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An impressive summer of sport came to a close as the Paris Olympics wrapped up an incredible two weeks of athleticism at the end of August. And from an AV perspective, there’s always lots of new topics to discuss. Every four years, details emerge of the technical gambles taken to elevate coverage to brand-new levels. There are more ultra-high-definition, super slow-motion cameras trained on the athletes than ever before, capturing every exquisite detail. But the organisers then place such a tight grip on footage that, practically as soon as the games are over, it’s as if they never existed. It’s a conundrum I’ve never understood.
The Paris event saw the action streamed in 8K across four continents in real time. It was only accessible to a few people this time around – I imagine that there aren’t many of you with access to 8K screens anyway – but the implications for future large-scale gatherings and giant displays is enticing. We always talk about how technology can help improve the guest or viewer experience, but sometimes it’s not the technology creating the obstacles.
sluckhurst@proavl-mea.com
Richard Lawn General manager rlawn@proavl-mea.com
Nick Smith Digital media manager nsmith@proavl-mea.com
Sue Gould Advertising director sgould@proavl-mea.com
Chris Yardley Video editor cyardley@proavl-mea.com
The UFC made its debut in the Kingdom of Saudi Arabia recently, with a full audience PA system and control package provided by Clair Global. Taking place at the Kingdom Arena in Riyadh, the UFC Fight Night: Whittaker vs. Aliskerov was watched by thousands of fans in-person and broadcast globally to hundreds of thousands more.
Marking Clair’s first UFC partnership in the Middle East, the project was led by Phil Campbell and mixed by FOH engineer Andy Banks. To fully service UFC’s live audio requirements, project manager Stu Wright oversaw the deployment of an in-the-round Cohesion PA.
Clair Global UAE COO, Al Woods, commented: “The event is televised for worldwide viewers and the audience reactions are crucial. Therefore, the PA needs to be coherent and punchy. Clair has deployed similar-sized Cohesion systems in the region for both music and sporting events, but our UFC PA system differed due to the cable infrastructure. The Kingdom Arena has a height of 47m and an external dimension of 220m x 150m, so to keep the cables out of eyeline for the TV broadcast camera shots, the cable lengths and management system were both detailed and extensive.
“To achieve a clean look, some of the runs were well over 100m in length. Clair’s Hi-D multicore cabling system was used, its nonconventional approach significantly increases damping factor and decreases frequencydependent signal loss along long runs, which in this case was invaluable.”
12 CO8 boxes provided coverage to the VIP area and main stands.
The solution was designed by Clair’s system engineer Leon Fink and comprised two main hangs of 16 Cohesion CO10 loudspeakers to cover the two end stands and much of the “pitch” area. At approximately 90° to the mains, four flown-out hangs consisting of
Low-end sub coverage was provided by two hangs of Cohesion CP218 II+ with floor subs beneath the grandstands, while two CP118+ were deployed under the Octagon, enabling additional sub impact during the high-octane fight.
For the front row members of the audience, eight Cohesion CP6+ were incorporated for down-fill. All control, tuning and alignment for the system was provided by Lake LM44
processors and amplifiers from Lab Gruppen’s PLM Series. Banks mixed the audio on a Yamaha Rivage PM7 console. Clair also provided RF, which was covered by 14 channels of Shure Axient with a Shure PSM 1000 IEM system. The entire solution was provided by Clair Global’s Middle East inventory.
“Saudi Arabia is leveraging sports and entertainment as a strategic tool to drive economic diversification, social change and enhance its international standing, making
it a key player on the global sports stage,” concluded Woods. “UFC has established significant commercial partnerships with Saudi Arabia, and having successfully serviced their live entertainment debut in the country, Clair Global is well-placed to work across more of these major live sporting events in the region.”
Panasonic sells bulk of its projector business to Orix
Panasonic Connect has announced that it has reached an agreement on a capital partnership with Orix Corporation regarding the company’s projector business and related operations. Aiming for sustainable business growth and market expansion, both parties plan to establish a new company to operate the business.
Both Orix and Panasonic Connect will establish a new company based on Panasonic’s Media Entertainment Business Division (MEBD). With Orix holding 80% of the shares, target products will continue to carry the Panasonic brand and the new company will continue to use the Panasonic name in the short term. Since the commercialisation of its first cathode ray tube (CRT) projector in 1975, the company has established a strong
position in the visual solutions business by capturing a leading market share in high-brightness projectors.
Panasonic Connect said that significant changes in the competitive environment in the market have arisen due to the emergence of applied technologies and the demand for immersive experiences. Therefore, to achieve in-organic growth and further market expansion going forward, the company has deemed
that it will be necessary to strengthen operations and make continual investments.
Panasonic Connect and Orix have determined that further growth can be achieved by combining the former’s technological expertise and customer base, with the investment power Orix holds in addition to the experience cultivated through business investments in numerous companies, including manufacturing and large corporations.
Through the partnership, Panasonic Connect aims to leverage Orix’s business investment experience and pursue strategies for in-organic growth, along with continuous investment for technological development in hardware technology and the construction and execution of strategic alliances on a global scale. The capital partnership is scheduled to be established out of the MEBD division in April 2025. Overseas subsidiaries will be established from the sales functions of that division in North America, Europe, China, Australia, Singapore and other regions to be operated by the new company. Panasonic Connect’s Gemba Solutions Company will continue to handle domestic sales in Japan.
eu.connect.panasonic.com www.orix.co.jp/grp/en
SAUDI ARABIA WORLD
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Focusrite buys Innovate Audio
Following its earlier acquisition of TiMax, Focusrite has purchased Innovate Audio, the UK-based company behind the panLab spatial audio solutions. Through the agreement, panLab solutions will join the TiMax brand to enhance its range of immersive sound solutions, including entry-level panning software through to full-delay matrix spatial processors and performer stagetracking. Innovate Audio founder Dan Higgott will also join TiMax as a senior product developer. “This opportunity marks an exciting new chapter for both Innovate Audio and me
personally,” commented Higgott. “Our spatial audio products and panLab console now have an exciting new home, where they can thrive and integrate with world-class brands. I am delighted to be joining the brilliant Dave Haydon and Robin Whittaker, as we deliver an exciting roadmap of new products to the TiMax family.”
Tim Carroll, Focusrite CEO, remarked:
“This acquisition represents another strategic expansion within our audio reproduction business, enhancing our product range and building a customer
PRO LAB Show’s Off first Maila investment in the Middle East
ShowOff Entertainment, in partnership with VTR Hospitality & Events, has purchased the first LD Systems Maila M audio solution in the Middle East from
PRO LAB. Both parties work in the hospitality and events sectors and believe the new systems will enable them to provide a more enhanced event experience in the region.
The companies were looking for an overall system capable of delivering highquality sound in a small form factor for ease of installation with various setups and noted that the Maila system’s quality, aesthetic look, price point and portability ticked all the boxes.
The purchase includes one Maila M compact line array system, two Stinger 15 A G3 active 15-inch two-way bassreflex PA loudspeakers and four Stinger Sub 18 A G3 active 18-inch bass-reflex PA subwoofers. The company has also invested in additional accessories for the speakers and two Gravity GSP2332B adjustable spacer tube speaker poles. Primarily events organisation companies, ShowOff and VTR plan on integrating the system in their own lineup of events in the region. Furthermore, they will use the Maila system combined with the LD Systems Stinger series for smaller jobs, such as DJ sets, weddings and conferences. The companies have also received assistance from PRO LAB experts on the system.
“After the demo, we knew that this compact system with high-definition sound
was the right choice to ensure a longlasting impression on our clients,” said Tejas Kuwar, events director for ShowOff Entertainment. “We would like to thank the support team and Jan from PRO LAB for their help throughout the process. With the addition of the new equipment, we expect our business to expand rapidly in the region and we look forward to future collaborations with PRO LAB.”
Jan Tarakji, PRO LAB general manager, said: “When Tejas expressed his need for a compact, multipurpose mobile line array system, we immediately recommended the Maila M series. This solution includes eight tops, two Quarto midrange columns and two dual 15-inch subwoofers, all seamlessly powered and controlled via an iPad. We believe this successful partnership will pave the way for further cooperation between our firms and significantly enhance the presence of the LD Systems Maila series in the UAE and GCC regions, standing out among competitors and manufacturers.”
www.prolabllc.com
www.showoffdxb.com
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L–R: Jan Tarakji of PRO LAB and Tejas Kuwar from ShowOff Entertainment
Digital Projection powers visuals at African Judo Championships
The opening show of the 45th edition of the African Judo Championships featured a projection mapping show created by HiLights Group incorporating Digital Projection’s Titan projectors. Held at the Cairo Stadium indoor halls complex, the competition saw top African judokas battling it out for places in the Paris Olympics.
Projected onto the middle of the stadium’s floor, the opening ceremony consisted of a play of colours, shapes and African flags, with a light show to accompany the projection.
HiLights Group utilised eight Titan 37000-WU projectors to cover an area of 40m x 20m. The event production company created the content for the spectacle which was processed by a Dataton Watchout media server. Equipped with a 2.56–4.16:1 lens, each projector could be placed discreetly away from the audience,
allowing the images to travel along a 45m path to the stadium’s floor.
To ensure optimal coverage and uniformity across the space, four Titans were mounted
ShowTech Productions invests in Robe
Riffa-based ShowTech Productions has added 12 Robe iFORTE LTX luminaires to its lighting inventory, supplied by Robe Middle East in Dubai. With an additional operation in Saudi Arabia, the company provides event production and technical services for multiple sectors including concert touring, live events and corporate applications across the GCC region. The company’s investment complements its extensive Robe inventory, including Spiiders, MegaPointes and BMFLs, with owner and CEO Lawrence Rodricks stating: “Robe products have consistently been on all the international riders we have seen in the last 10 years.”
One of ShowTech Productions’ clients is Bahrain’s 10,000-capacity Dana Amphitheatre. The company supplies full production for all the concert arena’s major shows, which currently averages two a month. ShowTech Productions deployed the luminaires at the recent Scorpions show, with lighting designer Manfred Nikitser’s rider containing 50 of the fixtures.
Delivered immediately after the SLS expo in KSA, Rodricks said the iFORTES are a “great investment and an amazing, super bright, excellent quality and popular product that ticked all our boxes and also have value as a cross-rental item”.
www.robe.cz www.showtechbahrain.com
on the front truss, while the remaining four were positioned on the rear truss. Furthermore, each projector was adjusted to achieve optimal throw distances and provide
comprehensive coverage of the pitch area, while maintaining image clarity and uniformity. “Our calculations were based on the stadium’s dimensions and the Titan projectors’ specifications, guaranteeing precise alignment for maximum visual impact,” said Yara Mahran, senior digital marketing specialist at HiLights Group.
Mahran noted that the projectors’ brightness, resolution and reliability were “paramount for the success of the show”, and provided “clear and vibrant visuals, even in a large, well-lit stadium environment that captivated attendees and brought the event to life”.
“Digital Projection has been an invaluable partner in our success,” concluded Mahran. “Not only did they provide us the projectors, but also offered our technical team training at HiLights Group HQ, enabling our team to utilise the laser projectors to their full potential to deliver exceptional results in each of our projects.”
www.digitalprojection.com
www.hilightsgroup.me
Kramer acquires ZeeVee and Ashton Bentley
Kramer has recently announced its acquisitions of both AVoIP technology developer ZeeVee and collaboration spaces provider Ashton Bentley, to expand its product offerings.
The manufacturer said that the acquisition of ZeeVee is part of its commitment to invest in AVoIP and IT/AV convergence. ZeeVee, a founding member of the SDVoE Alliance, brings expertise and a proven track record in 10Gbps technology, facilitating large-scale and complex deployments. Kramer believes that the addition of ZeeVee’s medical-grade and certified product line will expand the company’s market reach and complement other Kramer solutions in this domain. The merger also combines ZeeVee’s on-premises AVoIP management solution with Kramer’s cloud-based offerings, resulting in an enhanced ecosystem for management and control solutions.
“ZeeVee’s innovative solutions and industry leadership align seamlessly with our strategic vision,” commented Gilad Yron, CEO of Kramer. “This move enhances our portfolio and accelerates our growth and innovation, ensuring we continue to provide comprehensive audiovisual solutions to our customers. Additionally, both companies’ customers and partners will now benefit from access to the combined portfolio of products and services.”
Bob Michaels, ZeeVee CEO, added: “Joining forces with Kramer is a thrilling opportunity for ZeeVee. Our combined expertise and resources will accelerate the adoption of AVoIP technologies, delivering unmatched value to our customers and partners worldwide. We are excited to be part of a company that shares our vision for the future of IT and AV integration.”
Kramer noted that its purchase of Ashton Bentley marks a pivotal step in its three-year strategy to elevate its offerings in the unified communication and collaboration (UCC)
ecosystem. The move is aimed at allowing Kramer to deliver a comprehensive audiovisual experience, encompassing a coherent end-toend approach to hybrid conferencing.
Yron said: “This acquisition is another milestone in our investment and commitment to the UCC ecosystem. The Ashton Bentley ‘out of the box’ solution, alongside Kramer’s broad portfolio, offers a unique, fully integrated solution to further enhance the hybrid meeting experience. The cultural fit, enthusiasm and passion the Ashton Bentley team brings will be an outstanding addition to Kramer.”
Ashton Bentley founders Roger McArdell, Roger Vinton and Tony Leedham added: “Kramer’s global market reach and product synergies will enable us to bring our innovative solutions to a broader audience. The whole team are looking forward to contributing to Kramer’s vision and continuing to push the boundaries of AV technology in the UCC domain.”
www.ashtonbentley.com
www.kramerav.com
www.zeevee.com
BAHRAIN WORLD
L–R: Nuwan Patabandige, Patrick Haddad and Elie Battah of Robe Middle East, Lawrence Rodricks of ShowTech Productions and Tarek Abou Gosh of Robe Middle East
Gilad Yron, CEO of Kramer
Wicked Solutions delivers d&b for Aegis Festival
The recent Aegis Festival featured a comprehensive AVL solution designed and installed by Wicked Solutions, a Lebanon-based company that offers professional AVL consulting services and high-end hardware rentals. The outdoor festival took place over three days at Arnaoon Village, situated atop the mountains of Northern Lebanon.
Wicked Solutions executed the AVL plan in coordination with the event’s stage designer and head of production, Yara Temsah. Four stages were meticulously designed and installed to provide an elevated experience. The main stage, which housed all the lighting and video
ensure a seamless integration of audio equipment into the setup. Due to challenging import conditions in the country, the team developed two audio setup scenarios in case of delays in equipment delivery and managed to complete the setup, despite the lifts arriving within a tight margin of only 72 hours before the event.
d&b audiotechnik J-Series line arrays were chosen for the main audio system, comprising 12 J8 loudspeakers and eight J-SUBs. Speaker elements from the manufacturer’s xS-Series and V-Series were used for front-fill, back-fill and out-fill, including four units each of 24S-D loudspeakers, 12S-D loudspeakers and V-SUBs. Q1 and Q-SUBs were also supplied as DJ monitors.
“The main system utilised array processing technology which provided seamless coverage and consistent tonal balance throughout the entire venue,” commented Pascal Sarkis, 7Hertz audio system design and application specialist. “Covering more than 35m, with minimal dB loss, we only used six J tops per side and eight J-SUBs as a sub-array. As predicted in the ArrayCalc design, even with such a small count of cabinets, we were able to maintain an excellent level over distance with no delay towers required, thanks to the array processing technology,” added the Wicked Solutions technical team.
www.7hertz.net
www.aegisfestival.com
www.arnaoonvillage.com
www.dbaudio.com
www.wicked-me.co
Robe illuminates the South African presidential inauguration
SOUTH AFRICA
In celebration of the recent South African presidential inauguration, Chris De Lancey of Immersive Show Technology produced an architectural lighting scheme incorporating Robe fixtures supplied by DWR. The manufacturer’s ESPRITE moving lights and iBOLTS were applied together with a projection mapping of the region’s flag onto the Union Buildings in Pretoria.
The final events of Cyril Ramaphosa’s inauguration were organised on a tight timescale once the actual election results were confirmed and certified. De Lancey received the call a week beforehand and was asked to present a scheme for illuminating the Union Buildings, a notably difficult structure to light effectively due to its 285m-long façade.
The buildings are semi-circular in shape with two side wings. Initially, the client had the idea of projecting the South African flag onto the four end walls; however, after a site visit, De Lancey, who had never illuminated the buildings before, proposed lighting the two inner end walls with the projected flags, as well as lighting along the whole façade of the near side wings for better effect and to also maximise their budget. Following approval for his design, he specified six Robe ESPRITES per side for the façade illuminations and two 40K projectors for the flags onto the two end walls.
In addition, the LD chose to incorporate the iBOLT fixtures into his design, which DWR had recently received in the country. Duncan and Bruce Riley of DWR set up the luminaire and programmed it using a small console so that it could project rich beams of light into the night sky. “It’s a completely awesome fixture that created some beautiful effects,” noted De Lancey.
The ESPRITES were rigged on truss tower sections on the other side of a road that passes directly in front – with a 9m drop – of the buildings, along the edge of the large park/amphitheatre that stretches away in front of the seat of government. They were positioned to avoid greenery, with the shutters used extensively to produce lines between the different colours of
the South African flag in the projection. The illumination ran for three nights from dusk till dawn on the South Lawns of the Union Buildings, including the inauguration day itself.
www.dwrdistribution.co.za www.robe.cz
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LynTec acquires Juice Goose
LynTec has announced the acquisition of electric power distribution, condition and control equipment manufacturer, Juice Goose. LynTec, a wholly owned subsidiary of Chauvet, manufactures electrical power control solutions for professional audio, video and lighting systems.
“LynTec couldn’t be more excited about the reputation and deep customer relationships Juice Goose brings, with solid products that perfectly complement our existing lineup,” remarked Mark Bishop, president of LynTec. “Now, regardless of how big or small the installation, we have the power solution for the job, whether that’s four circuits for a conference room or 500 circuits for an arena.”
Founded in 1983, Juice Goose manufactures and supplies electric power management products, including power sequencing, power conditioning, power distribution and control, surge protection, UPS and more, for the commercial AV
market. The company’s solutions are used across applications spanning houses of worship, theme parks and a broad range of venues and facilities.
Located in Selçuk, the Ephesus Experience Museum’s multi-sensory immersive installation explores the rich history of Ephesus using Panasonic DLP laser projectors. Spanning across three distinct rooms of the museum, the experience narrates the story of the ancient city with audiovisual technology such as 360°
projections, 3D soundscapes and atmospheric effects like fog and scents.
Developed and operated by DEM Museums, the museum, which is located on the UNESCO World Heritage site of Ephesus, uses 123 Panasonic DLP laser projectors to project imagery that brings the story of the city to life.
The projectors were chosen for the project to provide minimal maintenance and consistent performance, which was imperative for the long-running installation. Furthermore, the use of various Panasonic lenses, including ultra-short-throw lenses, allowed for flexible installation and image quality without shadows, preserving the visitor experience.
One of the more popular exhibits features 90 of the DLP projectors as well as an immersive sound system to recreate an ancient earthquake, offering visitors a dramatic and memorable glimpse into the
Taking place over the course of 16 months, the project involved up to 150 experts from around the world, with content creation provided by Marshmallow Laser Feast and exhibition design by Atelier Brückner. Astel Profesyonel Goruntu Sistemleri was responsible for the distribution and systems integration of the Panasonic projectors.
“The Panasonic projectors have been fundamental in achieving our vision of an immersive historical experience,” commented Eda Bildiricioglu, CEO of DEM Museums. “Their reliability and quality have allowed us to bring the story of Ephesus to life in a way that captivates and educates our visitors.”
eu.connect.panasonic.com
Grass Valley delivers IP playout system for Bahrain TV
Peter Cook, CEO of Juice Goose, said: “For more than 40 years Juice Goose has been the trusted power distribution solution for AV integrators and we’ve achieved great success in the pro AV market. We are incredibly excited to continue our legacy with LynTec and Chauvet brands, providing our customers with the same power management solutions they have relied on for years and now with LynTec’s leading customer support.”
Albert Chauvet, CEO of Chauvet, added: “Juice Goose brings another great product line to the Chauvet family of brands, expanding our power solutions portfolio that we began with LynTec. The two businesses are highly complementary, with this partnership providing key resources to our customers in meeting the full demands of their AVL installations. With this acquisition, we are able to complete our portfolio of power distribution, conditioning and control products.”
www.chauvetlighting.com
www.juicegoose.com
www.lyntec.com
In partnership with First Gulf Company (FGC), Grass Valley has redesigned Bahrain TV’s master control suite, reportedly making it the first broadcast facility in the region to implement an IP playout system.
The broadcast news and entertainment network has also upgraded its main live news studio, the UHD news studio, with Grass Valley’s Kayenne K-Frame switcher, EDIUS X Pro nonlinear editing solution and Sirius 840 576x576 router with integrated multiviewer capability.
“Grass Valley demonstrated an unwavering commitment to delivering a cutting-edge IP broadcast infrastructure tailored to our evolving needs,” said Abdullah Albalooshi, undersecretary of technical affairs at Bahrain TV. “We expect that our modular, scalable Grass Valley IP-based playout system will yield measurable benefits in the years to come. We anticipate significant cost savings by reducing hardware costs associated with traditional broadcast setups. Also, with our newly streamlined workflow processes and operational efficiencies, we also expect productivity gains by minimising manual interventions and enabling faster content delivery.”
The IP playout solution features the manufacturer’s IP-capable Masterpiece IP UHD master control system, UCP 3901 video gateways and a two rack-unit MV-821 IP standalone multiviewer, set up for four outputs. The suite also incorporates GV Orbit
configured for the dynamic orchestration of the broadcaster’s IP broadcast environment.
Furthermore, some more expected benefits include the ability to scale easily without the need to make high or large capital investments.
Bahrain TV also noted it anticipates advertising revenue growth resulting from improved viewer experience and greater audience engagement.
“We’re very pleased to have actively contributed to this groundbreaking achievement
by implementing and commissioning the first IP-based playout system in the region,” commented Hany Bartella, regional sales director at Grass Valley. “The adoption of IP-based live broadcasting by Bahrain TV represents a leap forward in efficiency, scalability and flexibility, while positioning the network as a technological leader in the region.”
www.grassvalley.com
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Artel acquired by Patton
Patton, the manufacturer of the FiberPlex brand fibre transport products for audio, video and data, has acquired Artel Video Systems. The addition of
Artel’s video transport and IP-based products will enable Patton to offer a more comprehensive suite of solutions to meet the evolving demands of the telecom, broadcast and pro AV markets.
The manufacturer said that combining Artel’s R&D and manufacturing enhances Patton’s ability to serve customer needs for standard products. Furthermore, the acquisition brings new intellectual property building blocks to Patton’s contract development and special project services business. The combined companies will focus on providing new, highly integrated solutions, services and support, through Artel’s established market penetration, together with Patton’s reach and resources.
“This acquisition furthers our strategic objectives in the real-time communications market, aligns with our vision to ‘go deep’ with our customers, complements our
existing offerings and brings intellectual property that we can leverage to deliver on defense and industrial customer needs for special-use products,” commented Burton
A Patton, Patton chief revenue officer.
Tom Fyfe, Artel CEO, added: “Joining forces with Patton is a fabulous win for Artel and, most importantly, its customers. Patton’s capabilities and commitment enables us to continue delivering and innovating broadcast-quality media and IP transport solutions while significantly enhancing the expertise and services we can deliver to those customers.”
www.artel.com www.patton.com
Mindstec opens Aetria demo facility in Saudi Arabia
One of Datapath’s key partners in the Middle East, Mindstec Distribution, has opened a demo facility in Riyadh equipped with the manufacturer’s Aetria solution for control room video management. The replicated control room setup enables visitors to experience the solution first-hand and it is also used for Datapath’s AVIXA-accredited training sessions. Steve Simpson, area manager for Datapath, noted that by having the Aetria setup at the Mindstec Distribution Saudi Experience Centre, Datapath can tailor the demo system to be familiar to users in specific vertical markets, including cyber security, transport management and more. “The advantages of utilising Aetria in a control room environment are plentiful, but to fully appreciate its capability it is important to experience the technology first-hand,” he said. “With this facility we can arrange training
sessions for Mindstec customers, as well as showcase a fully operational system to prospective new business.”
Speaking at the launch, Vivek Mishra, VP at Mindstec, remarked: “Having venues such as Datapath’s Aetria facility here in our experience centre is a prized asset in highlighting the technology. Control rooms are becoming increasingly complex, with greater video data volumes, and being able to see and use Datapath’s latest technology is the perfect way to show its benefits in real time. This facility brings a new dimension to Mindstec and, along with our valued partners like Datapath, we look forward to bringing new experiences and technical understanding to our customers.”
www.datapath.co.uk www.mindstec.com
Williams AV expands portfolio with TeachLogic
To expand its assistive communication product portfolio and presence in the education sector, Williams AV has bought TeachLogic. TeachLogic specialises in sound reinforcement solutions for classrooms, with audio systems aimed at ensuring all students have equal access to the teacher’s voice and other classroom audio sources.
“We’re excited to join Williams AV,” said Ron Canfield, VP of education business
development, TeachLogic. “The combined business accelerates TeachLogic’s
while expanding our market reach in the education market.”
capacity to innovate and enhance our product offerings for our customers,
Brad Kautzer, president and CEO of Williams AV, commented: “The acquisition
aligns perfectly with Williams AV’s strategic objectives. Both companies are passionate about creating inclusive spaces with intelligible audio. This underscores our commitment to growth and innovation. We look forward to expanding our footprint in the education market with TeachLogic products.”
www.teachlogic.com www.williamsav.com
Pioneer keeps the beat for Toka Musik
Dubai-based music company Toka Musik recently partnered with Pioneer DJ/Alpha Theta with the aim of giving a wider platform to up-and-coming talent in the MENA region. Through the deal, Pioneer Pro Audio has supplied Toka Musik with a pair of XPRS102 10-inch full-range active loudspeakers to support DJ guest sets for its podcast.
