our choice of monitoring setups is paramount to our ability to produce good results. Remember the Yamaha NS10? It became so popular simply because it was a very good speaker in terms of overall balance representation.”

To create this unique Atmos space, Offir called in David Huja, a highly esteemed acoustic consultant in Israel. Huja, who runs DHA Acoustic Design company, has supplied the full planning and acoustic design for all Dubidub studios since the first in 1999. Concurrently, Oded Goldberg, CEO of Kilombo, the Genelec distributor in Israel, worked closely with both gentlemen to provide the best possible audio solution.

ESTABLISHED IN 1999, DUBIDUB IS A MODERN STUDIO complex in Tel Aviv, offering Hebrew localisation, dubbing and postproduction services for the TV, cinema, streaming, videoon-demand (VOD) and gaming sectors.

Its list of clients is truly impressive and includes such giants as Disney, Netflix, DreamWorks, Universal and many other esteemed companies. Founded by CEO Ami Offir and senior partner Tal Yardeni, Dubidub was born out of their genuine love and fascination for the audiovisual arts.

This passion shines through the second guests step inside the space. The pursuit for excellence and professionalism

has led Offir and his team to arguably become the leading studio in Israel in the industry of dubbing, localisation and postproduction sound design. The duo’s high standards are also equally reflected in the studio’s technical aspects, recently leading to the creation of “The Dream Room” – the first professional studio in Israel meeting Dolby Atmos specifications.

“The demand for Atmos in Israel has been rising, but no one is quite sure how long it will take to become the de facto standard here,” explains Offir. “Atmos already completely dominates the theatrical industry, and most major global

“Our long-term partner and a greatly respected expert in acoustics, David Huja designed all the studios in the Dubidub complex,” says Goldberg. “After installing Genelec monitors into another room of Dubidub studios, Ami was captivated by the sound. Before beginning the Atmos upgrade in the main studio, it was already clear to him that Genelec was the evident choice for establishing an Atmos setup of the highest level. He works with leading studios and media companies, and in terms of technical aspects, he not only uses the best equipment available now, but also strives to look into the future. When he decided to upgrade Dubidub to Atmos and

With the integration of The Ones from Genelec, Dubidub has become the first

Dubidub CEO Ami Offir in the Atmos hotseat

create The Dream Room, not only did he want to precisely follow Dolby specification for the room, but he also needed an outstanding monitoring system that could match or even exceed the most sophisticated professional requirements.”

Cabinets from the Finnish manufacturer’s The Ones series of three-way coaxial monitors completely cover the headheight listening plane, with three 8351BW monitors serving as the primary L-C-R speakers and four 8331AW monitors acting as surrounds. For the top level, the preferred monitors were the 8330AW. Additionally, the space is equipped with an extra pair of Genelec 8020BPM, while two Quested X15 subwoofers previously installed in Dubidub were retained. “We were confident that the results in the Atmos room would be impressive,” furthers Goldberg. “Although the fundamental formula seems straightforward – an excellent room plus topnotch monitors equals an amazing result – actualising it can be quite challenging. It’s all about making the right choices and involving professionals who can perform miracles. In our case, we had no doubts at all. Still, we were curious just how everything would materialise.”

Having completed the basic design, Huja immediately encountered some challenges and approached Genelec R&D director Aki Makivirta for assistance. “The Ones speakers are meant to be hung on ceiling mounts or installed on a shelf or floor stands,” explains Offir. “Long before we considered Atmos, the room was originally built as a 7.1 studio with other speakers embedded into the wall, whose apertures in-wall were customised specifically for them. At the time I thought we would be using those speakers forever. But having bought Genelec monitors for another studio in our complex, I fell completely in love with their sound. I told David that from now on we would be working exclusively with Genelec.

“We had Dolby specification support throughout the design process, which meant that proportions had to be accurate down to a degree, otherwise you will endure a lot of phasing issues, things not being in balance and frequencies jumping in and out. We followed Dolby standards, but that couldn’t solve our speaker problem.”

In order to physically integrate The Ones into the wall, extra equipment was called upon from Genelec. “We had to create some custom accessories and ordered Genelec flush-mounted kits for the 8351 models,” Huja confirms. “The flush-mount solution was Aki’s suggestion. Originally, we wanted to have the 8341s on the rear and the sides for

an Atmos 7.1.4 setup, but the openings in the walls were too small so we considered Genelec’s 8331 instead. Since there is no flush-mount kit for the 8331, we had to custom build such kits locally, taking into consideration the air flow for the reflex energy and cooling the amp module. They could physically fit, but it meant we had to be very careful about the maximum SPL achievable from the system, as it’s defined by the least powerful element. I checked the differences and the maximum possible to compare with average levels Ami usually works at in that room. After discussions with him about SPLs and desired headroom and careful analysis of the room, we understood the system will provide the studio’s monitoring requirements and beyond.”

that can manage separate output levels, or they use audio interfaces that have DSP built in. I do the system setup and then disconnect the GLM and that’s it. The system is hardwired, calibrated and locked, and my clients are freed from making accidental mistakes. We saw no acoustic reasons to change the existing Quested subwoofers but, since there is no GLM on them, I had to do two-channel DSP calibration in hardware, also in a high resolution.”

The perseverance of all parties paid off and the proof can now be heard. “Everybody knows it’s one of the greatest studios in Israel,” says Offir. “For a team of my engineers, it’s kind of an honour to work here and to operate all of this fantastic gear. Personally, I’m so happy with the final result and so is David.

“I had a guest here recently from London, Yoad Nevo, who was very much involved with Waves at a high level for many years. He’s a mastering and mixing engineer, and an Atmos guru, and at Waves he developed several surround and binaural products. Since he has a lot of knowledge and has worked on projects in many famous studios all over the world, I wanted him to teach me and my team more about Atmos. When visiting, he told me that we have something very special here and I can’t think of a better commendation. The studio is lucky enough to be just the right proportions to be considered as one of the best Atmos-capable home entertainment studios, period.”

The physical installation process ended up being no more straightforward than the design stage. “It was particularly interesting because we had to take down the ceiling acoustic treatment,” shares Huja. “We didn’t have preparations for installing the height speakers and I also had to find a different solution for the GLM’s daisy-chain connections. We’ve split the main Cat5 cable coming from the GLM adapter via a simple splitter in the machine room, and then sent direct lines to each and every speaker. My understanding was that it’s not sending network Ethernet information, it’s just a way to approach a component with a specific ID. Aki kindly confirmed that approach would work.

“From an integration perspective, what I like about GLM is that the system setup is separated from the user interface. These days, most people either have a monitor controller

“The Atmos Dream Room in Dubidub studios has been built to a very high standard, and the way the speakers are embedded and acoustically blended in the room creates a very transparent environment where you don’t feel like you’re looking at speakers and hearing different sound sources,” agrees Nevo. “The monitors are blended in the room and this fact opens an immersive audio experience to you because you don’t have to think and distinguish speakers as separate sources. The worst thing you can do, especially in surround, is when you have a sound, and you turn your head and look at the speakers. That’s what you always want to avoid as a mixer.”

www.dha.co.il

www.dubidubstudios.com

www.genelec.com

www.kilombo.co.il

An additional pair of 8020BPMs provide stereo monitoring capabilities

The addition of height channels completes the Atmos experience

The listening area outside the new Atmos studio

The rear wall

Plotting a new course

Audio Technology has installed Holoplot X1 arrays into Masjid Misr, the first time the beamforming speakers have featured in a major house of worship

AS CAIRO HAS BEEN GRADUALLY EXPANDING EAST with the development of the New Administrative Capital on its outskirts, a number of grand buildings have begun to occupy this new skyline. Serving as Egypt’s Islamic Cultural Centre in the new capital, Masjid Misr takes this grandeur to unique levels. One of the largest mosques in Africa, the 19,100m2 complex houses a 9,600m2 mosque nave that can accommodate 12,000 worshippers, three separate domed entrances (as well as a fourth used purely for services) and

installing Holoplot X1 arrays for the first time in a major house of worship. Instead of hundreds of compact loudspeakers littering the building, Audio Technology, working closely with the Berlin-based manufacturer,

of the central worship area that spans 93m x 18m (LxW). The X1’s 3D Audio Beamforming capabilities allow for sound to be contained within defined zones, which enable the creation of “sound corridors” extending up to 100m in length with minimal spillage – perfectly suited for the mosque’s long corridors. To optimise intelligibility further, all areas not regarded as listening areas or areas that could cause reflections are designated as avoidance zones within the Holoplot design software. Two 4x2 X1 arrays situated on the far left- and righthand side of the building create the coverage corridors without producing any drop in level over the 93m-long distance.

Positioned further inwards on either side of the entrance, the frontal system consists of X1 arrays in 3x1 and 2x1 configurations. This element covers the frontal congregation space, with tailored beams to avoid the mihrab and minbar.

The first wavefront draws localisation to the front wall, avoiding feedback and interference echoes. A further two X1 arrays in a 2x2 configuration fixed at the dome base provide coverage for the audience area underneath, while one concealed in the ceiling covers the rear. Despite mounting positions of 23m high, the arrays are still able to achieve a high direct-reverberant ratio and speech intelligibility.

to cover the rear. This is a 70% reduction in speaker positions compared to the more conventional solution.

Geometrically, the building is a room within a room, effectively creating corridors around the perimeter

While not measured directly, the installed system had to handle an existing reverberation time of approximately

A 3D model of the nine array positions and beam coverage

Holoplot’s Emad El-Saghir

The 3D beamforming capabilities of the array allowed for positioning 23m high

6s, caused by both the marble interior and massive dome. But by managing to not excite the reverberant field – directing energy away from reflective surfaces and preventing the need for large amounts of acoustic treatment –the teams were able to deliver an STI of between 0.5 and 0.69 to 90% of standing and kneeling positions, each targeted area being served by at least one speaker module.

“There were a lot of ideas explored inside Masjid Misr that were entirely new,” recalls Holoplot’s Emad El-Saghir, who worked closely with the Audio Technology team both remotely during the design stages and physically onsite for commissioning. “It’s not only new technology, but a new way of implementing that technology in such a venue. We approached the project consultants and introduced the technology and its advantages. They were impressed, and later when they became involved with the mosque, were keen to explore this approach further.

“Our solution is very different from typical cases and classical technologies and methodologies that are already wellestablished. So, we provided extensive evidence of our approach through data simulations. It showed that the proposed solution could solve all of the issues raised by the stakeholders, including the architect. The interior of the room is a masterpiece and they wanted to keep it intact.”

In order to physically conceal the X1 modules, specially crafted metal screens and acoustically transparent painted cloth were used to ensure the speakers are invisible to worshippers. “The ability to control sound in both the horizonal and vertical planes means that we can go as high with the installation as we wish, way higher than a digitally steered array could, which is limited close to ear height,” notes El-Saghir. “By placing the arrays high, we could reduce the amount of changes made to the marbled walls and ceilings and everything inside the room. This was a very important incentive for the architect.”

Emad Shenouda, projects director at Audio Technology, sums up the team’s experience working with the X1. “Together with Holoplot, we met the client’s brief of creating a fully integrated system that satisfies all stakeholders. The project was full of challenges, starting from the size of the mosque, the room acoustics and, of course, project deadlines. Thanks to the X1’s ability to not only control sound in the vertical but also horizontal, it achieves unbelievable

despite it being their first Holoplot project, I was impressed at how fast they made themselves familiar with the system,” concludes El-Saghir. “I conducted training sessions with them remotely – the early stages of the project were happening during Covid times – and although the arrays were installed in very tight and awkward positions, they were able to integrate everything quickly, neatly and in harmony with our instructions.”

Despite El-Saghir’s assessment that the Holoplot solution sets a new path for houses of worship, not all worshippers are blessed with having Africa’s biggest mosque in their backyard. The company, however, has just unveiled its smaller X2 array which brings the same beamforming capabilities in a more compact format.

“The ability to hide the arrays inside the walls, the high ceilings and the marble throughout in a mosque of this size made it ideal for the X1. In smaller rooms, I would say the X1 is still a good choice depending on the specific case and the available space. But now we have the X2, it is the perfect option for smaller houses of worship. It has the same features and is optimised for speech applications. The smaller form factor means it can be easily integrated into everyday interior design.”

A pair of X1 arrays flanking the main entrance

It’s on The Agenda

task of making the expansive multifunctional complex a local hub for the production and live events industry. At a time when several sectors of the AV industry were already on life support, it was an incredibly brave challenge. However just a year later, the stress of multiple sleepless nights and emerging grey hairs now appears to be receding – their vision is fast becoming a reality. Key to success has been the early establishment of a close partnership with regional AV behemoth MediaPro International.

“The Agenda has become one of my main clients,” shares MediaPro senior technical account manager, Shoaib Moideen. “We are now doing practically two or three shows every week there. Events have become regular enough that we’ve been able to design a house system that can be easily erected, dismantled and stored at the venue when not in use, as well as a dedicated crew that are highly familiar with the venue and any of its intricacies. With Beat the Heat happening currently – it’s a back-to-back weekend concept with all kinds of different young local artists – we’ve also pumped up the house gear somewhat. Each artist has their own riders and set of considerations that vary for each concert. All in all, I think we’ve done nearly 40 shows at The Agenda since April.” Spread over two months, Beat the Heat Festival 2023 is its second edition following a popular debut last year. Artists include regional favourites such as Dizzy Too Skinny, Balti, Disco Misr, Autostrad, Sharmoofers and DJ Aseel.

To support The Agenda concerts, MediaPro has four staff members permanently positioned at the site in addition to the in-house kit. “We support them with the same state-of-the-art equipment and efficient crew every week,” says Moideen. “We have two project managers going in and out and this greatly helps smooth operations.”

Given its involvement in a host of large-scale global events, you could be forgiven for overlooking the importance of The

Heat has kept things ticking over for us during the downtime. It’s the perfect venue to do a small gig for around 5,000 people, where locations such as the Coca-Cola Arena are a bit too large. It has great acoustics and a high ceiling load capacity that enable us to build a good show. The space also provides an opportunity to trial new things when the pressure is slightly off.

“What’s special about Beat the Heat for us, aside from that it’s a little festival happening at The Agenda, is every week we get to work with three different artists that are new and up-and-coming, all asking for the latest equipment. So, we get to learn a lot and, as a result, we’re currently increasing our inventory. We’ve bought a couple of sound

digital mixer with a Rio1608 remote stagebox, while a Shure ULXD4D four-in-one solution provides cable-free onstage freedom to the artists.

On the lighting side, the team has a selection of CKC V8 Aurora Profiles, Chauvet Color Strikes, Krypton B200X Beams, W1940 and S400s and an MDG ATMe haze generator. Control is from a grandMA2 mixer.

Erected in different configurations to suit the stage design, 292 GLOSHINE 3.91mm pixel pitch indoor LED panels can be called on for The Agenda house system. For Beat the Heat, the main LED spanned 40m2, augmented by a 24m2 side vertical screen and 9m2 central display. Content is fed from four Novastar MCTRL 4K@60 together with a Resolume Arena 7 media server and Analog Way Ascender 48 Switcher. “Having MediaPro on board has been a great addition to our offering,” concludes Calderbank. “We continually assess all of our suppliers, from furniture to F&B as we have such a diverse client base. One thing that we have worked on extensively and developed over the past year is designing the AV system for our ‘in-house kit’ of audio, lighting, video and staging, to create a system that covers 90% of our clients’ requirements. Obviously, backline requirements are always changing but MediaPro has an extensive inventory of instruments and amplifiers which are requested on all international riders, while their investment in the latest and greatest ‘state-of-the-art’ equipment allows us to offer anything our clients require. Their attention to detail and superb work ethic, along with our in-house Agenda production department, makes a dreamteam and was exactly what we required.”

www.instagram.com/beattheheatdxb

www.mediaproav.com

www.theagenda.com

Smartphones in hand, a young crowd packs out The Agenda during The Beat the Heat Festival

The in-house kit is set up to cater to varying artists’ requirements depending on the gig

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

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

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

“Genelec have set the bar for immersive monitoring.”

Emma Townsend, RAK Studios

Packing a punch

LOCATED IN THE EPONYMOUS SUBURB OF ABIDJAN, the largest city in Ivory Coast, the Olympic Stadium of Ebimpé is the country’s national stadium, being home to Les Éléphants, Ivory Coast’s national football team. The 60,000-seat venue was inaugurated in late 2020, when it was given the additional name of Alassane Ouattara Olympic Stadium (Stade Olympique Alassane Ouattara president. It is expected to eventually form the heart of a vast, 287-hectare Olympic village, and will next year host the opening ceremony and final match of the postponed 2023 Africa Cup of Nations tournament.

The need for a new sound system so soon after the Olympic Stadium’s construction came after its original PA system installed by China’s Beijing Construction Engineering Group (BCEG) was damaged by adverse weather conditions. The new system was designed by Ricardo Castro, CEO of Portuguese AV consultancy RCOe, on behalf of local integrator Protech Distribution.

In addition to the 61 Powersoft Quattrocanali 4804 – of which he opted for the DSP+D model, with Dante audio-over-IP networking – Castro specified 14 Powersoft Duecanali 6404 DSP+D amplifiers to lend additional power for the 104-cabinet loudspeaker system, which is divided into 28 Community R2-66MAX speaker clusters to maximise audio coverage across the stadium. “The previous solution had 20 clusters, while ours uses 28, with either two, three or four cabinets each,” notes Protech Distribution managing director, Inza Bamba.

There are an additional 14 IS8-215 double 15-inch subwoofers providing low-end support, while 12 R2-77Zs fire inwards to cover the pitch. A pair of Quattrocanali are biamped to each R2-66MAX speaker cluster, while the Duecanali are used to power the subs.

“Considering this is the very first stadium project we’ve ever been involved with, it was particularly challenging given that the structure was already pre-existing,” explains Bamba. “We came in after the fact and had to wire everything. We had a great design from Ricardo that saw us create different equipment racks in each corner for redundancy (replacing the existing two), which meant we had no existing cabling at those locations to work with. The benefit is that each rack covers a quarter of the

two out – with further redundancy over analogue cabling as a last resort. “There’s a lot of layers to make sure that the system stays running at all times,” shares Bamba. “You have to provide this level of certainty to meet FIFA’s requirements. The system that we have provided is powerful and also suitable for music inside the stadium; however, there are 60,000 people inside so regardless, it’s essential that the system remains functional at all times, if only for EVAC purposes.”

All amplifiers, patchboxes and network switches are divided between the four rack rooms to minimise the length of cable connections to the loudspeakers. A Biamp TesiraFORTÉ DAN DSP is used as a Dante converter for the primary audio source

to the amplifiers, as well as for a four-zone Audio-Technica 3000 series and Biamp NPXG1100 paging system for security and emergency announcements. An Allen & Heath Avantis console

Castro explains that while he is generally manufactureragnostic, he knew when first approached by Bamba, with whom he has a long working relationship, that Powersoft amplifiers and Community loudspeakers from Biamp would be a perfect fit for the new-look Ebimpé Stadium – and that’s before he found that BCEG had used some Powersoft racks for the otherwise poorly designed previous installation. This discovery was important from a budgetary point of view: having already paid out for one sound system, the stadium’s managing committee was looking

Additionally, “time was very tight, which I think was the biggest challenge,” continues Castro. “I was given six months for everything.” The installation was completed on time in mid-2023, despite additional difficulties recruiting suppliers and dealing with a shortage of parts and equipment. On that front, “Inza managed

To confirm that the stadium operator had made the right decision signing off on his design, Castro initially equipped a quarter of the venue – one of the four zones – with the new

The Olympic Stadium of Ebimpé

More than 60 Powersoft Quattrocanali 4804 amplifiers are delivering the power for an all-new PA system serving one of the biggest stadiums in West Africa

Protech Distribution’s Inza Bamba

Biamp Tesira processor

121 dB SPL MAXIMUM UP TO 12 HRS OF RUN TIME1

EVERSE 8

WEATHERIZED BATTERY-POWERED LOUDSPEAKER WITH BLUETOOTH® AUDIO AND CONTROL

REAL PRO-AUDIO PERFORMANCE

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

BATTERY-POWERED CONVENIENCE

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

IP43-RATED WEATHERIZED DESIGN2

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

Powersoft–Community/Biamp system as a proof of concept.