“Pioneer DJ represents not just the tech industry but also empowers the next generation of DJs and performers,” said founder, managing director and podcast host Georges Bou Saleh. “The MENA region has a lot of talent and we strongly resonate with the Pioneer DJ/Alpha Theta mission to keep building these talents through innovative tech initiatives. Toka Musik is a platform for this emerging talent, so having this relationship is the cherry on the top of everything we do.”
Established in Beirut in 2017 as a DJ guest mix series, the company boasts an online electronic music magazine, artist collective, podcast and promo platform. With over 150 interviews with esteemed DJs and music producers, as well as premieres for top record labels, it has cemented its position in the industry. Furthermore, last year Toka Musik further expanded with its own record label. The addition of the XPRS102 speakers has transformed Toka Musik’s podcast into a “mini nightclub”, with Saleh stating: “We love the XPRS102 sound – it’s clear, loud and works perfectly for what we wanted to achieve. We’ll definitely be using them at all our Toka Musik gatherings and showcases moving forward. They’ve already had the seal of approval from DJs who all enjoyed their sound.”
www.pioneerdj.com
SAUDI ARABIA
Audio-visual highlights
for professional camera, film & broadcast solutions
CAT 8.1 network connections with up to 40 GBit/s
Fiberoptical systems for installations and mobile applications IP67
13.09 - 16.09.2024
AMSTERDAM, RAI, NL Booth 8.F95
Lightning fast data transfer with up to 100 GBit/s *
CAT 8.1, 40 GBit/s Highflex
6G/12G UHD BNC connectors
* Singlemode
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.
Audiosure delivers a sky-high solution for The 11th Floor
Award-winning rooftop restaurant and bar The 11th Floor has installed an audio and lighting solution provided by Audiosure. Overlooking the breathtaking skyline of Bedfordview, the Johannesburg venue features a Martin Audio solution for PA, DSPPA Audio products for ambient background music, Allen & Heath for control and lighting fixtures from Chauvet DJ.
Named Restobar of the Year by the 2024 Luxe Restaurant Awards, The 11th Floor offers an upscale dining experience for visitors and regularly hosts live music. Enhancing the venue’s ambience with background music during the day is DSPPA
Audio DSP8062B and DSP8064B wallmounted speakers, as well as DSP45511B waterproof column speakers. These are powered by MP2500 and MP1500 amplifiers. For live performances, a Martin Audio PA solution comprises Blackline XP12 loudspeakers.
Providing complete control over the audio throughout the restaurant is Allen & Heath’s AHM-16 audio processing matrix, supported by a comprehensive ecosystem of scalable I/O, control and Dante solutions. The setup also features the CQ18T compact digital mixer which can be used to run live music nights. Chauvet DJ Intimidator Spot moving heads illuminate the space.
www.allen-heath.com
www.audiosure.co.za
www.chauvetdj.com
www.dsppa.co.uk
www.martin-audio.com
HiLights makes significant Barco investment
HiLights Group has made a sizeable investment in Barco products, adding 100 4K 12,000-lumen and 50 4K 40,000-lumen projectors to its portfolio. Serving the Middle East and North Africa region, the event solutions supplier also offers systems integration for permanent installations and plans to deploy a batch of them for the first time in an upcoming projection mapping installation in Egypt.
“In addition to strengthening our relationship with Barco, this partnership also marks an important step in further mastering projection solutions in the MENA region,” said Hamed Arafa, chairman and founder of HiLights Group. “We take the lead when it comes to offering unparalleled projection solutions with 4K resolution to
enhance our standards of image quality and service offerings for our clients across the
Wouter Bonte, VP of sales, Entertainment at Barco, added: “We are honoured to be chosen as the preferred projection technology provider for such a prominent player in the industry. It not only showcases the superior performance of our products but also highlights the value that Barco brings to the region as this new partnership comes at a pivotal moment, aligning perfectly with the industry’s trajectory towards higher standards of quality, innovation and reliability.”
www.barco.com
www.hilightsgroup.me
SOUTH AFRICA MENA
Unica 8M
Unica 4L L–R: Abdulghani Hijazi from Barco and Hamed Arafa from HiLights with Barco’s Lieven Bertels and Abdallah Najjar
Syva speakers amplify luxury at The George Tel Aviv
Situated in the heart of Tel Aviv, luxury hotel The George has installed an L-Acoustics Syva colinear concert sound system for its Jazz Hall. A visionary project by Elco Hospitality, the venue features 170 rooms, a member’s club, four culinary destinations, versatile meeting spaces and a myriad of leisure areas.
“Our Jazz Hall offers a luxurious setting for daily musical journeys,” said Eyal de Leeuw of The George. “To complement the exquisite interior design by Lazaro RosaViolan, we needed a concert sound system that could deliver unparalleled audio while respecting the sophisticated aesthetics of the space.”
The hotel team chose the Syva system, with its svelte curved design, to integrate
all powered by LA4X and LA2Xi amplified controllers.
The system delivers audio for a range of events, from intimate jazz performances to lively DJ nights and private screenings.
The George incorporated special acoustic materials, fabrics, curtains and furniture into the Jazz Hall’s design, further complementing the sonic experience.
“Syva provides the enveloping sound we desired but also aligns perfectly with our ethos of understated quality and high design,” concluded de Leeuw. “It’s a key component in creating the ultimate wonderland for those who live, work and visit our city.”
www.l-acoustics.com
So capable. So Unica.
Unica will have a fresh-out-of-the-box feel throughout its life, and it will be possible to integrate features and functionalities down the line, making it truly futureproof. Proving the engineering efforts undertaken in the development of this platform are 5 registered patents
To reduce global live TV production costs for news, sports and events, Ateliere Creative Technologies has purchased Agile Live. Owned by TV platform operations and technology company Agile Content, Agile Live utilises software architecture and cloud technology which is reported to reduce costs by up to 70%. The acquisition signifies a shift from traditional reliance on proprietary custom hardware solutions to IP-based systems.
“Agile Live strategically enhances a broadcaster’s capacity and streamlines the production of live content, substantially enriching the array of real-time entertainment accessible to consumers,” remarked Dan Goman, CEO and founder of Ateliere Creative Technologies. “With this acquisition, we
are revolutionising the live production content industry to deliver enhanced realtime content directly to consumers.”
Koldo Unanue, Agile Content CEO, commented: “With Ateliere’s established portfolio, organisational strength and market presence, the conditions are ideal for the technology and team to expand rapidly and achieve global success. We are eager to explore how our complementary portfolios and capabilities can advance our partnership, leading to the creation of new innovative solutions.”
Through the acquisition, an experienced team of live production software engineers based in Stockholm, Sweden will join Ateliere.
www.agilecontent.com
www.ateliere.com
StageOne launches FBT Myra at Art of Tech event
SOUTH AFRICA
StageOne recently launched FBT’s flagship sound reinforcement line array system, Myra, at its Art of Tech event at the Vodacom World Events Dome in Johannesburg. The event featured an immersive technology exhibit showcasing new products from FBT, beamZ Pro, Alustage and other brands distributed by StageOne.
Art of Tech offered hands-on experience of the latest advancements in the event rental and installation markets. An immersive live production incorporated beamZ Pro entertainment lighting, professional audio from FBT and other products from StageOne to highlight how the technology can be used to achieve a captivating and creative production.
Simon Robinson, StageOne business development manager, commented: “Besides launching FBT Myra, we are incredibly excited about our new range of beamZ Pro lighting fixtures that cater to the professional market. We worked hard to produce a show that demonstrated the real ability of our product range in a live production application.”
Projet1_Mise en page 1 11/04/2024 12:05 Page 1
www.stage-one.co.za
Optimal Audio is part of the furniture at Blum
Johannesburg furniture manufacturer Blum’s South African base recently opened featuring an Optimal Audio-based system designed and installed by Audiosure. The project’s objective was to enhance the space with background music and add
An essential requirement was the ability to switch between various sources and zones where customers browse, as was the ability to support visual playback to its team or clients via a projector and wireless microphone across all or just selected spaces. Additionally, ease of use was important along with aesthetic appeal. Audiosure’s John Greaves designed a zoned Optimal Audio-centric system that
can be controlled from a smartphone or tablet. A Zone 4 controller with DSP and WebApp controls the overall system, which includes Cuboid 8 and Sub 10 units, powered by SmartAmp 30, to support presentations and events in the main area.
“We kept the system small, efficient and simple to use, with the Zone 4 allowing everything to be controlled by the client through WebApp via a phone or tablet,” remarked Greaves. “The Cuboid 8s allowed us to gain a great level for presentations and video playback.”
www.audiosure.co.za
www.optimal-audio.co.uk
FBT Myra
Prosound enlightens Tzu Chi Temple
Standing as a beacon of spiritual enlightenment and tranquility, the Tzu Chi Temple in Johannesburg has installed an AVL solution supplied by Prosound. In collaboration with acclaimed designer Dennis Hutchinson, Prosound crafted an audiovisual and lighting system to integrate with the temple’s sacred ambience.
A key member of the Prosound team, Charles, contributed insights and technical expertise to the project. “Tzu Chi was an interesting project, mainly because of the different elements involved; sound, lighting, video and the ability to livestream,” he said. “The main problem was to design a system
that was flexible, but still easy enough for volunteers to use. We used a combination of hardware from different manufacturers to achieve this goal.”
The lighting design needed to complement the temple’s aesthetic while meeting practical needs, with Hutchinson noting that they chose ETC Irideon architectural fixtures for their colour rendering and compact form factor.
The Irideons are controlled by an EchoTouch control panel, providing versatile presets for transitions and subtle enhancements without overpowering the sacred space.
With livestreaming becoming increasingly integral to the temple’s outreach,
the audiovisual setup had to cater to both in-person and remote audiences. Hutchinson explained that “everything is livestreamed, not only to outside of the temple, but also to various overflow rooms within”.
At the heart of the audio system are Symetrix W3 control panels which have been installed in each of the sanctuary’s five classrooms. These panels provide control over audio, video sources and projector functions from a single interface
Hutchinson noted that when it came to sound, he faced the challenge of hiding the technology. “It all had to virtually be concealed,” he explained. Drawing from his theatrical background, Hutchinson applied the principle that “if you notice lights, you designed it wrong”. The main sound system features Meyer Sound’s ULTRA-X20 speakers, chosen for their clarity and smooth response.
www.etcconnect.com
www.meyersound.com
mediaPro delivers for Blockchain Life 2024
The Blockchain Life 2024 event in Dubai featured a comprehensive rigging, audio, video, lighting, laser and secondary power distribution solution provided by mediaPro Venue Services, a subsidiary of mediaPro International. The solution was incorporated for conferences and exhibitions taking place over the two-day event, which welcomed around 8,000 attendees from 120 countries at Dubai Festival City.
For the main stage area, an L-Acoustics array system, hung on a truss, comprised 12 Kara II loudspeakers, six tops per side, and four KS28 subwoofers, two per side. Four X8 speakers provided centre-fill onstage, while four X12 acted as stage monitors. Video technology was also utilised at the main stage for presentations and videos, with a 22m x 4m LED screen deployed for the backdrop on risers. The lighting comprised Krypton’s P600, W1940 and W740 luminaires and S400 laser projectors, while six 30W lasers were implemented to create captivating visual effects, infusing key moments and transitions.
At the Insight stage, an L-Acoustics Syva solution was deployed, floor-stacked, with one Syva kit for the main PA and one for the delay while two X8s were used as stage monitors. The stage featured an 8m x 4m LED screen to act as a backdrop for presentations and the lighting solution incorporated the same
fixtures and laser projectors from Krypton as the main stage.
In the main exhibition area, L-Acoustics Kiva speakers were hung on a ceiling rig, with six tops on each corner and one SB15 subwoofer on each corner for low-end definition. At the centre of the space was a 6m x 3.5m LED screen cube that displayed promotional content and ads, while numerous smaller, interactive LED touchscreens provided digital signage alongside multiple poster LED screens. A range of Krypton
fixtures were deployed to illuminate the space, as well as six 30W laser projectors which projected branding onto the high-roofed side walls of the Festival Arena.
mediaPro also implemented Krypton fixtures for the VIP lounge and provided all secondary power distribution and rigging for the booths in the main exhibition centre and the stage build and fabrication for the main stage and insight stage.
“We were extremely pleased with the outcome of Blockchain Life 2024,”
commented Jillz Jacob, area manager at mediaPro Venue Services. “The seamless integration of our AV technology and services created an immersive experience for attendees. We ensured client comfort and satisfaction and the positive feedback from both clients and attendees underscored our role in making the event a resounding success.”
www.l-acoustics.com www.mediaproav.com
Create a pleasant atmosphere A-3200D series
Discover the high-performance digital mixer amplifi er series with a built-in media player and fl exible impedance selection. Whether it’s the A-3200DMZ for audio control in up to fi ve zones or the A-3200DME with a 5-band equalizer for precise fi ne-tuning, this series offers options ranging from basic to highly individualized sound functions. Cost-effi cient, eco-friendly, and easy to use, it provides a high-quality sound experience.
We supply sound, not equipment.
Find out more about A-3200D series:
Christie brings learning to life at Angola’s CCL
ANGOLA
Educational experiences at Angola’s Luanda Science Center (CCL) are being delivered through a combination of Christie and Vibe Audio equipment deployed by AV integrator Proavit and consultant Muse on behalf on Athena Swiss AG. An auditorium at the CCL has been equipped with two Christie Griffyn 4K35-RGB pure laser projectors and Vive Audio speakers to deliver impactful educational content, while eight Christie D20WU-HS 1DLP laser projectors power a permanent outdoor video mapping attraction on the building’s façade.
amplifiers. “The Vive Audio speakers have great performance with very low distortion, making them ideal for complementing the visual experience of the big screen,” said Jordi Mollà, AV engineer at Muse.
Outside the CCL, eight Christie D20WU-HS 1DLP laser projectors were installed discreetly in ventilated watertight cabinets to map onto the façade of the building and create a 114m x 11m (WxH) canvas. This nighttime projection was created by Ocubo, a multi-awarded design studio, and aims to bring learning to life, highlighting topics
The 146-seat auditorium features a 180m2 screen measuring 15.5m x 11.65m (WxH), totalling more than 12m pixels.
“With 36,500 lumens, RGB pure laser illumination, native 4K resolution and 3DLP
such as Angolan culture, the human body, planets, fauna, flora and science.
“Christie technology has contributed to transforming this space into a true centre of excellence, creating a cutting-edge
technology, the Griffyn 4K35-RGBs deliver spectacular visuals with an exceptionally wide colour gamut,” noted Proavit director Pedro Carmo.
Special effects inside the auditorium include vibration, water and air, which are synchronised with the onscreen content to increase immersion.
The space is also equipped with Dolby Atmos with 32 audio channels, powered by 34 Christie Vive Audio speakers and nine Powersoft Quattrocanali series
various challenges we faced with great efficiency and professionalism. The Luanda Science Center has established itself as a benchmark in education and entertainment in Africa, backed by an advanced technological infrastructure that is unique in the world.”
www.christiedigital.com
ADAPTing to technology
How does EAW’s ADAPTive technology work and why does it stand out?
In the modern world of loudspeaker arrays, the technology and approaches to deploying them continuously evolve toward better performance, clearer sound and a more efficient use of resources. One of the most revolutionary advancements is Eastern Acoustic Works’ ADAPTive technology. So, what is the ADAPTive approach and why does it stand out?
Given the physical attributes of EAW ADAPTive systems where arrays are deployed with no vertical curvature, it’s easy to conflate the ADAPTive approach to creating coverage with beam steering. However, ADAPTive offers a very different method to achieving optimised coverage for frequency response and SPL for an audience.
How do we ADAPT?
The fundamental strength of the ADAPTive approach to generating a comprehensive coverage polar for a specific audience geometry lies in the design’s adherence to universally accepted criteria for creating a line source. Historically, this has presented the challenge of matching driver size and spacing measured against the wavelength of the frequencies contained within the given pass band. In the past, the drivers available to meet this demand resulted in sound systems challenged to produce high SPL.
When trying to accomplish this mechanically, angling is added to the array. This causes the isophasic qualities to be broken apart, and high-frequency quality and distribution are sacrificed. Vertical coverage capabilities quickly reach a limit for steep demands before becoming undoable.
Comparatively, with ADAPTive, there is the ability to direct audio into any desired polar shape using simple techniques of
There are two rules for creating a single acoustic source: the source size must be small relative to the desired wavelength of frequencies in the pass band, and the distance between the source’s acoustical centres must match the size of the source. Many companies can build a single box that meets this criteria. The challenge begins when more enclosures are added to create an array, causing most products to break away from the properties of being a single acoustic source. With ADAPTive, the spacing criteria are met and maintained regardless of how many enclosures are used, offering the user the broadest controllable bandwidth to an upper and lower vertical coverage area.
Superior coverage through driver density
There are two steps to define and meet a coverage target. First, enter the accurate audience geometry into prediction software and, second, manipulate the angles to meet the coverage demand of the audience geometry. Where EAW’s Resolution 2 software differs is that, unlike many competitors, it doesn’t simply predict the coverage. Resolution creates the coverage by managing the interaction of every component in the array. This provides an optimised polar for the targeted vertical coverage independent of trim height and number of enclosures deployed.
progressive delay, amplitude and filtering. ADAPTive allows sound to permeate 180° up or down while the array hangs in a straight line, offering the aesthetic of a single enclosure and, most importantly, remaining a single acoustic source.
The model of efficiency
With traditional line arrays, manipulating vertical coverage after deployment is generally not plausible technically or physically, causing negative impacts on the array’s vertical steering and often leading to disjointed audio and loss of headroom. With ADAPTive, by entering a simple adjustment of coverage in Resolution, a new vertical response is delivered to the system using all its components. There is no loss of headroom or coherence, all without needing to physically move anything – the model of efficiency. ADAPTive systems can also direct subwoofer energy precisely, eliminating issues like power alleys and ensuring even sub-bass coverage across long or steep areas. This malleability makes an ADAPTive subwoofer like Otto ideal for indoor and outdoor venues, providing powerful and coherent low-frequency extension to ADAPTive full-range arrays.
The hidden gem: horizontal coverage expansion
One of the most notable advantages of ADAPTive compared to its mechanically articulated rivals is its ability to easily and predictably expand horizontal coverage. Traditional line sources often require multiple arrays flown at disparate angles and separated by varying distances to cover wide spaces. This leads to inconsistencies in the low-frequency response of the system and adjacent listening areas. By
adding columns to the primary array, an ADAPTive system creates a singular, coherent, predictable and repeatable low-frequency source, resulting in exceptional bass extension and impulse response. It provides a fuller, more powerful sound with significant headroom. This capability is especially beneficial in highly reverberant spaces, where maintaining consistent bottom-end and low-end coverage is crucial for an event’s success.
Why choose ADAPTive?
ADAPTive technology represents a significant advancement in loudspeaker design and application. By focusing on creating and maintaining a single acoustic source and adapting coverage to the specific geometry of a space, these systems offer unparalleled precision and efficiency. Whether for stadiums, concert halls or smaller venues, ADAPTive ensures consistent, high-quality audio that traditional beam steering and mechanically articulated systems cannot match. This technology is advantageous in challenging environments, providing clear, coherent and powerful audio. The intelligent use of resources and the ability to nimbly adapt to different coverage needs make ADAPTive technology a game-changer in the professional audio industry.
Horizontal coverage expansion
Resolution 2 software
Avientek partners with Xilica and Fulcrum Acoustic
Avientek has announced strategic new partnerships in the MEA and GCC regions with Xilica and Fulcrum Acoustic.
In collaboration with Xilica, Avientek will deliver comprehensive audio solutions for collaboration rooms, teaching spaces and government facilities. The agreement will leverage Avientek’s expansive portfolio of brands to offer customers audio, video and control solutions integrated with Xilica, with a special focus on professional audio systems that cover small-to-large spaces. It will encompass the UAE, Oman, Bahrain, Qatar and Saudi Arabia, as well as select African markets.
“Avientek’s approach to distribution is centred on adding value to resellers through integrated pre-sale design, services and support, which mirrors our own commitment to customer experience,” said James Knight, CEO, Xilica. “Their reputation among customers is particularly strong and we can think of no better partner to help us continue to grow business in the commercial channel across the Gulf.”
fit that bring together different parts of our portfolio and help our teams deliver truly integrated audio, video and control solutions for customers from our range of top-quality brands. Xilica’s technology is particularly impressive and the ongoing direction and
Through its agreement with Fulcrum Acoustic, Avientek will offer the manufacturer’s entire range of loudspeakers and immersive technologies throughout the MEA region, as well as provide customer service support.
NMK to distribute Milos in the GCC
NMK Electronics has expanded its portfolio with the addition of Milos Systems, part of the globally recognised Area Four Industries, aligning with the distributor’s strategic goal to enhance its product offerings. The collaboration will bring the manufacturer’s trusses and support systems, which are essential for various applications in the rental market and permanent installations, to the GCC market.
Milos specialises in providing structural support solutions, including roof structures, trusses, stage decks, barriers, chain hoists and accessories. The addition of the manufacturer’s products will enable NMK to provide a complete turnkey solution that
includes lighting, audio and video products, all supported by structural systems. “In our quest to provide comprehensive solutions to our clients, we identified a gap in our portfolio for trussing and structural support systems,” confirmed Nicolas Cox, managing director at NMK Electronics.
“Milos’s reputation for quality, coupled with their attractive pricing and adherence to European standards, made them the ideal partner for us.”
The partnership will cover the entire Middle East, focusing on the six major
Sonic Electronics has been named as new distribution partner for American microphone manufacturer Audix in the Middle East and Africa. With offices in the UAE, Qatar and Saudi Arabia, Sonic Electronics has a number of other top-tier brands in its distribution portfolio and delivers audiovisual solutions tailored to the needs of various industries, including entertainment, corporate, education, defence, government and hospitality. It will represent Audix’s full product portfolio, specifically focusing its efforts on the UAE, Saudi Arabia, Qatar, Bahrain, Oman, Kuwait and African regions.
“We are excited about our partnership with Sonic Electronics,” stated Bjørn RennemoHenriksen, audio sales senior director, Videndum Media Solutions. “The ambitious standards of Sonic Electronics align perfectly with Audix’s commitment to impeccable audio quality. Whether it’s in the MI or live scene,
“Avientek is a well-established structure in the GCC region and beyond,” noted Val Gilbert, director of business development for export at Fulcrum Acoustic. “Their dedication to performance solutions and customer support meets Fulcrum’s ambitions for the territory. Avientek are growing quickly in the commercial audio sector and we’re excited to partner with them to support that growth.”
Vikesh Thamban, Avientek general manager – business development – audio, commented: “Fulcrum Acoustic is a perfect addition to the Avientek portfolio. With a unique approach to loudspeaker design, along with a fantastic suite of software and processing tools, we are excited to bring the brand to our customers across the region. Their product range, combined with their project support, puts us in a very strong position within the marketplace.”
www.avientek.com
www.fulcrum-acoustic.com www.xilica.com
www.milossystems.com www.nmkelectronics.com
audio recording studios or conference settings, Audix’s value proposition enables Sonic Electronics to consistently provide best-in-class solutions to their customers.”
“Partnering with Audix represents a significant milestone for Sonic Electronics,” added Santhosh Vasu, managing director of Sonic Electronics. “Their innovative products and commitment to excellence perfectly align with our mission of delivering top-tier microphone solutions to our customers. Together, we aim to redefine industry standards and set new benchmarks in the AV sector. We are enthusiastic about the potential of our collaboration and confident that through our combined expertise and dedication, we will deliver unparalleled value to our customers.”
www.audixusa.com
www.sonicelec.com
L–R: VM Manu of Avientek, James Knight of Xilica and Vikesh Thamban of Avientek
The Sonic Electronics team
DWR takes on Luminex and ADJ
DWR Distribution has added both Luminex and ADJ Lighting to its portfolio of brands. Covering the South African market, DWR will offer Luminex’s full suite of data distribution solutions and will also be responsible for the distribution of ADJ Lighting’s “Select” range of professional entertainment lighting, LED video and atmospheric effects equipment.
Founded in 2002, Belgian-based Luminex manufactures network switches, nodes and splitters utilised by AV designers and technicians for various AVL projects in the entertainment industry. “As more of our equipment and control is moving into the network world, it is crucial that the backbone for our events is reliable, versatile and specifically designed for the demanding needs we are faced with,” said Kyle Robson, sales support specialist at DWR. “Luminex ticks all the right boxes and I’m extremely excited we will be able to offer solutions to clients in our industry.”
“We are very pleased to welcome DWR into our circle of official distributor,” confirmed Gerald Delen, Luminex global sales manager. “We are confident that the enthusiasm of the entire DWR team, along with the complementary range of
products, will make our collaboration a success and that this partnership will allow Luminex to grow in South Africa as we are doing around the world.”
Established in 1985, ADJ serves the mid-market AVL rental, event production and installation sectors of the industry. The agreement will see
Warm Audio blazes in the Middle East with MediaCast
MediaCast has been appointed as the official distributor for Warm Audio in the Middle East. Through the partnership, Dubai-based MediaCast will leverage its extensive network to enhance the presence of the manufacturer’s range of recording products such as microphone preamplifiers, compressors, equalisers and microphones in the region.
“Our partnership with Warm Audio aligns perfectly with MediaCast’s mission to offer the best technology solutions to our customers,” said Peyman Dadpanah, business director at MediaCast.
www.mediacastsys.com www.warmaudio.com
confident that DWR Distribution is the right company to provide fantastic customer service to existing ADJ customers in South Africa as well as to introduce our ‘Select’ product catalogue to a wide variety of new customers in the country’s vibrant entertainment sector. This new distribution arrangement will also allow us to provide better customer service through onsite product demos, quicker order fulfilment, as well as local technical support and after-sales service, for which DWR has a stellar reputation.”
Expanding its presence in the Middle East, Ecler has selected AVenger Electronics as its exclusive distributor for the Gulf region, covering the UAE, Qatar, Bahrain, Oman and Kuwait. In addition to
“We are proud to be appointed as the new distributor for Ecler in the UAE,” said Joseph Rebero, general manager at AVenger Electronics. “Ecler’s products are known for their quality, innovation and
Johannesburg-based Planetworld has been named as the new South African distributor for Lightware Visual Engineering, with the aim of enhancing the availability of its high-fidelity signal management solutions within the South African market.