“I said, ‘Let’s see how it works’,” he recalls. “And on one of the days we were there, stadium staff, consultants and clients all came along and heard the system for themselves. They couldn’t believe the difference – in sound quality, volume and intelligibility – compared to the previous system. It sounds incredible.”

Powersoft solutions engineering team leader Davide Quarto –one of four people onsite to configure and test the new system, along with Castro, Bamba and John Caton of Biamp – says that all parties were happy with the support offered both during the installation and system setup. “They all strongly believe in the added value from manufacturers when supporting project activities, from the design phase to the system first run by a skilled technical team,” he comments. “To them, this is strong confirmation of why choosing Powersoft makes a difference.”

Quarto adds that the stadium audio team were particularly appreciative of the operator view interface offered by ArmoníaPlus, Powersoft’s system design and monitoring

software, as it limits user access to the system configuration options. “The customer wanted to have a system that can only be monitored and safely operated,” he explains, “with limited access to the system, so as to avoid dangerous situations like changing the EQ or presets or even unlinking an amplifier.”

“I have been working with Powersoft for over 10 years,” confirms Castro. “They have good expertise, the support is great and their amplifier platforms are very reliable. Plus, their software, ArmoníaPlus, is a must for us when it comes to getting everything connected and making sure it’s all working properly. Of course, there are other brands that also do good work but, when it comes to challenging

spaces and installations, you know you can count on

In a few months’ time, Ebimpé Stadium will spring to life and be the main venue serving the Africa Cup of Nations. “We hope it’s the first of many stadium projects to come,” concludes Bamba. “The requirement from FIFA was for minimum SPLs of 95–98dB and sound intelligibility (STI) of 0.5 throughout the stadium. We conducted extensive electroacoustic studies prior to installation and were confident in our design. Real-world testing afterwards showed that we managed to exceed both specifications

“The committee is also very happy with the result. Typically, in a stadium like this, the concern is speech intelligibility for evacuation, but not good audio for music playback. We did both; we gave them everything. It’s a full-frequency solution and probably the only stadium in Ivory Coast with a sound system like this. I think it’s important nowadays. You expect when you go to a match that there’s a big atmosphere.”

With audio distribution inside the stadium sorted and the Africa Cup on the way, attention is now turning to the stadium’s broadcast capabilities. Protech is also leading this next stage of the project. “All the equipment is coming and we’re in the process of completing the cabling at the moment. It includes roughly 48km of fibre cabling in addition to commentary boxes that connects presenters back to their

www.powersoft.com

www.protech-distribution.com

www.rcoe.pt

A total of 28 Community R2-66MAX speaker clusters to maximise audio coverage across the stadium

All four amplifier racks before being rolled out to their respective locations

ArmoníaPlus Operator View

Ricardo Castro onsite during commissioning

The audio system provides full-frequency music distribution as well as evacuation needs

NO WORDS NEEDED

The future of broadcast lighting is IP-based

Freelance lighting designer the unique benefits that IP lighting introduces

MUCH HAS BEEN MADE OF THE MOVE TO IP-BASED setups from traditional analogue infrastructures in both the professional audio and video domains over the course of the last decade. Leading the way due to its significantly smaller data requirements, audio networking quickly became the de facto standard in the majority of professional sound projects. The transition has been more recent with video, where standards such as IMPX, NDI and Dante Video among others are still jostling to be the industry’s transport protocol of choice. This just leaves lighting as the final hurdle in achieving fully networked, campus-wide AV setups. The topic is really only now gaining traction and has started to be rolled out to major international broadcasters since the pandemic.

I’ve been working with IP networks for the past decade and have developed a long-term relationship with ARRI Solutions that led to the creation and management of some of the more interesting lighting designs across major

LED panels are the ideal solution to portray set and backgrounds created in virtual reality. Creating the right canvas is not just building any LED screen. It’s where the LED panel, processing and camera setting come together that stunning results are achieved. With its highend manufacturing and premium parts the ROE Visual LED products are perfectly suited for virtual stages and productions.

More information on: www.roevisual.com

A huge advantage that IP brings is stability. DMX configurations can introduce lots of looping and there can be issues with faulty connections which can affect the whole system. As each fixture within an IP infrastructure has its own individual MAC address, faults can be pinpointed quickly. DMX splitters often produce flickering or visual issues but, as they can display across a number of fixtures, it’s hard to identify the root of the problem. Time is wasted, and fixes can be complex, or require multiple approaches. Within the IP system, the

Lighting specialists with specific experience with DMX networks are highly sought after across the Middle East, yet IP is already a recognised standard in broadcast networks. By transitioning to an IP-based lighting network, broadcast engineers will already be familiar with this type of setup. Any engineer can therefore quickly select, rig and connect additional fixtures, adjust existing setups or troubleshoot issues quickly. For busy,

live, 24/7 news productions, this is critical for an efficient and effective production environment and brings numerous benefits in terms of ease of knowledge sharing and training. There is a preconception that moving to IP will require dedicated specialist support staff in the in-house engineering team, but this isn’t the case. It’s important, of course, that the planning, design and initial installation of an IP lighting system is delivered by a specialist; however, the day-to-day running is something that engineers can handle.

Comprehensive control

The IP-based approach works particularly well for the largest and most complex scenarios. Al Araby’s studio network at its new HQ at Lusail City, Doha comprises three state-of-the-art production environments: a 430m2 newsroom, a 290m2 morning studio and a 235m2 blackbox studio. To design and engineer the lighting network for perfect production conditions, Al Araby relied on the experience of Ideal Systems Group and ARRI Solutions. It was immediately clear that IP would be the way to ensure the efficiency, reliability and flexibility that Al Araby required.

The project was certainly challenging, due to its size and scale. However, it was precisely these attributes that also made the IP approach the most suitable. The lighting network is based on TCP-IP protocols from the control desk to the luminaires, and therefore all three studios are accessible as one comprehensive control system, providing the maximum possible flexibility. The engineers can connect to all nodes and switches through a PC, and immediately have full access to all fixtures. Troubleshooting and network maintenance are much more comprehensive processes when working over IP; the team can easily check that all fixtures are up-to-date and get a snapshot of performance in an instant.

Centralisation

In addition to comprehensive networking, centralisation and fail-safes are important for any broadcasting scenario. Central monitoring reduces personnel costs and increases the stability of the entire system and is particularly useful in the postpandemic world of remote working, lowering the requirement for lots of onsite employees. However, some catching up is currently needed in terms of lighting systems. Lighting specific devices that communicate their status via standardised interfaces such as SNMP are barely represented. Status data can be retrieved via Remote Device Management (RDM), but this can also lead to destabilisation of the DMX signal – as mentioned earlier. An endto-end IP connection can partially solve this issue. The use of ArtRDM – RDM over a network – does not lead to the bandwidth problems and destabilisation associated with the conventional DMX signal. It also becomes possible to use standard network monitoring and diagnostic tools to address problems. I’m 100% certain that IP is the future of lighting workflows for broadcast studios and beyond, and I will continue to champion the benefits of higher network stability, reliability and efficiency to leading content producers throughout the region.

www.arri.com/en/solutions

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

The complex lighting infrastructure inside the

IP is most suited to large, complex setups

Investing in above and beyond

be a lot lower than many western countries experience, but this is

ALREADY ONE OF THE LEADING RENTAL COMPANIES in Jordan, Tritec AV recently invested in a large-scale touring line array solution from d&b audiotechnik, and an extensive range of Claypaky fixtures. Now, one might question if there is a demand for such developed kit in Jordan, a country not immediately associated with live events. Tritec AV’s managing director Marwan Abujaber explains: “Like everyone else in the world, we’re investing in people and technology, hoping big shows follow, and naturally I’m vouching for Jordan what with it being my home. We’re hoping that it’ll become a standard touring destination, in the same way as Dubai or Saudi, although we’re not quite there yet as Jordan is still developing in comparison, but we’re working to change that slowly and be ready for it when it comes.

“As a rental company, it makes sense to invest in quality, because the equipment we’ve purchased is what touring companies want and use regularly, so it’s easier for them to just set up rather than rearrange designs, etc. While some might have time if it’s a one-off show, for example, most of them require flexibility from us as a rental company, and we need to adapt for the sake of the industry in Jordan.”

New kit in tow, Tritec AV took part in a weekend music event in July – Live Nights Amman – aptly taking place in the country’s capital, organised by 165 Entertainment, of which Abujaber speaks highly. The first night saw a performance by Kadim Al Sahir, an Iraqi singer, actor and composer, who typically works alongside an orchestra, featuring Iraqi folk instruments and melodies. Full of praise for the performer, Abujaber explains how the first night went: “This show proved to be very popular –over 6,000 people attended – which for Jordan is substantial.”

Lebanese soprano singer and United Nations Goodwill

Ambassador, Majeda Al Roumi, took to the stage the following night, to a smaller yet still impressive crowd of approximately 5,000 people.

The events provided Tritec AV the perfect opportunity to debut the new GSL system, which was deployed in its entirety. L-R hangs of 16 per-side GSL arrays were joined by 16 SL-Subs and powered 24 D80 amplifiers. Control of the audio system was from Tritec AV’s pair of DiGiCo Quantum338s. For lighting, the company’s new Claypaky Xtylos, Mini Xtylos, Skylos and Mini B Aqua fixtures were also deployed with control from a pair of grandMA3 consoles with XL Processing Units. An LED videowall was constructed using Absen P2 panels and fed from Novastar H15 video processors. Five large-frame Kvant RGB lasers provided additional stage effects.

Abujaber says: “The GSL system is very ‘hot’ right now within our industry. Those that have it are putting on great shows and it’s something that rental companies wish they had due to its growing importance. Just recently, Red Hot Chili Peppers have specified it for their rider.

“Perhaps the two shows being held separately would have resulted in a greater attendance overall, as concertgoers wouldn’t have had to choose between the two. But none of us are working in the AV industry purely for financial benefit. You really can’t imagine how happy I was when both artists thanked me personally for what we did for them. That alone is the million dollar reward, right? To be recognised for going above and beyond.”

With more shows coming up – a notable one featuring Egyptian singer Amr Diab and taking place in the seaside town of Aqaba with an expected audience of 8,000 – Abujaber emphasises that these numbers are promising for Jordan: “These numbers might

So, while it seems Tritec AV is prepared for potential competition from its wealthier neighbours, Abujaber isn’t worried about other Jordanian rental companies either. “More people in the business breeds more opportunities for everybody. The only thing I ask is we maintain high standards of health and safety. In Jordan, we don’t have any government bodies for this and I don’t feel the government is prepared right now. We’ve talked with competitors about the possibility of setting up a union or committee, made up of experienced individuals that have some form of certification. They can then check that the setup, the barriers, entrances and exits are up to scratch, before letting in 7,000 people. It’s important that as the shows get bigger in Jordan, that we move forward in parallel regarding development and sophistication.”

www.tritecav.com

Libby Stonell sits down with Tritec AV to discuss what the company is doing to put Jordan on the live events map and fight off competition from the region’s wealthier counterparts

Majeda Al Roumi performing at Live Nights Amman

More Art. Less Noise.

Live outdoor performances are thrillingly unpredictable. You love them. We love them. Our industry was built on them.

Providing license-securing data, and reassurances to local authorities is where that thrill begins.Fortunately, off-site noise from live outdoor performances is accurately predictable.

And we’ve made getting that data a 5-step process in NoizCalc. Industry-friendly noise prediction and simulation.

Discover NoizCalc: www.dbaudio.com/moreartlessnoise

Has anyone seen the crew, asks Dan Daley

IT WOULD APPEAR THAT COVID HAS BEEN AT LEAST contained if not vanquished. That’s good news for the hundreds of music tours and performances the pandemic cancelled or significantly delayed since 2020. However, another wave of cancellations is upon us, in part a holdover from Covid but also related to – but not caused explicitly by – the pandemic.

Artists have become much more aware of their own health vulnerabilities in that time. Celine Dion recently cancelled all 2023 and 2024 dates on her Courage world tour – already rescheduled from 2022 – due to an ongoing struggle with a neurological disorder. Country hitmaker Morgan Wallen cancelled shows due to a vocal condition. A surprising number of younger artists have put shows on hold, citing mental stresses, among them Ariana Grande, Justin Bieber and Shawn Mendes. And some have simply and finally aged out, like Ozzy Osbourne, who earlier this year not only cancelled his first tour since 2018 but declared he’s now off the road for good. It’s not just medical maladies that are putting sand in the gears of touring. The Governors Ball Music Festival in New York was nearly cancelled in June thanks to smoke blanketing the entire region from wildfires in Quebec, a couple of hundred miles to the north.

A letter from America A letter from Europe

But then there is the problem of technical talent. Not every rigger, LD, FOH mixer, system tech and video wrangler was able to ride out the pandemic pursuing their chosen careers. “No one [ever] saw a year without work,” Michael Strickland, CEO of Bandit Lites, told The Wall Street Journal “As it continued, you lost people along the way mentally, physically, spiritually, economically.”

That unprecedented year-plus without live shows and events compelled hundreds, if not thousands, of technical personnel to move onto other ways of making a living and feeding a family, and – in a particularly American social twist – getting themselves and their loved ones healthcare insurance. What’s more, that deficiency also creates problems for the future, in the form of far fewer apprenticeships for younger workers who would otherwise have been out learning the craft. The trade schools have added live show and touring technologies to their curricula in the past decade or so, but it’s never the same as being able to go out and apply that knowledge hands-on.

What the landscape will look like at the end of this tunnel remains to be seen. Expect more automation, which is a typical market-driven response to labour shortages, to change the nature of the work. I recently wrote an article

in which a tour’s live sound mixer handled FOH and monitors, as well as a separate set of in-ears for a VIP group backstage while also recording the shows, as well as covering a major new club venue in New York where the FOH mixer also runs its lights and video. In one case, the tour management sought to cut costs; in the other, the venue management needed to conform to local social distancing and capacity regulations. But both also found that there are simply not enough trained people to go around at the moment.

Artificial Intelligence may play a role in this brave new touring world, particularly in terms of mixing and managing sound and lighting. AI has already made its presence felt in music mastering as well as mixing live panel-type corporate events, and it’s on its way towards doing that for live music, driven in part by proofs-of-concept in broadcast sports that have shown that the sonic and visual focus can be followed quite accurately automatically. In fact, given the massive proliferation of recorded music and streaming’s infinite ability to host it, moving towards automated solutions is not only necessary but inevitable. It all suggests that the future is going to be different. Some might argue that it’s already here.

Phil Ward goes back to his routes

YOU

GET THIS A

LOT

IN MANUFACTURING: ZEAL-FILLED,

shed-based start-up, giving loud and warm voice to the counterculture and its many echoes; increasing wealth and success as record sales and touring revenues raise budgets and fuel innovation; difficulty in coping with demand and logistics; the knock on the workshop door by a hungry venture capitalist who can smell the Baltic birch a mile off.

Phase Two: the newly efficient enterprise requires so much global administration that the original spark in the workshop has been replaced by a feasibility study that needs to be ratified by 12 people who are skiing in Austria and not available until Q2; the originator becomes disaffected and retreats to an R&D lab out of harm’s way and mollified by gold-plated pliers; corporate restructuring; displacement of staff; relocation of resources… eventually the brand is almost unrecognisable from its heritage and lots of people leave. Or stay where they are because the whole operation is now based on a different continent.

Phase Three: these refugees try to find the shed with all the zeal in it, paint it with digital creosote and start again. Meanwhile the perfectly designed, smoothly finished and

utterly feasible versions of all those loud and warm voices are doing very well, thank you, in retail outlets for skimpy underwear and hamburgers. Possibly under the same roof. Perhaps the whole cycle will simply repeat until the universe fizzles away back to Dark Matter. Which, by the way, is a great name for a lighting company.

But you don’t often get this in rental. Despite increasing consolidation across Europe, the population of dedicated staff and robust freelancers has remained stable, and only Covid has shaken things up, if far less than predicted. Covid may even have staved off certain disruptions that were brewing. But now there are signs that the corporatisation of rental is equally capable of triggering a reaction, which must mean that this most rock’n’roll of sectors still has some of its renegade spirit intact.

Once Skan PA had joined the Clair Global fold last September, via acquisition by Britannia Row, one of the last independents standing had made the transition to global management. Everybody was happy. Founder Chris Fitch stated that he would have considered “no other offer”, and of course it increases Skan’s support and reach while maintaining all visible autonomy. But over in the other camp,

well before this, Paul Timmins from Capital Sound – acquired in 2018 by SSE which was itself acquired later that year by Solotech – had left and formed 22live, picking up the Sigur Rós tour in the spring of 2022. He was followed by SSE Audio’s operations director Spencer Beard alongside Alex Penn, the son of SSE cofounder John Penn – that’s three of the industry’s most trusted hands, on the move. As they set about reinventing their wheel of fortune as a “second-generation independent audio rental company”, it became clear that this was an opportunity to continue bonds first forged in a very different type of organisation. The complexities of the previous regime, Penn says, “just didn’t suit our way of working”.

The public declarations that appear on the 22live website indicate the mood perfectly well: “We just want to do what we do, and we want to have a good time doing it,” says Beard. “We want to enjoy working in what we believe to be a special industry and protect that which makes it different to other working environments,” adds Penn. And, clearest of all: “We hope to maintain a culture nostalgic to our rock’n’roll heritage.” Well, that’s all the zeal you could ask for, right there. And the shed? Open for business.

Bring a simplified, crystal-clear meeting experience to your small and medium conference rooms with Bose Videobar VB1 and VB-S.

Beam-steering microphones actively focus on voices and reject unwanted sound

4K ultra-HD camera with wide field of view

Proprietary Bose transducer technology delivers rich, crystal-clear audio

Elegant low-profile design made possible by renowned Bose engineering

Resources, support, and remote management software included

3D visions in audio

HAVING ENGINEERED AN AMBISONICS MICROPHONE

Tomasz Zernicki soon realised his highahead of its time. This term would return to haunt him on several occasions, forcing him to wait for the mainstream market to catch up. More than 10 years since he company may just be coming of age thanks to a glittering cast including Dolby Atmos and Armed with a PhD in audio recording and signal processing, it love of music and science that motivated him to . His vision enticed several other academic minds to join him. “I wanted to develop a career in audio, but I had no idea what,” he confesses. “After my PhD I was working on applied research projects, in which some of my professional musician friends assisted me. Zylia was really an R&D department for external agencies rather than a manufacturer

When Zernicki developed an idea to capture music rehearsals where the sound quality was poor, Zylia Microphones was born. Following detailed research and 3D modelling, the result was an easy-to-use microphone to extract audio from a rehearsal that could be later used to create a more professional mix. “It was a great idea, but a poor business plan,” explains Zernicki. “The prototype had not been developed as a go-to-market product, it was not proven and there was no customer

The engineers then created a prototype of this technology from paper, and the team went out to local sound engineering students to gauge their feedback. Despite having developed a proof of concept, the

commercial outlook was unassured for what would become the ZM-1. “Catering for musicians, we had created a product that needed to command low margins yet suffered from high production costs. However, the team had redefined how Higher Order Ambisonics (HOA) could be applied with very detailed sound, distinguishing the location of the sound in space.”

Capable of delivering 48kHz/24-bit resolution, the spherical recording solution comprises 19 omnidirectional MEMS microphone capsules. When connected via USB to a laptop loaded with Zylia’s studio software, producers record performances in both 3D/360° audio and traditional stereo. Measuring 100mm in circumference, an LED ring encircles the sphere to indicate recording status.

Today’s hardware cannot exist without software. Zylia Studio Pro includes a source localisation function to locate and separate sound sources within the 360° sound scene by adopting virtual microphone technology before recording them as individual tracks. By adjusting the level of each instrument, a balanced recording can be exported to a stereo WAV or another file. Control and flexibility in capturing and working with 360° sound is extended with software downloads including the Zylia Ambisonics Converter plugin, Zylia Studio (1.7.2) and Zylia Studio Pro (1.3.1).