Planetworld is regarded as one of Africa’s leading distributors for audiovisual solutions, with vast experience in providing AV solutions for the live event and rental market, as well as for education, corporate and enterprise businesses. Through the partnership, Planetworld will offer customers in the region access to Lightware’s full range of technologies.
customer satisfaction aligns perfectly with our values. Together, we will deliver superior AV solutions to meet the diverse needs of our customers.”
“We are excited to partner with Planetworld and bring our cutting-edge technology to South Africa,” said Gergely Vida, CEO of Lightware.
www.lightware.com www.planetworld.co.za
Both parties cited the partnership as mutually beneficial, with Ecler aiming to leverage AVenger’s established network of dealers and systems integrators to gain access to a new market, while AVenger hopes that the addition of Ecler to its product portfolio will grow its market share in serving PA and BGM solutions.
excited to partner with AVenger to bring our products to the UAE market. Their expertise and experience will be invaluable in helping us reach new customers and grow our business in the region.”
www.avengerproav.com
www.ecler.com
L–R: Jan Pagès Carreras of Ecler, Nikhil Rayaroth and Joseph Ninel Rebero of AVenger and Marco Rostagno and Luis Hinojar of Ecler
L–R: DWR’s Duncan Riley with ADJ product manager Kevin Stannett
L–R: Kyle Robson, Duncan Riley, Jaques Pretorius and Dylan Jones of DWR
• JAMIE DUNN
Ahmad Abuzannad joins Epson
MIDDLE EAST
Epson has appointed Ahmad Abuzannad as business account manager – VP high brightness range in the Middle East. With over 10 years of experience in the audiovisual industry, he has held various positions with systems integrators, distributors and manufacturers across the region and built strong relationships with key stakeholders. Most recently, he was regional sales manager at Biamp where he was responsible for distribution and channel business in Saudi Arabia, Egypt and Jordan.
• CRAIG MCQUEEN
• DIRECTOR OF ENTERPRISE SALES FOR EMEA
VISUAL ENGINEERING
Abdulnassir Ali, regional sales manager – video projection, Middle East, Epson, commented: “Ahmad has extensive experience in the industry, having spearheaded numerous significant projects throughout the region. His expertise in audio will significantly enhance our team’s capabilities, particularly in executing complex projection mapping projects and
Samsung welcomes back Abdul kader Nashar
SAUDI ARABIA
Samsung Electronics has appointed Abdul kader Nashar as enterprise business sales team leader in Saudi Arabia, focusing on signage and hospitality solutions. Nashar previously worked at
perspective on sales strategies and leadership. I look forward to working with an exceptional team to drive growth and foster strong customer relationships.” Mike Chung, B2B sales manager, senior professional, CE team/SESAR at Samsung Electronics, said: “We are thrilled to welcome Abdul back. Abdul has already shown exceptional skill and dedication and we are confident he will bring renewed energy and valuable experience to our sales department.”
www.samsung.com
CHARLES BEAUDUIN CHAIRMAN OF THE BOARD OF DIRECTORS
ANDY RIGLER
Ahmad Abuzannad
Abdul kader Nashar
CTME expands systems integration team
MIDDLE EAST
Creative Technology has expanded its systems integration department in the Middle East with the appointment of three new team members. Jasha Stacey will assume the role of senior integration engineer, Andy Bruce will join the company as a senior commissioning engineer and Niamh Connaughton has been appointed as an administrator.
Stacey brings to the role over 30 years of experience in systems integration, with expertise spanning video projection design, audio system design, show control system design, electrical and electronic engineering and design consulting. Over the course of his career, he has also contributed to large scale projects such as Expo 2020 Dubai, SeaWorld in Abu Dhabi and the Diriyah Gate Development in Riyadh. “I am pleased to join colleagues old and new at Creative Technology and I look forward to new and interesting projects,” he said.
With 18 years of experience in systems integration, Bruce will join the engineering team. Creative Technology cited his technical expertise and
commitment to successful project delivery for numerous high-profile productions. “I am excited to bring my expertise to Creative Technology and I
am committed to ensuring the success of every project I work on,” noted Bruce. Previously a key accounts associate, Connaughton will now assume the role of administrator, leveraging her extensive experience in administration and event organising. “I am delighted to join Creative Technology and I hope my administration experience will help streamline our operations and enhance client satisfaction,” she said.
Huw Godfrey, head of systems integration for CTME, remarked: “We are thrilled to welcome Jasha, Andy and Niamh to our team. Their collective expertise and dedication to excellence are invaluable as we continue to grow our presence throughout the Middle East and deliver top-tier solutions to our clients.”
www.ct-group.com/me
L–R: Jasha Stacey, Andy Bruce and Niamh Connaughton
The missing link
Steve Critchley, founder of Dubai-based design, consultancy and deployment studio illumin8studios, talks about how to “bridge the gap” between creativity and technology to produce a successful project
A PROJECT CAN HAPPEN WITH EITHER TECHNICAL expertise or creative brilliance, but a truly great show requires collaboration between the two. As I traverse my way more and more through the technical world, I am constantly seeing a focus applied to the technology used in terms of how it can create a better show or performance. However, the results often only enhance or distract. Creativity is the essence of the product and, when integrated with the right technology, can dramatically bolster or enhance the vision. This cohesion is where you see true brilliance.
Creatives and technologists should be working together from day one to create world-class performances. With the plethora of technology at our disposal, it should be the technically minded people that specify the solution, working directly with the creatives to ensure their vision can be met. This miscommunication in the industry appears to be prevalent in the Middle East, especially in the UAE where I am based. It may stem from age; the Middle East is still very junior in its direction in entertainment and the world of technology as opposed to European and American counterparts. Looking deeper, the Kingdom of Saudi Arabia isn’t showing any signs of slowing down in its deployment of cutting-edge AVL technology for large-scale projects; however, the way it approaches these projects is vastly behind other regions.
illumin8 was recently engaged on a high-profile project in KSA which had possibly the best technical specifications I’ve ever seen. When the content creation team arrived onsite, they all had differing requirements of what they wanted the system to do and it was our job to explain why that was just not possible. Had that conversation happened when the content team first started working on their design proposals and ideas, six months or even
a year before, those speccing the system could’ve used different equipment and sources of moving data around. The outcome could have been completely different. This is something I see continuously. There is no bilateral communication – everything is siloed. When we don’t communicate at the initial stages of the project, the outcome, unsurprisingly, doesn’t match everyone’s vision. Europe is a good reference for how to approach a project. Some businesses in the Middle East aren’t on that level yet, simply because their technology isn’t working effectively with their designs and concepts. A good example of this is an immersive experiential centre that opened in Dubai a few years ago. It was good but, as I walked
La Perle was created and produced by Franco Dragone
Steve Critchley
around, I didn’t see any interaction with the exhibit, while I could see proximity sensors covering the floor. Chatting to one of the technicians, he said they couldn’t get the technology to work, to which I replied, “but if you put the tech in, surely you understood the intention of the piece?” He told me that they had never even seen the artistic piece in question. Despite the fact they couldn’t make it work, it probably wasn’t even the right tech for what they wanted to achieve. If both parties had sat down at the initial planning phases, there’s no doubt it would’ve been vastly more successful. On the other hand, an example of both sides working together to achieve the desired vision is SeaWorld in Abu Dhabi. illumin8 was enlisted to do the presentation lighting and, before installation, we went onsite to make sure that we had the full picture. We asked extensive questions about the capabilities of the proposed AV system. We also spoke to the animal care team and conducted tests with scientists to find out how the animals could be affected. All that testing was done before the equipment was even installed. Situations where you do the required planning, speak to the right people and ask the right questions make a functional presentation.
I’ve had the pleasure of working with Belgian theatre director Franco Dragone various times over the years, and he has an interesting approach to designing a show. When he produced House of Dancing Water in Macau there was a lot of low hanging smoke onstage. The team needed to get rid of it, but couldn’t do so fast enough. Someone suggested turning the rain system on to blow it away, which it did, but in a big almost explosion-like plume. Franco decided to keep it in the production, even though its creation was entirely accidental. What Franco did better than most was give you time to play, and we also do this in our business
constantly. Rather than just handing over the equipment, I’ll say, “what’s your vision? What are you trying to create?”, and then work backwards from there. Investing time in the preproduction phase is also key. At illumin8, we will take concepts and line drawings all the way through to the finished show renders, with multiple camera angles so that the client fully understands what they’re walking into. It’s a long process, but when we get to site, what would normally have been programming time turns into adaptation time. The more that we can pass this knowledge onto people, whether through schools, academies or even the end clients, the more we can initiate the change.
If you don’t have the cohesion between the technical and the creative elements at the very beginning of the concept, you’re never going to achieve the right vision. There’s a missing link in the chain, unless we’re all on the same journey from beginning to end.
www.illumin8studios.com
transform.engine
by fourieraudio
SeaWorld Abu Dhabi
The changing face of SLS
COO discusses how SLS Productions plans to disrupt the way clients converse with suppliers as it transitions from an event production company to full-service provider
FOUNDED WAY BACK IN 1997 UNDER THE PREMISE THAT every event should in some shape or form be special or unique, SLS Productions has become one of the biggest Dubai-based AV companies currently servicing the Gulf market, active everywhere from small-scale corporate functions and presentations right through to the region’s biggest music and sporting events. It offers a full range of services from audio to lighting, LED, video projection, stage production, special effects and rigging. Under the guidance of managing director Edwin Cheeran, the nearly 300-strong team – 170 residing in Dubai and another 100 in KSA – has this year alone been engaged in the world’s first autonomous motor race as well as multiple high-profile gigs in each territory. As such, it’s got an ever-growing portfolio of both products and personnel. Small changes over time can lead to sizeable shifts in the way a business conducts itself, and that often leads to a period of much needed introspection. Is the company still offering the top-tier service it has always promised customers, and does it still do so in an efficient and effective manner?
When Howard Letch joined the ranks as chief operating officer (COO) recently – a man with decades of experience working on the client side of the industry, most notably in senior roles with Formula One in Abu Dhabi and the Qatar World Cup – it was the perfect time to look inwards at how the business was meeting expectations in this ever-changing market. It’s a topic that Letch is understandably passionate about as Pro AVL MEA sat down with him at the company’s DIP headquarters in Dubai. “The long and the short of it, is that we don’t see ourselves as just a supplier anymore,” he explains. “Rather, we want to be seen as partners of our clients, providing them with both technical advice and knowhow – more as a consultancy that also delivers the end product. Rather than making our clients do all the legwork and we just turn up and put things in, we have
added value comes in the knowledge and additional levels of service, particularly through effective communication. Generally, you find that suppliers here wait to be told what to do, and they’ll even sometimes come back telling clients they’re not willing to engage in certain aspects. My experience on the client side has allowed me to understand the elements that are missing in that client/supplier conversation. These are details that the supplier must already know, otherwise they wouldn’t be able to deliver the project. So why can’t they be shared with the client? And at a time when the client wants it? They’ve paid for it, so there should be total transparency across everything.”
This may seem trivial; however, Letch’s experience once again highlights why it’s an undesirable and completely unnecessary situation. “Whether they’re a technical manager, a project manager or the head of the project, everyone reports up the tree to someone else. If they are not getting the information needed from the supplier, they’re left writing reports effectively on those people’s behalf. We don’t want to be that weak link in the chain.” It’s also not simply a case of a company pushing new services in a bid to further grow an already mature business. “Now, when we send a client a file it’s like they’ve had an epiphany. Everything they could ever want from the supplier is there. We know the
Howard Letch
I know how to talk in a language they understand. Everything is made to be very painless, and the feedback we’ve been getting as a result has been fantastic.”
But what does it mean in terms of practical implementation when a new tender comes SLS’s way? “We start off simple with
This is just one aspect of the company’s continued development. Beyond reframing the client conversation, there’s been significant investment in a new second management tier which, like Letch, has significant client-side experience, while simultaneously developing a new project management tool which puts everything
a specific guy onto a job, because, for example, he understands what the client is looking for and has delivered it a thousand times already. Basically, we are matching the client expectations and requirements to our skillset. It’s not rocket science, and is already what you do when you’re hiring people within your own team.”
then there are lots of small subtle changes being enacted, each of which come together to produce a staircase to success,” concludes Letch. “And I’m really excited to see where it takes us.” www.slspro.net
Jeff Chang at the Coca-Cola Arena
SLS’s A2RL team
Training sessions for all project managers and technical operators
Jason Kelly
Preservation promise
Bea
Meikle talks to Jason Kelly of L-Acoustics about his charity, Animal Saviours,
which
funds global conservation projects, and what it means to him and the people who get involved
What does a typical day look like for you at L-Acoustics?
My role as a product and technology marketing engineer is varied, so a typical day is difficult to define. I can conduct market research, work on a new product profile, develop the next tradeshow presentation and deliver content for a current product – all within the same day. Although it can be quite intense at times, this variety keeps things interesting and being part of the product development cycle is also very rewarding.
When did you get involved with wildlife conservation and what does your involvement entail?
I set up the Animal Saviours charity in 2015 with my partner Miriam Lodewijks and it’s grown bit by bit over the years. We basically use our money to fund other charities’ wildlife conservation and rehabilitation projects. One of our primary projects is working with a wildlife reserve near the Pilanesberg National Park in South Africa which researches and protects rhinos. We take groups of around 12–16 people from all around the world to the reserve for a week to do hands-on conservation.
What inspired you to start Animal Saviours?
Miriam is a vet and she was approached by one of her clients who wanted to donate their money in some way for a similar cause. We suggested that we could set up a charity and then use their donations to fund other projects. Initially, we didn’t really do much fundraising per se but, over the years, it’s evolved so that we now use these trips partially as a fundraising opportunity. We do lots of different projects where we try to get people on the ground to interact with conservationists and scientists so they can learn more about what real-world conservation looks like.
What’s been your standout moment?
What kind of projects do you offer to the groups?
Once or twice a year we do rhino horn trimming which gives the animals roughly an 85% better chance of survival, which is very important because of the level of rhino poaching in South Africa. The guests get to be part of the team that sedates the rhinos and monitors them during the sedation. This involves checking the rhino’s breathing, as well as various other measurements, to gather data for each time they’re de-horned. That is typically
One thing that stands out for me is the first horn trimming I did. To have a two-and-a-half-ton animal that is basically a dinosaur, asleep right in front of you, that you can touch, smell and hear –that is just a complete sensory overload. Then after the horn’s been trimmed, to see the animal get up and to hopefully know that it’s relatively safe for the next two years – that’s quite a special thing.
Why do you find the conservation project so beneficial?
It’s been incredible to be able to take people that have probably never been in the African bush and close to those sorts of animals outside of a zoo or a safari park, and to see their reactions to the whole experience. It’s also amazing to see them come back from the trip energised and proactive to get involved
with other similar projects. With conservation, I think it’s very easy to see it on TV and think that you understand the process and the problem, but it’s only when you get your feet on the ground and you’re talking to the people on the front line that you realise you probably know nothing about the issue.
What would you suggest to people who would like to become more involved either on a practical or financial level?
Our goal with Animal Saviours has always been to pay it forward in the best way we can by finding projects that have a wider impact on wildlife conservation than we could achieve with our limited resources alone.
This is the concept behind the conservation experiences we run – these trips enable guests to be involved in the practical aspects of conservation and discover how it works in the real world. Guests can see that their financial contributions directly benefit the programmes that they are a part of.
We also take a percentage of the money they pay and distribute it to other projects across the world. By becoming part of one of our trips, they both practically and financially support us by contributing and learning about wildlife conservation and helping us assist other charities.
If people reading this are interested in making a difference, I would encourage them to visit the Animal Saviours website and become part of what we do. They won’t regret it.
Jason and Miriam
Taking care of a rhino during a horn trimming
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Back to the future
DWR Distribution lived up to the motto “It’s all about the people” when it hosted the first industry-reconnecting exhibition at its headquarters in Johannesburg, discovers Miquette Caalsen
THE COVID-19 GLOBAL LOCKDOWNS IN 2020 DID NOT spare any industry, and pro AV took a particular beating given the industry’s reliance on people gathering in large numbers. During the lockdowns, many companies faltered while others were forced to significantly reduce and restructure their operations to survive the storm. The claw-back for the industry had been slow at the beginning but picked up steam last year as people started relaxing out of the Covid mindset and back into social events.
But in the aftermath of these lockdowns, which also saw extended restrictions on travel, the normally close relationships between industry players and suppliers were distanced. The local live events and AV market felt fractured and disconnected. The last major opportunity for the South African industry to connect was pre-Covid at Mediatech, a biannual exhibition last hosted in 2019 which has sadly not yet been resurrected. This state-of-play inspired established local distributor DWR to start considering their own “small” exhibition with suppliers, to reconnect and rekindle the relationships across its network. However, that quickly turned into a far larger multi-day open exhibition, after exploratory emails to suppliers quickly came back with more enquiries than anticipated.
“DWR is a company of people,” explains owner Duncan Riley. “We thought we needed to get the industry back together. We’d be first in line to exhibit at exhibitions such as Mediatech, and so we thought we’d try our own recipe in the meantime.”
Considering the milestone that this first event since lockdown would be, the idea was to link it to another key date on the calendar, Riley’s 50th birthday, which saw the mini-expo transition into a muti-day affair. The theme, Back to the Future, was aptly chosen to represent the “reset” to the way the industry was before lockdown, when suppliers, distributors and clients could regularly meet up and do business in-person. “When it comes to investing in professional equipment, end users need the peace of mind to see the products in use, make comparisons and have a full understanding before investing,” adds Riley.
all is good,” commented Nehir Özdemir, territory manager for Middle East, Africa and Turkey at Barco. Her colleague, David Vandevelde, business development manager, Immersive Experience at Barco, agreed: “I am very happy to have travelled over from Dubai to be here. DWR did an amazing job bringing everyone together – we feel like we are one big family.”
Vice-president of sales at DiGiCo, Ian Staddon, echoed similar sentiments: “It’s an amazing event they put on. You couldn’t really do this at a tradeshow and have this amount of space. And by hosting outside of a typical tradeshow you get 100% of people’s attention right the way through. It’s been brilliant and well worth every supplier coming down to visit.” Staddon also complimented DWR’s forward thinking in inviting
DWR erected staging structures to demonstrate its latest audio offerings, while lighting, visual displays, microphones, control systems, audio visual connectors, trussing, staging and even rigging suppliers got the opportunity to reconnect with each other, and the local industry. The event was open to systems integrators, rental companies, theatres, houses of worship, students, film and TV studios, while multiple training sessions were scheduled throughout the two days. Exhibitors included Absen, Barco, Chainmaster, DiGiCo, Doughty, DSpecialists, Fenix Stage, L-Acoustics, Layher, MA Lighting, Neutrik Group, Prolyte, Quest Engineering, RCF, Robe Lighting, Sennheiser Electronic SA, Sharp NEC, Theatrixx, RAM Mountaineering, Special Industrial Suppliers and Visual Productions.
“I am really amazed at what DWR has organised. It has been world-class; I was not expecting such a big and wellorganised event. They really thought about all the details, and
students from the local universities to visit the exhibition, saying: “It’s an absolutely great idea because, while they’re not customers yet, they hopefully will be in due course. I think it’s a great investment in the future.”
For Peter Owen from L-Acoustics, it was his first visit to South Africa. “I’m new to South Africa so it’s been great to meet all these people, and in one hit as opposed to travelling all around the country. To see everyone in two days is fantastic.”
“The event has been awesome,” adds Jesse Dobie of Neutrik Group. “There’s been really good traffic and DWR has done a fantastic job bringing so many people from the industry together and finding common ground.”
The two-day exhibition was capped by a performance from Ross Learmonth and DJ Luis Almeida in celebration of Riley’s 50th birthday, who wanted to use the occasion to bring the
When pressed on a repeat event in 2025, no one at DWR would commit; however, based on conversations among the suppliers and visitors at the exhibition, it’s hard to imagine the DeLorean won’t spontaneously drop back in in the future.
“We see the future as positive and our industry reaching a form of normality,” Riley concludes. “It was a huge honour to unite the industry over this time. Covid made us realise how unpredictable life can be, and right now everyone is consciously making an effort to appreciate every event and installation that comes their way, taking nothing for granted.”
www.dwrdistribution.co.za
L–R: Robert Izzett, Duncan Riley and Bruce Riley
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Going with the flow
With DP World’s Expo pavilion handed a new lease of life, CTME returned to build longevity into its technical infrastructure
ASALIVEEVENTSCOMPANY,THERE’SOFTENAMINDSET that once a job has been done, it’s straight onto the next. There’s little reflection time as you bounce from venue-tovenue, carting gear to all corners of the country. In the world of systems integration, however, the conversation is more nuanced. How permanent is this particular exhibit, will its nature change over time, and how long can we keep things feeling modern and futuristic before a refresh is required? It’s not necessarily a more difficult problem, but it certainly demands a different mentality.
When Dubai first stated its intention to host the 2020 Expo, there was a lot of uncertainty around the long-term fate of the city-sized complex once the expo wrapped up. If the stars aligned, pavilions could theoretically be operated for many years into the future, giving them a second lease of life. But nobody was quite sure how successful that endeavour might be. Such was the conundrum Creative Technology Middle East (CTME) found itself in when called on for assistance in the creation of the DP World expo pavilion – tasked with
physical/digital experience that follows the flow of time, trade, knowledge, ideas, innovation and progress, all brought to life through the clever use of audio, video, lighting and control systems.
Inside, the expo experience was based around the concept of “Making Trade Flow”, and provided rich content to give visitors an insight into the world of global trade. Split over five floors, the lower four are dedicated to the public visitor experience, delivering interactive galleries that were designed to educate, enthuse and inspire on how trade impacts everyday life. The original design from CT attempted to peer into the future as much as was practical, but as the building’s use case evolved over time, AV requirements in certain areas had to be readdressed.
“Creative Technology was initially commissioned by Open Lab in 2019, although our contract was directly with DP World. We were called on to bring their vision to life,” explains CTME head of solutions and engineering, Peter Herring. “Everything at the time, however, was focused on the expo and that subsequently
The reworked main control room
The control room looking out into the atrium
The ground-floor atrium serves as the hub for the majority of activities
became one of the biggest negatives for this space. It was designed to do just one job and that was to be a pavilion, with a very structured programme. If you’ve got 180 days of events in the space and only two of those days are a show, as a designer, do you design for the two or the 180?
“With the change of use of this space since the expo, there are now a lot of DP World private events happening here, and they also rent the building out to companies DP World does business with.”
In its original form, interactive exhibits filled the lower four levels of the pavilion providing visitors with insights into the DP World business, all overlooking a central waterfall and groundfloor in-the-round seating area where regular presentations and impromptu talks would be delivered – the Flow Gallery. The uppermost fifth floor remained a private space where senior management could host VIPs and government officials to conduct meetings/conferences.
Now the expo has concluded, the space is being used for ongoing company activities. “There’s a youth forum taking place in here tomorrow, for example, that they’re currently rehearsing for,” explains Herring. “There’s a community element to everything as well. It’ll be a group that DP World is associated with in some way, and the space will be provided free of charge.”
Several of the original exhibits constructed for the expo are no longer relevant or utilised in the same way and have therefore been reworked. “With the structured shows, from a press of a button, a show happens and that’s it,” explains Herring. “Having impromptu events as they do now, you can’t operate without a sound desk. We found they would often bring in thirdparty companies and set up an FOH position on the overlooking balcony – because it’s really the only suitable space. To better facilitate this aspect in the future, we’ve custom-built floor boxes with fibre connections. We moved the existing grandMA lighting desk up to the balcony together with a new DiGiCo S21 audio console that has been purchased for permanent use alongside QLab.”
This created an obstacle given that the original project was carried out as a single holistic product. “The entirety of the Dante setup was one network for the entire building,” says Herring. “And the entirety of the AVB was one network for the entire building. It was designed that way intentionally. But obviously the big downside was that when a company comes in, they want to just plug in to the parts they need, not care about the 200 other Dante devices located four floors above.”
To solve this, CTME created a completely isolated network for the atrium space, with the caveat that signals could be bridged if needed. “We’ve got an AuviTran device that has two Dante cards. One card sits on the production network and one on the building network, and it’s the same with AVB. This means when
the option for them still to do a show relay from this space all the way up to level five.”
What was formerly the Opportunity Gallery on level three has also been reworked to fit these changing needs. “This area was heavily used during COP28 and they needed an additional private breakout room,” notes Herring. “They needed AV and came to us just two weeks before COP began. We had originally constructed an interactive table on the level above that was no longer in use and so were able to repurpose the 55-inch LG borderless screens forming the table into this breakout room and pair it with a new 3x3 LG videowall. For audio, the team repurposed QSC AD-S6T and AD-S4T ceiling-mounted speakers and amplifiers from the existing gallery install, paired with an existing Behringer X32 audio console and Shure ULXD radio mics.
“It’s a relatively simple setup here, but a lot of work went into it,” Herring says. “We never want to sell to a client something they’ve already got, so being able to repurpose equipment where we can is very important.”
going to be used for him to meet and greet his guests and would simply be used for video conferencing. Originally, we had a very small video conferencing system attached to an absolutely massive LED screen.”
Ultimately, with the rework it was determined that the audio was no longer fit for current purposes. “Initially this space only required light BGM, but subsequently ended up being used to host banquets for 50–60 people, often with a presenter. Occasionally the seating is also reconfigured in an auditorium style.”
emergency announcement that comes from the building control system, it is still able to talk to the speakers. Likewise, there is
The ground-floor atrium is the natural focal point of the pavilion and is host to a multistorey 18m x 10m Unilumin 2.9mm LED screen, L-Acoustics Syva audio system and a range of Vari-Lite moving lighting fixtures – all of which was originally integrated for the expo. The primary control room at the back of the ground-floor atrium, however, is now home to several pieces of new equipment.