Despite sluggish sales among musicians, a steady if unexpected stream of customers made themselves known. “While attending an early conference, we gained unexpected interest from a delegate who informed us that our ZM-1 was the best Ambisonics microphone on the market. We attached a large piece of paper to the wall behind us stating that we manufacture Ambisonics microphone arrays, and this triggered interest from many audio engineers. We were a revelation to many people as most Ambisonics microphones at that time were academic prototypes, whereas ours was a finished product that could be used in professional productions.”

Richard Lawn meets a company founder and doctor of audio engineering who has some interesting solutions for 3D recording bubbling in his Polish laboratory

A demo of Zylia’s 6DoF VR system

Zylia CEO and CTO, Tomasz Zernicki

Having developed a microphone array for musical productions, high-profile users including engineers, producers and musicians were stunned by the detail the ZM-1 captured for their recordings. “Microphone arrays are typically used in conferences for intelligible speech separation where quality is not the prime consideration. The ZM-1 design clearly stood out from these. Our early arrival on the market appealed to a small niche of early adopters, and this encouraged Zylia to further develop the technology and apply it to different market sectors including field and ambient recording.” At that point, Zernicki admits that audio for the video sector was immature, with most customers only aware of 360° audio in movies. “Prior to Atmos, we were one of the few manufacturers producing Ambisonics microphones. When Dolby Atmos came of age, there was a sudden demand for education including which tools to use for recording processes. We started to demonstrate how decoders could be applied for Ambisonics in binaural or

Atmos applications. This in turn led to interest from users in gaming environments and interactive audio.”

Following customer demand to bypass laptop recordings, the Zylia ZR-1 recorder soon followed for outdoor, ambient, 3rd order Ambisonics and 360° recordings. Equipped with an internal SD memory card and powered either by batteries or an external power source, the ZR-1 can record over 220 hours of 19-channel 48kHz/24-bit PCM audio. “Portability was a major factor in the design,” explains Zernicki. “By recording through 19 microphone channels, our unique USB port bypasses the requirement for an audio interface with 19 inputs.”

From the outset, the US proved to be a lucrative market for Zylia. With sales, good customer feedback soon followed, opening more doors. “Professors with a good understanding of Ambisonics were some of our initial adopters. Our development relies on asking customers what new features and products they require to fulfil

their projects. It’s important that we consistently question what their aim is. The more projects we can work on, the more feedback and experience we receive, and this expands our database of knowledge.”

Gaming is now huge business and Zernicki is not shocked that sales in this sector have outgrown music, production, video, film and audio streaming. “Previously, audio was the final product to be designed within a game but, because gamers are more sensitive to audio than video, VR content creators are factoring in audio from the very beginning of the design phase. When you see something in the game, you need to hear the sound exactly from that direction and how it should be expected. This has led to a large demand in the Zylia solution from the gaming community.”

Having started out with a collective of research engineers, Zernicki has gone on to recruit experienced marketing, operations and production personnel. With his PhD in audio recording and

The very best video processing made easy

From small corporate gatherings to the largest fixed installations and live events, our advanced and extensive offerings of live presentation switchers and media servers cater to all your needs.

The Zylia 6DoF VRAR set is based around five ZM-1S units and rendering software

Working with Zylia Studio Pro

signal processing, Zernicki is well-positioned to lead product development as CTO. However, the company’s growth and the need to manufacture have forced his role to change, and he has also adopted the CEO role. “As a manufacturer, Zylia needed to locate partners and suppliers, so I had to establish relationships. As a technical, creative person, I was initially frustrated to move to another role. From creating a prototype to developing a finished product, however, you need to consider every aspect of the production cycle. Looking back, I was possibly naïve to think this would not take long. However, locating specialist subcontractors for such things as injection moulding, measurement tools and plastic casing was quite a task.”

Learning how to juggle both roles successfully, Zernicki takes a great deal of satisfaction from working with the engineering team. “I have assumed a more advisory role with the engineers, and this has freed up my time to take on other roles. We drive our business quite differently to others. Unlike most manufacturers, we don’t simply create a product for distribution across established sales channels.”

With increasing sales, Zylia continues to experience growing pains. Zernicki highlights the need to carefully plan continued product development, a flexible organisation structure and the continued search for new talent that will enable growth. “The current employees are continually learning new skills as they are aware the company will outgrow them otherwise.”

However, at Zylia it appears that business can also accommodate pleasure. Despite being a hotbed of innovation and industrious activity, the headquarters in Poznan retains a relaxed atmosphere, with all manufacturing outsourced. The research and development facility where director Andrzej Ruminski oversees software and hardware innovations is adorned with plants and guitars.

Recruited in 2016, sales and marketing director Anna Czerwoniec was initially contracted to host a workshop, having previously been employed as an assistant professor at a university researching bioinformatics. “Prior to that, I had been studying at Stanford in the US, where I was learning about innovation, venture capital start-ups and business,” she relates. “As such, I was returning to Poland with some great ideas and renewed passion. Coming to work for an innovative Polish specialist and taking it to the next level was the best option for me.” That short-term contract quickly led to Czerwoniec’s appointment as a director. Most recently, the Zylia engineers developed a 3rd order Ambisonics array – the ZM-1S. Incorporating the same number of calibrated capsules, 24-bit recording and a timecode input channel for synchronising multiple ZM-1S microphones, the new hardware can interface with other devices connected to the recording system, including video cameras. “By recording, creating and streaming 3D sound, audiences can experience a realistic, immersive walk through a sound scene,” explains Zernicki. Created specifically to support six degrees of freedom (6DoF) –the six mechanical degrees of freedom of movement of a rigid

body in three-dimensional space – and volumetric 3D audio production, the Zylia 6DoF Navigable Audio solution allows audio engineers to place multiple Zylia ZM-1S devices within a sound scene. The captured audio creates immersive experiences with unrestricted freedom of movement through the recorded 3D space.

Accessible on the Oculus App Lab platform, the Zylia Concert Hall application allows users to move freely and navigate within virtual 3D spaces. A live-recorded performance of 34 musicians playing Mozart was captured and implemented in VR with the Zylia 6DoF solution, which combines multiple Zylia ZM-1S, 3rd order Ambisonics microphone arrays and software plugins. The Oculus headset allows listeners to walk through the live-recorded 3D sound scene of the concert hall and stand next to any performing

artist, represented in the VR environment by static musicians. The captured live 3D sound scene can then be implemented into various immersive AV productions.

Acknowledging the fact that Dolby Atmos has propelled Zylia Zernicki now discloses that Facebook founder Mark Zuckerberg has indirectly enhanced the Polish brand’s appeal to a much wider audience. “When Facebook changed to Meta, our 6DoF solution suddenly became interesting to VR developers. In the not-too-distant future, there will be dedicated places for streaming concerts equipped with our microphones including volumetric systems. My vision is that we’ll be able to teleport to a concert, for example, in New York or London.”

With a set of tools for content providers to create different experiences, the microphones continue to be used in unexpected applications. “Initially, the ZM-1 was designed for music productions, and this led to Ambisonics followed by binaural podcasts,” explains Zernicki. “We must maintain relevancy in a highly dynamic technological market, so these changes in trends make it both exciting and challenging for us. Currently, the focus is more on live events. For this, I believe that Zylia will become part of a bigger solution that engages multiple companies. Personally, I would like to cooperate with people who are equally focused on the possibility of attending remote events where the music is more interactive, and you can pay for your favourite seat in the venue.”

The recent addition of the Zylia Ambisonics Converter allows multichannel recordings made with the ZM-1 into HOA full-sphere, surround sound recordings to be played back on Facebook 360 and YouTube 360 platforms. “This is not mainstream currently, but I believe that volumetric audio is the future,” he continues. “We’re receiving increasing attention from many manufacturing and university R&D laboratories. We have sold systems to companies including Sony, Huawei and Red Bull, so there is growing interest in this solution. From a sales perspective, we are open to working with distributors and resellers.”

Unafraid of taking big decisions and guided by innovative clients, Zylia has so far chartered a course beyond the traditional studio to the Metaverse and beyond. Starting out as an R&D lab which happened to make problem-solving products along the way, Zylia is now well-positioned to drive a wider client base onto an immersive 3D plain. Having learnt to take a step back and wait for the market to catch up, Zernicki and his team remain one step ahead of the field.

www.zylia.co

Stevie Wonder demos the Zylia ZM-1 portable recording device at an AES exhibition

Zylia ZM-1S microphones for the volumetric audio capture of the Poznań Philharmonic Orchestra

Musicians can benefit from Zylia ZM-1 and Studio software features – such as sound source separation and automixing – to get a balanced recording

Zernicki demonstrates the ZM-1

Staying in the family

OVER THE COURSE OF RECENT YEARS, AND IN particular since Covid ravaged the live sound market throughout Jordan, RB Event Technology has developed into a highly respected, top-tier partner when it comes to servicing the local live events sector, regularly investing in new equipment to grow its business while forging deep partnerships with organisers and promoters throughout the territory.

The Jordanian market might be small in comparison to nearby neighbours the UAE and Saudi Arabia; however, the country has a bustling homegrown live music scene and also regularly manages to attract some of the world’s most famous artists to perform in front of its amazing historical backdrops, such as the Roman Ampitheatre, Citadel and, most recently, even at Petra, one of the seven wonders of the natural world and a site where RB was fortunate to work at earlier this year during the Festival of Light.

Managed by the dynamic Rabadi brothers, comprising Emad, Ramzi and Muhannad, the company coveys a youthful, eager and hungry appetite that belies its history. It might not appear from the outside, but RB Event Technology has been operating in Jordan for more than four decades, originally founded as Virgin Foundation in the 1970s by the brothers’ father, Nabil Emad fondly recalls his early introduction into an exciting music industry at just 12 years of old. “Back then, we were simply known by my dad’s name and there was no structure for a proper company whatsoever,” he remembers. “There were a couple of people who worked with him on and off over the years, but mainly it was just him by himself. As a result, my brothers and I understandably became very involved. As his kids, we were raised in between speakers and I can remember

it was the only sound system available in the region back then,” recalls Emad. “In fact, we still have some stock of it now. They obviously don’t go out on jobs anymore, but we keep them around for the nostalgia. Back then, sound was

operations, Muhannad in charge of the staffing, HR and accounting, and Ramzi responsible for technical as the head of the sound department. As the company’s operations continued to develop and diversify under the brother’s management, a name change to RB Event Technology followed to better reflect

Driven forward collectively by three united brothers, RB Event Technology has grown to become one of Jordan’s premier live events companies

Emad at Petra with Panasonic’s Francois Yadi for the Festival of Light

Onsite in Petra configuring the huge projection canvas on the face of the Treasury

its expanded offering – and potentially avoid a problematic legal battle as the country’s first Virgin Megastore was due to head to Jordan. RB stands for the Rabadi Brothers.

“At that point, around 2006 when we changed our name, we were literally no one in the market, just providing technical sound support at small events here and there, such as weddings,” says Emad. “Today, we own approximately 5 million JODs [US$7 million] worth of equipment in our warehouse and offices. The transportation and shipping are all owned and operated by us and we have invested a lot of time, money and energy. Lately, we’ve grown to a point where we can focus solely on just massive events and we now have one of the biggest AVL equipment stocks of anyone in Jordan. However, we are not in this industry just to make money and then disappear. Whatever we make, we invest that back with the goal of making events better.”

The downturn in activities across the board in 2020 and 2021 presented an obvious opportunity for RB to seriously focus on equipment investments, leading to the purchase of a sizeable amount of new L-Acoustics K2 and Kara equipment, and the need to migrate to a third, much larger warehouse in Amman. There was no big break for the company though, admits Emad. The success enjoyed currently is the result of constant focus by the brothers to forge links with event planners, designers and organisers, while reinvesting back into the business.

“We’re talking roughly 10 years of non-stop work each season, just to make some money that could be invested back into the technical equipment,” Emad comments. “What we can

It’s typically the equipment that gets you the job in this business, but Emad is conscious that what makes RB special instead is its dedication to staff. “When the pandemic hit, we had 30–35 full-time employees in-house,” he recalls. “They honestly are like family to us. Some have been with us for more than 10 years and we could never let them go. We supported everyone throughout and instead invested in their skills – reading, learning and teaching ourselves new things. Thankfully, it looks like we are now seeing light at the end of the tunnel and the big events have started to return to Amman in force.

“We’re now looking to the future rather than having to fear what’s just happened. The amount of new business that arrived after Covid – not only for me but for everyone who works in sound – has been crazy. The downside is that we lost some great technicians as they decided to change careers during the uncertainty. Now, we have the equipment and the work available, but there is a severe shortage of skilled talent. As a result, our focus moving forward has shifted to finding and training new technicians –it’s something that all companies here are struggling with. But whether we’re investing in people or technology, we’re resolutely passionate about driving the live events industry in Jordan forward.”

Never content to rest on their laurels, the brothers’ next step will be to establish a new branch in Saudi Arabia. “We believe that there are huge opportunities there,” says Emad. “It’s an absolutely massive market that requires a lot of companies to service all of the events. Everything there is new and exciting, and we will thrive on the competition. You can never take your eyes off the road though – if there’s one lesson I’ve learned throughout this whole journey, it’s that while it takes a long time to build up a relationship, that relationship can be ruined in an instant. You have to always be on the top of your game.”

www.instagram.com/rb_eventtechnology

STREAMING SWITCHER

ULTIMATE ALL-IN-ONE SWITCHER

iCast 10 is the ultimate all-in-one streaming switcher made by Datavideo. Up to 5 sources can be switched seamlessly, divided over multiple local, streaming, USB or NDI|HX

iCast 10 can be controlled by using the front buttons, a browser interface or the TPC-700 controller. By using dvCloud you can easily control the iCast 10 remotely, even with the control panel on your remote side.

iCast 10 features recording (all channels + PGM), streaming, baseband and NDI|HX outputs. iCast 10 is the most cost effective way of handling remote production.

For more information, check out www.datavideo.com

RB’s newest stock of L-Acoustics K2 cabinets

Shure caters for small to medium meetings NEWPRODUCTS

SHURE HAS announced the launch of the Microflex Advance MXA902 Integrated Conferencing Ceiling Array – said to be the world’s first conferencing ceiling array microphone with integrated loudspeaker and IntelliMix DSP for small and mediumsized meeting rooms. Following the launch of the MXA920 Ceiling Array Microphone in 2022, Shure is extending its Microflex Ecosystem portfolio with a new audio solution for meeting rooms that delivers

technology in one device.

In today’s dynamic work environment, IT managers and AV professionals seek a reliable audio solution that’s easy to configure out-of-the-box, enabling them to efficiently transform any small to mediumsized room into an equitable meeting space. The MXA902 is said to be a complete ceilingmounted audio solution for AV conferencing, suited to delivering premium audio capture and reproduction with minimal setup required. The product features an array microphone for directional voice capture and a widedispersion loudspeaker, as well as onboard IntelliMix DSP, applying automatic mixing,

discerning than ever – opting to meet in spaces that best support hybrid collaboration with in-office technology that is both flexible and effective. We’ve recognised the depth of our customers’ needs with the MXA902 as a solution that delivers the best audio capture and reproduction technology for all users in the room. With the microphone, loudspeaker and DSP all in one device, the MXA902 helps improve the overall room design, creating a sleek and elegant meeting room without extension mics and extra wires.”

The MXA902 is officially certified for Microsoft Teams and Zoom Rooms when paired with the USB Audio Network Interface

FIBERFOX Adapter Box

Fiberfox to Opticalcon system conversion made easy with the ruggedized FIBERFOX Adaptor BOX from Neutrik.

High impact resistant Easylen* housing with safety holes and clip rails for rig clamps or accessories.

Highly recommended for point to point connection and cable length extension.

Automatic Coverage Technology, which covers a 6m x 6m space with minimal configuration needed, enabling users to automatically capture the speakers they wish to hear while avoiding noise in other areas of the room. This feature is combined with a widedispersion 2.5-inch loudspeaker to deliver sound capture and listening from one device.

The MXA902 was built with Shure Audio Encryption, so that audio content is protected among all Shure Microflex Ecosystem devices in the room, giving customers peace of mind when it comes to meeting confidentiality.

The MXA902 was created for IT managers and AV professionals of all experience levels, making it suitable for anyone looking for an installation-friendly Microflex Ecosystem solution for small to medium collaboration spaces. The MXA902 is further compatible with MXA900 series accessory kits, delivering a simplified mounting system that works with a variety of ceiling types, including in-ceiling, on-ceiling, pole or wire rope.

www.shure.com

The ceiling-mounted device features an array microphone, a loudspeaker and IntelliMix DSP to deliver consistent voice capture and reproduction

dBTechnologies expands its flagship VIO Series

DESCRIBED AS the newest crown jewels in its VIO-X family of powered PA loudspeakers, dBTechnologies has launched the VIO-X310 and VIO-X315. As the first three-way active speakers in the line-up, they are said to combine precise time-alignment, internal DSP and a “virtually bottomless well” of amplifier power.

The MF-HF coaxial component mounted in both the VIO-X310 and VIO-X315 use the same transducer as the VIO L1610 line array module: a 4-inch voice coil plus a 2.5-inch voice coil coaxial driver, a high-fidelity transducer reproducing from 500Hz upwards. When it comes down to detailed midrange reproduction, a compression driver diaphragm is much quicker and more accurate than a similarsized woofer. Furthermore, because of the compact dimensions, this content can be easily dispersed through a horn for improved control over the sonic pattern. These characteristics reportedly result in a faithful and “meticulous” reproduction of the most critical frequency range, essential for clear-cut intelligible

vocals and instrument speakers incorporate the manufacturer’s fourth-generation

DSP processing, and provide sound pressure levels as

frequencies using dual 10-inch woofers mounted on either side of the midrangetreble assembly in a dipole configuration. The coaxial midrange and treble drivers are placed behind a 90° x 40° rotatable horn. The VIO-X315 features a

single 15-inch woofer and the same coaxial midrange-treble drivers mounted in a 90° x 50° horn, which is tilted slightly downwards to optimise coverage in venues such as nightclubs and small to medium-sized halls and theatres. The extended bass response of the VIO-X315 is as low as 34Hz at –6dB. Both models can be flown using optional accessories and are built to stand up to outdoor use and the punishment of touring.

The VIO-X series is equipped with a fourchannel, 1,400W RMS Class-D DigiPro G4 power amplifier with power factor correction built for extreme demands. Each component is powered individually, with dedicated FIR filters for the low-, mid- and high-frequency bands. This four-channel amp has been specially designed for the VIO X3 series and allows for complete networkability via Aurora Net thanks to RDNet ports. A modular card slot is ready for future I/O and remote-control upgrades.

www.dbtechnologies.com

Bluesound Professional hosts transformational speakers

transformed into a point-centred hanging pendant speaker using the optional Pendant Attachment Kit. With a discreet flush-mounted design, the BCS250 is suitable for retrofit and new-build applications in addition to installations where wall space is limited. By adopting the Pendant Attachment kit, the UL 2043 plenum-rated enclosure can be suspended from the ceiling at a lower height should no suitable mounting options be available at a typical height. Powered by the B170S networked streaming stereo amplifier, the slim-profile BCS250 incorporates a tuned crossover for uniform frequency response, a snap-fit magnetic grille, a long travel dog-ear mount system and a quick connect phoenix connector. The BCS300 all-in-one ceiling or hanging pendant speaker incorporates a music streamer and amplifier. Adopting PoE

technology, the independent unit promotes a decentralised solution that eliminates the need for an audio rack. The flush-mounted design blends with any interior design or décor. Like the BCS250, the BCS300 is UL 2043 plenum-rated and can adopt an optional pendant kit. Based on the BluOS multi-room platform, the BCS300 enables multi-zone control, speaker grouping and integrated networked music streaming from business music partners, including SoundMachine, Qsic and SiriusXM Music for Business. The network streaming speaker combines a 3.5-inch LF driver and 1-inch HF driver to deliver a maximum SPL of 102dB (PoE+) and includes EQ and other DSP parameters. A white magnetic grille is included with an optional black version available for the ceiling speaker and the BCS Pendant Kit is available in matte black and matte white.

www.bluesoundprofessional.com

WITH THE launch of the new TT+ name, the brand has unveiled its first product in the form of the GTX line array system, a solution that is said to address the full range of challenges faced by touring sound professionals and large-venue systems installers.

Unlike other TT+ AUDIO products, the GTX system separates the power amplification from the loudspeaker enclosure, moving it to newly designed touring racks, each with up to three XPS 16K four-channel DSP amplifiers that include AC power, signal routing and network connections. A single waterproof power connector provides cabling from the rack to system modules. This philosophy in power management integrates self- and externally powered TT+ modules via the RDNet management platform for the management of hybrid systems.

The GTX models include the GTX 12 threeway line array module, GTX 10 two-way line

array module and GTS 29 high-performance subwoofer. Enclosures are constructed from waterproof birch plywood and coated with a long-lasting polyurea finish. Optimised rigging hardware reportedly promises touring and installation crews fast setup when suspended or stacked, with anti-rattle locks and a unique

captive hinge bar mechanism that slips into position when set in tension or compression mode.

TT+ AUDIO’s newly developed Precision Transducers are said to incorporate advanced motor structures, multi-layer voice coils and oversized magnets for high performance and

power handling. Proprietary waveguides then provide precision coverage for the wide-range compression drivers. The GTS subwoofer, designed for fast acceleration, boasts two 19-inch cone drivers, each with a safe peak-to-peak piston moving mass excursion of 56mm. The XPS 16K amplifier delivers 16,000W of continuous power with high dynamic headroom and features proprietary loudspeaker performance-shaping algorithms. Now in version 5.0, the RDNet management platform comes with the new design, modelling and simulation platform, Shape D3D. Users can define a 3D representation of a venue and use multiple virtual microphones or check IR-modelled measurements of simulated system response. RDNet then imports data from Shape D3D to generate control and provide full configuration details to the system.

www.ttaudio.com

or pendant speakers. The BCS250 is a speaker line as a network streaming

HOLOPLOT unveils integration-friendly X2 array JBL slims down

the solution also takes a modular approach that allows it to be scaled up to meet the demands of multiple environments.

pro.harman.com

manufacturer

HOLOPLOT has unveiled a new addition to its catalogue. The compact X2 array is a smaller version of the X1 and is intended for speechbased and multi-content applications, bringing the technology to a wider range of applications. The company boasts that it is an “optimal choice for safety-critical applications such as train stations and

Optimised for speech, the X2 is formed from the Modul 30 (MD30) matrix array loudspeaker, which incorporates 30 fullrange drivers in a single layered matrix arrangement. Like its bigger brother, it uses intelligent software-based optimisation of sound system design and performance, facilitating customisable integration and decreasing the need for acoustic treatment by mitigating unwanted reflections. Like the X1,

Sound in symmetry

has released its Aliseo loudspeaker system with a threeway, symmetrical configuration. Described by the manufacturer as an elegant system, it has a horizontal, symmetrical and extremely compact design in relation to the performance. The central unit is made using a 5-inch mid woofer coaxial with a refined horn-loaded high-frequency driver, with 70° conical dispersion. On the two sides of the central element are a pair of high-excursion 5-inch bass-reflex loaded woofers, with a passive crossover inside the system.

Aliseo is manufacturered from high-grade components and is optimised to get the most out of the individual transducers and create a perfectly integrated global system. The sonic result is described as “surprising” and in line with the sound

Arthur Holm heads out to sea

THE MARINE DynamicSpeaker from Arthur Holm is a 360°, fully automated omnidirectional loudspeaker designed for integration into the sun deck and wet areas of yachts. It is said to bring high-end proximity audio to the wet leisure areas of yachts, and the automated pop-up speaker can be used to bring audio to the pool area and jacuzzi. The speaker will absorb water splashes without any change in the frequency response and is manufactured from marine-grade stainless steel and composite materials. When installed on the deck, 30mm deck material can be added to

the top of the speaker housing so that the loudspeaker will disappear when retracted into the deck; the speaker top is designed for antitrapping. From a design perspective, the solution is completely hidden when not in use and can be raised out of the deck with a touch of a button.

The manufacturer has also added to its Dynamic range of camera lift solutions designed to hide table cameras. The DynamicCL is a lift system that retracts the camera and its connection cable when not in use and has integrated camera power and a USB-C or USB-A cable for the camera

normally associated with the Pequod brand, including a clear and natural midrange, refined high frequencies and a solid, welldamped low range, with extremes of range in both the low and high frequencies. Aliseo can be suspended, placed against a wall or in a corner, to create sound

“When setting out to design the X2, it was obvious we needed to stay in line with HOLOPLOT’s Matrix Array principles,” explained product manager Klas Dalbjorn. “We wanted to bring the same unprecedented digital control over sound achieved with the X1 and translate it to delivering unsurpassed intelligibility and directionality for typical install use cases such as auditoriums, PA/ VA applications or houses of worship. Form factor and power-to-size ratio were key considerations from the get-go. The X2 is optimised for speech applications, but can reliably support music content reproduction.” While the mounting frame of the X2 allows for efficient installation, the cabinet has also been built to withstand extreme weather conditions, meaning it can be installed in locations regardless of the climate. With the introduction of the X2, HOLOPLOT is also releasing a new version of its sound system design software HOLOPLOT Plan. Alongside a number of feature updates, it now enables planning and simulation with X2 audio modules.

www.holoplot.com

spaces in areas with reduced height on the vertical plane, such as private rooms in nightclubs or enclosed spaces, where the speaker can be used on its own, or with a subwoofer to obtain high SPLs.

www.pequodacoustics.com

feed. The USB cable retracts with the camera, leaving the table free from the camera and cable. The DynamicCL is also available without a retractable cable for permanent connectivity. All mechanical movements are controlled remotely via RS-422 or locally on the device. It is said to have an almost silent camera movement and a standard brushed stainless steel cover plate with an integrated touch button to control the up and down motion.

www.arthurholm.com

TWO JBL Slim Column Loudspeakers,

IS-Series gains a new member

CEMENTING ITS installation-focused IS-Series of loudspeakers, Adamson Systems Engineering has extended the series with a 12th addition in the form of the IS7c passive two-way coaxial speaker. Exhibiting extended low-end frequency response, the compact cabinet is resistant to corrosion with an elevated IP rating and is available as a weatherised product.

The IS7c integrates an ND7-C coaxial transducer incorporating Adamson’s Advanced Cone Architecture, which enhances durability in addition to targeting

the upper midrange. Operating within a frequency range of 80Hz–20kHz with a maximum peak SPL of 130dB, the IS7c displays a nominal concentric dispersion of 90°. Rigging points are available in the form of top and bottom mini-SLR discs, each containing a 10mm threaded insert. Two speakON NL4 connectors and a two-point barrier strip are available for connection. Supporting the design for any Adamson system together with full control and monitoring of the CS-Series loudspeaker, the Canadian innovator has released the Windows version of its ArrayIntelligence software. The software is logically laid out to move from design and simulation to configuring I/O and routing to system control, metering and diagnostics. Much of the design and simulation technology from the previous Blueprint AV software has been modified to allow for integration of identifiable and controllable endpoints into the workflow. In addition, ArrayIntelligence allows for implementation of multi-layer DSP zoning and grouping, auto-detection of online devices and use of Adamson’s proprietary optimisation algorithm to fine-tune line array performance. The legacy software Blueprint AV will continue to be supported for system design.

www.adamsonsystems.com

A flare for sound

ATLASIED HAS announced the IsoFlare series of ceiling loudspeakers, the first products developed as part of the company’s strategic investment in Fyne Audio. The loudspeakers have been designed for luxury hotels, casinos, high-end restaurants and bars, retail spaces and corporate facilities, and are said to provide a natural and accurate soundstage, accurate and linear response, and consistent broadband directivity.

The series consists of seven models, including blind mount models in 4-, 6and 8-inch sizes, a 4-inch low-profile model, an 8-inch subwoofer and two pre-install models. The speakers offer an edgeless grille design in either square or round and black and white options to cater for the most demanding architectural constraints. For quick and secure installation, the IsoFlare series incorporates a patented toolless dog leg mounting mechanism on all models.

of the cabinet’s integral structure, for increased rigidity under a minimal system weight. It has 5.3Ω system impedance for efficient amplifier channel loading when assembled in multiples; an array of six 12-inch woofers can be driven by one Sentinel channel.

The integrated factory presets in the ALC drive processor offer gain, phase, array length and filtering matching with all Alcons pro-ribbon sound systems.

www.alconsaudio.com

loudspeakers. Featuring a modern industrial design that is said to complement any space, as well as high-efficiency transformers with a flat response, the AS Series brings “high-end performance and an upgraded aesthetic to the surface-mount category”. The series is available in five full-range models, including a 4-, 5-, 6-, 8and 10-inch model, along with a 10-inch subwoofer. Each loudspeaker supports multiple mounting options, including yokes, universal brackets, and VESA compatibility.

Available in black or white, the UL1480-listed and IP55-rated speakers are constructed from weather-resistant materials, making the line suitable for all types of applications, particularly in wet or high humidity areas.

The manufacturer has also unveiled its AS Series of all-weather, surface-mount

www.atlasied.com

Celestion’s Lynchback DSR joins the (Speaker)Mix

EXPANDING ITS collection of Dynamic Speaker Response (DSRs), Celestion has announced the addition of the G12-50GL Lynchback collection. Capturing the sound and feel of a speaker’s dynamic, non-linear response, the Lynchback joins the collection of Celestion DSRs designed for use with SpeakerMix Pro, a DAW plugin offering a range of guitar and bass speaker tones.

Created to meet the standards of metal guitarist George Lynch, the G12-50GL Lynchback speaker delivers the vintage tone of a G12M Greenback with the additional capability of producing a

harder, more aggressive sound on demand. Available individually or as a complete set, the Celestion Lynchback DSR files are captured with three studio microphones – a Shure SM57, a

Royer R-121 ribbon mic and a Sennheiser MD421 – and include five cabinet configurations: 1x12 (both open and closed back), 2x12 (both open and closed back) and 4x12 (closed back). The addition of a Neumann TLM107 room mic provides the user with a number of different mic mixes and a range of tonal options.

www.celestion.com

IsoFlare

PRODUCTS

Added Xcellence from Amate

THE FIRST 18-inch subwoofer to incorporate the Active+ platform has been designed by Catalonian manufacturer Amate Audio. The Xcellence XW118 incorporates an 18-inch neodymium transducer and 4-inch voice coil with direct laminar bass-reflex radiation to produce a continuous 133dB musical program output. Powered by an internal 2,500W Class-D amplifier, DSP control parameters including gain, SPL limiter, crossover and EQ can be configured. Optional Ethernet or Wi-Fi control can be added via the Amate Audio DSPStudio application, together with the Active+ enabling Dante system connection. Within the 555mm x 740mm x 748mm outer birch wood structure is an inner design with asymmetric walls, reinforced to minimise

internal standing waves to attain high dynamics. Designed to be the perfect companion to any element from the Xcellence series, the 56.8kg XW118 is finished with a polyurea coating. Flexibility is enhanced with an M20 pole mount and hardware for suspending the subwoofer from a customised BRXW bumper and KR

THE PL Series of loudspeakers from Q-SYS is a portfolio of IP54-rated loudspeakers designed to fit a range of entertainment applications including auditoriums, houses of worship, theatres and small sports venues. With line arrays, point source speakers and subwoofers, the PL Series allows integrators to create optimal audio experiences for every

unique space. Meanwhile, the company claims that pairing with the Q-SYS Platform provides simplified setup, custom voicings, advanced telemetry, monitoring and customisable end user control.

PL-LA models are two-way passive line arrays (8- and 12-inch) designed for FOH in small to medium-sized venues and feature QSC’s

loudspeaker

DESIGNED FOR a wide range of applications, EAW’s MKD526 two-way, dual-woofer passive loudspeaker has made its debut. Delivering a high-output, broadband pattern control, the MKD526 has a maximum SPL of 127dB and an operating range covering 75Hz–20kHz. Its small profile and flexible accessories allow for discreet integration into a range of environments, including front fill, under-balcony fill, corporate events, bars or restaurants. It is also equipped with EAW features such as Focusing, Dyno and Symmetry of Sources technology to ensure consistency throughout the coverage pattern.

In addition, EAW’s SB210 dual 10-inch subwoofer has been launched as a low-frequency support solution. The latest addition to the SB Series product line is designed for installations with limited space and features a unique driver mounting and ultra-low turbulence port design to maximise the cone and front areas; EAW says this results in a powerful acoustic performance. The fixture also has integrated M10

The PL-SUB are passive subwoofers (10-, 12-, 15- and 18-inch). The two larger models offer omnidirectional or cardioid coverage when deploying two or more subwoofers. As a native Q-SYS endpoint, all are compatible with the Q-SYS Control engine, while the Q-SYS Reflect Enterprise Manager enables full remote monitoring and management.

rigging kit. A software preset for cardioid mode includes a three-unit configuration for a 20dB reduction in low frequencies onstage.

The Active+ control platform can be monitored and configured from a 3.5-inch GUI colour touchscreen. Advanced FIR (Finite Impulse Response) is employed in providing total system phase linearity, ensuring no group delays over the entire frequency response, including highorder parametric EQs. Amate Audio’s proprietary over-voltage circuit provides added protection. In combination with the universal power supply’s power factor correction, safe operation of the XW118 is assured under unstable mains conditions up to 400V.

www.amateaudio.com

MKD526

mounting and M20 pole mounting options. www.eaw.com

SOUNDTUBE ENTERTAINMENT has revealed its XT850-LED, a two-way outdoor loudspeaker system featuring integrated LED landscape lighting suitable for outdoor environments.

The 8-inch XT850-LED speaker distinguishes itself from standard speaker systems with its UV-, scratch-, chlorine- and weather-resistant features. These components are said to ensure its long-lasting performance and durability, even in challenging outdoor conditions.

The XT850-LED provides full-range background and foreground music capabilities, as well as paging functionalities. Its sealed, in-ground enclosure design delivers a low-end response and optimal off-axis performance. The speaker system also comes equipped with theft-resistant

mounting hardware and a weatherproof five-position tap switch for 25V/70.7V/100V applications, with a transformer bypass position. An IP55 rating reportedly underscores its resilience in outdoor settings.

The integration of omnidirectional LED strips into the speaker’s enclosure creates warm pathway lighting. With a 3,000K warm-white colour temperature, the LEDs are compatible with third-party dimmer switches. Additionally, the XT850-LED can be conveniently powered by a conventional 12V landscape lighting transformer (not included), and multiple XT850-LED units can be run off a single transformer depending on its power capacity.

www.mseaudio.com

Bose Professional and Powersoft share the power

Max impact for Biamp

THE

conference rooms equipped with a dedicated UC

Sennheiser extends the TeamConnect family with Bar Solutions

SENNHEISER HAS entered the unified communications AV bar market with an all-in-one device for small and mid-sized meeting rooms and collaboration spaces. With the addition of the TeamConnect (TC) Bar solutions to the TeamConnect family, Sennheiser now offers

enables seamless transition between presenters and offers freedom of movement and configuration within the space. Integrated DSP, together with Sennheiser Control Cockpit, allows users to further optimise the room acoustics. An automatic conference and music mode switch is included

blind mounted from below the ceiling. Magnetic grille plates are available in white, black and red, but can be painted to match the room décor. Reducing cabling, the C-IC6 directly integrates with the four-channel PoE+ Tesira AMP-450BP amplifier.

The Voltera A Series half-rack power amplifiers are designed for smaller applications. Capable of producing 300W or 600W across either two or four channels in either 4Ω, 8Ω, 70V or 100V operation, the four models support power sharing for delivering twice the power by any channel.

With the EasyConnect MPX 100 media switcher, Biamp has simplified BYOM calls for

Shhhh!

CONNECTIVITY SPECIALIST

has redesigned its silentPLUG instrument ¼-inch jack plug with an upgraded version which replaces the previous model. The NP2XX silentPLUG features a two-compound housing with a metal shell, enhanced with a rubberised overlay for improved shock protection and better haptic experience.

Hermetically sealed switching contacts are said to ensure a

primary UC host system and connects to the inroom AV peripherals. The EasyConnect MPX 100 connects via USB or HDMI and mounts behind the display with cables to the table provided. A panel includes USB ports and HDMI 2.0 for displays up to 4K resolution.

In brief, the manufacturer has also released the Modena Max Connect and Room Control for UC Systems. Modena Max Connect enables users to join a meeting instantly with any device and using any video collaboration experience, including UC platforms or messaging apps.

support large and mid-sized rooms as well as an intelligent speaker for smaller meetings. Designed for small (TeamConnect Bar S) and medium-sized (TeamConnect Bar M) meeting and collaboration spaces, each product can operate as a standalone solution. Designed to integrate with any meeting platform, the TC Bar S features four microphones with two speakers, while the TC Bar M comprises six microphones plus four speakers. The TC Bar can be integrated into a room design with multiple mounting options, including wall mount, VESA mount, tabletop or freestanding. The option of using Dante for adding extension mics or a second external USB camera provides added scalability. The full-range stereo speakers with optimised passive radiators provide natural speech and intelligibility. Integrated beamforming technology

to clearly see everyone in the room, the 4K Ultra HD camera is enhanced with AI features, including “Autoframing” and “Person Tiling”.

The TC Bars are compatible with major Media Control Systems from Sennheiser’s Alliance Partners. For basic adjustments, several features, including zoom and person tiling, are accessible on the remote control. The TC Bar solutions come with password-protected security configuration. The communication to the Sennheiser Control Cockpit, as well as thirdparty media control systems, is encrypted using industry-standard Transport Layer Security 1.2. The TC Bars also support IEEE 802.1x network authentication and, for additional privacy, a lens cap is included.

www.sennheiser.com

longer functioning lifespan for the connector. The silentPLUG automatically mutes an instrument cable to avoid pops and squeals when changing the instrument under load.

The integrated and patent-pending silent switch is based on REED technology and guarantees a lifetime beyond 1,000 mating

Extron addresses flexibility

EXTRON HAS introduced the XPA Ultra FX Series of eight- and four-channel multizone audio power amplifiers. The units allow for a single amplifier to be set up in a variety of configurations to support large systems with multiple speaker types, can simultaneously drive 8Ω, 4Ω, 70V and 100V loads and are configurable per channel.

Each channel of an adjacent pair dynamically draws power from the pair’s total wattage, delivering optimal power where it’s needed, according to system requirements. XPA Ultra FX amplifiers feature Extron’s InstaWake+ technology,

providing the ability to return to full power from standby in under 5ms. This reportedly ensures that no part of the audio is cut off. The fan-cooled enclosure can be part of a high-tech aesthetic or hidden away in a rack, without requiring adjacent empty space for ventilation. Offering 200W per channel, the XPA U 2008 FX eight-channel amplifier and XPA U 2004 FX four-channel amplifier are intended to be go-to solutions for any multizone applications requiring mixed speaker impedances and power levels.

www.extron.com

WITH THE launch of the PowerShareX Designed to integrate with Bose Professional

DESONO loudspeaker series has been

Desono C-IC6 and DX-IC6LP

AMX expands control to third-party devices

THE CE SERIES from AMX is a family of professional-grade universal control extenders said to deliver hardware control to any system that supports IP connectivity. The units have been designed for corporate spaces, colleges and universities, and government facilities. There are four models available: the CE-IO4 with four I/O ports, the CE-IRS4 with four IR/S ports, the CE-REL8 with eight relays and the CE-COM2 with two serial ports.

An open control API makes it simple to integrate CE extenders with any IP control systems or apps and the integrated web interface enables configuration without specialised applications. Harman’s HControl protocol enables auto-discovery by nextgeneration AMX control processors and other Harman Professional products. PoE power and a compact footprint simplify installation and concealment.

Harman Professional Solutions has also introduced AMX MUSE, described as a next-generation automation platform capable of simultaneously processing multiple scripting languages, supporting no-code and low-code capabilities and simplifying

Hall Technologies debuts AIM and Astro products

routine development tasks, opening up the possibilities for technicians and IT managers of all skillsets to deliver advanced automation in a modern market. MUSE will also enable users to work in standard IDEs with the ability to mass deploy across forthcoming purpose-built controllers and MUSE-embedded Harman devices. MUSE natively supports Harman’s new HControl protocol (open-API), HiQnet (legacy Harman audio devices) and ICSP (legacy AMX control devices).