“This room was already here, but as much as it was called the control room, the actual functionality that you got out of this space was very minimal,” says Herring. “We had only an MA Command Wing on a laptop and the vision mixer. That was it. To extend its functionality we installed a structured fibre backbone, so not only is there fibre to upstairs but also to the back of the stage.”
This has been achieved via a Lightware UBEX network-based virtual matrix which provides flexibility across the building in terms of patching in devices and routing video anywhere needed. “Some are in TRX mode,” notes Herring, “meaning they’ve got an input and an output on the stage if, for example, they want to plug in a laptop. We’ve also given them the ability to control all the inputs and outputs from a portable iPad.
“The purpose of all our post-expo work at DP World has been maximise the flexibility of the space, allowing it to host a variety of different functions without the need for extensive planning. That meant transitioning away from a pre-determined show control system, and handing back control to the operators of the various AV elements within.”
Finally, the VIP area on the fifth floor features the Chairman Majlis’ meeting room and a lounge area. “It’s a private space for the chairman and DP World employees,” recalls Herring, and is segregated into a lounge area, as well as one big and one small meeting room. The original concept was that it was
As a result, the existing QSC ceiling speakers have been replaced with a pair of L-Acoustics Soka column arrays and SB10i subwoofers recessed into the ceiling, combined with multiple 5XTs spread around the room.
“This was one of the primary spaces they wanted improving, and I believe they’re very happy with the refresh,” notes Herring. “The quality of the sound in here now is phenomenal.”
Reflecting on a project that has kept members of his team successively involved over an extensive period of 5+ years, Herring is proud of CTME’s ability to continually reinvest and repurpose as much of the original project spec as possible.
“Overall, DP World really didn’t have many plans for the pavilion beyond the expo when construction first started,” concludes Herring. “The fact that we’ve been able to turn it back into a functional space by reusing as much equipment as possible was a huge draw for them. Furthermore, given the fact they’re now building a new HQ behind the pavilion site, future usage will undoubtedly only increase from here on out.”
www.ctme.co
L-Acoustics Soka colums and SB10i subs cover the top-level VIP area
COP28 saw the third-floor spaces entirely repurposed
A night at the opera
Saudi’s King Fahd Cultural Center has reopened with an all-new AVL setup following an extensive renovation project
reemerged in Riyadh following its restoration and redevelopment led by the Ministry of Culture over the last four years.
The KFCC complex basks in Salmani architecture, a style that implores planners to “innovate freely within the confines of tradition”. Upon walking through the main entrance, visitors are greeted by sky-high ceilings, which make way below for characteristically Arabian desert-style caves. Since its redesign, KFCC now encompasses multiple elements revolving around the main auditorium (Theatre A) which can accommodate up to 2,750 people. With the culmination of a second phase of construction, the complex will also be able to host a range of cultural and artistic activities, such as exhibitions, lectures, corporate conferences, and theatrical and musical performances. Other facilities include an art gallery, two additional theatres (B and C) still yet to be fully completed, a fine dining restaurant and multipurpose hall. Overall work was managed by Italian companies GIOFORMA and Black Engineering, alongside F&M Middle East Engineering Consultancy. The vast project entailed the comprehensive renovation of the KFCC structure, upgrades to the theatre system and other AV enhancements, including production lighting and stage engineering advancements.
With plans to bring the first and largest Saudi opera, Zarqa AlYamamah, to the stage in mid-2024, First Gulf Company’s (FGC) extensive theatre expertise saw it tasked with decommissioning the previous AV systems, while assisting with the provision of a new solution in Theatre A, inclusive of the foundational wiring infrastructure.
As one of the most prominent complexes of its kind and the biggest indoor theatre in Saudi, the expectation to deliver something special was naturally high. Zarqa Al-Yamamah was also the first Arab opera ever created, and enjoyed multiple showings over the course of 10 consecutive days.
“This space was renovated purely to host the first opera, so was an incredibly important project,” recalls FGC chief technical officer Orlando Castro. “Several aspects were expediated in order to quickly stage the production; however, a second phase of the project is ongoing that will see the auditorium further able to host a variety of multipurpose activities.”
d&b Y-Series e10 and e44 flush-mount cabinets offer the option for Soundscape
“We finished everything literally the day of the opera,” furthers Castro. “Testing and commissioning took place the same day and thankfully everything ran smoothly.”
Stepping inside the main auditorium, the reliance on Salmani architecture is exemplified through the proliferation of triangles, which cover everything from the seating to the unique wall and ceiling décor. Every seat hosts a personalised screen that displays multilingual subtitles throughout a performance, the ability to purchase snacks or a quick Uber home at the end.
Audio reinforcement comes from clusters of d&b V-Series cabinets and subs hung over the stage and integrated by Black Engineering. For the opera, these were arranged in five arrays. A further 170 d&b Y-Series e10 point source and e44 flush-mount cabinets provide coverage throughout the wide, fan-shaped space, creating the option for an immersive Soundscape mix if demanded. Power for the speakers is from a mix of D80 and D30 amplifiers installed either in an under-stage rack room or the rear control room. These work in combination with DS10 processors to deliver signals over Dante. Artists/performers then bring in their own wired and wireless microphone systems as required.
“d&b did a complete acoustical study detailing the exact location of each speaker, including the orientation, height and everything,” explains KFCC facilities services manager, Abdullah Kamar.
“We didn’t change this even a millimetre. While we performed preparations for the opera, they had multiple microphones scattered around to align and make sure everything was calibrated properly. While we didn’t use Soundscape for the opening nights, it’s there when needed.”
Control of the audio comes from a combination of a DiGiCo SD12 and two Quantum7s – one at front of house on the first-floor balcony lip and the other in the control room to route the mixes from the hall audio, video and other sectors of the theatre.
DiGiCo’s VP of sales Ian Staddon was heavily involved in the console rework. “I have known and worked with FGC for many years on differing projects and always with Orlando. The KFCC upgrade was a very special project for DiGiCo and effectively included a complete overhaul of the full system. They required the consoles be ‘rider-friendly’, while at the same time having the ability to work on both a fibre and Dante backbone.”
“In order to complete everything in such a short space of time there were between 1,200 and 1,500 workers onsite everyday. It was a massive project”
The Quantum7 and SD12 consoles were paired with three SD-Racks and three SD-MiNi Racks, all with the 32-bit I/O cards. Orange boxes were also used with DMI Dante and NC optics cards to combine the sources onto the audio network, while additional processing can be called on from a Waves SoundGrid Extreme Server-C.
Having been tasked with also providing the cabling infrastructure inside Theatre A, FGC designed it in such a way that the SD7 handling front of house responsibilities can be relocated to multiple seating locations in addition to the rear main control room, thanks to the creation of a fibre audio network via an Optocore AutoRouter, FestivalBox and M12-OPT/BNC MADI switch. For the opera, the DiGiCo SD12 handled the broadcast feed.
The impressive sight greeting guests upon entry
The DiGiCo SD7 at the balcony position
“We can install the consoles in different levels depending on the production and layout of the space, with tie-lines throughout that connect with the overall infrastructure,” notes Castro. “For the final design, the consoles will be connected to a central Optocore AutoRouter; however, there were supply problems and delivery was delayed. To support the opera, we were able to quickly reengineer things to make a temporary ring loop.”
Genelec 8050s, 8030s and Mackie SRM150s are on hand for audio monitoring in the rear control room, while FGC has also integrated a Riedel Artist 32 1024x1024 matrix intercom, Bolero beltpacks and Pro-D1 headsets to support the behind-the-scenes communications.
Backing up the audio throughout the opera was a projection system comprised of mobile screens installed by VLS Middle East. Three panoramic projection screens – two landscape, each measuring 10m x 4m, and one portrait measuring 3.2m x 7.8m –were installed at a height of 25m and different depths. The screens were lifted down onto the stage and back up into the fly lofts over the course of the two-hour show, forming moving horizons. Each screen was lit by two Epson EB-PU2220B projectors. Used in rear projection, the six units were installed on automated
poles that moved simultaneously with the screens. Powering
All of this work will need to be performed again by FGC to
Rehearsing for the opera
The elaborate projection screen setup
Quick response
With just 10 days’ notice, RB Event Technology was tasked with hosting a high-profile delegation attended by some of the world’s most important political and royal figures
GIVEN THE FAST-CHANGING NATURE OF THE HUMANITARIAN crisis currently ongoing in Gaza, the United Nations Security Council and Jordan’s Royal Hashemite Court hosted an international conference in Jordan’s Hilton Dead Sea Resort in June, leaving little to no time for preparations for anyone involved.
Hosted by His Majesty King Abdullah II and attended by key political and national figures such as the Egyptian president Abdel Fattah Al Sisi, UN secretary general António Guterres, Palestinian president Mahmoud Abbas, Spanish prime minister Pedro Sánchez and US secretary of state Antony Blinken, the need for clear and consistent audiovisual coverage throughout the affair was paramount. There is simply no option for do-overs should technical operations go awry.
RB Event Technology was contacted by The Royal Hashemite Court to take the lead on AV for the international conference, handling any technical aspects and event management within the venue’s main Philadelphia Hall and three secondary spaces: Dead Sea Hall, Raghadan Hall and Mount Nebo Hall. Led by general manager Mohammad Issawi, Almallem Production House handled the event production. Architect Fatima Khaled served as the head of creative and design department, with assistance from Yazan Abu Khalil and Madlein Alhawajreh.
“The purpose of the conference was to enhance the international response to the Gazan crisis, establish standardised measures, address operational and logistical needs, plan for early recovery and secure commitments for a coordinated humanitarian effort,” explains RB Event Technology general manager Emad Al-Rabadi. “Understanding the event’s context and motive, we established a design framework based on a hexagonal shape, symbolising unity. This concept guided our design decisions, creating a flow and circular grids of ‘solids’ and ‘voids’. The table layout and seating arrangement were central to our design, emphasising the event’s importance and purpose.”
Facilitating high-level discussions between more than 1,200 delegates, RB was required to provide audio translation of multiple languages in real time, along with in-room audio and video reinforcement for local participants.
“We were provided with basic details such as the number of attendees, the focal point of the event, and the press and media requirements, etc.; however, we were brought onboard because of our vast prior expertise in creating such experiences,” furthers Al-Rabadi. “Prior to this, we delivered a seamless experience for Jordan’s Independence Day celebration earlier this year and, as a result, were given complete freedom to decide which equipment to deploy this time around. All the products selected
Simultaneous real-time interpretation of four languages was required
for this event were from world-leading brands. They are our ‘go-to’ selections.”
With a primary audio system in the Philadelphia Hall built around ceiling-mounted hangs of 24 L-Acoustics Kara II cabinets and 16 X15 HiQs fed from a pair of Yamaha CL5 digital consoles, the hangs were arranged in an L-R, centre cluster and stereo surround configuration. A lighting rig was established overhead using Linear Dura Trussing, Chain Master hoists and a sizeable quantity of ADJ moving heads, including 24 Focus Profiles, 56 Vizi Washes, 56 ParZ Moves, 60 15 Hex Bar IPs, eight Encour Profile Pro Colors, 120 32 Hex Panel IPs and 16 Arri Soft Boxes. Control was from Madrix’s Luna platform and full-size grandMA3s. Conferencing and multilanguage translation capabilities were provided by a 160-unit Bosch DICENTIS Conference System catering to the more than 1,200 attendees.
“The lighting design in the Philadelphia Hall complemented the table layout perfectly,” explains RB project manager and lighting designer, Ahmad Alhaj. “We distributed the fixtures in a centralised manner, which allowed us to achieve a well-balanced and clean lighting design to highlight each distinguished guest.”
The Philadelphia Hall also housed 300m2 of Esdlumen’s 3.91mm pixel pitch Wing series LED panels spread over two mirrored displays at one end of the hall, with content fed from a Dataton Watchpax 62 Model B media server in combination with Novastar MCTRL4K REAL 4K LED display controllers and Magnimage LED-W4000 Series video processors.
The smaller Dead Sea, Raghadan and Mount Nebu Halls featured audio setups of eight L-Acoustics 112P each, with inputs from Shure mics managed via Midas M32 consoles. Smaller 9m x 4m LED screens were created in these spaces using the same Wing series panels. Additionally, 36 Yamaha DBR10s and Showtec Power Spot Q9 were spread throughout the foyer and circulation areas.
Despite the limited preparation time for such a key conference, the team carried out its task with minimal obstacles, something to which it credits its team’s experience with last-minute functions. “RB Event Technology is the leading production house in Jordan and is well-known for our quality and delivery,” notes Al-Rabadi. “When it comes to governmental events we have a lot of experience in this field, dealing with protocols and delivering what the client expects. The delicate nature and importance of the topic meant it was vital that everything went off without a hitch.”
“The client was extremely satisfied with the outcome and the organisation,” adds Alhaj. “Reviewing the images of the event, everything looked spotless. The AVL setup was exactly what the event needed and the fact that everything was arranged in under 10 days was quite the feat!”
www.adj.com
www.instagram.com/rb_eventtechnology
www.l-acoustics.com
An overview of the main Philadelphia Hall
The RB Event Technology team
Summer sales
A busy summer has seen Audio Technology’s retail and hospitality business prosper in Cairo, discovers Simon Luckhurst
HAVING FIRST ESTABLISHED A DEDICATED DIVISION to better support the sector back in 2010, Egyptian company Audio Technology’s retail and hospitality business has taken on an increasingly important role in the years following the pandemic.
Well-known as one of the country’s largest and longestrunning systems integration and distribution companies, for Audio Technology, it’s often megaprojects like the upcoming Grand Egyptian Mosque or newly opened Olympic Sports City stadiums that grab the headlines. But while the F&B market continues to face a cost of living crisis in the West, increasing tourism to Egypt combined with ambitious government plans to redevelop the capital city has created a burgeoning market. Summer is now in season in Cairo!
“We have supplied premium locations across a variety of sectors in recent months, including fine-dining (gastronomy), houses of worship, nightlife venues and retail stores,” explains Audio Technology retail and distribution manager Peter George. “The nightlife sector in Cairo, in particular, is booming, and a lot of luxurious fine-dining destinations have opened up in preparation for a busy summer period.
“In fact, the retail sector in general is thriving because of the large amount of construction happening in Egypt,” he continues. “There are a lot of new malls opening, resulting in great new opportunities for the retail and commercial sector. Outdoor malls in particular are becoming trendier – a big shift since Covid – and businesses are moving to follow this flow of traffic.”
Supporting this uptrend in business, the company’s retail division now operates five branches spread across the city, offering clients and customers the opportunity to get handson with its full portfolio of products. It also started up an online store in the throws of the pandemic that continues to be a highly successful endeavour. “Our stores support both the consumer audio and professional systems,” explains George. “Whether you’re looking for a portable speaker, headphones or a soundbar, you can find it either from JBL, Sony, Bose or Devialet. On the other side, we have DJ equipment from Pioneer DJ, studio monitors from
Taking the concept far beyond a simple point-of-sale, the team staffs each location with solutions specialists that can walk clients through the potential considerations typical integration projects involve. “This is what makes our stores different,” says George. “They are not staffed by salespeople, but solutions specialists. If you have any small or medium-sized commercial project, like a small bar or club, you can come to our stores and the team can help guide you through the project. They can perform quotations and assist with the design there and then on
Reflecting on the division’s recent success, George is keen to highlight several top-tier hospitality projects showcasing the team’s capabilities, including impressive Bose Professional installations at Esca Cueva and Megumi, JBL at Villa Coconut and the biggest fixed installation L-Acoustics system ever delivered in Egypt at Sachi Park St.
interfaces from Universal Audio and microphones from Shure. We say it’s a one-stop shop for those looking for any audio gadget, either consumer or professional.”
Designed by Egyptian architect Mohamed Badie and described as a modernist “grotto”, Esca Cueva is a cave-like restaurant in New Giza offering the perfect vantage point of the capital. “Esca Cueva was a very unique project because of its design,” George explains. “It’s one of a kind here in Egypt, and was very challenging to incorporate the sound system into the aesthetics, because the ceiling is very low and curved all around. We had very limited places in which we could install the speakers.”
Here, Audio Technology relied on Bose Professional’s 1,000W F1 Model 812 flexible array loudspeakers, paired with F1 subwoofers and slender L1 Pro portable column array speakers to keep the cavernous space covered with minimal reflections. A Pioneer DJ XDJ-RX3 all-in-one system and Soundcraft Ui16 digital rackmount mixer support either house or guest DJs.
A similar configuration of Bose Professional F1 Model 812 arrays and F1 subwoofers, this time paired with six DM6SE cabinets with DM10 subs for wider coverage at the venue’s extremities, has been integrated at Megumi, a newly opened cocktail bar in El Gouna operated by Baky Hospitality. The brand was chosen for both these high-profile projects due to a combination of customer requests and Audio Technology’s technical recommendations for each space.
Genelec, professional and outdoor speakers from JBL and Bose Professional, audio
Audio Technology’s retail store in Merghany, Heliopolis
Bose Professional at Megumi
JBL speakers at Villa Coconut
Bose Professional F1s at Esca Cueva
The outside terrace at Sachi
Drawing inspiration from the versatile coconut, nearby Villa Coconut in El Gouna also has a unique aesthetic that steered the AV considerations for Audio Technology. Here, the team opted for JBL and installed a distributed audio system built around the manufacturer’s AC Series compact two-way cabinets, paired with Crown XTi 4002 amps, BSS BLU-102 DSP and a Soundcraft Ui24R 24-channel mixer.
“These innovative speakers are set to revolutionise the way we experience audio, delivering unparalleled sound quality and performance, whether you’re a music enthusiast, event organiser or audio professional,” says George.
Taking pride of place in the team’s list of recent achievements, however, is Sachi Park St, currently considered one of the most luxurious nightlife destinations in Cairo. Operated by Baky Hospitality, Audio Technology designed a distributed solution of 22 L-Acoustics X8s, 12 5XTs and six SB15Ms, all powered by LA4 series amplifiers. The aim was to provide “big sound from very compact boxes,” recalls George.
“This was a milestone project for us,” he continues. “It’s one of the biggest nightlife venues around, in which we installed the biggest acoustic system in the fixed installation sector. We are very proud to have added this project to our portfolio. The system caters perfectly to all applications, from background music in the morning to full-on clubbing at night, but it wasn’t without its challenges. We faced heavy restrictions in terms of where the speakers could be positioned but, at the same time, still had to deliver a superior sound experience, for which the L-Acoustics solution was second to none.”
Operating as a completely separate entity under the Audio Technology banner, the retail division’s recent growth in the market has seen the team grow to more than 50 employees and continues to be a core focus for
the company moving forward. Thankfully, the market in Cairo shows no sign of slowing down any time soon.
“Our primary focus right now is on supporting projects in the small and medium-sized commercial and retail sector,” concludes George. “While the megaprojects are still the most important sector overall for the company, approximately 40% of our revenue is coming from the retail department alone. It’s a booming market here in Cairo right now.”
www.audioteceg.com
The interior of Sachi
Bridging a gap
Miquette Caalson takes a tour of Zimbabwe’s newly opened Bridgenorth Studios, a state-of the art recording space in Harare
IT CAN BE ARGUED THAT LEGENDARY ILLANGA keyboardist, Keith Farquharson, played a large part in the everevolving musical styles and trends in Zimbabwe. Throughout his successful career, he has played keyboards for, and mixed and mastered, some of Zimbabwe’s best musicians, including Oliver Mtukudzi, Jah Prayzah, Alexio Kawara and Chiwoniso Maraire.
His passion for the Zimbabwean style of music soon saw him move behind the mixing console, feeling that non-native engineers could just not get the balance of the unique nature of the guitars in the music right. Eventually, this would lead him to step away from keyboards to focus on mixing as his finely tuned ear would listen to the sound of Zimbabwean bands produced by foreign engineers and say: “No, that’s not the right way to do it.”
Farquharson’s evolution as an artist and as a respected sound engineer has led to him and a business partner cofounding a record label and building a recording studio in Harare. They are passionate about uplifting the Zimbabwean music industry by empowering artists to capture the music and the heritage of the region through improving the technology and technical skills they have at their disposal. And rather than “just” another imposing commercial recording studio where time is booked and the recording process can become a bit clinical, their vision was to create an incubator label for chosen artists who have already started their careers in music, where their talent can be honed and developed in a comfortable, collaborative space. At Bridgenorth Studios, artists can explore and develop their own sound while also learning the practical aspects of sound engineering on high-end equipment with accomplished music producers through inhouse training in mixing and mastering.
The complex was designed very much with an artist-first approach, with the performance space being of paramount importance. Both co-founders are accomplished musicians, and the new studio evolved from a desire to have a place to jam with their bands and record their music. But this ideal quickly morphed into a larger project through their passion to share this space with other musicians. Benjamin Pro Audio’s Jacob van der Westhuizen was brought onboard to assist with studio and acoustic design, with the installation being executed by Techmin’s Byron Lodewyk. The studio layout and installation were carefully planned to maximise the functionality of the building complex housing the studio, with a variety of recording spaces linked to the main control room off Studio One.
With the technical equipment supplied by KMR Audio, Control Room One opts for a hybrid console approach by combining three
Avid S1 control surfaces and the Avid Dock running Pro Tools Studio, as well as a Neve 5060 Centrepiece – the master section from the Neve 5088. This combination, along with a good selection of tube and solid-state mic preamps and outboard gear, makes the recording setup very versatile to shape the sound of a particular project. The main control room also boasts PMC 8-2s and PMC XBDs for monitoring, with Merging Technologies’ Anubis and Horus platform providing 32 channels of AD/DA.
Control Room One’s design was optimised around the mixing position, with a double-pane window angled to push the sound towards the back of the room to a 450mm-thick back wall of acoustic treatment, bass trapping and two Skyline diffusers.
The main live room is a large 15m x 10m space with a 6m-high ceiling and a variety of absorption and diffusion acoustic treatments carefully chosen and placed to give the room what Farquharson wanted: a very natural sound when playing live and recording, with just the right amount of reflection without creating noise.
The Studio One live room sports a fully slate-decked wall built up from thousands of individually carved local Zimbabwean slate “bricks” stacked to a jagged finish, adding a random diffusion to the live room, scattering the reverb decay into a shorter, diffuse reverb tail while keeping the natural large room sound. Teamed with the impressive slate wall is a combination diffusion and absorption wall opposite and a full absorption wall covered in acoustic panels of varying sizes and thickness. Live Room One also features a large double-pane window to the outside, allowing natural light into the recording space.
It’s equipped with a variety of instruments, from drums to highend acoustic, electric and bass guitars, as well as a wide selection of guitar amps, including a Roland JC22 which hails back to Farquharson’s devotion to the authentic Zimbabwean guitar sound, especially in sungura music, which is produced by the Roland JC-series amp with full chorus effect.
Artists have a choice of four sections of eight inputs each in the live room for a total of 32 channels, all connected to a central Redco TT-DB25 96 patch bay which allows the artists
Farquharson leads a session in Studio One
The iconic yellow piano is the first thing to greet guests at the studio
The main Studio One live room
and engineers to select which preamps to use and to which headphone point they want to send signal, via the Digital Audio Labs headphone distribution system.
The variety and flexibility of the recording options are expanded by the wide selection of microphones, with popular models on offer from Josephson, Chandler, AEA, Shure, Audix, Earthworks, Neumann, Sennheiser, Rycote, Horch and Soyuz. An array of microphone preamps, such as the popular API 3124V, are also on-hand to accommodate a range of voices.
Studio Two is a smaller space used for preproduction songwriting or recording vocals, but its live room is also large enough to accommodate a full drum kit, doubling its functionality as an isolation booth to Studio One. Housing PMC 6-2s for monitoring and with 16 inputs in the live room patched to Control Room Two, it also has a 16-channel link to Control Room One – meaning you can patch everything that is happening in Studio Two to
Control Room One, extending the recording options to record simultaneously in both studios.
The flexibility of the studio complex was further extended by adding two more separate rooms as well as the cinema and the owner’s office linked through Cat6 AES67 cabling to a central point in the main control room in Studio One, allowing even further separation options when recording and monitoring simultaneously. The design of the studio not only considered the technical aspects of a full, state-of-the-art recording studio, but also the interior design – from the colours and furniture to the windows, allowing natural light into Studio One’s live room. The focus was to create an inviting space where artists can relax and settle into their own natural state, inspiring them to feel comfortable and be creative.
Interior designer Dido de Swart of Architectural Planning Studio in Harare found inspiration in the geometric design of the studio and its acoustic treatments, which she says made her think of a modern painting. “The geometry was amazing in terms of the 3D panels on the wall that were all different shapes, different thicknesses, different everything.”
The owners wanted some colour in the design and, as a natural colour user, de Swart went to work adding colours found on the outside of the building to the inside. The turquoises and greens perfectly complement the wood finishes and slate wall already in the acoustic design. A few splashes of purple and jade added to the individuality of each room and the creative spirit of the studio. The overall creativity was sealed with little eclectic, funky details including old-fashioned lamps with crazy colours, fringing and beading. Not to mention the full-size, bright yellow grand piano suspended from the ceiling in the entrance lobby.
“The studio is very much a kind of space that you can relax, just settle in and be creative,” concludes Farquharson. “It’s very much a collaborative space, and that all ties into trying to really uplift the Zimbabwean music industry.”
www.benjaminproaudio.co.za www.techmin.co.za
The live room is equipped with a wide variety of historic tools, such as the Roland JC22
The Studio One control room
A letter from America
Dan Daley looks at the next iteration of major technological change and its potential threat to global governance
IN THIS INSANELY POLARISED WORLD, I KNOW WE’RE not supposed to talk about politics. But it’s also pretty much impossible to ignore the fact that much of the world is now in the process of rebalancing its governance, from the increasingly fraught US contest to the snap elections in France that have undermined the Macron administration, to resurgent right-wing momentum that’s impacting elections around the EU, to critical referendums in Malaysia, Hong Kong and elsewhere in Asia. (The UK is, happily, bucking that trend this election cycle, though not necessarily driven by totally altruistic motives.)