Finally, the SVSI N4321D audio transceivers with Dante and AES67 have been unveiled. The transceivers are suitable for corporate

applications, colleges and universities, casinos, convention and entertainment centres, or anyone needing robust Dante, AES67 or PCM networked audio-over-IP and analogue transcoding at an affordable price point. The N4321D connects independent IP and analogue audio networks and supports balanced and unbalanced analogue audio. Whether the project requires converting from PCM to Dante, Dante to analogue, analogue to AES67 or nearly any other combination of these technologies, these transceivers are said to simplify networked audio integration.

pro.harman.com

VR audio mixing becomes a reality

PROVIDING VR and AR game audio designers with the ability to preview and tweak their sound creations directly ingame during creation, immersive audio expert Dear Reality has announced its Spatial Connect for Wwise project. Spatial Connect is an in-headset mixing workflow developed in close collaboration with game studios and with technical support from Audiokinetic, the manufacturer of the Wwise audio middleware. The solution is said to significantly improve the workflow for

With Spatial Connect for Wwise, game audio engineers can mix directly in the headset, reducing context switching and enabling them to work more intuitively on spatial audio in the immersive environment itself. Designers will have direct in-headset access to the Wwise mixers, including the ability to solo and mute. Gesturecontrolled audio mixing enables game audio designers to handle the 3D space more intuitively by working in context. Audio designers can control levels, attenuation curves as well as maximum distances and are immediately able to perceive

and UH-BTX 70m and 100m HDBaseT extender sets. All of the manufacturer’s AIM products have been designed to extend signals from laptops to projectors or flat panels displays in classrooms or meeting rooms. The AIM-70 and AIM-100 support resolutions up to 4K@60Hz and HDCP 2.2 over Catx cables and support bidirectional IR and RS-232 pass-through.

The ASTRO2-4 is an extender kit for USB 2.0 devices such as interactive flat

for signal extension for up to four USB devices. The ASTRO2-4 supports high-speed USB 2.0 (up to 480Mbps) devices over a Catx cable. Up to four USB 2.0 device connections are available, while the ASTRO2-4 can also be used for connectivity for soft-codec applications, such as Microsoft Teams and Zoom.

www.halltechav.com

Minimal controls, maximum reduction

CEDAR AUDIO’S VoicEX voice extractor is a real-time AI noise reduction tool that the company says is a completely new approach to voice extraction and incorporates unique algorithmic capabilities. VoicEX identifies the voices in a signal and creates two audio streams: one containing just the voices, and one containing everything else. With just one knob to determine the loudness of the background and another to control the loudness of the speech, the signal is simple to control; reducing the background removes the noise without affecting the timbre of the voices, while reducing the voices reveals more of the background. Users can increase either to emphasise that part of the signal.

CEDAR Cambridge 14 is also now available. In addition to VoicEX, Trinity Enhance Plus has been designed specifically for audio forensic use. It provides six related tools that allow

users to suppress background noise, increase the intelligibility of speech and enhance the background if that contains wanted detail. The Isolate blind source separation module identifies

and separates individual audio sources within a livestream or recording obtained using a suitable microphone array, while the Mixer module allows users to monitor selected signals obtained from Isolate, allowing them to mix wanted sources to identify and reconstruct conversations from its multichannel output. Time Stretch has been optimised for speech signals so that users can adjust the speed of signals within the 20–200% range, without altering their pitch, and offers four modes to preserve the quality of different types of signal. Voice activity detection saves users time when processing long files with intermittent speech content.

www.cedar-audio.com

In-headset

CABLE MANUFACTURER KLOTZ AIS has released its PD1 Pro Digital Patch Series with the thin and ultra-flexible OT1000 “slim patch” cable for AES/EBU and DMX signals with high-quality KLOTZ XLR 3p or XLR 5p connectors. The use of this

high flexibility. The “slim patch” cables of the PD1 series transmit digital signals such as AES/EBU and DMX, as well as analogue microphone and line audio signals, and are available in cable lengths

areas. The laser-optimised 50μm special fibres result in an effective modal bandwidth (EMB) of ≥4,700MHz/km @ 850nm that can enable transmission rates of 10Gb/s up to 550m. High macro and micro bending performance values have resulted in advanced fibre mechanical properties, including a wide temperature range (–55°C to +85°C), low kink sensitivity, high transverse pressure resistance and extremely tight bending radii.

DiGiCo demonstrates deterministic connectivity with AVB

of 95%. According to the manufacturer, this ensures a stable shielding in combination with very

transmit large amounts of data without any problems. The OM4 fibre benefits from increased bandwidths in all application

Made in Germany according to product specification IEC 60793-2-10 and in compliance with the Ethernet standard IEEE802, the latest fibre-optic cables with OM4 fibre are downwards compatible with older fibre categories (OM3, OM2).

www.klotz-ais.com

Tasker heads to the amusement park

IT’S BEEN more than 60 years since the first theme park opened in Los Angeles. Today, customer requirements and taste are varied, so to meet the needs of these installations, Tasker has developed a dedicated range of highly resistant products, suited for outdoor applications.

The TSK403 and C128 have been designed for use with high-fidelity speakers and microphones. The first one has a 2x2.5mm² section and a high fire-resistant sheath; the second is a balanced 2x0.35mm² shielded cable with a flame-retardant sheath and is resistant to trampling, abrasion, water and UV rays.

For high-definition footage, the HDSDI T42 PUR coaxial cable can be used for distances up to 100m, maintaining definition thanks to the 0.8mm stranded conductor and the double braid shielding. For monitoring, the double sheathed C728 PUR (Cat.6A S/FTP) is particularly suitable for outdoors. This cable allows users to link the newest equipment, maintaining mechanical

characteristics of the C728 PUR but is also

For video surveillance, Tasker produces LSZH sheaths, different types of coaxial cables and a number of control lines that can be used as a power line to cameras. And with the C149 LSZH, customers can do all these things using For fire protection, the manufacturer has unveiled a range of products with CPR Homologation Cca and B2ca

Finally, a Cat.6 S/UTP cable has recently joined the catalogue. The C729 is resistant to a direct flame for two hours up to temperatures of 850°C while maintaining signal

Seeking feedback on assistive tech

WITH THE ability to deliver better audio to people with hearing loss, Williams AV has unveiled its Bluetooth Auracast technology for the pro AV market. The company believes its assistive communication concept can create new opportunities for AV professionals and has added Auracast technology to its range of FM, infrared, Wi-Fi, digital and induction loop technology. The

Auracast platform can simultaneously deliver up to 20 audio broadcasts to an

loss, as well as broadly deliver audio in public

Meanwhile, the manufacturer has also unveiled the newest member of its portable, wireless digital product family – the Digi-Wave AIM transceiver. According to Williams AV, the Digi-Wave AIM – with AIM standing for Advanced Interpretation Module – has been developed due to the growing customer demand for a feature-rich, portable language interpretation solution to support a variety of bilingual and multilingual scenarios. While the current Digi-Wave 400 transceivers include an interpretation mode, the Digi-Wave

DIGICO HAS deepened its commitment to the Avnu Alliance with the introduction of its Milan-certified DMI-AVB module. The DMI card module provides reliable Audio Video Bridging (AVB) networking and interoperability between any of DiGiCo’s DMI card slot-equipped consoles and any other system component on a shared Milan AVB network.

Compatible with all of DiGiCo’s Quantum range, the SD12 and any other console via DiGiCo’s outboard Orange Box, the digital 64x64 AVB card supports both 48kHz and 96kHz formats and supplies eight streams of eight-channel audio with extremely low latency. The DMI-AVB also supports Master/Slave clock mode. DiGiCo joins a host of professional audio manufacturers who have adopted the IEEE’s open-standard AVB technology, including d&b audiotechnik, L-Acoustics and Meyer Sound.

“As pro audio’s only deterministic network protocol, Milan has proven to be robustly stable and reliably high-quality,” said DiGiCo MD, Austin Freshwater. “As industry professionals increasingly turn to the protocol for its many advantages, we’re pleased to now natively bring our consoles into the Milan ecosystem.”

AIM transceiver streamlines two-way interpretation and includes the advanced functionality customers have requested. The AIM mode includes all of the current features of the Digi-Wave 400 series, including intercom and courtroom modes, and now comes with a new Q&A mode for easy question-and-answer sessions. This makes it suitable for international meetings and bilingual tours, with the ability to switch between two languages and multiple open mics for each language.

www.williamsav.com

Digi-Wave AIM

Audinate partners with ASPEED for Dante AV-A

WITH INITIAL support from nine AV manufacturers, Audinate has announced a partnership with ASPEED Technology to extend Dante AV to its AV-over-IP chipset. Dubbed Dante AV-A, the version has been optimised to work on the ASPEED AST1530/1535 SoC (System on Chip).

ASPEED says the partnership allows it to prequalify Dante as part of the AST1530/1535 SoC and make it available to ASPEED customers through its SDK, making it as easy as possible for OEMs and ODMs to add Dante AV to their products. From multi-input to multi-output with high-definition content delivery, ASPEED SoCs are used extensively by manufacturers in the pro AV

Listen Technologies launches ListenWIFI

including continuous system monitoring, audit logs and user access control.

Manufacturing partners who have licensed Dante AV-A include AMX by Harman, Aurora Multimedia, AVPro Global, Cypress, GoMax, HDCVT, ProAVIT, SY Electronics and WyreStorm.

With the launch of Dante Professional Services, Audinate is aiming to help consultants, integrators and end users navigate the complexities of a fast-paced AVoIP world. Dante Professional Services can be used as an additional resource to design, deploy and manage Dante systems. It also provides access to Audinate’s networked AV expertise for creating comprehensive

WITH THE ListenWIFI product suite, Listen Technologies has developed the next generation of its Listen Everywhere,

requirements and to simplify audio access for guests. Making ListenWIFI a global assistive listening system, the

international compliance requirements when used with signage and neck loops. The LWR-1050 receivers can access ListenWIFI app on their

Alternatively, the audio accessed LWR-1050, which does not require Wi-Fi connection or an

The ListenWIFI LA-490 location-based audio.

industry. The AST1530/1535 SoC AV-over-IP chipset is specifically designed for pro audio and video applications taking advantage of industry-standard IP networks.

Dante AV-A delivers high-quality video up to 4Kp60 4:4:4 resolution and two channels of Dante audio that are compatible with Dante audio products, simplifying distributed AV system design. Independently routable audio and video flows mean breaking out audio to installed DSPs, amps or speakers is simple, while its ultra-low video latency looks and feels natural for in-room video distribution.

As part of the Dante AV family of solutions, Dante Controller software handles all audio and video device routing, while Dante Domain Manager provides IT-level management

system designs, design reviews and recommendations, or when a neutral third party is needed to resolve technical issues.

According to the manufacturer, its connections with Dante OEMs, network hardware manufacturers, consultants and integrators make it “uniquely qualified to provide expert guidance, ensuring successful Dante deployments”. Available services include discovery, system design, design review and consulting, network migration and upgrade planning, existing network fit-forpurpose evaluations, Dante Domain Manager implementation planning and customised onsite or remote training.

www.audinate.com

their hearing aids or cochlear implant. Applications for ListenWIFI include assistive listening, language interpretation, streaming audio from video or TV screens and audio description. While previous versions of Listen Technologies’ audio-over-Wi-Fi solution had similar applications, the ListenWIFI platform features the latest hardware, including LWR-1050 dedicated receivers, LA-490 ListenWIFI Beacons, two-, four-, eight- and 16-channel servers

DirectOut brings Milan to the Prodigy Series

AN AVB/MILAN module has joined DirectOut’s Prodigy Series of audio converters and processors. The Milan.IO module supports up to 128 audio c h a nnels at 1FS and marks the manufacturer’s entry into the AVB/Milan community having recently joined the Avnu Alliance. The Milan.IO features two redundant gigabit network interfaces with RJ45 or SFP options, managed via an internal AVB switch. With a sample rate range from 44.1–192kHz, it is said to improve flexibility. Additionally, the module

supports optional HD SRC technology, enabling state-of-the-art sample rate conversion and providing an alternative to FastSRC.

The company has also expanded its range of supported audio network formats with the addition of AVB/Milan to its existing line-up, which includes Dante, RAVENNA/ AES67 and SoundGrid. With the PRODIGY.MP multifunction audio processor, equipped with two audio network slots, customers can now bridge AVB/Milan and Dante or any other supported audio network, as

trigger the LWR-1050 receivers and users’ smartphones to stream audio a specific range of the unit. ListenWIFI determine the coverage area and which channels a user can access.

The new ListenWIFI servers are available in two-, four-, eight- and 16-channel configurations. ListenWIFI Manager software for Windows manages the ListenWIFI system and enables venues to program the entire ListenWIFI platform, including the LWR-1050 receivers, LA-490 Beacons, mobile apps and servers. Audio channels can be password protected and QR codes can be generated to access

Clockaudio interface streamlines system integration

CLOCKAUDIO, IN

Sound Control Technologies (SCT), has created the Sound RM-C303 adaptor, designed so that field engineers can easily extend Clockaudio’s tri-element array hanging ceiling microphone, the C303-RF, over Cat5e or Cat6 cable back to the Codec. This collaboration allows the C303-RF to interface with a Cisco Codec via a simple plug-andplay SCT adaptor.

www.clockaudio.com

www.soundcontrol.net

Taking creativity to the next level

YAMAHA HAS announced the DM7 Series of professional digital mixers, said to deliver next-level efficiency and agility for creative sound engineers. Designed to deliver intuitive operation, reliability and highquality sound to achieve a maximum level performance, the DM7 Series offers four purchase options, including a 120-channel (DM7) and 72-channel (DM7 Compact) mixing console, each with an additional control expansion unit (CTL-DM7).

The channel strip features the four varieties of channel EQ from the flagship RIVAGE PM Series alongside the new FET Limiter and Diode Bridge Compressor.

Both the DM7 and DMC7 are equipped with 64 channels of Dan Dugan auto-mixing. Also included are a range of Yamaha’s Virtual Circuitry Modelling (VCM) plugins, such as the Portico 5033 equaliser and Portico 5043 compressor/limiter (created in cooperation with Rupert Neve Designs), as well as the

The DM7 can process 120 input channels and features 32 local inputs and 16 local outputs. The DM7 Compact can process 72 channels, has 16 local inputs and 16 local outputs. Both models feature up to 144 in/ out Dante networking at 96kHz, 48 mix, 12 matrix and two stereo busses.

With the purchase of the CTL-DM7, the mixing console provides more tactile encoders and faders for increased flexibility.

The DM7 Series can be used with 1st and 2nd Generation Yamaha R Series I/O racks and unlocks their 96kHz functionality. In addition to Rios, the DM7 supports a wide range of Dante devices to provide scalable

DaNSe dynamic noise suppressor and Dynamic EQ.

Two large 12.1-inch multitouch screens (one on the DM7 Compact) contain Yamaha’s familiar “touch and turn” knobs. A new Selected Channel View displays a list of information on individual channels, allowing quick access to the parameters, and the overview screen for analogue mixer-like operation. A histogram display has also been added to the input meters to help manage head amp levels. In brief, the manufacturer has also announced that its CS-800 Video Sound Bar has been certified for Microsoft Teams.

www.yamaha.com/proaudio

DM7 Series

Audio-Technica expands its 20 Series

THE AT2020USB-XP cardioid condenser USB microphone is the latest addition to Audio-Technica’s 20 Series content creation products. Building on the AT2020USB-X USB condenser model, the AT2020USB-XP includes the same silent touch-sensitive mute switch, built-in headphone jack with volume control and personal mix control to allow for monitoring of the microphone, as well as plug-and-play USB Type-C operation. Additions and improvements for the AT2020USB-XP include a 24-bit/192kHz sampling rate, three levels of noise reduction

(via selector switch with LED indicator), automatic gain control (with LED indicator) and the inclusion of a clip-on pop filter. The microphone’s directional pickup (cardioid) keeps the focus on the voice or other chosen sound source, while its high-resolution A/D converter is said to ensure extremely clear, natural sound reproduction. A two-state LED indicator ring lights blue to indicate that the microphone is receiving USB power and lights red when audio is muted at the microphone. The LED indicator also blinks when peak audio level is reached.

DPA announces more microphone kits

AFTER THE successful launch of its DDK4000 Drum Microphone Kit, DPA Microphones has added several other professional sound microphone kits. The additions will provide audio engineers with a selection of high-quality condenser mics for a range of purposes. The bundles include the DLK4000 Live Microphone Kit, DSK4001 Studio Microphone Kit, DRK4001 Ultimate Recording Kit and DLS4000 Location Sound Kit.

Offering a microphone and accessory selection for touring sound engineers, the DLK4000 Live Microphone Kit features 20 mics and capsules, along with accessories said to enhance sound quality, clarity and consistency. Included in the kit are mics for lead and backup vocals as well as instrument mics for close-miking any live instrument. To further equip the entire live stage, the kit’s line-up features various pencil mics, which are suitable for spot-miking instrument groups or capturing ambient sounds. Accessories such as extension cables, mic clips, mounts and wind screens reportedly provide easy setup and breakdown, no matter the instrument.

HXII-DPL delivers IP on an XLR backbone

BRIDGING THE gap for facilities relying on XLR audio cabling for intercom, Clear-Com’s

The microphone comes with a custom desk stand and clip-on pop filter, 3⁄8-inch-16 to -inch-27 threaded adapter and 3.1m USB-C to USB-A cable with a USB-A to USB-C adapter. The AT8455 shock mount, to effectively absorb vibration noise, is sold separately.

In brief, Audio-Technica has announced integration between its ATND1061DAN beamforming ceiling array microphone and a wide range of AVer PTZ cameras designed for video collaboration.

www.audio-technica.com

For those miking more in the studio than on the stage, the DSK4001 Studio Microphone Kit has been designed for small home studios and large professional spaces alike. The condenser mics are suitable for recording bands, vocals and anything in between. This medium-sized kit contains both instrument and vocal mics, as well as a wide variety of helpful clips and holders, allowing for simple setup when close-miking a single instrument or spot-miking an entire group. The DRK4001 Ultimate Recording Kit features over 24 DPA condenser microphones and close to 100 functional accessories. The DRK4001 can additionally aid in live-stage recordings.

Finally, the DLS4000 Location Sound Microphone Kit features all the standard TV/film production solutions, along with cables, holders, concealers, adapters and clips. From shotguns for booming to micro-shotguns for discreet plant-miking and a range of lavaliers for close-miking, each mic included in the kit has been chosen based on input from professional sound engineers.

www.dpamicrophones.com

devices, as well as support for Clear-Com’s range of FreeSpeak Digital Wireless Systems. HXII-DPL connects to an existing Arcadia system or XLR cabling infrastructure via its own network port to provide Powerline connectivity via threepin XLR anywhere on the network.

Multiple HXII-DPL Powerline Devices can be added to increase HelixNet User Station capacity and allow for greater user density

Mackie innovates for all with DLZ Creator

WITH THE launch of the DLZ Creator, Mackie has designed an all-in-one podcasting and streaming audio solution for content creators.

Station System (or legacy HMS-4X Main Station). Arcadia-based systems open a world of digital audio connectivity for HelixNet users, including IP transceivers and third-party Dante

With support for up to seven HelixNet beltpacks on a single line, the device can use passively split audio cabling similar to traditional analogue partyline systems without humming or buzzing. The system also features visual indicators to resolve any up-and-downstream cabling and overload issues.

www.clearcom.com

Integrating Mackie’s Mix Agent technology, the digital podcast mixer and interface assists, automates and guides setup for users. With its fully adaptable interface, equipped with DLZ control modes and a suite of processing, the DLZ Creator is said to provide pro-quality podcasting for users of all levels.

Key features include Control Modes (easy, enhanced and pro) that transform the touch display from simple and intuitive to advanced and detailed, according to the individual user’s skill

level, without compromising processing power or audio quality. The Mix Agent setup assistant provides easy setup and automates functions, whereas Pro Mode can control and customise the mixer according to individual choice. The AutoMix manages levels for up to four mics, ensuring podcasters and their guests can be heard, when everyone speaks at the same time. The inclusion of Onyx80 mic preamps is said to promote superior audio quality.

The DLZ Creator can record or stream multitrack audio to a computer or USB-C, or directly to an SD card.

www.mackie.com

“Everything I/O” ecosystem of remote audio expanders with the DX88-P, a 96kHz expander designed for fixed installations.

Featuring eight mic/line inputs and eight outputs on Phoenix connectors, the DX88-P can augment the analogue I/O of an AHM audio matrix processor and is also compatible with A&H’s dLive, Avantis and SQ digital mixers. Rack-mountable in pairs in a 1U rack, firmware updates are automatically performed by the connected mixer to minimise support time.

Meanwhile, the release of V1.4 firmware and System Manager for the AHM range of

Low latency for large projects with Focusrite’s PCIeNX Dante interface

features with a visual interface for creating and managing layouts of up to 16 rooms. Room levels, source selectors and dividers can be controlled by A&H’s IP range of PoE-powered controllers, GPIO or by third parties via TCP. The company’s Custom Control has also been updated to V1.4 to support room combining via a WYSIWYG widget. Other new features include speaker processing enhancements, channel metering on the AHM-16 and AHM-32 front panel, and workflow refinements to System Manager.

www.allen-heath.com

Maximum performance

SYMETRIX HAS unveiled the xIO XLRSeries of wall-mounted, mic/line, Danteenabled endpoints which include an ultrahigh performance audio signal path using the same studio-grade mic preamps and AD/DA signal chain as the manufacturer’s top-performing DSP. The endpoints are described as providing intelligibility and accuracy to maximise performance of the entire system.

Features include

studio-grade AD/DA and transparent mic preamps with up to 51dB of gain adjustable in 3dB increments. The endpoints are Danteenabled with sample rates up to 96K. The front-panel RGB LED for each connector can be programmed to reflect any system parameter such as signal presence, clip, mute or preset, or they can easily be blacked out. Integrated buttons are flush with the faceplate and can control any function of the system. In combination, the bright indicators and control buttons allow for rapid, onsite diagnostics and management of a system. The endpoints are available in four models that can be matched to any need. They are said to simplify setup and deliver a sophisticated look and feel in light and dark finishes.

A raised bezel and proprietary thumb notch ease connector attachment and removal. The vertically oriented network port is accompanied by an integrated stress-release attachment point and the Decora-compatible faceplate snaps into place without visible screws. Each xIO XLR is constructed of die-

cast zinc. The design incorporates a unique XLR mounting method that protects internal components and electronics.

The manufacturer has also added a new size to its T-Series touchscreens. The T-7 Glass is described as a “just right-sized addition”

FOCUSRITE HAS debuted the PCIeNX, an ultra-low-latency, high-channel count PCIe Dante interface capable of supporting 128x128 channels at up to 192kHz. The interface has primarily been created for postproduction professionals working in Dolby Atmos, as it provides the ability to integrate high-channel-count Dante audio seamlessly with the Dolby Renderer. However, commercial recording studios and music production facilities will also be able to benefit from the interface’s ability to support high channel counts of uncompressed audio with very low latency.

The PCIeNX is both PC and Mac compatible, including the latest Apple Silicon, and integrates with existing Dante hardware. Two Ethernet RJ45 connections offer both switched and redundant modes, giving flexibility of connectivity as well as the option to have a secondary network in mission-critical situations. The device works with RedNet Control, which provides a single application for control and monitoring of all RedNet devices on a network.

www.focusrite.com

tested and simulated before being deployed, allowing the user to create multiple pages, custom controls, backgrounds and logos.

Symetrix touchscreens fit in any US or Euro double-gang receptacle and are designed to fit with any décor. There is no need for external power supplies, since Symetrix touchscreens are powered over Ethernet.

www.symetrixinc.com

Crest

Audio

reveals PCX 1616 processor

CREST AUDIO has unveiled the PCX 1616 digital matrix speaker management processor. Featuring 32 input and 32 output channels, together with 16 analogue I/Os and 16 digital I/Os via an optional Dante d, audio signals can be routed in multiple configurations. Hosting loudspeaker

Alternatively, an RJ45 Ethernet port, located at the back panel, promotes a higher-resolution GUI configuration for control with the PCX Editor Software via a back-panel Ethernet or front-panel USB interface. Serial control is possible via RS-232 and RS-485.

management functions in addition to matrix mixing, room combining and other audio processing functions, the rack-mountable PCX 1616 can be applied to both fixed installation and portable sound applications. Crossover filters are fully adjustable, so that any input can be routed to any output via the digital matrix system. A 96kHz sample rate processing, an AD/DA interface (24-bit Delta Sigma) and filter response are also included.

Crest Audio’s software and DSP algorithms combine to manage, configure and protect the FOH, monitor and multi-zone speaker systems.

A front panel is equipped with LEDs to visually indicate functioning signal paths.

Each input and output features fivesegment LED meters. Input features include gain, mute, HP/LP, a five-band parametric equaliser, polarity and up to 680ms of delay. Each output features an additional five-band EQ, gain, compressor, limiter, polarity, delay, mute, crossover and band-pass filters. Additionally, the PCX 1616 comes with five-band PEQ and phase on both inputs and outputs, as well as +48V phantom power, noise gate, feedback and an Automix channel on input. Saved presets can be named with a descriptive text entry.

www.peaveycommercialaudio.com

xIO XLR-Series

DX88-P

Lavoce grows up with 10and 12-inch coaxials

INTENDED FOR compact two- or three-way point source solutions, Lavoce Italiana has expanded its CSF range of Common HF/LF Magnet Coaxials with the addition of the 10and 12-inch CSF102.50K and CSF122.50K. Each uses a precision crafted Common “optimised flux” ferrite magnet and a robust steel basket. Like all

TASCAM upgrades classic field recorder

DESIGNED TO record audio for events, on-location shoots, content videos and general dialogue interviews, TASCAM has released the DR-10L Pro 32-bit float field recorder. Replacing the previous generation micro linear PCM model, the DR-10L Pro is equipped with a clip-on TM-10L lavalier microphone for capturing detailed audio while handling high SPLs. The default 32-bit float recording mode employs dual ADCs to capture audio across a wide dynamic range without distortion or having to fine-tune gain levels. Weighing 65g, the DR-10L Pro’s lightweight form factor enhances discretion, and a belt clip can be attached securely to clothing.

Up to five DR-10L Pro units can be remotely controlled wirelessly with the DR-10L Pro CONNECT app using the optional AK-BT1 Bluetooth dongle.

In addition to controlling up to five DR-10L Pro units remotely, the DR-10L Pro CONNECT app enables videographers to check device status and view

CSF102.50K

coaxials, the LF and HF voice coils are in closer unification than traditional coaxial designs to better combine their acoustic centres. Lavoce says this improves coherency, dispersion and alignment optimisation.

Using the same motor structure, both units feature 300W AES power handling, 97dB sensitivity for the LF, 60W AES power handling and 105dB sensitivity for the HF. The LF woofer uses a 2.5-inch edgewound, copper-clad aluminium voice coil on a glass fibre former and the polyimide diaphragm and surround for the HF uses a 1.75-inch edgewound copper-clad aluminium voice coil on a Kapton former.

With 70° nominal coverage, the CSF102.50K offers 65Hz 20kHz, while the CSF122.50K offers a 45Hz 20kHz frequency response. The addition of double demodulating rings lowers harmonics and intermodulation distortion.

www.lavocespeakers.com

the recorded waveforms in real time for operation confirmation. Enabling videographers to align audio recordings with video, even when there is no audio on the camera, the AK-BT1 Bluetooth dongle also enables the DR-10L Pro to wirelessly sync timecode with Atomos products.

Powered by two lithium AAA batteries, it

a complimentary version of iZotope’s audio repair and noise reduction software, RX Elements. The integrated USB Type-C port connects an extra battery when required in addition to providing data exchange with computers.

Finally, following the release of Tascam’s Portacapture X6 32-bit float audio recorder, the company has issued a V1.10 firmware update, which includes the ability to save three device settings and three recording app settings to provide quick access to configurations for different recording projects, with each easily recalled from the launcher screen.

www.tascam.com

Blaze launches PowerZone Control V1.4

PASCAL SUBSIDIARY Blaze Audio has added new features to its PowerZone Control app for its PowerZone Connect full matrix DSP amplifiers with the arrival of V1.4 firmware. Featuring an enhanced interface, PowerZone Control V1.4 is described as a versatile DSP

With the free update, PowerZone Control V1.4 enables a true multizone matrix experience, allowing for the combination of inputs to create four separate mix groups which are available to send to any output. For simple control of special announcements,

the various zones. The new software also provides virtual parametric EQ on each analogue input and all outputs, including a high-pass filter that provides improved microphone speech clarity. Equally important, PowerZone Control V1.4’s S/PDIF output routing capability readily facilitates the routing of zones and inputs to S/PDIF and expands the scope of the installation with additional power amplifiers.

Recognising that the most important consideration for any installation is sound quality, the manufacturer has included a variety of loudspeaker presets that enable integrators to have extensive control for fine-tuning the sound. These cover commonly installed loudspeaker brands, including Bose, Yamaha, JBL and Sonance. Furthermore, the presets can be customised, renamed and saved using the PowerZone Control web app directly from a user’s phone.

www.blaze-audio.com

LEWITT releases new Connect 6 software updates

LEWITT HAS announced software updates for Connect 6, its dual USB-C audio interface. The Control Center software and firmware have been enhanced to offer new features and upgrades designed to optimise the user experience.

Control Center provides management of all software parameters, including hardware input/ output channels, DSP effects, three virtual stereo channels, two independent mix busses and a dedicated loopback channel.

Improved features in Control Center include an optimised auto-setup experience with extended options to customise a latency-free signal chain;

a stereo-link function for the two input channels, streamlining the adjustment of parameters for stereo synths and recordings; a smooth window resizing feature, reportedly providing compatibility with any screen size; and a relative fader link that enables level adjustments without altering the A/B mix, providing a more convenient setup.

The software is accompanied by new firmware which the manufacturer believes improves performance and stability, available at no additional cost for all current Connect 6 users.

www.lewitt-audio.com

Portacapture

X6

VIDEO PRODUCTION VIDEO NETWORKS COMMUNICATIONS

© Ralph Larmann

PRODUCTS

DYNACORD HAS announced the release of the latest update for its Sonicue Sound System Software, with version 1.3 including major enhancements to the MXE5 Matrix Mix Engine.

full potential of the MXE5’s signal processing capabilities, offering an extensive range of audio manipulation options with 36 inputs, 32 outputs and up to 128x128 internal cross points.

to the masses

As a central component of the Dynacord ecosystem, SONICUE Sound System Software allows users to configure, operate and control electronics such as L, C, IPX and TGX series power amplifiers and the MXE5 Matrix Mix Engine. The software also enables customised system control through networked panel controllers such as the TPC1 and WPN1, or via the SONICUE Control app on Windows or iOS devices.

One of the key highlights of the release is the introduction of free DSP configuration, which allows customers to leverage the MXE5’s open DSP architecture, providing users with unparalleled flexibility in structuring DSP configurations to meet their unique project requirements. The software unleashes the

Sonicue 1.3 also features an enhanced task engine that enables advanced logical tasking capabilities and seamless integration with thirdparty devices. Users can create system events with complex triggering options using the Task Engine. It is now possible to override scheduled events, allowing dynamic system response. In addition, it provides status updates to Sonicue Control devices. This is said to open new possibilities for system control and extends the MXE5’s interoperability with external devices. In situations where complex DSP is not required, the semi-fixed zone mixer is still a time-saving option and still accessible in the software.

www.dynacord.com

K-ARRAY HAS introduced a suite of interconnected mobile apps to provide an ecosystem for systems designers and end

the K-array web app offers more comprehensive system configuration. For technical assistance during commissioning and for ongoing

AS MORE audio professionals look to leverage spatial audio in live, professional and consumer audio, the L-ISA 3.0 software platform from L-Acoustics aims to make investing in immersive technology easier with a range of features and mobile streaming capabilities. Tools include the FX Engine, Stereo Mapper and Snapshot Engine, as well as expanding the L-ISA ecosystem to qualified third-party applications and technologies.

L-ISA’s FX Engine allows designers to create movements and trajectories of any kind: reactive to the designer and reactive to other objects within L-ISA to create organic movements. The FX Engine includes customisable controls and behaviours that can be additively applied to unlimited objects. Meanwhile, although an increasing number of venues already possess L-ISA immersive audio configurations and 3D mixing capabilities, touring artists may not have content ready in an immersive format. For those artists, L-ISA 3.0’s

Stereo Mapper feature maps existing stereo content to an immersive speaker configuration without changing the original mix. Stereo Mapper distributes stereo content to an L-ISA configuration while conserving a similar power distribution as traditional left/right array configurations to retain the original stereo image and overall mix. Stereo Mapper also increases low-frequency coverage throughout the venue, while any out-fill speakers can be time aligned to either stereo or immersive,

making switching between stereo and spatial content seamless.

L-ISA’s updated Snapshot Engine provides more granularity and scope of what can be stored in snapshots, allowing users to choose which sources are visible at any given moment in time, with features such as source processing, delay and reverb providing more control over spatial mixes for both live sound and studio applications.

Its Edit Mode function allows users to visualise the position of audio sources in each snapshot, making it easier to follow an object’s position across the soundscape at a specific moment in time. Meanwhile, Preview Mode allows users to visualise the position of specific objects and make on-the-fly adjustments without any interruption or downtime. Preview Mode is available for both online and offline use.

Finally, the expansion of the L-ISA ecosystem has allowed integration for Mixhalo, a lowlatency networking technology that unlocks high-fidelity, augmented audio for fans at live events. Mixhalo streams multichannel audio to audiences via their own phones and headphones, all dynamically synced to the PA. Coupling Mixhalo with the L-ISA Processor II allows show designers to natively control Mixhalo augmented audio content directly from the processor and stream directly to mobile phones.

www.l-acoustics.com

Renkus-Heinz shines a light on OmniBeam

WITH THE launch of OmniBeam beamsteering technology, Renkus-Heinz has advanced its entire Renkus-Heinz steerable product line. Delivering enhanced audio and coverage for all venues, the OmniBeam algorithm replaces the previous

approach of UniBeam. The California-based manufacturer claims that customised coverage can be directed with precision into the exact geometry of every space.

www.renkus-heinz.com

users to interact with its products. This connected software suite consists of multiple elements.

K-FRAMEWORK is an offline software designed for 3D simulation and amplifier configuration. It enables users to simulate room coverage and then configure any amplifiers associated with connected loudspeakers.

Available on iOS and Android devices, the K-CONNECT mobile app streamlines access by allowing users to connect to any K-array amplifier hotspot with a scan of the QR code. The app offers browsing and modification of settings with a simplified user interface. Onsite,

monitoring, K-MONITOR provides efficient discovery tools.

K-array claims the software provides a fully connected suite of services for design, configuration, control and monitoring. While K-array amplifiers already have a dedicated operating system (OsKar) and a third-party control API with plugins available for control platforms like Q-SYS and Crestron, the company says this dedicated platform enables developers to create apps to extend the functionality of K-array amplifiers.

www.k-array.com

SSL Live V5.2 includes d&b Soundscape loudspeaker control

WITH LIVE V5.2, SSL has added control of the d&b Soundscape immersive loudspeaker system within the console’s ecosystem. The latest control solution can be activated on every input channel and stem to control key soundscape object parameters including XY Pan, Spread, En-Space Send, Delay Mode and

With the development of the UF1 DAW Control Centre, the UK brand has launched a single fader controller offering comprehensive control over a DAW environment. The UF1 incorporates a 100mm motorised fader, dual high-resolution displays, rubber keys and a weighted jog wheel within a metal chassis. In addition to controlling

Waves plugs in

WAVES HAS added four audio plugins to its growing catalogue. Following the success of its Clarity Vx and Clarity Vx Pro, the manufacturer has released two more AI reverb removal plugins: the Clarity Vx DeReverb Pro plugin, an advanced AI reverb removal for dialogue and vocals, and the Clarity Vx DeReverb plugin, an instant AI room and reverb removal for voice. The Clarity Vx DeReverb Pro comes with six flexible, precision-processing bands that allow users to only de-reverb problem frequencies, while added power offers the ability to push the processing bands up to 200% de-reverberation in areas that require it. The Clarity Vx DeReverb delivers instant removal of room sound and over-reverbed voice recordings. It aims to increase intelligibility and focus on the dialogue, making podcasts and video content sound more professional.

The Key Detector plugin is an AI-powered tool capable of precise key detection for any sample, track or full mix. It optimises workflow by integrating with Waves vocal tuning and harmonising plugins. Described as an “indispensable” time-saving tool for all music makers, Key Detector can give users the accurate key, even if the track is slightly

Tune, Waves Harmony and OVox Vocal ReSynthesis plugins.

The manufacturer has also announced that its plugins now run in OBS Studio, a popular software for livestreaming and video recording for Twitch and YouTube. When users install the free Waves StudioRack plugin chainer from Waves Central, they can insert StudioRack on any audio source from the filters menu in OBS Studio and continue loading their favourite Waves plugins inside StudioRack.

Finally, Waves has released Gems, a growing collection of creative effects, each designed with a unique sonic signature, available in Waves Creative Access

Mapping Area from the channel detail view. The object-based control of Soundscape and GUI design allows operators to manage multiple parameters simultaneously, which can then be stored and recalled from within the console’s show file and scene memories.

V5.2 software also delivers the enhanced Rehearsal and Recorder functionality, including multiple switching groups, flexible routing and locking override functions. Eight freely assignable switching groups can be used to manage multiple groups of instruments, or even different acts within the same show file, to create dynamic rehearsals. Combined with global and local switching options, plus override lock to functions per channel, switching individual channels is simplified between live and playback. Free routing of the channel record sends and returns allows any I/O to be used to record any console channel or bus. The bulk routing UI provides a fast setup to ensure all channel paths are recorded.

the DAW’s pans, sends and plugins, the UF1 can customise 46 soft keys to create visual feedback, intuitive control and integration with the new SSL Meter Plug-in and 360° software. Capable of controlling up to three DAWs simultaneously, the UF1 comes with profiles for Pro Tools, Logic, Cubase, Studio One, Ableton Live, LUNA and Pyramix. Dedicated transport controls together with a weighted jog wheel ensure efficient sessions and secondary transport keys can be customised to essential workflow shortcuts, such as loop on/off and click track on/off. Instant visual feedback of DAW track names, parameters, time display, the SSL Meter Plug-in and 360°-enabled channel strips in the SSL Plug-in Mixer are provided by dual high-resolution displays.

www.dbaudio.com

www.solid-state-logic.com

will even suggest the two next most likely scales by clicking on “Alternative Scales”. It also serves as the companion to Waves’ vocal tuning and harmonising plugins. For smooth vocal tuning and harmonising workflow, users can transmit the detected key to the Waves Tune Real-Time, Waves

Crestron creates hybrid solutions

WORKPLACE COLLABORATION

technology company Crestron has announced the largest expansion of its Crestron Digital Workplace portfolio to date with the introduction the Desk Q and Desk Touch for desk scheduling, and Flex Pods, a scalable tabletop wireless microphone and speaker platform. With Desk Q and Desk Touch, the manufacturer is aiming to provide desk scheduling solutions that result in a more welcoming and productive office environment. The compact form factor of the Desk Q with QR-code-based reservations is suitable for community workstations, hot desks and hotels, while the Desk Touch has been designed for semi-private offices, cubicles and stand-up spaces.

a fresh set of textures and instant creativity boosters. The Gems also include a few simple intuitive controls that let users shape vocals, create motion in instruments and add character to drums.

www.waves.com

The Flex Pods have been created to provide a simplified approach for adding high-quality tabletop audio to meeting spaces, transforming a room to work as needed for each meeting, without being confined to fixed in-ceiling microphones or speakers. The Flex Pods Hub is a wireless receiver that is connected to the room UC device and communicates wirelessly with multiple (up to four) Flex Pods that can be placed throughout the room. The Flex Pods can be deployed as part of a Crestron Flex or AirMedia Wireless Collaboration Kit or standalone to integrate with existing Crestron Flex C-Kits, AirMedia Receivers or other BYOD solutions.

www.crestron.com

Clarity VX DeReverb Pro

Gems

Expanding the Matrix Protect + Connect

MEDIAMATRIX HAS expanded its nWare media configuration and control software suite to integrate a range of new equipment into Peavey’s Commercial Audio product line. The nWare 3.0 upgrade provides integrated compatibility with Visionary and Crest Audio equipment, embedded support for RAVENNA/ AES67 discovery and routing control, and graphical updates to the MediaMatrix Kiosk2Go control interface software.

nWare’s integration with Visionary’s DuetE-2 Encoder and DuetD-2 Decoder enables real-time video streaming with embedded monitoring and control functionality within nWare and the Kiosk2Go interface. Detached real-time audio streams can be routed to the MediaMatrix systems where they are processed, mixed and routed to any output, without loss and in synchronisation with video.