As this cyclical shift in governance is taking place, and as its direction appears to be leaning generally rightward towards authoritarianism, a parallel revolution is taking place. Artificial intelligence is changing the technology landscape as radically as the internet did a generation ago, and much more rapidly, with less guidance than almost anyone deems necessary. Groups of engineers and scientists have been wringing their hands publicly as AI rattles out pizza recipes that consider glue an ingredient. But the global AV industry should be alert to the convergence of generative AI and a new generation of digitally native leadership that might be inclined to use it for less than selfless purposes.
AI is migrating quickly from the lab into commercial AV products, creating an enigmatic intersection. AI’s potential for AV is enormous; as AVIXA’s sunny comments on the matter state: “AI is transforming content creation and delivery, enhancing audio and video processing, enabling intelligent automation and control, personalising user experiences, enabling predictive maintenance and diagnostics and raising ethical and regulatory considerations.”
On the other hand, how authoritarian regimes currently utilise AV is another story. Such regimes have already embraced the notion of “digital authoritarianism” which is promoted as a way for governments to control their citizens through technology, and inverting the concept of the internet as an engine of human liberation. AI simply supercharges that, with existing AV infrastructures as the conduit.
“Conduit” is a key word for this. As providers and designers of systems, AV professionals have good legal and moral buffers when those systems are used for purposes and applications that bend or break the law or challenge decency. For instance, the same sound system can be used for a fundraiser for hurricane victims or for a Klan rally. The system’s use case does not append to its provider or its manufacturer. It’s the same theory that undergirds the
A letter from Europe
increasingly controversial Section 230 of the US Title 47 Code specifying that “no provider or user of an interactive computer service shall be treated as the publisher or speaker of any information provided by another information content provider”; an invaluable defense for internet intermediaries.
But one wonders how well that interpretation will hold up under the onslaught of audio and visual deepfakes that AI-enhanced AV brings with it. Under authoritarian regimes, disinformation is already rampant. As global governance continues to lean in that direction, it’s not unreasonable to expect that to continue at an exponential level.
How the current cycle of governmental change plays out this year and next, combined with the growth and deeper integration of AI into media of all types, could create a landscape not seen for nearly a century, when certain new regimes used the novelty of radio to promote their versions of the truth. After Guttenberg’s printing press had already made media ubiquitous and brought it into the home, radio made it immediate; television added the credibility of visuals; the internet gave it interactivity. What AI does to information and its media, particularly in the hands of those less than scrupulous about its uses, could be its most inflective turn yet.
The historic home of Radio Luxembourg is being transformed into a venue; Phil Ward recalls his transistor radio days
NOT MANY EUROPEANS WILL HAVE HEARD OF VILLA Louvigny. However, a great many Europeans will have heard Villa Louvigny, quite literally. It’s in Luxembourg and, in the grand tradition of naming venues after important people, like the Albert Hall, this one was named after the Count of Louvigny, architect and governor of the original Fortress of Luxembourg, on this site. They’ll have heard it because for over 70 years it was the home of Radio Luxembourg – “Fab 208” as it was known during pop’s first heyday – which was allegedly audible from Scandinavia to Morocco, however faltering the old AM frequency may have been. It was also the headquarters of Radio Télévision Luxembourg (RTL), one of the most influential European state broadcasters, notwithstanding the diminutive footprint of its country. Hosting not one, not two, but four Eurovision Song Contests, RTL punched above its weight.
After the original studios were lost during German occupation, new facilities including an impressive auditorium and tower were built between 1953 and 1955, a real Luxembourg City landmark and, later, the place where once-household disc jockey names like Pete Murray and David “Kid” Jensen plied their trade in making the whole continent fab. Pop was ignored by the BBC at first, so it was left to pirate and private stations like this one to light the fire.
After RTL moved on – ultimately to Broadcasting Center Europe (BCE) – Villa Louvigny housed Luxembourg’s Ministry of Health. That’s gone too, and the city has announced inspiring plans to reinvent the site as a new cultural hub and legacy attraction.
“We’re talking about a complete overhaul and transformation,” said minister of mobility and public works François Bausch last July, promising completion by 2029. Alongside studios, offices and galleries, the Grand Auditorium will receive “all the modern technology required (audiovisual, ventilation, sound systems) without damaging either the architectural quality of the venue or its incredible acoustics”, according to the government.
“We have been working on this project for a long time, but today we are able to present the project for the redevelopment and transformation of the Villa Louvigny,” culture minister Sam Tanson added, pointing out that the villa has been a listed national monument since 2018 and that its reputation was founded during the 1950s and 1960s when it was used to broadcast concerts and rehearsals by the RTL Symphony Orchestra, “as well as fashionable singers such as Serge Gainsbourg, Michel Polnareff and Jean-Jacques Goldman – thanks to its large auditorium with exceptional acoustics”. I bet Je t’aime… moi non plus sounded phenomenal.
Furthermore, a parallel project has been instigated by Luxembourg–Brazilian researcher, director and “transmedia storyteller” Dominique Santana that will exploit her background as a filmmaker and “public historian specialised in digital media and immersive storytelling” in order to create a cavalcade of Radio Luxembourg archives. Spanning a website, a documentary film, radio shows and podcasts, touring and festival appearances and, onsite, an AR tour and 3D immersive experience, the project is throwing everything that modern AV can at the preservation of the myth. Veteran DJ Pete Murray has already been interviewed. Yes, still alive.
You can even participate yourself if you have any family or colleague connections that can help the research along, or even just memories of smuggling a transistor radio into your bedroom. Messages, digital files and contacts can be uploaded at https://radio.lu/en/help.
There is a far less grand tradition of naming people after important venues, including me. If family myth is to be believed, the Philharmonic Hall in Liverpool is at least partly responsible. I’ve kept it up though, always proud on any occasion to introduce my three children: Wembley, Olympia and Melkweg.
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Shared strengths
Industry insiders give their opinions on the convergence of broadcast and pro AV, and what it means for both sectors and their technologies
across various sectors. As the lines between traditional broadcasting and pro AV continue to blur, we can expect to see even more innovative solutions that leverage the strengths of both industries.
One of the most significant trends in this convergence is the integration of IT and IP into broadcasting equipment
and infrastructure. Standards such as SMPTE 2110 and NDI are crucial in merging broadcast equipment with pro AV applications. These standards enable the delivery of broadcast-quality performance within the AV sector, bridging the gap between the two industries. By leveraging IT and IP, AV professionals can now achieve the highquality, reliable performance traditionally associated with broadcast environments.
Another critical trend is the adoption of virtualised, software-defined and cloud-based workflows. These advancements cater to the growing need for flexible and scalable solutions in pro AV environments. Virtualisation and cloud technologies allow for more efficient resource utilisation and enable remote production capabilities, which are increasingly important in today’s dynamic and distributed work environments. As these technologies continue to evolve, we expect them to enhance the flexibility and scalability of AV production workflows.
At Ross, we have observed a significant convergence of broadcasting and pro AV in corporate, education and house of worship sectors, demanding higher production quality and robust streaming capabilities. Educational institutions are leveraging broadcast-grade equipment to enhance their remote learning experiences, while corporate entities use these technologies for high-quality livestreaming of events
Live productions are also benefitting from the integration of broadcast-grade equipment. Tools such as graphics systems, production switchers and routers are increasingly being adopted to enhance the viewing experience for audiences. These tools, which have long been staples in the broadcast industry, bring a new level of professionalism and quality to live event production. Such equipment ensures that live events are broadcast with high fidelity and the creative, dynamic graphics and elements that audiences expect from traditional broadcasting.
select video and audio sources, all while communicating directly with their crew from a single SmartPanel. The Riedel RSP-1200 series SmartPanel is essentially a multipurpose, all-in-one solution for control, monitoring and communication.
Simon Roehrs, director of sales – Asia, Ross Video
LEADING
BROADCASTERS IN THE APAC MARKET
got an early start in investigating media transport over IP using SMPTE ST 2110 standards. However, the biggest shift in moving to IP is developing a knowledge base that goes beyond broadcast and video fundamentals, as well as common media workflows, to include networking expertise. While this challenge led to several false starts in early IP implementations, delaying adoption on a larger scale, broadcasters in Korea, Japan and other countries have expanded their knowledge of networking and IT and are leveraging lessons learned in other markets to make their own IP transition.
For new facilities and major events, SMPTE ST 2110 and the move to IP are seeing real investment and commitment by various broadcasters. As IP and ST 2110 become the foundation for modern broadcast workflows, standards and equipment from professional broadcast are making their way into pro AV, as well.
The transition to IP offers cost reductions, greater system density, straightforward scalability and fewer distance limitations while allowing an asymmetric balance between sources and destinations. With their shift to IP, broadcasters put ST 2110 on the map as the standard supporting interoperable IP-based media workflows, with a focus on addressing the stringent demands of live production.
Enterprise, government, medical, defence and others are increasingly taking advantage of professional-grade broadcast equipment and IT- and IP-based workflows. With this equipment and its capabilities, organisations are better positioned to deliver the live and streaming content their businesses and customers now demand. They can incorporate news-style graphics, slick transitions
into productions to enhance video content. But in using IP-based systems to do so, they come up against a new challenge: addressing fresh incompatibility between devices and systems that once were interoperable.
Prior to the rise of IP, connecting professional equipment to other systems was relatively straightforward. With
growing interest in AV-over-IP, compatibility has become a concern once again, and there is a need for more accessible standards. Built on the SMPTE ST 2110 standards for media transport over IP, as well as AES67 and NMOS, the newer IPMX (Internet Protocol Media Experience) standards and specifications were created to offer the pro AV market a more accessible path towards interoperable, standards-based systems and workflows. A readily scalable standard that supports multiple codecs, IPMX facilitates high-quality, low-latency video and audio transport at any bitrate, with compressed or uncompressed streams. The emergence and acceptance of IPMX across broadcast and pro AV is accelerating the industries’ convergence. As more and more IP-based solutions come to market, enterprises are finding it easier to stay in IP, from broadcast equipment to AV signal management systems to enterprise equipment. Serving a broader range of networking and media options, IPMX allows enterprise, government, medical, education, defence and broadcast customers and integrators more flexibility to adopt IP-based media routing and processing with greater confidence and
In Asia, leading LED display manufacturers are implementing both ST 2110 and IPMX in their products to maximise the media formats and networking options available. Ultimately, this commitment will ensure that all LED tiles in the market support both standards, allowing for integration into professional-grade environments – whether temporary, as for a concert, or permanently, in a broadcast facility – with less cost and complexity. This is just one example of how standards, and the interoperability they enable, are adding momentum to the convergence of broadcast and pro AV.
Sam Recine, vice president of sales, APAC, AV/IT Group, Matrox
THE WORLDS OF BROADCAST TECHNOLOGY AND enterprise AV applications have been quietly colliding for years. Our story begins in 2012 with a live event on the topic of…live events. As head of marketing at ISE, I was helping to produce a pre-show conference. The attendees told us: “The content about audio, video, lighting, rigging and staging is all well and good – but you forgot about broadcast!”
Broadcasting had been a component of live concerts for decades, usually under the remit of TV and outside broadcast. By the early 2010s, the ubiquity of on-demand 4K video replay in the home meant that event organisers wanted a piece of the action, and began integrating broadcast technologies into their operations. It should have been on our radar, and it wasn’t.
Fast-forward a year or two, when a journalist at ISE told me that “in the future, every company will be a content creator”. He foresaw a future in which video
THE DEMAND FOR 4K IN PRO AV CONTINUES TO rise, albeit with a more cautious approach to adoption post-pandemic where HD remains the backbone.
Customers are more aware of 4K’s benefits and less concerned about its technical demands, thanks in part to the education efforts of companies like ours, which offer products capable of both HD and 4K. For instance, conferencing and houses of worship are seeing increased 4K adoption. In regions like Southern Africa, where house of worship is a larger market, there is growing interest despite some limitations in distribution and online capabilities. In European markets, AGM conferencing and corporate events are leading the way, using 4K for higher-quality presentations while maintaining the ability to convert to lower resolutions for online delivery.
Customers have specific expectations for 4K solutions. Scalability is a major consideration, as clients want to maintain quality without prohibitive costs. We’ve focused on ensuring our products, like the ATEM switchers, offer both HD and Ultra HD capabilities at sensible price points, without imposing a premium for the higher resolution. Feature sets remain robust, with consistent performance in processing, media pools and image scaling, whether in HD or 4K.
Control systems are another key area, with universal control panels that work seamlessly across different resolution environments. Integration with third-party systems and standards like 6G and 12G-SDI is critical, making the transition to 4K smoother and more reliable. This is particularly important as more broadcast engineers join AV companies, bringing with them an understanding of these technologies.
content would no longer be “owned” exclusively by traditional broadcast networks, because the rise of streaming and OTT distribution across platforms like YouTube would enable companies to “narrowcast” content on their own.
In AV, we have seen this prediction come to life with brands livestreaming experiential activations, then making them available for viewing on-demand. But the use cases now extend far beyond events. Some of them, such as Digital Out Of Home (DOOH) networks and command/control rooms, are not new, but are being enhanced by broadcast technologies. Others, such as eSports and immersive experiences like the MSG Sphere in Las Vegas, couldn’t exist without them.
A key case is the enterprise broadcast studio. AVIXA’s Market Opportunity and Analysis Report (MOAR) into how AV is being bought and used across every market vertical has shown such studios to be in the top five for investments ever since the pandemic, when companies first realised the importance of adding broadcast production capabilities to their collaboration platforms. A Teams or Zoom call involving hundreds of remote attendees can get very boring, very fast; turn it into a TV show, and you have a decent chance of keeping employees’ attention.
The challenge for the broadcast technology vendors and the AV community is that we don’t know enough about each other. Just over a year ago, AVIXA began working with IABM, which represents broadcast vendors, to address this issue with a series of events called UpStream.
As the learning process continues, we at AVIXA expect growing numbers of broadcast technology vendors to exhibit at tradeshows such as InfoComm and ISE, to gain exposure to these parallel markets. Some firms, such as those providing broadcast cameras and mics, production switchers and indoor LED walls, are already there. Others, providing cloud video editing and publishing, content servers and delivery networks and digital asset management, seem certain to follow.
one solution for smaller venues and applications, such as music venues and houses of worship.
Looking ahead, we are committed to offering solutions that are both HD and 4K capable, encouraging futureproofing in customer installations. Our development roadmap includes specific AV solutions with 4K at their core, integrating new technologies like 2110 for IP-based workflows.
As technology evolves, the once-distinct workflows and equipment used in broadcast and AV are merging, creating new opportunities and challenges for professionals in both fields and reshaping how we process, transmit and consume audio and video content.
There are several culprits, starting with IP everything, because sending signals over dedicated cables was just too darn easy. The shift from SDI to IP-based systems has been a gamechanger, allowing for more flexible and scalable infrastructures in both broadcast and AV environments. Another is higher-quality expectations: 4K, 8K and whatever comes next. Consumers now demand broadcast-quality experiences in AV installations, pushing professionals to adopt broadcast-grade equipment and techniques. Meanwhile, the pandemic has accelerated the adoption of remote workflows which rely heavily on IT and IP-based solutions common to both industries, while the move away from hardware-dependent setups to software-based solutions has increased flexibility and reduced the gap between broadcast and AV technologies. But beneath all the jargon and new acronyms, there’s actually some sense to this madness. Increased flexibility means you can now run a TV studio from your basement. Broadcast companies can expand into AV installations, while AV integrators can offer broadcast-quality solutions. Both industries now use similar methods for routing and distributing signals, often relying on IT infrastructure, while broadcast automation and AV control systems are becoming more alike, with many offering cross-compatibility. Both sectors are leveraging cloud technologies for production, storage and distribution, allowing for more collaborative and efficient workflows. There is also a cost benefit: when industries collide, prices tend to drop for both industries. And the merger of technologies is driving new product development and creative solutions.
But it’s not all good news. The learning curve involved means your skills just became obsolete. Again. Compatibility can be a nightmare, with interoperability between broadcast and AV equipment remaining an ongoing challenge. And as systems become more interconnected, cybersecurity becomes increasingly critical.
The bottom line is that broadcast and AV are converging. It’s happening whether we like it or not. Maybe we don’t need to overcomplicate it but take the best of both worlds without turning our workflows into a tangled mess. At the end of the day, we’re still just trying to get audio and video from point A to point B. All this new tech should make that easier, not harder. So let’s embrace this convergence, but let’s do it smartly. Keep it simple. Focus on what matters. And try not to trip over all the cables – oh wait, they’re all in the cloud now.
From the ground up
Pro AVL MEA sits down with AVI-SPL managing director to reflect on the young subsidiary’s substantial recent growth
IF YOU’VE ATTENDED AN INDUSTRY EXHIBITION IN RECENT years, there’s high chance you’ve seen a troupe of distinctive blue shirts meandering the aisles. It could be a case of acute tradeshow fatigue, but they also seem to multiply as the show days draw on. It’s a familiar story away from the exhibition halls, and in particular in Dubai, where the number of blue shirts bearing the AVI-SPL name has risen to over 100 in a short space of time.
The region has been a key growth market for the American company in recent years, and a large amount of the credit resides with Middle East managing director Phil Marlowe. He has not only grown the team you see today since he transferred to Dubai back in 2008, but has led his team to success with some of the biggest and most prestigious AV projects around. Marlowe himself has also become a key industry player and regional figurehead.
As Pro AVL MEA finds him on a crowded show floor in Las Vegas at a booth once again swimming in blue shirts, Marlowe recalls how it was in fact here, under the lights of the Las Vegas strip, where he got his first taste of the world of AV. “I started with SPL in Las Vegas in the pre-AVI-SPL merger days when I was hired as a contractor, basically as a tech pulling cable in casinos. I slowly worked my way up from there and, in 2006, was brought in as a full-time employee,” he reveals. “I was admittedly very young and ambitious, so I was the one they could call on a Sunday night at 5pm to be told I’d need to be in New Orleans tomorrow by lunchtime. I was a bit of a firefighter. At the same time, I had an unbelievably supportive leadership group at SPL who was very interested in empowering younger, newer people into the industry. I was handed many opportunities by the CEO at the time, Chad Gillenwater, and then subsequently under our current leadership with John Zettel, to constantly push and grow.”
Beginning life in Florida in 1979 as Audio Visual Innovations selling Kroy lettering machines, the company has evolved into a truly global entity that designs, deploys, manages and supports digital workplace communications and collaboration technology
between Audio Visual Innovations (AVI) and fellow systems integrator Signal Perfection Ltd (SPL) would not only make the resulting company AVI-SPL the largest AV integrator in the US, but also send Marlowe looking East.
At the time, AVL-SPL had just secured the tender for a large digital signage project inside Dubai Mall but had next-to-no local resources on the ground. “I actually said no to going out originally, and then said no three more times, all within the span of a 30-minute call,” the managing director smiles. “If I’m being honest, I couldn’t even tell you then where the UAE was on a map, and I’d never flown overseas. Eventually, I said I’d go for two weeks and see how things went.”
Half a year before an unexpected global financial crisis would wreak havoc on Dubai, the city was a hive of opportunity. “It was crazy here when I arrived, and at the same time, AVI and SPL
contractors who were essentially ‘AVI-SPL Dubai’.”
Having completed the mall project some months later, the contractors moved onto other jobs, leaving Marlowe as a one-man band. “It was a surreal time. At the end of the project the entire planet was in the middle of a huge financial mess. However, I decided that if there were still opportunities here, we should stay. Slowly, we started to bring on more staff as client demand increased. At first, we didn’t plan to make a big investment here, or to really target this market. Everything was a bit unknown.”
Wading through a particularly tricky period, Marlowe came out the other side with a core team of dependable staff and some key projects on the horizon. “We landed a few massive key projects all within the span of several years, and we really started to go big,” he says. Moving to the branch’s current
Museum of the Future
home in DIP in 2014, business was largely plain sailing, until another unexpected global emergency came calling. With a now significant foothold in the local market, AVI-SPL Middle East was able to weather the pandemic unscathed.
“During Covid, we didn’t shrink at all. We kept servicing our customers and their needs throughout the pandemic,” notes Marlowe. “Since everything opened back up, the business has been in overdrive. Just 18 months ago, when I hired Alex Fenech, our new sales director, he was employee number 61.
To what does Marlowe predominantly credit this unexpected success? “I was given some great advice by a mentor a long time ago, and it’s always stuck with me,” he shares. “Don’t just worry about the first engagement. Care equally as much about the next 1,000 engagements with that customer too. They’ll quickly drop you if they lose trust. Trust is earned, and in the Middle East, it is very hard to earn. It’s a closed and insular market where people’s senses are constantly on high alert.
“Our premise, however, is simple and has remained
project right, you need to treat the customer right,” Marlowe explains. “If you take care of the customer, they’ll continue coming back. We’ve brought the AVI-SPL model of doing business to the Middle East, and it’s been a huge success. We don’t have a product or commodity we’re selling, and the equipment in our projects can be bought globally, so why would you choose to work with us? You do so because you want the job done right, from design to completion, ensuring it is managed properly and serviced efficiently.”
This is where the ever-increasing sea of blue shirts starts to make sense. “It’s no secret – you want to (and need to) stay engaged with your customers,” Marlowe explains. “I find it kind of crazy that many of our competitors are happy to just do a job and walk away. We’re engaged in long-term relationships with every single one, whether it’s an onsite managed service engagement where we have 20+ people that report to the customer site every day to operate complex systems, a licensing engagement or using our Symphony product in the background to manage everything remotely. We’re involved with customers throughout the entire lifecycle of their technology system.”
At a time when many Dubai-based companies are looking to neighbouring Saudi, it’s refreshing to hear Marlowe commit to the UAE. “We still have a big focus in the UAE, it is our home. We’re not the biggest in the UAE yet and we’ve plans to keep growing here and expand our offerings. Of course, Saudi is still on our minds, as is the greater Middle East and North Africa.
“Overall, right now is a very exciting time,” he concludes. “There’s a lot of opportunity here. However, what we don’t want is what has happened to others before who have jumped in the deep end and quickly realised they’re in over their heads. We’ll leap – but only when all signals point to go and we know we can deliver on customers’ promises the same way we have here for all these years.” As AVI-SPL Dubai continues to innovate and evolve, its dedication to client relationships ensures a promising future for both the company and its customers.
Ecler’s next generation of Column array loudspeakers
MIA Series
the best choice for acoustically complex environments
Both models behave as a mini line array and the possibility of working in 16Ω or 64Ω.
MIA Series o ers you several installation options. FLATY and HANDY brackets allow for height adjustments at any point on the length of the column
Install 2x MIA columns, one on top of the other, using FLATY bracket, and create a double height column!
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The Dubai team
Movers and shakers
Pro Audio Technology (PRO) loudspeaker designer attention to the professional audio sector with his new brand, Theory Professional. Richard Lawn finds out more
HAVING SUCCESSFULLY CREATED LOUDSPEAKERS dedicated to the high-end hi-fi, cinema and residential markets since the 1980s, Californian entrepreneur Paul Hales firmly believes in the “less is more” approach. “With the right bandwidth and dynamic range, a good, versatile speaker needs to work anywhere,” he says. It’s a simple philosophy that has been applied correctly wherever he has been commissioned.
Hales’ golden ear was tuned even before his teenage passion for rock and jazz developed, his hi-fi enthusiast father, who made his own enclosures incorporating JBL LE8 drivers, unwittingly influencing his son. When the treasured speakers malfunctioned beyond repair, Hales Junior sold his drum kit and washed windows to buy his own professional hi-fi system with “a large Pioneer receiver housed in a walnut box with weighted knobs”. An emerging talent for drafting and drawing landed him a parttime job at the city’s engineering department some four years
The PRO Experience Centre’s downstairs theatre
Theory Audio Design president Paul Hales at the Lake Forest Experience Centre
A Theory setup at the Experience Centre
Rather than part with his hard-earned cash for an expensive finished cabinet, Hales preferred to purchase the components and assemble his own speaker designs. Highschool woodworking studies provided him with a workshop for building enclosures.
Those formative years clearly influenced Hales’ direction, leading to a degree course in mechanical engineering from the University of California, specialising in vibrations material science and creating soundwaves for his senior-year project. The resultant Hales System Two would become his first commercial loudspeaker and the Hales Design Group was born in the garage of an eastern San Francisco suburb close to the San Andreas fault line. Armed with his first prototype, he was drawn to the CES tradeshow in Las Vegas where, despite knowing little about the business, he received favourable reviews for his “small, great-sounding speaker”.
Current lead software and sales engineer Chris Farley first met Hales while working at a cabinet manufacturing factory producing the very first Hales enclosures. With a passion for acoustic testing, Farley opted to apply his skills as manufacturing engineer at the Hales Design Group. The year was 1990, and their enduring relationship commenced with the creation of the Signature, Revelation and Transcendence series models. Critically acclaimed by the audiophile community, Stereophile magazine filed the designs in its annual Recommended Components listing.
As word of his unique loudspeakers grew, Hales found himself in demand. Contracted as a consultant to develop high-end loudspeakers for Samsung in 1995, two years later he was selected by BMW to advance its automotive speakers. The offers continued to come, but an outing to Disneyland with his children led to a four-year career detour. “A tenor saxophonist was playing in front of this brick building,” he remembers. “It was loud, big, robust, dynamic and beautiful, yet it didn’t hurt your ears. It served as an epiphany moment as I realised that we [in the hi-fi world] were still far away from creating that sound.”
Along the Californian coast in Costa Mesa, QSC Audio was in the process of creating a loudspeaker division to complement its automated line manufacture of professional amplifiers and signal processors. The timing at the start of the new millennium was perfect, coinciding with Hales’ quest to create that sound he had experienced in Disneyland. In his role as loudspeaker R&D director, he was an instrumental figure behind a patented mounting system and design aesthetic for QSC Audio. He also showed off a creative flair by proposing a new corporate logo and the loudspeaker industrial design language, both of which remain in use today.
“Cofounder Barry Andrews was brave enough to propose that I establish their new setup at a time when I had become disinterested in high-end hi-fi,” he continues. “I was inexperienced when it came to professional audio but, by bringing in an entirely different design process, I believe that I set QSC speakers off on the right trajectory. Pat Quilter attributed the success of the speaker division to the ‘hiring of this young, passionate guy, who brought a lot of discipline and attention to detail’. I’m happy to see that QSC has maintained that course ever since.”