The update also provides an HTML5-based graphical user interface for Kiosk2Go, which the company says results in unprecedented control and visibility over media streams.

Meanwhile, nWare 3.0 also offers compatibility with Crest Audio’s Tactus .Control surface to enable users to manipulate audio parameters for live music in real time, as well as support for RAVENNA/ AES67 discovery and routing control. This integration facilitates interoperability between MediaMatrix systems and other RAVENNA/ AES67-enabled devices.

nWare 3.0 also supports the MediaMatrix SCION media and control processor, along with the “S” series of I/O interfaces, control processors and touchscreens. It is available for download on the MediaMatrix website.

www.peaveycommercialaudio.com

DESIGNED TO set a new standard for power quality monitoring and fleet management, SurgeX Connect consists of cloud-based software and firmware and enables integrators to manage compatible SurgeX devices, diagnose power quality issues and monitor installations from a centralised hub.

SurgeX Connect streamlines multi-site power management into a cloud-based, intuitive and secure dashboard to allow integrators to take control of their installations’ power quality. Its secure platform enables integrators to monitor, toggle, reboot and control outlets and devices remotely, empowering them to meet power quality requirements across project sites confidently. The interface is said to deliver a consistent, high-quality experience, leveraging its “robust connectivity, comprehensive device management, remote monitoring and advanced analytics” from SurgeX’s power protection technologies. Through the SurgeX Connect web portal, integrators can view, manage and control fleets from any location with internet access at any time. They can also monitor and categorise devices based on status, connectivity, battery charge, battery life, input voltage and energy

usage, allowing them to identify and resolve device issues from afar. With SurgeX Connect, users can eliminate the need for costly truck rolls and onsite troubleshooting while optimising AV system performance. This solution is particularly beneficial for managing installations that are challenging to access, either due to geographical location or complex project design. It is said to provide added convenience and accessibility for integrators who need to service such sites.

SurgeX Connect also lets users view device analytics and detect recurrent power problems. By inspecting data and event logs, integrators can promptly diagnose issues and make informed decisions to support the longevity of systems. Additionally, integrators can export data and event logs to compile valuable insights for long-term system maintenance and customer satisfaction. These features help them proactively monitor, manage and maintain power quality, preventing potential problems from causing more significant interruptions or damaging connected devices over time.

www.surgex.com

Roland aims to simplify live events

THE VR-400UHD 4K streaming AV mixer is described by Roland as an easy-to-use 4K switcher that gives anyone the power to run a successful live event. With its two touchscreens, users can quickly set various scene presets, preview them in real time and confidently run transitions by knowing precisely what viewers will see in every instance.

The VR-400UHD can preview eight scenes at once on the touchscreen and, with eight programmable scene banks, the switcher can hold up to 64 possible saved scenes, providing houses of worship, businesses and schools with all the presets they may need for production. Equipped with seven HDMI ports, the VR-400UHD supports high-quality video up to 4K/60p with four cross points. The fourth cross point has four HDMI inputs, so additional sources can be connected and instantly assigned with a scene switch. It also includes a 14-channel audio mixer for combining analogue inputs with embedded digital audio. The USB-C port outputs up to 4K/30p video with audio to a PC for high-end 4K livestreaming of the event from the venue.

Meanwhile, the VR-120HD direct streaming AV mixer provides audio and video I/O, a large touchscreen and hands-on controls. The unit gives a single operator all the tools needed to manage any mid-level hybrid production. Advanced features simplify difficult tasks with customisable workflows, deep automation functions, remote PTZ camera control, one-touch macro sequencing and streaming over LAN and USB. The operator can assign sources to eight cross points on the fly – including live video inputs, still images and video clips – and prioritise cameras and computer sources with scene recall. Independent feeds can be created by assigning composition layers

to multiple busses as needed.

The VR-120HD features six HDMI and six SDI video inputs in Full HD, supporting a range of

broadcast and cinematic frame rates and colour spaces. The HDMI inputs feature scalers with EDID and HDCP support, eliminating hassles with client sources such as computers, tablets, gaming consoles and legacy 4:3 devices.

Finally, the SR-20HD direct streaming AV mixer has been created to add a full audio mix to any production and encode for livestreaming without a dedicated PC. The latest 1.20 firmware update brings improved streaming visual quality, backward/forward video preview dialogue and additional tools for setting up detailed video playback. The SR-20HD combines an audio mixer, preview screen, recorder/player, streaming encoder and two HDMI inputs in one unit. Presenters can stream directly to various online platforms or by RTMP to a CDN without needing a computer, removing the risk of malware and other issues arising from computer-based streaming on enterprise networks.

proav.roland.com

VR-400UHD

LYNX unveils yellobrik converter

LYNX TECHNIK has added an HDMI-to-SDI converter (model CHD 1402) to its yellobrik line. Designed for any AV, broadcast, production or post application that requires signal conversion from up to 4K HDMI to up to 12G-SDI, it is the successor to the CHD 1802, which supports up to 3G-SDI. A typical use case would be when a facility needs to convert an HDMI output from an external source, such as a video camera, into an SDI

format. All audio present in the HDMI stream is passed transparently. With the SDI fibre output and SFP transmitter options, the SDI signal can then be transmitted over fibre to a remote location. In addition, a complementary yellobrik, the CDH 1411 SDI-to-HDMI converter, can be used to provide the SDI output and an HDMI monitoring output in the remote location, including displaying audio, metadata and timecode overlays.

As with all yellobriks, the CHD 1402 is compatible with the yelloGUI and LynxCentraal central software applications. When connected to the software, additional internal settings and functions can be accessed and controlled. The CDH 1402 is rack-mountable, can be used as a standalone module or in larger yellobrik system applications.

www.lynx-technik.com

Modulo Pi focuses on interactivity

MODULO PI has announced Modulo Kinetic Version 5. The updated version of the media server comes with a full array of features for interactivity. V5 facilitates the creation and implementation of experiences featuring real-time interactions with video, audio, light, generative content or machinery, for both permanent installations and live events. All the steps required in an interactive design, from calibrating sensors to creating effects, are accessible from the media server, without having to program code or create gateways to a suite of third-party tools. The update also adds support for various sensors to reportedly meet

the needs and budget of any type of project: 2D LiDAR from Hokuyo and Leuze, 3D LiDAR from Ouster, but also Azure Kinect, Orbbec cameras and Leap Motion. Integrated into Modulo Kinetic’s internal library of devices, the sensors can be calibrated “in seconds”, allowing the media server to retrieve the position of one or multiple users to generate the interactive experience. A library of effects available as nodes is also embedded in Modulo Kinetic. The nodal compositing tool allows nodes to be chained and cumulated to create unique effects.

www.modulo-pi.com

Clearly Hitachi

OFFERING SEAMLESS fibre-to-triax transition, the Z-HD6500 HD camera system provides HD visual quality and enhanced price performance for live productions.

Supporting multiple HD formats to 1080p, the Z-HD6500 camera’s design includes three 2⁄3 -inch CMOS image sensors with global shutter

Marshall adds NDI technology to its compact 4K60 camera

be deployed in broadcast studios, sports and live events venues, in addition to AV applications. Complying with the ITU-R. BT.2020 wide colour gamut specs, the DK-H700 complements the camera’s dynamic range by operating within REC BT2100 High Dynamic Range standards. Other features include a ¼ ND filter to produce a minimised depth of field, adding to artistic value and reducing the moiré effect on videowalls.

Incorporating Hitachi Kokusai’s latest HD and 4K camera technology, the SK-UHD7000-S2 can convert a 4K camera with an affordable licence upgrade option. In addition to offering a lower initial purchase point for customers wanting to upgrade to 1080p, it also provides a cost-effective, field-upgradeable path to 4K.

THE CV420NE from Marshall Electronics is an NDI|HX3 version of its ultra-wide 100° angle-of-view streaming POV camera, which offers digital robotic movement of pan, tilt and zoom of HD resolutions digitally within the larger UHD (4K) sensor space. The CV420Ne allows users to maintain access to ultrawide angles along with usable digital zoom and lateral manoeuvres within the sensor. It uses the new NDI|HX3 codecs

complement to the SK-UHD7000 Series in larger productions, the DK-H700 can

www.hitachi-kokusai.co.jp

Titan rises in 4K for Digital Projection

DESIGNED FOR

AV marketplace, Digital Projection (DP) is shipping the HIGHlite 4K UHD reference satellite Modular Light Source (MLS) projection system. By separating the projector head from the pure laser light engine, DP is extending installation flexibility and a projector chassis that’s both smaller and lighter than other premium three-chip DLP projectors. Weighing 19kg, the HIGHlite S-MLS has been designed to fit into tight spaces.

Connected to the projector head via fibreoptic cables, the modular light source can be located up to 100m away, resulting in a reduction in noise together with simpler upgrades and maintenance.

Designed for enhanced image clarity and detail in environments dictated by short viewing distances, the Radiance LED EV Series comprises the latest MicroLED technology in both 0.9mm and 1.2mm pixel pitches. Extending to a 2.5mm pitch, the 0.9mm version outputs in 4K at a 163-inch diagonal size. Other features include peak brightness up to 1,200 nits and contrast up to 20,000:1, support for HDR10 content

and contrast up to 20,000:1. With power consumption significantly reduced, the 0.9mm pixel package allows for a darker area surrounding each pixel, resulting in improved black levels and contrast. The smaller pixel package also enables a wider 170° x 170° (HxV) viewing angle. Serviced from the front to streamline maintenance, the lightweight cabinet can be customised with beveled edges.

In brief, the Titan 41000 4K-UHD (3840x2160) 16:9 laser projector features a broad colour gamut using both red and blue lasers, improved 2,000:1 native contrast ratio and HDR. An extended 40,000-hour illumination lifetime in ECO mode and a dustproof, filter-less design enables the 41,000-lumen projector to operate 24x7 with minimal maintenance.

Outputting 27,000 ISO lumens, the M-Vision 27000 WU (1920x1200) laser projector is being billed by DP as the brightest single-chip model on the market. Incorporating some of the same features as the Titan 41000, including Source Redundancy, Brightness Sync and Auto White Balance Correction, in a bright, budget-conscious 1-chip DLP package, the projector is suitable for environments with high ambient light.

www.digitalprojection.com

quality video with no spherical distortion. The CV420Ne’s digital pan, tilt and zoom comes with more than 250 presets that are savable and selectable from any number of command sources, including IR remote, NDI|Tools, Camera Control Software, web browser GUI, OBS plugins, vMix and a host of other compatible soft codecs and devices.

With the latest NDI|HX3 codec, the camera can be incorporated into various streaming and production workflows. The CV420Ne is suitable for professional pro AV and broadcast applications, including AV streaming, remote contribution, podcasting, video collaboration and a range of pro AV and UCC installations that require an ultrahigh-quality networkable video source.

The NDI|HX3 format requires slightly higher bandwidth than previous NDI|HX2 but much less than is required for Full-NDI|HB. NDI|HX3 delivers similar low latency as FullNDI at less than 100ms end-to-end and has video quality performance closer to premium Full-NDI where video quality is not lost from camera source when sent over the network.

www.marshall-usa.com

HIGHlite S-MLS

M-Vision 27000 WU

Z-HD6500

SK-UHD7000-S2

Barco gets smarter

WITH SALES of its single-chip G-series laser projectors recently hitting the 10,000 mark, Barco has launched three G50 projectors. The G-series now offers 10 projectors between 6,000–22,000 lumens. One of the key highlights of the G50 is its compactness and lightweight design. Despite only weighing between 11–13kg, Barco believes that the G50 outperforms similar projectors on the market and offers “the highest light efficiency for visualising high-quality content”. The

projectors also address the growing importance of sustainability and come with an energy efficiency of up to 18 Lm/W. The projectors have been designed for boardrooms, museums, corporate events and entry-level simulation. The manufacturer has also reworked its SmartCare service offering, which includes the Video wall Management Suite, which allows secure connectivity to videowalls. With alerts and critical notifications, the service organisation can quickly diagnose, troubleshoot and, if need

G50-W6

be, escalate cases to Barco’s R&D teams –significantly dropping the MTTR (Mean Time To Resolve). In this way, Barco’s services shift from reactive to proactive, to further prevent unscheduled downtime with predictive analytics for maintenance actions.

Because highly secure control rooms require special attention when it comes to hardware lifecycle management and issue resolution, Barco has also introduced EssentialCare for Secure Sites. Not only does this offer a swift response to any escalation, but it also answers the complexities of end-of-life hardware handling. The EssentialCare for Secure Sites has the needed protocols in place to protect all data on end-of-life hardware.

www.barco.com

LG BUSINESS Solutions has developed the Magnit DVLED (direct-view light emitting diode) displays. Designed to be deployed in corporate settings, on video production sets and digital art displays, five distinct LG Magnit models including the 6.86m Micro LED display are said to be characterised by their colour, clarity and contrast.

The tiny pixel pitch of the 272-inch LG Magnit 8K Micro LED Display (Model LSAB007) makes it suitable for a variety retail, hospitality and corporate environments. The Micro LED display offers a 0.78mm pixel pitch with LG’s Deep Black Technology and a 150,000:1 contrast ratio. Viewing experiences are enhanced by the LSAB007’s Alpha 9 intelligent processor, integrated ambient light sensor, support for HDR10 and HDR10 Pro and 160° horizontal and vertical viewing angles. Several layers of coated film protect the LEDs from water drops, dust and physical impact.

Magnit DVLED

Specially designed for on-camera use in professional production studios, the Magnit

Studio Series with Megapixel VR’s Helios controller (Model LBAG015) is a tile-based

1.5mm pixel pitch DVLED solution. Capable of presenting seamless, convincing video that can be used on-camera without distortion is leading to production studios building XR and VR stages where filming backdrops can be digitally designed and displayed in real time while recording.

In addition to enabling direct on-screen presentation capabilities for information or news programmes, the high-contrast LBAG series displays offer a more immersive experience for onscreen talent than current postproduction or green screen solutions. Controls include V-Sync, phase shift, colour and gamma adjustment, customisable 3D-LUT and manual HDR adjustment. The 163-inch Magnit LSAQ009 series features a remote, off-board power supply unit (PSU) that simplifies PSU replacement and emergency maintenance in broadcast critical environments where display access is limited.

www.lg.com/us/business

DESIGNED FOR indoor fixed installations, Leyard Europe’s DirectLight Pro Series is a ground-up designed modular LED videowall that allows for the creation of custom sizes, shapes, corners, curves and resolutions. Offered in a range of Leyard Europe Complete display configurations to reduce the cost of design and installation, the DirectLight Pro Series’ design provides the flexibility to accommodate installations requiring front tilts, 90° corners and faceted curves. It is designed to be deployed in custom videowall dimensions and resolutions through the use of two cabinet sizes and a 5G video architecture.

ROSS VIDEO has launched Quorum, a meeting control solution designed to provide governments, legislators and corporations with broadcast-quality production. With automated multi-camera tracking, pro-grade graphics and intuitive touch controls, the system reportedly requires little-to-no training and can be up and running in hours.

Meanwhile, the IGGY-ANA8.8 is the latest addition to Ross’s family of live analogue audio/IP bridges. Its high-channel density, broad interoperability with AES67 and ST 2110, and network monitoring can support any environment as a compact standalone unit or in a rackmounted arrangement, and it is said to integrate easily with the rest of the IGGY family.

Designed for applications such as corporate production, extended reality and digital signage, Ross’s D3 LED display solutions provide indoor and outdoor spaces with various cabinet sizes and SMD/Mini LED technology. Features include colour calibration, image processing and remote management.

Finally, Connexus is the company’s first KVM matrix solution. A hybrid 2K/4K KVM endpoint and enterprise-level KVM management system, Ross says it is already finding its way into command and control customer infrastructures.

www.rossvideo.com

In addition to enabling faster deployment, the 27- and 36-inch cabinets allow for precision and simpler, more easily supported videowalls. With 1,000-nit brightness in constant operation and models in 0.9mm, 1.2mm,

1.5mm and 1.8mm pixel pitches, the DirectLight Pro Series also supports rich media playback, including HDR. It is available with Planar ERO-LED protective coating for safety in high traffic areas and supports 32-point touch for interactive applications. Meanwhile, support for a range of video controllers means the DirectLight Pro Series can be tailored to on- and off-camera applications such as conference and boardrooms, lobby displays, control rooms, on-camera broadcast studios and education environments. Designed for mission-critical environments, the videowalls come with an optional and monitored N+1 power redundancy per cabinet, with switched and metered PDUs also available.

www.leyardeurope.eu

Quorum

LG Magnit DVLED displays destined for the stars

ROE Visual demos Coral COB flip chip LED

DESCRIBING IT as a breakthrough COB panel, ROE Visual has announced the launch of Coral, a COB flip chip LED panel that claims to revolutionise the world of AV integration. In addition to boasting COB flip chip technology, Coral panels also benefit from a high-contrast dark surface and pixel pitches ranging from 0.9–1.8mm. According to the manufacturer, it delivers exceptional brightness and colour consistency, ensuring images and video are vivid and true to life. The unit’s sleek design and lightweight construction are said to create a versatile form factor that allows for flexible mounting options. The panel’s compatibility with leading control systems also ensures seamless integration with existing AV infrastructure, making it suitable for both retrofit and new installations.

www.roevisual.com

Philips updates dvLED range with LED 6300 Series

WITH THE launch of the Philips In-Room LED 6300 Series, PPDS (Philips Professional Displays and Solutions) has created a lower energy, direct view LED portfolio. Incorporating common cathode four-in-one mini LEDs (IMDs), the EMC Class B-rated LED 6300 Series (27BDL6395) is designed to support 24/7 environments including retail, corporate and control rooms.

As an extension to the Philips 6000 Series (P1.2, P1.5 and P1.9), the series brings a 0.95 pixel pitch option to the 27-inch landscape panels, all with a native 16:9 resolution. Incorporating four-in-one mini LED technology, the latest displays offer a consistent image quality over both short and long distances, together with reduced energy consumption. Together with refresh rates of 3,840Hz and low latency, PPDS claims the displays portray a seamless, judder-free, optimum viewing experience across 110-, 137- 165-, 220-, 275- and 330-inch sizes.

Magewell enhances centralised control

multiple encoders and decoders across disparate locations through a browserbased interface. An HTTP-based API is also available for third-party integration. The Control Hub software will support Magewell hardware products, including Ultra Stream and Ultra Encode live media encoders; Pro Convert NDI encoders and decoders; the Pro Convert Audio DX IP audio converter; and the USB Fusion capture and mixing device. Users can remotely configure device parameters, monitor device status, trigger operational functions – such as starting or stopping encoding – and perform batch firmware upgrades across multiple units of the same model.

Outputting high colour accuracy levels, deep black contrast and a brightness of up to 650 nits before calibration and uniformity of up to 97%, the Philips 6300 is the first dvLED series from PPDS to support 12-bit colours and HDR10+ resolution. Extending performance beyond 4K, HDR10+ delivers a higher contrast between light and dark areas, reportedly resulting in greater detail and clarity.

Housed in a diecast aluminium casing to support optimal heat dissipation and reduce fire risks, the latest series is said to rank as one of the most energy-efficient dvLED solutions, with a range of power-saving features. It is the first dvLED solution from PPDS designed using common cathode LEDs, providing a reduction in heat emissions and an approximate 25% reduction in power consumption. AV/IT managers can monitor and detect the displays 24/7 for any faults, including dead pixels, with Active Health Monitoring.

www.ppds.com

intuitive layout, making it easier for users to see the status of their devices and deployments at a glance. Video from remote Ultra Stream, Ultra Encode and USB Fusion units can be previewed directly in the Control Hub interface without needing to open the individual device’s interface panel.

DEVELOPED AS a successor to the Magewell Cloud platform, Control Hub features an enhanced device management interface and expanded stream conversion capabilities. Flexibly deployable on-premises

or in the cloud, Control Hub will provide centralised configuration and control of multiple Magewell streaming and IP conversion solutions. Administrators, IT staff and systems integrators can manage

Control Hub features a revamped user interface that is said to make it simpler and more efficient to manage multiple encoders and decoders. Its redesigned dashboard provides expanded information in a more

Control Hub also expands on the stream conversion capabilities of the earlier Magewell Cloud software with support for more protocols and a more flexible stream routing architecture. Users can define presets for stream input sources and output targets, then create channels that map each input to one or more output protocols and destinations. Control Hub converts between RTMP, SRT (in caller or listener mode), RTSP and transport streams (delivered over UDP or RTP).

www.magewell.com

Panasonic covers all bases with outdoor AW-UR100 PTZ

THE AW-UR100 is Panasonic Connect’s outdoor-ready PTZ camera, combining 4K/60fps capability with a dynamic image stabilising system (DISS) for high-precision videography in stadiums and other large venues. The camera’s rugged design is said to make it ideal for harsh outdoor environments, such as airports, warehouses and large ocean-going vessels, or for live broadcasting during blizzards, typhoons and other weather events. The AW-UR100 also supports a variety of protocols and interfaces for flexible system configuration and to expand the possibilities of outdoor video production. It also offers extra functionality to help avoid missed shots and shooting errors for worry-free camerawork in

The AW-UR100 offers both a 74.1° horizontal wide-angle lens for panoramic pull-backs and 4K/60p compatibility for 24x optical zoom and 10x digital zoom – useful when shooting from various angles while

In the eye of the WyreStorm

covering large-scale events in stadiums or at music festivals. It also features three types of image stabilisation systems for shake-free video: optical image stabilisation (OIS), electronic roll correction (EIS) and pan-tilt image stabilisation (DISS). The camera body is hermetically sealed to keep out wind-blown dust and sand, and a defroster warms the lens to prevent the formation of frost, ice or condensation in extreme temperatures down to –15°C. There is also a wiper to keep the lens clear in wet conditions.

Interfaces for major baseband transmission include 3G-SDI, 12G-SDI and fibre, as well as support for various IP protocols including NDI and SRT. FreeD is also supported, making it possible to build AR/VR systems. The unit is said to be able to adapt readily to existing video production systems as well as shooting conditions, and can be used to record, edit and broadcast in diverse environments for a variety of purposes.

pro-av.panasonic.net

their business.

Ian knows live event technology. He knows his products & customers and sees & creates the future.

We work with world-leading Audio, Video and Lighting brands and suppliers to help find top talent for their business and engineering teams in North America, EMEA and APAC. Interfacio connects professionals with world-leading pro AVL brands.

www.interfacio.com

connect@interfacio.com

Int: +44 208 986 5002

@interfacio

HAVING UPGRADED the CAM-200-PTZ UC camera series, WyreStorm has also unveiled the latest member in the CAM-210-PTZ, a multifunctional video capture tool that enhances the UC experience by combining a PTZ camera with smart tracking and framing features.

Upgraded from 1080p30, the CAM-210-PTZ supports 1080p60 video capture and features a 12x optical zoom with plug-and-play connectivity in addition to USB 3.0, HDMI out and AI Powered Auto Framing.

Advanced control can be performed via an integrated web interface and PC software. Designed to simplify integration when using third-party control systems and touch panels, an RS-232 or LAN connection using the VISCA protocol serves as the main control. The unit also comes with a handheld IR remote. Combining simplified control with innovative features, the CAM-210-PTZ can be adopted as an intelligent camera with open-source control and operation during a meeting held on WyreStorm’s Apollo or any other UC platform.

The NHD-0401-MV is a fourinput 4K60 multiview switcher that can be used as a standalone solution or with a NetworkHD 400 or 500 series system.

The rack-mountable switcher comes

pre-loaded with five different multiview layouts offering unique viewing experiences. 4K60 HDMI 2.0 inputs allow the switcher to support all the latest 4K HDR content with zero compression. Direct integration with the NHD-CTL-PRO provides a seamless solution for pairing the switcher with NetworkHD encoders and decoders to add multiview capability to an AV-over-IP project.

The NHD-CTL-PRO controller is the brain for NetworkHD allowing all configurations to be made from one user interface. Control parameters include IP address adjustments, the naming of endpoints, the creation of videowalls and firmware updates. The intuitive user interface can be accessed from any device with a web browser, including a computer, smartphone or tablet. A setup wizard guides the creation of a fully configured NetworkHD system in minutes.  Wyrestorm has also unveiled the NHD-120 series, an H.264/H.265based system capable of encoding and decoding 4K30 4:2:0 over 1Gbps networks. The NHD-120-TX and -RX, respectively, are the encoder and decoder for the 100

www.wyrestorm.com

Behind every great brand is an Ian.

Ian looks after your product so that your customers can look after

CAM-210-PTZ

Layer mapping effects added to PIXERA

AV STUMPFL has added new features to its PIXERA media server system with a v2.0 update. A multi-user workflow capability will allow media server operators to be more flexible and efficient when working on complex installations or show environments. Multiple PIXERA director licences can now be synced, with users being able to choose between different levels of granularity when working within a multi-user scenario. Complete projects can be shared in real time, or alternatively single project parts like warpings or timelines. Should they wish to, users can also choose to share every single editing action among the connected systems.

Additional features include N+1 backup options and dry client programming capabilities.

AV professionals with an interest in projection mapping will welcome the advanced layer

Sony adds to BRAVIA line-up

SONY ELECTRONICS has released 15 BRAVIA 4K HDR professional displays to its portfolio with the launch of the BZ50L, BZ40L, BZ35L and BZ30L series, which are optimised for commercial environments where reliability, picture quality and broad compatibility are required. With options covering high-end, midrange and standard needs, and sizes from 43 inches to 98 inches, the line-up incorporates familiar BRAVIA features such as image quality, a wider viewing angle and a System on a Chip (SoC) platform.

The BZ40L series features a “state-ofthe-art” panel treatment. Its Deep Black

Non-Glare Coating offers both high haze and low reflection, while maintaining deep blacks and high contrast. The series comes with X1 processing and achieves 700 nits at a high 47% haze with anti-reflection (except for the FW-85BZ40L, which achieves 650 nits at 58% haze), without loss of contrast.

The flagship BZ50L with Sony XR processing boasts 780 nits of brightness in a largersized display. The 98-inch FW-98BZ50L includes a 22% reduction in weight and 28% slimmer bezel width when compared to the BRAVIA professional BZ40J series. To help make the large model more portable and

Motion capture in disguise

installation-friendly, ergonomic horizontal handles are incorporated into the bottom of the display, while vertical handles are featured on the top.

The enhanced BZ35L series features increased storage and 550 nits of robust brightness and an X1 Processor. The BZ30L series offers a full range of sizes, X1 processing (except for the FW-98BZ30L, which is equipped with an XR processor) and 440 nits of brightness.

All 15 models incorporate sustainable elements – from the use of SORPLAS recycled plastic and less ink usage on the

mapping effects which provide the freedom to map content pixels to screens based on the position of the screens in space. In addition, each screen group will have an independent set of perspectives that determines how layers are seen through the screens they appear on. As a result, PIXERA’s perspective management will now allow for different mapping approaches for individual media resources, making it possible for some files to be shown as 2D overlays while others are positioned in a 3D space.

In addition, the manufacturer has released its Flex Black PRO screen surface material. The black surface material is said to make it possible for users to project onto black surfaces with virtually any colour and dynamic range.

www.avstumpfl.com

cartons to an optional stand for less waste and ECO Dashboard for better understanding power consumption based on settings configuration. Additional common features include 24/7 operation, one-step setting of presets for easy configuration and customisation, mirroring capabilities, Pro Mode technology for simplifying operations, a uniform bezel design, flexible installation for portrait and tilt mounting, as well as support for multi-display installation to enable tiling and a side logo for blend-in design purposes.

pro.sony

with the Invisible solution, a minimum of one disguise vx or gx machine is also needed for graphics processing and one disguise rx II for real-time rendering.

The manufacturer has also updated its cloud platform by integrating Mapping Matter, said to be a significant update that will enable users across large-scale installations, location-based experiences (LBX) and live events to plan and previsualise projection mapping projects in a single place, directly in one web browser-based platform. Live events teams will be able to

take charge of their video projection specs, luminance levels and pixel densities while iterating on complex projector placements in the cloud. All projection-mapped visuals can then be previewed within a 3D digital twin of the AV installation environment. This enables teams to plan and manage entire projects in one platform ahead of the event date, saving time and resources so they can instead focus on creativity.

www.disguise.one

DISGUISE HAS launched Invisible, a complete technology bundle for real-time markerless motion capture developed in partnership with Move.ai. By removing the need for markers, wearable suits and long calibration setups, the Invisible bundle has been designed to allow anyone to easily mirror their movements onto a character rig within disguise’s Designer software, all in real time.

The solution – which can track up to two people at once – leverages Move.ai’s patented Invisible real-time markerless mocap software to extract natural human motion from video using advanced AI. For broadcasters, the

motion capture data can be used to drive gesture-triggered graphs and scene changes or accurate shadows for talent on-set. For filmmakers, it enables the capture of 3D characters that seamlessly interact with real actors or even drive movement-triggered effects like smoke and fire. For live event companies, the Invisible solution can transport performers into a game universe with avatars that instantly replicate their movements, without restrictive and expensive mocap suits. The bundle comes in three different sizes –small, medium and large – depending on the size of the setup and the amount of performers. To enable real-time, markerless motion capture

PIXERA v2.0

Invisible

Mapping Matter

It’s all Greek to Astera with Fresnel products

NAMED AFTER a Greek mythological figure and a large constellation of stars, LED lighting specialist Astera has launched the PlutoFresnel for medium to small applications, and the LeoFresnel, an LED alternative to its 1K Fresnel for applications requiring more power and punch. Utilising Astera’s award-winning Titan LED engine, the Fresnels are the company’s first battery-powered Fresnel lighting fixtures and are supplied as a complete package with barndoors and a full yoke with TVMP adapter for stand mounting.

The PlutoFresnel has an in-built battery with up to three hours run time. Weighing 4.5kg, the full-spectrum, high-rendition Titan LED engine offers an output comparable to a traditional 300W tungsten Fresnel, yet the power consumption is less than 80W. The larger LeoFresnel is comparable in light output to a standard 1K tungsten lamp. At 14kg in weight, it has

ETC takes control of the room

WITH VISUALISATION software and tools like ETC’s Augment3d 3D programming environment, digital models play an increasingly integral part in lighting workflows. When time or budgets are tight, however, drafted or point-cloud models can still be out of reach. ETC’s Augment3d Scanner app is said to reduce this barrier to entry, allowing users to seamlessly create and import ready-to-use room models directly to their Eos Family consoles from a phone or tablet.

Built for use with the Eos Family line of lighting control systems, the A3d Scanner

on a device, allowing users to send it via a Wi-Fi connection to any Eos Family console or computer running Augment3d, or save a copy for later import or use in other software. In other news, the F-Drive R12 can now serve a wider range of installations with the F-Drive Power Supply from ETC. The reduced-cost supply is suitable for sites with simplified power requirements. Now, customers can choose a dedicated 1,000W or 1,800W option with a simpler installation and reduced noise profile. The industrial and expandable Mean Well RKP-1U Rack System with RCP-2000-48 power supplies are still

a two-hour onboard battery and a 250W power consumption.

Both fixtures offer 15–60° beam angles with no colour fringing, as well as wireless and wired DMX control, and are supplied with removable handles and with multiple mounting options.

On both units, the Fresnel lens is also detachable so the light source can be used in different ways. Astera says it will be launching a series of projection lenses which will transform it into a multipurpose fixture with “potent projection capabilities”, complete with a slot for size B glass or metal gobos.

Both sizes of Astera Fresnel have a fourleaf barndoor system that can be extended to eight leaves and are compatible with several DoP Choice products, including the Rabbit Rounder for beam modifiers and various soft boxes.

www.astera-led.com

LIGHTING MANUFACTURER ADJ has added a raft of new products to its growing catalogue. First is the Encore LP12Z IP, an IP65-rated zooming LED PAR fixture equipped with 12 20W four-in-one RGBL colour-mixing LEDs, including 64 built-in colour macros and tunable white control (2,700–6,500K). Its lime chip allows for an increased colour palette CRI of 84.4 and features a motorised zoom to remotely control coverage for a variable field angle of between 9–50°.

Meanwhile, the Focus Spot 7Z expands ADJ’s Focus Series of LED-driven moving heads. Its 420W white light LED engine generates an even output of 20,000 lumens and the fixture features a comprehensive suite of beam-shaping tools, including motorised focus, iris and zoom (6–48°), electronic dimming and variable speed strobing (1–20Hz). CMY provides a wide colour gamut, while a variable CTO flag offers white light output with variable colour temperature between 2,700K and

leverages the augmented reality tools included in a device, saving time building a 3D space. Once installed, users can explore the tools to map a space, including walls, doors, windows, a full floor plan and even proscenium tools. When a plan is completed, the Scanner app builds a model

available. The manufacturer recommends this solution for installations where multiple power supplies and F-Drive R12 units are connected together or where in-line, always-active power supply backup is necessary.

www.etcconnect.com

8,000K. The fixture has a separate colour wheel as well as an indexed rotating animation wheel, two rotating prisms (fourfacet circular and six-facet linear) and two frost filters.

The Focus Flex L19 moving head is an LED wash-zoom with an output of 7,814 lumens capable of creating wash, beam and pixel effects. Its wide zoom range of 5–50° is powered by 19 40W four-in-one RGBL colourmixing LEDs, each of which can be controlled independently. A virtual CMY mode allows control alongside native CMY colour-mixing fixtures, while it also offers Virtual Foreground and Background Colour Wheel control. White light output has a variable colour temperature between 2,700K and 10,000K.

The Element H IP is a compact, IP54rated uplighting fixture which features four 20W six-in-one RGBAW+UV colour-mixing LEDs, an internal rechargeable battery and onboard wireless DMX. The Element H6 Pak is supplied as a set of six flight-cased units with on-board battery charging and a UC-IR wireless remote, while the Element H IP Chrome features a polished chrome finish. Finally, Accu-Cable Power Bones are power distribution boxes that feature locking Seetronic IP65-rated power input and thru

connectors on either end, and two outputs on either side. Three versions are available: the POWER BONE T1ED, with four Edison output sockets; the POWER BONE T1PC, with four Seetronic indoor-rated locking output sockets; and the POWER BONE T1T1, with four Seetronic IP65-rated locking output sockets. www.adj.com

Focus Spot 7Z

Augment3d Scanner app

Driving forces

RECRUITED STRAIGHT FROM INDIANA UNIVERSITY AS marketing manager for the newly acquired Crown brand, two years later Brian Divine hired University of Wisconsin graduate Andy Flint as business development specialist. The pair quickly sparked a relationship that would prove pivotal for Harman Professional in years to come.

“Crown was still relatively small when I joined in 2002, and I was fortunate to work with an amazing team including Mark Graham, Blake Augsburger, Scott Robbins, Jerry Stutzman and Nick Owen,” recalls Divine. “The experience I gained in marketing, product management and customer service provided me with the opportunity to learn the pro audio industry.”

After eight years at Crown, Flint became senior marketing manager at JBL Professional, relocating to Northridge, California in late 2012. Three months later, he was reunited with Divine, who rejoined the company as director of marketing after a spell at Electro-Voice. Following the 2017 Samsung acquisition, the pair were reassigned to touring and cinema solutions, from where they have climbed to their current positions. When Covid hit, crippling the entertainment industry, it offered a chance to refocus.

“Although there were pros and cons as we headed into that pandemic, it proved to be more of a blessing than a curse,” explains Divine. “From a revenue perspective, it was the worst possible time as the entertainment industry and other sectors were forced to shut down. Fortunately, it was mitigated by the fact that Harman was part of a bigger corporation in Samsung. Despite the tremendous drop in our top line, we were encouraged to maintain our R&D course, so we didn’t cut any budgets. We always believed that the industry would return, and it turned out to be the right call.”

“Prior to the pandemic, our business was growing, but perhaps we were losing the core focus for each of our brands,” continues Flint. “Because Harman Professional’s portfolio is so broad, we could push products that were relevant at that time, such as USB mics together with workfrom-home and recording products. As these sales were so strong, we didn’t need to shift our roadmap. It simply refocused us in terms of where we wanted to be, heading out of the pandemic, because we saw growth in some other areas where perhaps we had been lagging, or where we identified a gap in the market.”

Divine acknowledges his responsibility in understanding how Harman would move forward. “For example, Martin primarily serves production rental lighting companies and that market closed. We continued to invest in product development as I believed that live was going to come back even stronger. Our Martin sales force kept in contact with their customers and kept the conversation going.”

detrimental to audio quality. Flint disagrees. “We all use consumer products in the home or car where we enjoy a simplified experience. These bleed into the professional industry because users ask us ‘can you make it like this?’ The challenge for JBL is having to adopt technologies such as Bluetooth and Wi-Fi for a room with 500 people using their mobile phones. That simplified experience is something we want to provide as a value-added service, but that requires technological investment so that it works in a professional environment. Anyone can develop a powered speaker, but the real added value is how easy it is to operate, how good it sounds and what unique experience can get you to the finish line faster and in a better way.”

Flint confirms that Martin has doubled its business twice in the past two years, becoming Harman’s second-largest brand in terms of revenue. “Investment made during the pandemic has been vindicated as the markets reopened and entertainment returned. We knew the industry would come back sooner or later and, when it did, everyone would require new inventory.”

Since 2020, Flint has deployed a plan of attack for AMX, JBL and Martin which is now bearing fruit: “For AMX, 2023 is a huge year as the entire product line such as video switching, network video and control has been refreshed and redesigned. We’ve launched the Varia touchpanels and the N2600 next-generation SVSI encoders and decoders. Later in the year, we’ll release the next generation of controllers.

“From a JBL perspective, on the install and touring side, we’ve launched the SRX900 and VTX A6 with more to come

Divine hints at the shape of things to come regarding Harman’s HiQnet System Architect software. “The concept of HiQnet is even more relevant today, and we’ve been developing control software that unifies the different pieces of the business. When HiQnet was created, it was just for audio brands. When Martin came into the fold, the dynamic changed. In addition to redesigning the control language, we are re-engineering the software interface to deliver a solution that was not possible before.

“Harman works on five-year plans. We need to continue looking at trends as all the markets we serve evolve over time. Technology evolves and products can change but, fundamentally, we’re a professional audio, video and lighting company and that’s what we’ll continue to be.”

pro.harman.com

, and senior VP of global , who’ve each enjoyed 20-year careers at Harman Professional, discuss growth strategy post-pandemic

Harman Professional president, Brian Divine

Harman’s senior VP of global product line management, Andy Flint

“Investment made during the pandemic has been vindicated as the markets reopened and entertainment returned. We knew the industry would come back sooner or later and, when it did, everyone would require new inventory.”

L-ISA 3.0

NEW FEATURES FOR L-ISA STUDIO & L-ISA PROCESSOR II

FX ENGINE. Stereo Mapper. Snapshot Engine. Mixhalo Beta. Upgraded MIDI. Refined Room Engine. L-ISA Studio 16 Outputs. Milan AVB Certified.