Mission completed, Hales opted to apply his craft in making dynamic speakers sound like hi-fi for residential installed and commercial cinema applications. A systems integrator provided the catalyst for the inception of Professional Home Cinema, producing bespoke cinema reference speakers for the private screening rooms of movie stars and directors in southern California. Partnering with a cabinet manufacturer, Hales created 12- and 15-inch dual concentric models for the L-C-R channels, a series of surround sound speakers and a family of subwoofers within his own facility, together with DSP amplifiers and processors.
To better suit the company’s long-term strategic objectives, the growing portfolio was rebranded to Pro Audio Technology (PRO) in 2010. Since then, BMW DesignWorks and Samsung Electronics have again turned to Hales for consultation on several projects including industrial design management,
Theory Professional COO Marc Bertrand
television loudspeaker systems and DSP products. Most recently, Dolby Laboratories turned to the PRO president for his expertise on acoustics and loudspeaker design.
At the turn of the current decade and the inception of Theory Audio Design, Hales made that hi-fi sound available to residential and commercial installed audio systems. “Because of my roots, these commercial speakers sound like a high-end hi-fi system,” declares Hales from one of the demonstration suites within his SoCal Experience Centre. As the lights are dimmed in the softly furnished living room environment, several very different genres of music including a live jazz ensemble are played. In the darkness, you can almost touch the double bass player and taste the tobacco. When the lights are turned back on, Hales highlights the compact, industrial, dual 5-inch design and less than 4-inch deep cabinet responsible for this expansive
The design philosophy of Theory Professional is exemplified by the dual 5-inch compact loudspeaker. In addition to reinforcing hi-fi nuances and characteristics in interior and outdoor residential or commercial settings, the sb25aw is a versatile compact cabinet. “Even in a warehouse, we can still set up this dual 5-inch cabinet where it will sound better than a high-end stereo pair,” explains Hales. “Ultimately, I nailed it with the sb25aw, because it sounds so loud with a big singing voice. It continues to amaze me how a relatively small speaker can deliver such a deep, big sound. With the internal transformer, it can run in 70V or 100V operation and, if I put only one in 70V and played them as a stereo pair, you wouldn’t be able to tell the difference.”
Warming to the theme of versatility, Hales continues: “A systems integrator ideally needs to specify one model of
full-range audio. It’s no idle boast. “It’s that difference, that attention to detail, that you just don’t find elsewhere that attracted Marc Bertrand,” says Hales. “Marc realised that he could go to the market with something interesting that was not a me-too thing.”
Following an introduction by a mutual industry friend and a subsequent demonstration, Bertrand joined Hales and enlisted to the Theory Professional cause last year. The newly appointed COO started his career in 1990 in his native Ontario, Canada, culminating as CEO at the TC Group, where he oversaw the fortunes of TC Electronic, Lab Gruppen, Lake and Tannoy before moving to Adamson where he headed up global operations as CEO. Having overseen the launch of Theory Professional into the commercial market, Bertrand’s excellent industry connections combined with his experience in audio manufacturing, logistics and growing sales networks at a global level make him a perfect fit for the team.
created following the annexation of half of the building in 2022, previously owned by Best Buy Electronics. “We literally opened a partition door, cut a sheet of rock out and the renovations commenced,” explains Hale. “The millwork area remains in the middle, but the rest of the centre was extensively refurbished including the existing theatre, and the family room has been repurposed into a conference room.”
Predating Bertrand’s arrival, fellow Canadian Erin Phillips accepted the role of director of marketing and public relations for PRO and Theory Audio Design in 2021. Born into an audiocentric family and spending her formative years working part-time in a speaker factory overseen by her father, Phillips quickly proved she was capable of much more, and was promoted to vice president for both companies. She continues to lead all marketing and communications initiatives including the launch of Theory Professional in 2023. The team includes VP of residential sales Mark Goldman, office manager Jen Kavanagh and aforementioned sales engineer Chris Farley, who followed Hales to QSC Audio where he worked as lead programmer on a test system that automated the quality control testing of loudspeakers. In 2010, he followed Hales once again, to lead the development of the software configuration tool for PRO’s proprietary DSP amplifiers.
loudspeaker that can be fixed inside or outside, flat on the wall, in a yoke or a ball mount or suspended from a pole. The project can be an educational campus, a theme park with varied applications, restaurants or retail outlets. If you specify pendant and ceiling speakers, you only need one model. By adopting the same one, such as our ic6, you can serve three different applications.”
Spanning over 700m2, the Experience Centre shared by Theory Audio Design and PRO is in the Californian suburb of Lake Forest. Here, products from both brands can be experienced first-hand, including a Theory surround system with a soundbar to match the 85-inch TV display in addition to ear-level cabinets, overheads for Dolby Atmos and two 15-inch subwoofers all powered by a single 1U multichannel amplifier with loudspeaker controllers.
Having located the demo suite, workshop and offices in the Lake Forest facility in 2014, the main Experience Centre was
Visitors and guests are invited to book demonstrations at the Experience Centre, and the target audience was extended in 2023 when Theory Professional debuted its commercial series in a listening room at InfoComm. “We had no neighbours, so we could play every hour on the hour, and the post-show response has been phenomenal,” he continues. “I am pushing myself to design each new speaker to be better than the previous one. Having made mistakes over 42 years, I have continued to learn a little each time and apply that knowledge into the next design. To my ears, the speakers continue to sound better and, with this team, Theory Professional is currently in ludicrous mode for audio.”
A trained ear, four decades of experience, a dedicated team and unassuming loudspeakers that effortlessly hit the sweet spot, Theory Professional is on course to dwarf the other cherished brands within Hales’ portfolio, not to mention other audio brands in the commercial market at large.
www.theoryprofessional.com
One of the theatres at the PRO Experience Centre
A PRO demonstration nook at the Experience Centre
The Experience Centre is shared by Theory Audio Design and PRO
The sb25aw is a versatile compact cabinet
OLA MELZIG PRODUCTION MANAGER
M&M PRODUCTION MANAGEMENT
I just love the new generation of the Artist user interfaces. The SmartPanel‘s intuitive workflow and its very visual layout are simply fantastic.
I can customize it in any way I need, which is absolutely crucial for the big live events I typically work on.“
ARTIST INTERCOM Professional and reliable live communications. Seamless integration of Riedel‘s SmartPanel and Bolero wireless intercom. Easily scaling from 16 to 1024 ports with flexible licensing.
Photo by Ralph Larmann
Objectify this NEWPRODUCTS
FOLLOWING ITS launch in 2022, Adamson Systems Engineering’s FletcherMachine Spatial Audio Rendering Engine has received a V2 upgrade and a raft of new features. Available in three versions, FletcherMachine Virtual is a free, standalone application for Windows and macOS that allows users to design immersive environments on-the-go. FletcherMachine Stage is a 3U hardware unit with a 5-inch colour touchscreen, offering up to 128x128 I/O at 96kHz sample rate and 1.3ms latency. FletcherMachine Traveler brings the functionality of the Stage engine to a more portable format, offering a maximum of 96 channels with variable I/O counts. Meanwhile, FletcherMachine Remote pulls everything together as a portable application for Windows and macOS.
At the core of FletcherMachine is an object-based rendering engine that uses both amplitude and time localisation algorithms to position sound sources more accurately in a three-dimensional space. This approach is said to enhance the listener’s ability to
perceive both the direction and distance of sound sources, resulting in an improved and more realistic immersive experience. FletcherMachine V2 includes improved speaker management which allows for both 2D and 3D setups in the same session; connectivity tools including dedicated DiGiCo and AVID plugins and onboard ADM-OSC for interoperability with other mixing desks and audio workstations; a binaural renderer which can be assigned to any output channel and a dedicated headphone output for AVB and MADI versions; up to three reverb engines; improved snapshot section for more accurate show control; more efficient external protocol handling (MIDI, OSC, PSN, rttrpm) for improved integration of tracking systems and other third-party applications; and expanded object grouping and linking for mix automation. Users can also benefit from new housings for both Traveler and Stage engines as well as hardware redundancy available for Stage engines. A new delay matrix allows for easy routing of any input to any output with user-assignable gain and delay. Time code, stereo pairing function and variable I/O have also been added.
etherCON TOP Series
Available as a free download from its website, ArrayIntelligence V1.2 is a software platform from Adamson that allows users to design and deploy systems from a single interface. V1.2 introduces a range of features such as Sub Array Optimisation, VGt and Delta Time Simulation, as well as system performance enhancements.
The inclusion of Adamson’s VGt flagship line array allows users to include it in simulations and evaluate the optimisation feature. Pilot partners will be able to fully control their systems and utilise either cardioid or omnidirectional patterns.
Meanwhile, Sub Array Optimisation simplifies the design and optimisation of subwoofer arrays and allows users to automatically generate optimal delay settings for a given horizontal subwoofer array deployment.
V1.2 also introduces a Delta Time Simulation feature for precise timing adjustments and simulations, enhancing the accuracy and coherence of sound systems, a mute lock function and new buttons for better touchscreen control.
www.adamson.ai
time
DESIGNED SPECIFICALLY for the entertainment and KTV market, Optimal Audio has launched its Party Series of onwall loudspeakers. The series comprises 10-, 12- and 15-inch full-range, two-way passive loudspeakers which can be flexibly mounted for simple installation. Premier KTV rooms require sonic warmth, clarity and smooth response to support the vocal presence and elevate the karaoke experience. With that in mind, Optimal Audio has designed the series to provide ample bass and mid-band, with vocal clarity and high note projection for karaoke performers. To combat space constraints in KTV rooms and allay the need for subwoofer support, the loudspeakers are rear-ported, coupling their lowfrequency output to walls or ceilings to produce enhanced bass output.
manufacturer’s Amp series and the internal crossover network technology has been designed to protect the low- and high-
frequency drivers for an uninterrupted karaoke experience.
Unveiling what it describes as its “most significant WebApp update so far”, WebApp 1.3 has been upgraded for both its WebApp and ZonePad controllers. Compatible with any device and designed to unlock the capabilities of Optimal Audio’s Zone controller, WebApp aims to make the setup of multi-zoned commercial sound systems straightforward. Its ZonePad 4 is now configurable as a single zone controller with up to four routine triggers. This allows venue staff to trigger pre-configured groups of presets at the press of a button. ZonePad 1 has also been updated to allow routing of its local mic input to the system mic, making this
Robotic reach a reality with Tx Series modules
DESIGNED TO complement its range of robotic line arrays, the Tx Series is a set of intelligent, multipurpose point source modules from PK Sound. Fully configured and controlled via PK .dynamics software, PK loudspeaker systems overcome unique acoustic challenges by allowing users to mechanically configure and optimise system
your brand” soundtrack player, which is licensed for business use and has more than a thousand
coverage remotely and in real time. The Tx Series expands PK Sound’s Trinity range to provide users with what the company describes as “an unprecedented degree of control and optimisation via PK .dynamics software”.
The Tx Series includes the Tx26, which features controlled 100° conical directivity with a frequency response of 55–18kHz and 133dB peak SPL. Its pair of vented 6-inch Tetracoil transducers with custom phase plugs manage low-frequency response, while a 1-inch HT polymer diaphragm compression driver handles high frequencies. The larger Tx14 offers controlled 50° x 70° directivity with a frequency response spanning 50–18Hz and
Range IS expanding
ITALIAN SPEAKER
has broadened the variety of installation possibilities of its IS Series of passive loudspeakers with the introduction of three IP55-rated models: the IS210L line array module, point source IS120T and IS115S subwoofer companion.
Designed for larger venues like arenas, performing arts centres, houses of worship and clubs, the IS210L is the first high-output line array in the IS series designed specifically for permanent installations. Its symmetrical design includes two 10-inch woofers with 2.5-inch voice coils with a 1.4-inch (exit), and a 2.4-inch voice coil compression driver mounted on a waveguide. The IS210T point source loudspeaker is equipped with the same transducers and has a 90° x 40° rotatable horn. Using the same accessories available with the VIO X310, the versatile IS210T can be flown or pole-mounted. Meanwhile, dbTechnologies says the IS115S flyable subwoofer provides the best low-frequency extension for the IS series. All three are available in white or black.
www.dbtechnologies.com
As a floor monitor, the Tx14 has a natural inclination of 35°, extendable to 55°. Both are easily mounted or flown with a variety of rigging accessories, making them suitable for both portable and installed applications. Meanwhile, PK Sound’s two-channel VE15 1,400W Class-D amplifier maximises headroom for each Tx module, while onboard DSP and AVB end points are routed through the world’s first implementation of Neutrik’s DR Series of IP65-rated connectors. The development is in partnership with ACT Entertainment.
www.actentertainment.com www.pksound.live
The rigours of outdoor life
80-200/T plus-EN54 voice alarm speaker from ic audio is suitable for a wide range of outdoor applications. Whether it’s enhancing the guest experience in amusement parks, providing
with a 200mm woofer and a 25mm tweeter, the DA-SG provides crystalclear audio said to enrich any setting. Its 360° sound dispersion technology gives an even sound distribution, creating an immersive auditory experience across the entire area. Engineered to withstand the rigours of outdoor environments, the DA-SG
loudspeaker provides protection from the outdoor elements. Its robust ABS plastic construction, coupled with high-quality materials like the polypropylene chassis, are said to provide a reliable performance in various weather conditions. An intuitive rotary switch allows users to adjust power settings and optimise audio quality to suit specific needs. Safety is paramount with the DA-SG. The speaker is equipped with a cable junction box, a ceramic terminal and a thermal fuse, to provide secure and dependable operation. Installation is said to be versatile and straightforward, with options to bury, cast in concrete or simply fix with screws. This flexibility reportedly allows the DA-SG to seamlessly integrate into any environment, providing optimal performance without compromising on aesthetic appeal.
www.ic-audio.com
138.5dB max SPL, all driven from a premium
Tx Series plus T8
Party Series
IS210T
A PRO high five
PITCHED AT the premium end of the commercial market, Pro Audio Technology (PRO) has debuted the first five models in its PRO Commercial model line of loudspeakers. Having built a reputation for loudspeakers and DSP amplified loudspeaker controllers that address the needs of high-end residential installations, the PRO Commercial loudspeakers are designed for installed and portable installations and described as “high-output yet refined loudspeakers that can be installed virtually anywhere”. The CF-46.2 is a quad 6-inch, two-way, multi-use loudspeaker with an ultraslender profile providing 120° conical coverage; the CF-28.2 is a dual 8-inch, two-way, multi-use loudspeaker with 80° x 60° elliptical horn; and the CF-112.2 is a single 12-inch, two-way, multi-use loudspeaker with an 80° x 60° elliptical horn. The CF-212.3 is a full-range multiuse loudspeaker with a built-in subwoofer,
which features a dual 12-inch and dual 8-inch, three-way multi-use loudspeaker, and its compact enclosure is only 10 inches deep. Finally, the CLF-212 is a high-output, compact, bass-reflex subwoofer with dual 12-inch 1,400W woofers and is sonically matched to the CF-46.2, CF-282 and CF-112.2.
All have ergonomic handles, multiple fly points, industry-standard mount points and pole cups. Optional PRO SplitYoke multipurpose mounting brackets can be used to install all PRO Commercial loudspeakers on walls, ceilings, floors and other surfaces. In addition, both the CF-212.3 and CLF-212 subwoofer can be fitted with the PRO Caster Kit for portability. PRO says this is ideal for DJs, corporate venues and hospitality events where big, clear, full-range sound is
www.proaudiotechnology.com
Electro-Voice brings in the next generation
COMBINING SEVEN standard EVID-C-G2 ceiling speakers with five additional entr y -level EVID-EC models, Electro-Voice Complete has refreshed the EVID C series. Collectively the 12 new models provide price-performance options. Configurations range from 3-inch full-range to 8-inch two-way and subwoofer models, including dedicated models for specific applications, such as low-profile, high-ceiling/highperformance, CSA/ULC-S541:2016 and EN54-24 EVAC-certified models. The 3-inch IP45-rated EVID-EC3.1 is suitable for high humidity spaces. All C-G2 and EC models are UL 1480A and UL 2043 certified.
The latest SwiftLock System (C-G2 models only) supports quick, precise and secure attachment to the ceiling with a push-and-lock mechanism. An easy-access front-baffle wattage tap and side-access terminal blocks promote simple adjustments and connections of the 70V/100V models.
The C-G2 and EC models feature the same three cut-out sizes and outside diameter sizes
in 7-, 11- and 13-inch formats. With the same cut-out holes, the standardised sizing simplifies multi-model and retrofit installations. All models
(Signal Synchronized Transducers) technology. The patented approach to time-aligning the low- and high-frequency transducers allows a larger waveguide to fit inside a more compact
include bezel-less magnetic grilles in a paintable white finish. Adding further flexibility, black-finish grilles are available as an accessory and square grilles are available in white for the 11-inch size. All models benefit from Electro-Voice’s SST
Work Pro transmits to Neo
EQUIPSON BRAND
added the Neo 5 Air to its Neo range of fixed installation loudspeakers. Combining Hi-Fi audio within a compact design, the Neo 5 Air distinguishes itself from the other Neo enclosures by integrating a wireless digital audio transceiver. This addition allows the loudspeaker to broadcast where units can be deployed within a master or receiver setup.
Connected to a source player via Bluetooth or a wired line input, the Neo 5 Air Master can transmit audio to an unlimited number of Neo 5 Air receivers. The inclusion of a channel selector controlled by dip switches
capabilities by delivering more output and an extended low-frequency response. The updated RX5 (90° x 70°) and RX6 (90° x 70°) models both have improved mounting options and an improved crossover and horn design for better offaxis response.
enclosure, resulting in enhanced acoustic performance and pattern control for full-range intelligibility.
www.electrovoice.com
channels, so that music from a variety of sources can be output to specified receivers in
the system. Together with an active subwoofer, the full Neo range includes passive and twoway active loudspeakers, some of which are IP-rated for outdoor use. The cabinets can be fixed horizontally or vertically on specially designed brackets in either low impedance or
The Integra DSP Series has similarly been extended with a 16-channel DSP matrix. The Integra 16S provides 16x16 balanced analogue inputs and outputs and features line/mic inputs with +48V phantom power, adaptive feedback control, automatic noise suppression and gain compensation. Additionally, the rear of the unit incorporates four GPIO ports and a USB interface for playback and recording. The 16x16 matrix is delivered with the Integra S native management software. Parameters including input and output gains, expander, compressor, parametric equalisation,
In brief, Fulcrum One 1.1 brings the ability to import and export industrystandard DXF files, simplifying workflow for individuals using CAD tools other than SketchUp. In addition, the update has brought several new internal enhancements and bug fixes to improve productivity and stability.
www.fulcrum-acoustic.com
limiter and anti-feedback on each channel can be controlled.
Designed for complete programming with the Integra 8S and 16S units via the software, the WC 3U Wall Control unit sports an OLED screen and a built-in rotary button/push button. The aluminium unit features TCP/IP and UDP communication capabilities and operates over PoE.
www.workpro.es
Same sound, more coverage
EXPANDING ITS ARA Series of monitors, speaker specialist DAS Audio has launched the ARA-P12.115 and ARA-P28.115 point source systems. Both models offer 100° x 50° coverage and complement the ARA-P12.74, ARA-P28.74 and the ARA-M210 models launched earlier this year. All five models in the series share a number of technical features. They are equipped with the same 3-inch M78N compression driver to provide tonal consistency across the range.
The ARA-P28 is a self-powered point source system with a dual 8-inch configuration and a 3-inch compression driver. The ARA-P28.115 offers a frequency range from 70Hz–17kHz
and 100º x 50º coverage, compared to the ARA-P28.74’s 70º x 40º coverage. The system reaches a maximum SPL of 140dB.
The ARA-P12 is another self-powered point source system from the ARA series. Equipped with a 12-inch speaker and the same 3-inch compression driver, the ARA-P28.115 offers a frequency range of 63Hz–17kHz and a coverage of 100º x 50º compared to the ARA-P12.74’s coverage of 70º x 40º. It too provides a maximum SPL of 140dB.
The ARA-M210 is a self-powered stage monitor with a dual 10-inch driver symmetric configuration and a 3-inch compression driver. The waveguide design provides a horizontal dispersion of 50º and an asymmetric
Getting down over PoE
FIVE YEARS after the launch of its Smart IP range of active loudspeakers, Finnish speaker specialist Genelec has expanded the range with the 3440A PoE subwoofer. Measuring 475mm x 475mm x 220mm and weighing 14.5kg, the compact 3440A features a 6.5-inch driver, a 70W internal Class-D amplifier stage and dual reflex ports to deliver low-frequency performance from 35–120Hz. The 3440A’s proprietary internal power supply technology stores enough power to produce 106dB of short-term SPL whenever needed, while Genelec’s power-saving Intelligent Signal Sensing (ISS) circuitry provides further efficiency by activating a low power “sleep” mode if no audio is detected for a defined period.
As well as receiving both power and audio-over-IP, the 3440A’s RJ45 connector also provides access to Genelec’s Smart IP Manager configuration software, enabling installers to configure rooms, zones, loudspeakers and audio channels. It includes system organisation, status monitoring and a room equalisation tool set including adjustment of the 3440A’s crossover frequency. Available in black or white finishes, the 3440A also supports analogue connectivity via a Euroblock connector, and can be positioned on the floor or mounted on a wall or ceiling via an optional heavy-duty bracket.
vertical dispersion of 40º downwards and 30º upwards. This monitor operates in a frequency range of 55Hz–20kHz and features a Class-D amplifier capable of delivering
Providing power, audio and management features via a single standard Cat cable, every model in Genelec’s Smart IP range can be freely combined on a network and is compatible with both Dante and AES67 streams, deriving power via PoE or PoE+ formats.
www.genelec.com
CREATED FOR residential or commercial installations, Theory Professional has developed the DLC distributed loudspeaker controller platform. Incorporating the DLC-250.4d, DLC-1500.4d and DLC-250.8, the three models offer between four and eight channels of intelligent power, a full DSP matrix and TCP/IP control through a wired connection, or directly via its onboard Wi-Fi access point. In addition, the DLC-250.4d and DLC-1500.4d add Dante and AES67 audio-over-IP digital I/O compatibility.
With channel-pair power sharing of up to 250W, the DLC-250.4d four-channel loudspeaker controller offers the flexibility to power any system size. The ½U model includes a rack kit, but an optional surface-mount kit provides a discreet appearance when installed under a table or behind a TV. The DLC-250.8
a
www.dasaudio.com
Meyer Sound unveils ultimate Ultra with the X80 flagship
WITH THE release of the Ultra-X80, Meyer Sound has revealed the most powerful member of the Ultra loudspeaker series. According to the Californian manufacturer, the point source enclosure can provide the power, clarity and performance of multiple line array loudspeakers in a single box.
The Ultra-X80 draws on both the acoustic lineage of the existing Ultra-X40 and Ultra-X20 models, and technological features inherent within the Panther large-format linear line array loudspeaker deploy package. For maximum flexibility in coverage, an Ultra-X82 variant offers a more tightly focused 50° x 40° dispersion pattern and delivers a total linear peak output of 142dB SPL.
Designed for its versatility of use, an electroacoustic focus on a smooth response across the frequency range, directional control, phase coherence and fidelity enable it to pair with products at any scale in the Meyer Sound ecosystem. The X80 model features the Ultra Series’ concentric-driver design, coupling two 12-inch neodymiummagnet cone drivers to a rotatable 95° x 40° waveguide married to a 4-inch high-frequency compression driver.
Taking advantage of the Nebra integrated software platform, the Ultra-X80 and Ultra-X82 incorporate both analogue and Milan connectivity as standard. The Class-D amplifier technology contributes to deliver a total linear peak output of 141dB SPL in a 59kg cabinet.
the same power
1,200W continuously and 2,400W peak, ensuring
maximum SPL of 143dB.
BORN TO BE INSTALLED
CANTO
Active & Passive Point Source
Completely designed in our R&D laboratories, the passive Canto series is also available with 70/100V line transformer for multiple applications in fixed installations, through a dedicated installation bracket for easy mounting and multi-angle adjustment capability and the 35mm top-hat stand socketwide range of dedicated accessories. Canto 8CA, 8C, 5CA and 5CT models are made of sturdy gas-injected polypropylene, while CANTO 3CT is made in ABS. The Canto series: vocal purity, crystal clear sound, pursuit of perfection and technical condensation aimed at satisfying multiple possibilities of high quality audio installations.
AVAILABLE NOW
www.fbt.it
Sound first
AUDAC HAS added its 8-inch VEXO108
Controlling spaces in more places
RMS power of 200W and a maximum power of 800W. The frequency response (±3dB) starts from 75Hz and goes up to 20kHz
and the sensitivity (1W/1m) reaches through to cabinets.
www.audac.eu
Hopping to the point
just 518mm x 190mm x 273mm – the HOPS7-Pro is a high-output, two-way, full-range unit featuring a 1.75-inch mid/ high ring-diaphragm neodymium driver
AIMING TO provide better audio coverage in more specialised environments, US audio manufacturer Biamp has unveiled two speakers that are designed to meet the needs of bigger spaces as well as the unique acoustic needs of aisles and concourses.
The CCA-80 is a constant coverage loudspeaker that Biamp says delivers an industry-first asymmetric, rectangular coverage footprint with a longer throw distance. Claiming to reduce the required loudspeaker count in large-scale deployments, the CCA-80 is designed to solve the acoustical challenges presented by long aisles and concourses found in spaces like warehouses, sports complexes, shopping malls, hotels and themed entertainment venues by minimising reverberation. It features full-range 100Hz–12kHz performance, and is available
larger R SERIES speakers. Use cases include short-throw sports field applications, stadium concourses, warehouses, gymnasiums and other highly reverberant spaces. The Community
R.15-3696
and dual 6.5-inch neodymium ultralow distortion cone drivers, with a high power handling of 1,000W (AES).
In line with its siblings, the HOPS7-Pro features CODA’s latest DAC (Dynamic Airflow Cooling) technology, said to dramatically improve heat dissipation, reducing power compression and increasing maximum achievable SPL to
In contrast to the standard HOPS range which has fixed directivity, all Pro models, including the HOPS7-Pro, come with instafit rotatable waveguides behind a quick release grille, the removal of which requires no tools. This allows the flexibility of adjusting directivity with 80° x 50° and 120° x 60° options in portrait or landscape orientation. The HOPS7-Pro shares the technologies and qualities of the N-Series, ensuring that combined systems of array and point source are easily partnered.
Weighing 9.2kg, the HOPS7-Pro comes with a range of hardware. Easy to mount on an M10 threaded speaker pole, the compact speaker is suitable for smaller venues and applications without compromising on power. The cabinet design adds further flexibility by enabling the unit to be used as a compact highoutput stage monitor.
www.codaaudio.com
CCA-80
transformer input. The company says its asymmetric coverage pattern delivers extended throw, better down-fill and a more uniform horizontal coverage. Additionally, a CCA-80D variant is available to accommodate various warehouse configurations and mounting heights, with back-to-back mirrored dual speakers that come pre-mounted on a bracket.
The company has also introduced the Community R.15-3696 loudspeaker, augmenting its Community R SERIES with a speaker designed for shorter throw distances than
R.15-3696 is a full-range, three-way, triaxial loudspeaker that prioritises high sensitivity and output in the critical voice intelligibility range, while still providing fuller bandwidth than basic paging horns. Its compact size makes it ideal for large installations, while its symmetric waveguide and adjustable U-bracket mount offer more flexible positioning and pattern control to cover large
In addition, Biamp has added to its Voltera family of networked amplified loudspeaker controllers. The Voltera D M series features an integrated TesiraFORTÉ DSP to combine amplification and processing into a single 1U unit for small-to-medium sized venues such as hotels, restaurants, retailers and houses of worship. Available in five models, the Voltera D M’s DSP capabilities ensure ample headroom for hosting full Tesira-based systems which Biamp says was previously unavailable in this segment. The Voltera D M requires fewer devices to connect and configure, and requires less cabling. Meanwhile, Tesira 4.9.0 is now available for download and provides added support for Voltera D Series amplified loudspeaker controllers and software blocks.
www.biamp.com
Mixer amplifier to get you in
THE CLOUD 46-120MK2 and 46-240 are four-zone, 2U rack-mountable audio mixer amplifiers designed for multi-zone
inputs with priority option, a utility output with mic and music gain control, remote music level and source selection and two
bars and clubs. Featuring 4x120W or 4x240W Class-D outputs per zone (4Ω/8Ω/70V/100V), the 46-120MK2 also boasts power sharing in 70V/100V modes. Both models provide limiters on each zone, six stereo line inputs, two microphone
One and Three, or all) and for Zone Two (either Zones Two and Four, or all). The units also feature aux outputs which are zone assignable as Zone One and Zone Two.
www.cloud.co.uk
Rider-ready with the SBX118F
ALTHOUGH DESIGNED to rig directly to its NTX Series, US loudspeaker designer EAW says the SBX118F single 18-inch powered subwoofer can be u sed t o e nhance any EAW full-range enclosure. Rounding out EAW’s NTX product range, the SBX118F is a high-
transition bar couples the sub and the KF210 in the same flown array using one flybar and one rigging point. The SB818 is powered and processed by the brand’s UXA4416 amplifier package that provides networked audio and control via EAW’s Resolution software.
output, mid-size subwoofer system. It uses a 4-inch voice coil and can be ground-stacked, flown by itself or arrayed with the NTX210L. A ground-stack adapter supports flexible, compact and safe ground-stack arrays of the SBX118F and NTX210L.
Like the NTX210L, each SBX118F includes patented OptiLogic technology which automatically detects adjacent SBX118F subwoofers and NTX210L line array enclosures, improving setup times and eliminating errors related to cabinet identification and array configuration. OptiLogic technology also provides automatic configuration of cardioid mode. Audio transport can be provided with Dante input and loop-through or analogue inputs. It is configurable either via its back panel interface or through EAW’s Resolution software. Developed to pair with the KF210 passive line array, EAW has also introduced the SB818 and SB828 subwoofers together with two UXA amplifier racks (UXR216 and UXR316). The SB818 single 18-inch flyable subwoofer is a mid-sized subwoofer system that can also be deployed as a flown standalone or arrayed with the KF210 speakers. Flexible options include a ground-stack adapter for supporting safe stack arrays, while a
The SB828 dual driver subwoofer has been designed around a low turbulence port based on fluid dynamic research. The US manufacturer claims that ultra-linear suspension behaviour and symmetric flux density result in exceptional impulse response and output. In addition to 16 M10 mounting points, the SB282’s compact height and depth promote the subwoofer for deployment in multiple room types. The UXR216 and UXR316 amplifier racks complete the EAW line of professional production products including the brand’s UXA4416 amplifier, a network switch and interfaces. Based on two and three UXA4416 amplifiers respectively, the UXR216 and UXR316 can physically connect racks into vertical and horizontal blocks. UXR racks come complete with rigging for suspending one or multiple racks from the optional flybar. Each UXR has a Luminex switch to support Dante audio transport and networking and a second switch can be added should redundancy be required. A custom AES and analogue input panel provides inputs and loop outputs for maximum flexibility.
www.eaw.com
AS THE first amplifiers to feature its patent-pending Power Share feature, the CLA Series from AtlasIED allows for controllable power levels to be accurately applied to different zones, regardless of the load impedance. An analogue multiselect knob on each amplifier allows for simplistic power share modifications; each pair of channels can share the power load in four pre-determined increments, and power-sharing is configurable between each pair of channels, regardless of the load on individual channels.
Designed for a range of commercial distributed systems and sound reinforcement lowimpedance applications such as restaurants, presentation rooms, classrooms, conference rooms and retail environments, the CLA Series consists of four models. The CLA804 and CLA404 are 800W and 400W four-channel amplifiers, while the CLA402 and CLA202 are 400W and 200W two-channel models.
Allowing integrators and end users to remotely monitor and manage installations, AtlasIED has also advanced its audio processing and control platform with the development of Atmosphere Cloud. Designed to enhance communication and improve the ambience in public spaces, Atmosphere combines digital audio processors, amplifiers, graphical user interfaces, programming software and controls for digital audio systems. Saving time and resources, the addition of Atmosphere Cloud expands upon the established flexibility offered by the existing platform.
Atmosphere Cloud offers a wide array of capabilities, including support for multiple user accounts, granular access controls, a device dashboard to monitor device health and incident
monitoring including alerts and notifications. With direct access to local configuration GUI, the platform can perform specific device actions such as rebooting and the application of firmware updates.
The US brand claims that the key differentiators of the Atmosphere system are ease of programming and user-friendliness of the interface. Atmosphere Cloud now allows users to configure sources, create zones,
program wall controllers, schedules, messages and user accounts, and customise every detail needed for each specific installation’s sound system.
www.atlasied.com
MARTIN AUDIO has expanded its iKON range with the iK41 four-channel
reduces the energy drawn from the mains supply and ensures the power reserves needed to deliver signature sound under arduous conditions.
BILLED AS providing “more of everything”, Lab Gruppen’s Lake LMX Series audio processors build on the success of the company’s LM Series. Consisting of two models, the LMX 48 and LMX 88 provide a combination of input/output signal flexibility and fail-safe operation. The LMX 48 provides 4x8 analogue I/O, 4x8 AES3 digital I/O, 8x8 Dante networked I/O and two interfaces of AES50. The more powerful LMX 88 provides an 8x8 analogue I/O and 8x8 AES3 digital I/O. Audio inputs
well as on connectors for AES3 digital and analogue.
Key features include scene presets for console switching, which allow audio professionals to adapt to different setups and environments, preprogramming signal flow and recalling presets
Software. Enhanced input/output capabilities provide easier integration into complex audio systems, and the LMX Series also has individual Asynchronous SRCs on every digital input to
have improved damping factors to control loudspeaker overshoot. The updated
intelligibility.
Unlike many wireless intercoms that rely on a fixed base station, the Digi-Wave ACM (Advanced Comms Module) designates a centralised unit
to specific user requirements, while dedicated contour modules can optimise loudspeaker performance across diverse applications. Both models provide 16 input routers which can be independently configured with up to four input failover priority settings. The output of any of these input routers can go to any of the modules via the Module Input Mixer, and can also be patched directly to any analogue, AES3, Dante/AES67 or AES50 output without using any module processing channels.
www.labgruppen.com
as a flexible access point. Ensuring seamless coverage, the full-duplex ACM supports up to four subgroups (or channels) and offers customisable subgroup naming as well as pre-programmed names. Key features include an All-Call function for simultaneous communication with subgroups and a Private Call function for direct messaging by a team member to a leader. Williams AV’s infrared product line now includes the SoundPlus T3. Offering the ability to control and monitor the device using Telnet commands via Ethernet, the infrared transmitter integrates with third-party room systems. Utilising the latest generation LEDs, the T3 reportedly provides 50% greater coverage than the existing T2. The compact footprint enhances its use for assistive listening and language interpretation in commercial spaces, including conference rooms, assisted living facilities, theatres, classrooms and courtrooms.
www.williamsav.com
Clear-Com ships Gen-IC Virtual Intercom
components and circuitry have been designed to help enhance the longevity of the products. However, the MKII range will keep the same fundamental philosophies as the original MP amps, such as durability and ease of maintenance. connectivity is achieved via two XLR and two 6.3mm jack inputs, along with
three speakON-compatible outputs. Both models are stable down to 2Ω and are said to feature “comprehensive” protection features.
www.wharfedalepro.com
CLEAR-COM HAS begun shipping its Gen-IC Virtual Intercom, a system it describes as a significant breakthrough in cloud-based communication technology and one that can seamlessly integrate with existing hardware ecosystems or function as a standalone software solution. Its scalability allows users to add virtual clients as needed, with the flexibility to integrate with Clear-Com’s hardware infrastructure over LAN, WAN and the internet.
Addressing latency challenges inherent in virtual intercom systems, Gen-IC can be deployed on selectable regional targets, ensuring minimal latency and seamless communication for mission-critical productions.
Gen-IC Virtual Intercom is user-friendly when paired virtual clients such as the Agent-IC mobile app and Station-IC virtual desktop client. Integration with hardware ecosystems can also be achieved through Clear-Com’s LQ Series of IP interfaces.
While being scalable and flexible are important, security is also critical. In this regard, Gen-IC and the Station-IC and Agent-IC companion apps support AES128 encryption to ensure reliable and secure communications between various endpoints.
Elsewhere, the manufacturer has also announced enhancements to its Arcadia
become an indispensable tool across multiple sectors, including broadcasting, live events and theatre. Offering new connectivity and expanded device support, features include I.V. Direct Interfacing, allowing effortless interfacing with LQ, Eclipse E-IPA and other Arcadia systems over LAN, WAN or the internet.
HelixNet HXII-DPL Powerline Device Support expands intercom capabilities with enhanced support for HelixNet devices. Additionally, the increased capacity for FreeSpeak II digital wireless system beltpacks and IP transceivers means that Arcadia now supports a significantly higher number of these devices, accommodating larger teams and more complex communication requirements with ease. Furthermore, Arcadia doubles the number of supported HelixNet user stations, making it an ideal solution for larger and more demanding communication setups.
www.clearcom.com
Digi-Loop 104
Digi-Wave ACM
Subs left on the bench Neutrik brings Dante to the end of the network
BOASTING THE largest Air Motion Transformer the company has ever developed, German monitor manufacturer EVE Audio says its SC3010 and SC3012 monitor upgrades enable them to serve as main monitors without needing an
additional subwoofer. Featuring a new generation of double-coated, lowresonance metal diaphragm woofers, the SC3010’s 10-inch woofer delivers a low frequency of 29Hz, while the SC3012’s 12-inch woofer drives it down to 25Hz. In addition, filter adjustments on the speaker’s amplifier section now deliver a total amplifier output power of 1,300W.
The SMART-knob, a trademark of all EVE Audio studio monitors, allows users to adjust volume and room parameters such as Low Shelf, Mid EQ and High Shelf filters, with settings precisely displayed by an LED ring. The silver centre module housing a 5-inch midrange driver and AMT RS6 tweeter can be rotated by 90°, allowing users to set up the speakers either horizontally or vertically.
www.eve-audio.com
NEUTRIK HAS introduced the NA-2 DLINE series of line I/O to Dante and Dante to line I/O interface boxes. The end-of-network devices provide breakout solutions for analogue and Dante signal paths and have been designed and specified for all manner of media production applications, including live sound, location media acquisition and outside broadcasting.
The series comprises three models. The NA-2O-DLINE and NA-2I-DLINE are respectively Dante to two-channel line output, and twochannel line input to Dante interfaces. The NA-2I20-DLINE is a simultaneous Dante to twochannel line output and two-channel line input to Dante device, enabling this tiny box to feed analogue audio signals into a Dante network while at the same time receiving a mix from another Dante source.
With a miniature form factor and rubber encased metal housing, the NA-2 DLINE series devices are said to be robust and able to withstand the more extreme demands of a range of live performance, media production and acquisition environments.
Rugged construction and adherence to standards allow these interface modules to be used in harsh climatic as well as electronic environmental conditions. Lockable chassis connectors are featured for both the line audio and network I/O connections.
Dante audio streams are provided at 44.1kHz, 48kHz, 88.2kHz and 96kHz sample rates, at 16-, 24- and 32-bit resolution, over 100 BASE-TX Ethernet. Network connection is via an
etherCON chassis with a SYS/SYNC status LED indicator ring. NA-2 DLINE devices are also AES67-compliant, supporting their use with other networks like Ravenna, Q-LAN and Livewire. All three models operate in conjunction with a Power over Ethernet (PoE) switch or injector.
www.neutrikgroup.com
line to microphone and the DC power input adopts USB-C connectivity to generic plug-top power supplies. Main features include mic/line switchable inputs on XLR or Phoenix connectors, independent 48V phantom power, variable input gain controls and network connections via a single etherCON Halo connector.
Waiting to Connect
LEA PROFESSIONAL has unveiled a line-up of Connect products, including the Connect Series Touch wall controller and Advanced DSP versions of its Connect Series amplifiers. The Connect Series Touch controller is a wall-mounted control panel designed to provide remote control of LEA amplifiers. Features include source selection, volume adjustments and the ability to mute by individual zone. Available in black or white versions, the controller is PoE-powered and features a colour touchscreen with a rotary knob.
version, and UDP control via a separate Dante or Ravenna/AES67 network connection. The front panel also includes 16 individual channel meters plus a single hi-res meter for setting individual channel level and a ¼-inch headphone socket for the monitoring of all input or output channels.
Windows remote app. When multiple units are employed, Dante/AES67 network connectivity is relied upon to simplify the installation and increase the reliability. With twin etherCON connectors supplied for the copper connections and SFP slots for fibre, the unit includes redundant PoE and a local 12V power option. The “P” in DARK8MAIP denotes Phoenix connectors
Having designed Vittoria as a Dante 32-channel unit, a Ravenna 1U unit is now available as Vittoria 64. With an increasing demand for a higher channel count, Vittoria 64 provides a 64x64 (@ 96kHz) network audio bridge with Dante or Ravenna modules. A choice of sample rates from 44.1kHz to 192kHz can be accommodated (32x32 @ 192kHz) and the two independent network interfaces are isolated from one another.
Comprising primary and redundant network connections on copper and SFP fibre, power is
Series 350W, 700W and 1,500W models with D-units providing Dante and AES67
www. leaprofessional.com
Making a connection
WP-BKT is designed for surface-mount installation, avoiding the need for a tabletop enclosure.
For use with the Velocity Control System, the Atlona AT-VTP-700VL is a 7-inch
DELIVERING A plug-and-play opportunity to demo the advantages of different guitar cables, the 5 in 1 Guitar Test Loom from Klotz AIS aims to help musicians find the specific guitar cable that complements their sound, or match a guitar to a certain amplifier. Featuring five cables that cover a spectrum from 65–115pF/m, the 4.5m guitar test loom features both KIK and PRO ARTIST cables, the FunkMaster high-end bass cable, the LaGrange and the EUpatented Titanium cable. All individual guitar cables are held in position by an outer nylon mesh tube and the cable harness is fixed in place with heat-shrink tubes, providing a splice length of 30cm on both ends.
The manufacturer has also expanded its product range with a series of BNC video patch panels for professional broadcast applications. Suitable for the transmission of 12G UHD/4K video signals according to SMPTE ST2082-1 standard, high-resolution 3G or 1.5G signals in addition to analogue video signals can also be transmitted via the VIP.UHD series.
VTM can also be mounted on a meeting table or lectern with an optional tabletop mounting kit. With Power over Ethernet (PoE), a single network connection can provide both data and power, and room maintenance. Finally, the AT-OME-CS31-SA-C supports switching between one USB-C input and two HDMI inputs to a single HDMI output. The third product in the company’s
Consisting of 20 or 24 fully insulated 75Ω Klotz BNC UHD/4K panel mount sockets, the black UHD video patch panels come in 10 different versions. Alternatively, they are available in a choice of four colours with insulated Damar & Hagen BNCpro connectors. The panel mount sockets are also known as BNC bulkhead adapters or back-to-back BNC socket. Like the BNCpro, the Klotz UHD BNC connector is fully compatible with all standard BNCs on the market for UHD/4K video applications. All connectors have been tested for compliance with electrical values up to 20GHz.
Designed to be robust, yet lightweight, the 1U torsion-resistant UHD video connection panels are made from powder-coated extruded
aluminium. A self-adhesive LSTR-500 labelling strip can be attached to the front, while a recess at the top edge of the panel promotes precise positioning and a clean appearance. Enabling strain relief and cable organisation, the preassembled, stainless steel tie bar at the rear can be removed when required.
König & Meyer’s premium microphone stand transmits analogue and digital signals thanks to its internal cabling with the Klotz OT1000 OmniTRANS cable. The high-quality AES/EBU cable is drawn in by hand at the Klotz factory in Vilchband/Wittighausen and is assembled with robust 3p XLR metal connectors by Klotz
Omega series, the AT-OME-CS31-SA-C was developed to support the growing desire for USB-C connectivity inside collaborative environments. The OME-CS31 switchers add special capabilities for education applications that ensure important lesson material and announcements can be heard clearly. This includes audio ducking which lowers programme audio levels when the instructor speaks into a microphone system connected to the balanced audio input. The digital signal processing capabilities also allow mixing a variety of audio sources to the amplifier, line and USB audio outputs as well as acoustic echo cancellation to automatically eliminate echo for remote USB audio. For USB routing, OME-CS31 models support switching between two host devices and include a four-port hub for connecting cameras, speakerphones, interactive displays or other peripherals. Automatic display control provides automated system operation over Ethernet, serial and CEC, or the switchers can be integrated into environments with an Atlona Velocity control system.
www.atlona.com
Easy transmission
DMX CABLES are becoming increasingly important in a variety of operational situations, such as the transmission of digital audio signals, the control of stage lights and the management of numerically controlled industrial machines. Tasker offers a wide range of products starting from very small cables such as the TSK800 which is suitable for small patches or the C800 and C801 which are designed for premade DMX cables.
The main product in this family is the TSK1038 which has a 2x0.35mm²
and Neutrik. The flexibly adjustable gooseneck enables ideal alignment of the microphone to the sound source. The connection between the gooseneck and the microphone stand is fixed precisely with the supplied sleeve over the XLR connectors. This sleeve, for which Klotz AIS has applied for utility model protection, firmly encloses the two XLR connectors, preventing loose contact during live operation. The PUSH lock on the XLR can be easily operated at any time and the gooseneck can be easily removed.
www.k-m.de/en
www.klotz-ais.com
aluminium screw connection including a stainless-steel strain relief mesh. Oil-repellent to standard oils, UVresistant and highly flexible even at low temperatures, it is also suitable for
The company says that while wellmatched for (semi)professional PA/sound systems and large sound reinforcement systems such as the L-series from L-Acoustics, an individual combination of the cores also makes it possible to run smaller sound systems. The SCELEPHANT SPM3215 can also be used as a control cable for machine and robot
www.sommercable.com
section, a double shielding made of aluminium foil and a tinned copper braid. The cable comes with different external sheaths such as PVC, PUR and LSZH, and is CPR Cca approved for fixed installation in public places where particular attention to fire resistance is required.
The C862 is a five-pole, highly shielded DMX cable with internal Kevlar traction elements that significantly improve resistance and make the cable suitable for installations that require suspension load via the cable. It is available with a PVC sheath for internal use and a PUR sheath for outdoor use.
A series of hybrid cables made with different combinations of DMX and power cables is also available, combined in a single soft PVC sheath, which is said to make them particularly suitable for the creation of professional cables. In particular, the C283 is a soft cable composed of a DMX pair and a 3x1.5mm² power supply. Customers can also choose from the C284 soft with double DMX and the C290 soft with increased power up to 3x2.5mm².
www.tasker.it
Craving Maven Wall to wall control
Prodigy series in a compact 1U platform. Designed for use in live sound, installation, remote production, studio recording and broadcast, Maven is fully compatible with the Prodigy.MP audio processor and supports a variety of audio network formats including Dante, AVB/Milan, Ravenna/AES67 and SoundGrid.
Compatible with both the Prodigy and the Maven platforms, DirectOut has also unveiled the USB.IO, the first DirectOut product
range from 44.1–192kHz. Usable in Class Compliant mode or with RME drivers, the module expands usability into any USB-C computer or handheld device. The USB.IO benefits from the inclusion of RME’s TotalMix FX software, which offers a range of mixing and routing options, and also extends DirectOut’s EARS technology into any DAW used on a connected computer.
www.directout.eu
AIMING TO simplify sound system setup and control, Bosch has expanded its Praesensa ecosystem with the introduction of the PRA-WCP wall control panel and the availability of v2.0 of the Praesensa Public Address and Voice Alarm (PA/VA) system software.
The PRA-WCP wall control panel is a compact, IP-networked panel with a 4.5cm colour TFT display and a single-knob rotary/push encoder to allow authorised personnel to adjust the volume of background music and select audio sources for specific zones. Systems designers can configure minimum and maximum volume settings according to the needs of each zone, while support for Unicode characters enables the display of
Super-sized network management
DESIGNED FOR professional AVoIP installations with high node counts and complex channel management, the Symetrix Server D100 is a digital signal processor for use in environments like campuses, transportation hubs, performing arts centres and museums. It ships with 256x256 Dante channels, 64 AEC channels, 32 media playback channels, eight media record channels and flexible open architecture processing to tie it all together. On-demand software upgrades
zone names and music channels in various languages. Boasting Power over Ethernet (PoE) capability, the PRA-WCP comes with interchangeable front covers in white and black to integrate into a variety of room aesthetics. Bosch says in larger installations or areas requiring multiple control points, several PRA-WCP panels can operate within a single zone while maintaining synchronised control settings across each of the displays. Meanwhile, the Praesensa software v2.0 is available for free download from the Bosch
384x384, AEC channel count to 96 and media playback to 128 channels.
The Server D100 platform includes a proprietary operating system, a performance audio engine and new AEC algorithms. Meanwhile, an xIO USB audio AVoIP endpoint for the processing of USB audio
simplify integration of the Server D100 into conferencing environments and supporting all applications that utilise desktops, laptops or attendee-supplied devices (BYOD).
The xIO USB endpoint features front and rear USB-C connectors, two channels of
Waves roll out SuperRack LiveBox MADI
DEDICATED MADI-READY units of SuperRack LiveBox native live processing units are available from Waves. Launched earlier in 2024, the SuperRack LiveBox enables access to studiograde VST3 plugins, from Waves and other producers, running natively in a simple turnkey solution. Supporting 64 MADI Coaxial and 64 MADI Optical channels, the latest SuperRack LiveBox MADI features low latency and PSU redundancy in a 2U chassis. The latest addition to the SuperRack series includes the SuperRack Performer audio plugin host, the WavesLive bundle with over 50 live mixing plugins and MADI connectivity.
By simply connecting LiveBox to a console, LiveBox’s combination of hardware and software is optimised to run plugins efficiently and reliably. Promoting an ease of setup in any live or broadcast setting, the SuperRack LiveBox also incorporates Dante connectivity. Optional dual power supply provides power redundancy for extra reliability in any setting.
The Waves SuperRack Performer plugin host included in SuperRack LiveBox is the
same plugin control software used by live sound engineers. Including all the features of SuperRack Performer, SuperRack LiveBox offers control of VST3 plugins.
An updated version of SuperRack Performer in both the LiveBox, and the standalone software, includes Waves’ ProLink integration. Designed to integrate with DiGiCo and Lawo systems, the
transmit/receive over USB and two channels of transmit and receive for AVoIP. It can use PoE or DC power connections that enable charging of user devices like laptops and phones. Crucially, the device also includes HID synchronisation to maximise integration with Symetrix control devices. It fits in a ¼-rack space and can be surface-mounted in either a vertical or horizontal orientation.
www.symetrix.co
redesigned protocol promotes a faster console integration of the SuperRack Performer system. This includes session and snapshot integration, plugin and tempo control.
The company has also announced improvements in its Cloud MX Audio Mixer. By addressing the evolving needs of broadcasters and media networks, these upgrades are said to reduce time-to-deployment and complexity, particularly benefiting IT DevOps teams tasked with managing these environments.
An enhanced version of StudioVerse has been released. The update – part of the V15 update of the Waves plugin catalogue – adds instrument chains to StudioVerse via the new plugin StudioVerse Instruments, allowing users to play, browse and audition thousands of custom-designed instrument presets from the StudioVerse library.
Finally, Waves V15 has been designed to deliver more power to all users’ current collection of plugins, and includes MIDI mapping, a parameter locking feature, additional features in specific plugins and recently released plugins added to major bundles.
Media encryption added to Dante
AUDINATE HAS announced the addition of Dante Media Encryption to the evolving security features and benefits of the Dante platform. Dante Media Encryption protects the content of media flows using strong AES256 encryption, safeguarding media from interception or unauthorised access.
Designed with security at its core, Dante offers device, network and media-level protections for pro AV manufacturers to integrate into their products and system solutions. The accelerating convergence of AV equipment and IT network technologies has increased the need for integrators and manufacturers to provide network protection for system users with security-conscious designs and adherence to emerging IoT (Internet-of-Things) network regulations.
Dante systems and endpoints implement a multilayer security architecture that provides threat and vulnerability protection to the network and connected devices. The multilayer security architecture provides a solid foundation for manufacturers and systems integrators to follow
Spatial
best practices when configuring Dante and their products to meet new regulations. The addition of Dante Media Encryption enables pro AV equipment manufacturers to upgrade qualified Dante firmware and software in new or existing
designs. Dante Media Encryption capabilities are fully compatible between updated devices in managed Dante networks.
Aiming to extend the reach of Dante AV across a wider range of products, and without incurring
additional licensing costs, Audinate’s Dante Ready licensing allows original equipment manufacturer (OEM) products to ship products with Dante installed but not activated. In addition, Dante Ready also brings Dante audio and video channels to cameras, encoders and decoders already shipping and installed in the field with a firmware update. Dante Ready allows customers to incrementally invest in their system as it grows with more Dante channels and features, expanding the connectivity and interoperability of Dante AV-over-IP for both OEM partners and end customers, even after the initial purchase.
Dante Ready channels are activated using the Dante Activator feature in the Dante Controller application for Dante audio and video subscription management. In addition to Dante AV-A and Dante AV-H, Dante Ready licensing is available for Dante Embedded Platform, Dante Application Library and Dante IP core audio solutions.
www.audinate.com
reverb for TiMax Up to the challenge
SPATIALISED AUDIO and showcontrol
specialist TiMax has introduced two product integrations for its SoundHub and TrackerD4 products. Available on all existing FPGA-equipped
Reverb engines
adjustment of desired reverb styles under highpressure tech rehearsal conditions. TiMax TrackerSP has also been added to the TrackerD4 and is a software add-on for
TiMax SoundHub spatial processors, the company has added four individual one-in/ 16-out reverb engines to give sound designers full control of all parameters, as well as access to an advanced 3D room reverb-builder application. Aux sends to each reverb engine can be driven by TiMax TrackerD4 stagetracking so that performers’ mics or effects can be crossfaded between different reverb effects, or similar presets spatially configured to be consistent with their localisation onstage. A parameter “morphing” function facilitates the selection and
integrated lighting and media control. Developed in collaboration with Stage Precision, TiMax TrackerSP enables TrackerD4 to intelligently direct and focus groups of moving-head light fixtures using Art-Net and sACN networked DMX. TiMax TrackerSP operates seamlessly for synchronised groups of fixtures across multiple tracked objects and opens the door for further Stage Precision integration with videomapping and camera control, as well as Unreal and Notch control.
www.timaxspatial.com
ALCONS AUDIO has launched its passivefiltered WR20 stage monitor sound system. Through the implementation of the Alcons RBN702 pro-ribbon transducer, the WR20 offers a non-compressed, identical tonal balance at any SPL, which, according to the company, offers up to 90% less distortion and reduced listening fatigue.
The system’s impulse response, compression-less principle and flat frequency response reportedly offer a 3–6dB improved gain-before-feedback over traditional systems (even with the most sensitive microphones) without steep tonal corrections, which leaves the original signal unchanged. At the same time, it also caters to the high intelligibility required in acoustically challenging applications.
The pro-ribbon’s peak power handling of 1,500W results in a 1:15 RMS-to-peak dynamic range which, according to Alcons, gives virtually unlimited headroom.
The multiple-patented 45° x 60° (HxV) dispersion of the RBN702 offers a controlled and consistent projection up to the highest frequencies. Mounted in a symmetrical tightpack configuration with the two woofers, the projection control is extended down to the lower frequencies, while maintaining a relatively small footprint.
JBL Professional adds HDMI and Bluetooth to Pro SoundBar
BY ADDING HDMI and Bluetooth digital source inputs, JBL Professional has expanded its Pro SoundBar line-up with the release of the PSB-2. Engineered to deliver focused audio while minimising sound transfer to adjacent rooms, and specifically tuned for human speech, the PSB-2 integrates a front-facing speaker that outputs enhanced fidelity out of television speakers. The manufacturer claims
improved clarity at low volume levels, while a two-position volume limiting switch provides further control. HDMI and Bluetooth digital inputs together with a single source control button on top of the speaker simplify switching between sources. The PSB-2 supports volume control through CEC from the TV or directly from the Bluetooth device. Automatic Bluetooth pairing management
The two Alcons purpose-designed 10-inch woofers feature Active Coil technology for low-distortion LF reproduction. The woofers are loaded by VelocityVent ports for optimised breathing while extending the usable LF response down to 44Hz.
An integral part of the Alcons ecosystem, the WR20 is driven by the ALC amplified loudspeaker controller. Through the integrated VHIR processing, 192kHz AES3 digital inputs and audiophile amplifier stages, the ALC makes the WR20 deliver a natural sound quality with maximum output and operation reliability.
www.alconsaudio.com
of each PSB-2 enhances the management of multiple PSB-2s. Integrated into the PSB-2’s durable exterior, a lockout plate concealing tampering. www.jblpro.com
Dante Media Encryption
DESIGNED TO expand connectivity and control options for a broad range of applications, Q-SYS has added the QIO-FLEX4A, QIO-LVR4 network I/O expanders and PSTSCG3 touchscreen paging station kit to its product portfolio.
Comprising four Flex audio channels, GPIO and RS-232 serial ports, and two amplifier outputs for compact loudspeakers, the QIO-FLEX4A features audio and control I/O in a consolidated network peripheral. The QIO-LVR4 offers four contact closure relays to enable control integration of third-party lighting systems, motorised shades and other parameters. The PS-TSCG3 touchscreen paging station kit pairs with the TSC-G3 Series touchscreen and the Q-SYS Control engine to promote live paging, pre-recorded message playback and BGM management. The paging station is available as either a desktop model (PS-TSCG3-G) with a gooseneck microphone and push-to-talk button, or a wall-mount model (PS-TSCG3-H) with a handheld microphone and push-to-talk button.
AUDIO-TECHNICA HAS launched its first USB audio mixer designed for livestreaming. The AT-UMX3 is a compact desktop mixer with an all-in-one interface equipped with one Neutrik XLR/¼-inch combo microphone input, two line inputs for guitar and keyboard, and a headphone jack for monitoring. Its loopback function allows users to mix mic and instrument audio with sound from their computer into
Forming an intrinsic part of the Q-SYS Platform, Q-SYS Reflect’s cloud-based monitoring and management capabilities have received new features and a pricing structure for easier deployment and scalability. By adding comprehensive monitoring into a fullstack AV platform, the power of AI, data and a cloud-manageable architecture of Q-SYS can be harnessed. Performance features such as real-time health monitoring – including data for all connected Q-SYS products and third-party devices – are available to every connected Q-SYS system. It also offers customised realtime alerts with email and messaging integration to ensure the right notifications.
Expanding on the standard features of Q-SYS Reflect by providing optional enterprise-level remote system management and control capabilities, Q-SYS Reflect Plus allows administrators to directly assist systems from
a single stream, making it possible to play background music while streaming or to stream game sounds and voices at the same time.
Features include a microphone mute function as well as a microphone monitor mute function to mute the mic audio only in the mix sent to connected headphones, and the mixer is also equipped with 48V phantom power. Its A/D converter provides resolution
any web browser. In addition, it offers the ability to configure and adjust system settings remotely, deploy firmware updates, manage files and connect Q-SYS system data to IT management platforms via the Q-SYS Reflect API. Simplifying the ability to expand the system when necessary, the pricing structure for Q-SYS Reflect Plus has been reengineered on the number of Q-SYS systems, rather than connected devices.
Enhancing the visibility of participants in the room, Q-SYS VisionSuite is now certified for
Microsoft Teams. Providing a more natural viewing experience for remote attendees and enabling teams to feel connected and engaged, Q-SYS VisionSuite features presenter tracking, driven by this newly certified AI-based accelerator appliance, intelligent audio-based automatic camera switching, flexible camera options and vision-driven room automation. In brief, Q-SYS Designer Software v9.10.2 and v9.4.7 LTS are now available.
www.qsys.com
up to 24-bit/192kHz. The AT-UMX3 provides plug-and-play connectivity to a computer or mobile device with no special driver installation required, and is compatible not only with Windows and macOS, but also with iOS, iPadOS and Android OS. Audio-Technica has also verified compatibility with major livestreaming apps and online chat apps.
www.audio-technica.com
REPLACING THE MXE5 predecessor, Dynacord has released the MXE5-64 Matrix Mix Engine featuring 64x64 Dante audio channels. In addition to the standard 12 analogue mic/line inputs and eight outputs, the MXE5-64 now boasts a total channel count of 76 inputs and 72 outputs.
Building on the previous open DSP architecture for customisable configuration, the v1.4 version of the Sonicue Sound System software introduces advanced DSP blocks and includes efficient scene handling. The new DSP blocks consist of an Auto Mixer with gain sharing, Ambient Noise Compensation (ANC) that dynamically adjusts sound system output in response to ambient noise levels and Automatic Gain Control (AGC) for balancing loudness variations across different input signals.
Additionally, Sonicue v1.4 enhances the TaskEngine by incorporating scene handling by adopting a drag-and-drop functionality from the software’s control flyouts for scene creation. The integration and control of third-party devices are improved by a web viewer option, which is available for creating control panels in Sonicue. This feature allows for the integration of external websites of third-party devices or software applications via the Sonicue Control panel designer to be run as standalone apps or the TPC-1 touchpanel controller.
AMETEK SURGEX’S Vertical Series+ smart power distribution unit (PDU) pairs the manufacturer’s power protection and conditioning technology with the cloudconnected power quality analytics, fleet management and risk prevention capabilities found within the SurgeX Connect platform. The solution has been designed to allow partners to improve their service offering and save time and money by diagnosing power quality issues and monitoring installations remotely, reducing the need for expensive service call outs.
The series comes in eight, 16 and 24 outlet configurations to offer integrators a versatile and space-efficient PDU solution that can be installed with or alongside rack-mounted
equipment. It features analytical software and sequencing and monitoring capabilities, including remote power down and reboot, sequencing, power cycling, advanced scheduling and AutoPing. The Vertical Series+ smart PDU is also compatible with a range of popular control systems for integration in professional applications.
As an addition to the SurgeX Protect + Connect line, the Vertical Series+ is compatible with SurgeX Connect, allowing integrators to monitor and manage an entire fleet of SurgeX Protect + Connect devices in a single, centralised dashboard.
PSI eliminates room modes
PSI AUDIO has launched the AVAA C214 active bass trap, expanding its AVAA (Active Velocity Acoustic Absorber) family with a digitally controlled variant of the original C20. The C214 is more compact and can be adjusted in its sensitivity through a remote app. It can be placed on the floor or mounted to walls or ceilings, depending on where it operates optimally. The technology eliminates room modes, acting like a black hole that hoovers up resonant modal frequencies before they are bounced back. As it does not use anti-sound, the acoustic impression is changed for the better in the entire room, not just a small sweet spot.
These individual resonances of a room are one of the biggest challenges in acoustic design. While passive absorbers require a
The perfect storm
WYRESTORM HAS introduced its MX-0808-SCL HDMI matrix switcher which is designed for a variety of applications including corporate training rooms, hotel meeting spaces and academic classrooms. The device features an integrated 4K60 scaler on each HDMI output, scaling from 480p to 2160p. It
seamlessly with WyreStorm products. Using a single USB-C connection to power the dongle and transmit 4K30 video, its auto-installed app enables 4K wireless video and USB HID support for cameras and microphones, making it suitable for conference rooms, boardrooms and educational spaces. The APO-DG2 dongle also provides wireless
lot of material or resonant absorbers need to be tuned to a specific frequency, the AVAA eliminates resonant frequencies between 15Hz and 160Hz reportedly as effectively as a passive absorber 45 times its size. It does not affect the direct sound from the speakers, as room correction devices do, and it does not work with anti-sound.
For the first time in the company’s history, the C214 features a DSP chip, overcoming the challenge of reaching a latency below 0.2ms. The digital technology makes the AVAA products more flexible by virtue of its app that allows users to adjust the device’s sensitivity, plus it can be switched on and off either individually or in groups.
www.psiaudio.swiss
screen and has four analogue audio outputs to enhance connectivity for audio distribution and integration with external audio systems. Features like automatic video input and output detection and built-in scalers on each output enable the matrix to deliver high-quality video tailored to the resolution of each connected display. With support for de-embedded audio from HDMI inputs to balanced output ports, independent audio switching enables precise audio routing independent of video signals. This flexibility allows for the creation of customised audio experiences tailored to the unique needs of the space.
Turning any USB-C computer into a wireless casting device, the APO-DG2 wireless casting dongle supercedes the APO-DG1 and pairs
Feeling more secure with updates
AIMING TO help protect data and conversations, Shure has announced a reinforced commitment to security with a system-wide update for all its Microflex Ecosystem devices and compatible software applications.
Designer 6.1 delivers improved foundational security technology, enhanced authentication, encrypted audio and customisable device configurations across the Microflex Ecosystem portfolio. Users now have the power to fine-tune and manage devices to match specific room requirements and limit service access to only what they need. Meanwhile, IntelliMix Room 6.1 Audio Processing Software now features Stereo Acoustic Echo Cancellation (AEC) to create immersive meeting experiences by detecting and eliminating echoes. Stereo AEC provides left and right loudspeaker support, catering to the positional and spatial audio needs of attendees in the room and allowing for future enhancements in meeting experiences. Other Microflex Ecosystem security updates include 802.1x, a network access control protocol requiring proof of identity and authorisation; Service Control, which enables users to customise network behaviour by enabling or disabling specific protocols and functions; Secure Boot/Package Signing which protects against the loading and execution of modified or rogue software on a device;
Secure Storage and Secure Remote Password functionality; and an Encrypted Audio Network, which is an AES-based audio encryption to safeguard audio sent over the network from eavesdropping or interception.
Shure has also upgraded its WL Series with the low-profile WL18Xm professional lavalier condenser microphones – including the cardioid WL185m, supercardioid WL184m and omnidirectional WL183m – for use with wireless
bodypack transmitters. Designed for speech and presentation applications in corporate, education and worship environments, the product line has been designed with lower self-noise, improved RF immunity, higher dynamic range and improved max SPL. The WL18Xm range is 8mm shorter than its predecessor, making it lighter, lower profile and easier to use. For flexible placement on speakers, presenters and performers, each lavalier is available in either
HDMI outputs and seamless switching, making it ideal for modern meeting spaces. It enables users to wirelessly screenshare from their laptop, phone or tablet by using Apple Airplay or Miracast. Up to four wireless devices can be connected at the same time and shown on connected screens in a picturein-picture layout.
Dual switching outputs can promote connectivity of multi-screen conference rooms, while its HDMI outputs can be matrixed independently or mirror content. Its built-in USB 3.0 hub allows local connection of peripheral devices such as a conference speakerphone.
ADDING WHAT it says are the “most commonly requested features from our fantastic digital community forums”, Allen & Heath’s CQ Firmware V1.2 update introduces a host of features. At the top of the list is the addition of four DCAs, each capable of controlling the level of any combination of inputs, outputs and FX for single-fader control of multiple channels. The addition of four Mute Groups enables operators to mute and unmute multiple channels at once via a single button, while a configurable Custom Layer allows users to set up the four channel tabs with any combination of channel strips for a personalised mixing experience and accelerated workflow. Additional features include a two-band EQ on FX, remote MIDI control and custom colours for outputs in the GUI.
The manufacturer has also announced integrated creative FX and workflow enhancements to its mixing platform with the release of dLive firmware V2.0 and the new RackUltraFX card. At the heart of the workflow improvements is an overhauled Cue List System, aimed at simplifying cue list creation with manual and auto renumbering options, as well as custom MIDI recall, designed for fast-moving performances, heavily automated shows and theatre applications.
and dynamic processing – to any dLive system without consuming inputs, busses or FX slots. Additionally, the update includes features such as studio-quality pitch correction, shifting and gridding which can all be achieved on the console, without the need for external hardware or third-party software. Vocal Tuner is designed for natural sound pitch correction, Vocal Gridder produces faster, less natural-sounding pitch correction and Vocal Shifter alters vocals with formant and pitch shifting for doubling, widening and unreal robotic and ageing effects. Three harmonisers have been added for live vocal processing. Quad Voice Harmoniser generates up to four voices of natural-sounding vocal harmony. Dual Voice Auto Key Harmoniser adds up to two voices of harmony with AutoKey mode which can determine the key of the performance in real-time. MIDI Harmoniser creates harmonies based on an external MIDI input.
Holoplot has a new Plan
THE LATEST version of its Plan 2.0 sound system design software has been unveiled by German manufacturer Holoplot. The release introduces a cornerstone of the company’s second-generation software capabilities, kicked off by an upgrade to its operating system to OS2.0 earlier in the year. While OS2.0 enhances the system’s core technology, Plan 2.0 builds on those enhancements with a new user interface and workflow improvements that are said to make designing and simulating
conference with multiple zones, all with a single button click.
With the Beam Library, users can now generate an unlimited number of beams, all manageable through the new library view. Creating multiple versions of a beam simplifies beam management and removes limitations on creativity. All beams are optimised directly inside the software, making Plan an integral part of the Holoplot workflow. Lastly, the integration of configuration and simulation into a single 3D view port with SPL heat
entire beam layout of the venue, transforming the system from live performance to cinema or from single-language conference to multilanguage
Two new reverbs include Spaces Reverb Designer, an algorithmic reverb dedicated to recreating physical spaces with realism, as well as Plate Reverb Designer which is dedicated to replicating the characterful build-up and tail of a plate reverb, with the choice of several plate materials.
Completing the collection are two distortion effects. Saturator delivers five analogue
Powered by the RackUltra FX card, the RackUltra FX collection brings together 10 algorithms, with benefits including low-latency integration and no licensing. Fitted as standard to all new MixRacks and available as an upgrade for existing MixRacks, the card adds eight RackUltra FX engines – including dedicated stereo send and return channels plus PEQ
distribution and clarity.
www.holoplot.com
K-array launches K-CLOUD
ITALIAN MANUFACTURER K-array has added to its growing suite of software products with K-CLOUD. Expanding on the brand’s K-CONTROL platform, K-CLOUD allows for remote control, monitoring and management of K-array’s Kommander amplifiers from anywhere in the world, giving integrators control of the volumes, presets and matrices.
now offer their clients the system control tool on Apple devices.
saturation models, covering everything from smooth and subtle tape drive to germanium and valve crunch. Amp+Cab Distortion models the harmonically complex characteristics of guitar and bass amplifiers and emulates various classic speaker cabinets.
www.allen-heath.com
Alongside the control capabilities, K-CLOUD customers can also use the platform to monitor their systems and will receive alerts in case of system errors, while viewing signal presence meters can also be carried out remotely. K-CLOUD is also compatible with other leading control systems from manufacturers such as Kramer, Crestron and Crestron Home, AMX, Control 4 and Q-SYS.
Already available on the Google Play store, the manufacturer has also announced the expansion of K-CONTROL to iOS, meaning integrators can
In other news, the Kayman-KY102 has now been implemented with Electronic Beam Steering (EBS). Thanks to EBS, each of the eight woofers in the KaymanKY102-EBS can be independently processed through FIR filters. This allows for dynamic control and manipulation of the sound beam, directing it precisely to the desired listening area. K-array believes that EBS provides a level of accuracy and flexibility that is crucial in adapting the system to diverse environments and applications, in particular in environments where the risk of sound leaks or dispersion is high, such as reflective halls where traditional speaker tilting is restricted. The Kayman-KY102EBS has a dedicated eight-channel amplifier: the Kommander-KA-18 with FIR-EBS firmware implementation onboard.
www.k-array.com
V10 delivers 32
WITH FEATURES including 32-bit float recording, streamlined functionality and more flexible audio routing options, Sound Devices’ free v10.0 firmware update for its 8-Series mixer-recorder incorporates a variety of userdriven requests.
With the aim of eliminating clipping irrespective of gain settings, Sound Devices says the ability to record ISO tracks in 32-bit floating point is useful when recording audio sources that
include a Daylight mode which includes a brighter LCD colour scheme to make it easier to see information and navigate menus, while Record folders can now be renamed directly from the 8-Series Record Folder Options menu. Users also have the ability to choose whether playback audio goes to all outputs or just headphones, and the SD-Remote companion app has a Routing Matrix tab with an overview of all input, channel, bus and output routing on a
DESIGNED TO simplify the configuration, management and monitoring of MilanAVB networks, d&b audiotechnik and L-Acoustics have launched the brandagnostic software platform Milan Manager. Immediately available for download, the free-to-use software aims to promote the universal acceptance of the stable and open Milan-AVB networking technology.
The clean, tab-based interface creates efficient access to all essential functions while delivering clear, real-time network status reporting. Milan Manager automatically discovers units and allows users to name them, set sample rates and manage media
More outputs, more personalisation
WITH THE addition of 16 free outputs to its L-ISA Studio, French sound specialist L-Acoustics has unveiled its v3.2 update to its L-ISA immersive production platform. The additional outputs aim to enable more immersive monitoring setups at a lower cost. The company says this will be beneficial not only in theatrical environments where L-ISA v3.2 enables immersive playback opportunities for plays and musicals, but also in education where immersive audio is often taught in theory but difficult to implement in a cost-efficient manner.
L-ISA v3.2 also delivers integration of Mixhalo’s AI-powered services with the L-ISA Processor II. Activated via a subscription model and with usagebased pricing, Mixhalo is an on-device, real-time streaming platform for live events. It allows event
clocks. Channels can be mapped from talker devices to output streams, connecting them to listener devices. With constant access to updates on network health, issues can be proactively addressed and optimal performance maintained.
Through this collaboration, d&b audiotechnik and L-Acoustics underscore their commitment to promoting broader acceptance of MilanAVB as the industry takes a significant first step towards seamless Milan-AVB integration. Both companies are currently developing further features for Milan Manager.
www.dbaudio.com
www.l-acoustics.com
Streamlining sports for social media
BOASTING THE ability to crop video to various aspect ratios from a single user interface, Vizrt says its Viz Libero 8.3 update is a first for sports analysis. The highlight enhancement tool now enables users to create one project and publish multiple versions to other platforms during live games or post-match. Operators only need to select the preferred aspect ratio and add analysis, and export clips in a variety common aspect ratios for different publishing platforms. The Viz Libero social media crop tool is also preconfigured to track players to speed up analysis for social media. Operators can select the aspect ratio, click on the player and the software will automatically track and crop.
The feature enables broadcasters and sports leagues to extend their sports rights and engage new audiences using shorter snappier clips via social platforms. Viz Libero is deployable in the cloud with a flexible licensing structure which means customers can use it across broadcast teams in a traditional manner before handing
Described as a new native NDI Bridge multichannel video conversion tool, Vizrt has also launched Viz Connect Tetra, a compact live production workstation that enables multichannel 4K video and audio connectivity with a simple network connection, anywhere in the world. The solution has been launched to help meet the everchanging demands of multi-camera, on-location, live productions and offers four flexible channels supporting up to 4K. Tetra’s I/O channels can be used up to 12G NDI to SDI, 12G-SDI to NDI or even NDI to NDI – at home in a server room
rack as it is on a desk or on location. Audio flexibility is said to be a standout feature of the platform, with support for NDI, SDI, ASIO and WDM virtual SoundCards. For the very first time in a Vizrt product, each of the four I/O channels support 16x16 audio routing for patching on the go – making it easier to respond to live production requirements.
organisers to create personalised experiences that visitors or audiences can access on their own device from anywhere within the venue. Features include Mixhalo Translate, which provides access to live, simultaneous content in dozens of languages, while Mixhalo Live gives the ability to stream up to 16 channels of personalised immersive content directly to attendees’ smartphones. Mixhalo Moments enables users to record videos with professional quality audio from Mixhalo for their social stream. Other updates to L-ISA v3.2 include improvements to the Room Engine, additional features and refinements to the Snapshot Engine, as well as improvements to the L-ISA audio bridge for Windows.
www.l-acoustics.com
Featuring access to NDI Bridge join-mode in the device’s user interface, the converter can send and receive NDI for remote production anywhere in the world, enabling capabilities with cloud and remote productions without the need for additional hardware.
www.vizrt.com
Viz Libero 8.3
More functionality with V3.5
BROMPTON TECHNOLOGY has unveiled a V3.5 software update to its Tessera LED processor that introduces features like Frame Store, Hidden Markers and Dark Time Insertion. Frame Store adds the capability to store and recall 24 bitmaps which can either be captured from a live video source or uploaded directly to the processor. The feature is integrated into Tessera’s existing Test Pattern function and enables users to access significantly higher-quality test patterns, complete with alpha channels to be used as overlays.
Hidden Marker functionality allows markers to be displayed for a fraction of the frame period, which means users can send any image they want and use Brompton’s patented ShutterSync
function to display it only when the shutter is closed. Since the image is now stored within the panels and not generated by the LED processor, it does not impact the processor’s network capacity. Also using Brompton’s ShutterSync technology, Dark Time Insertion aims to deliver benefits for viewers by allowing users to specify Dark Time within the frame period, reducing motion blur and enhancing the viewer experience in applications such as simulators or eGaming. It can be defined in milliseconds or as a percentage of the frame period.
Following successful integration with Mo-Sys’s camera tracking system, V3.5 also offers its digital tracking markers functionality with stYpe’s RedSpy tracking system. Brompton
PIXERA four sees double
AV STUMPFL has unveiled what it says is its most powerful media server hardware to date for the PIEXERA four, which is now optionally equipped with NVIDIA’s Ada GPU architecture. The Ada upgrade enhances PIXERA four’s efficiency by allowing it to tackle much more demanding workloads. With 48GB of VRAM and a single-precision performance of up to 91.1 TFLOPS, the new Ada card brings creative projects to life with double the rendering capability.
users can also now choose Custom Markers within the same interface, which can be uploaded remotely via a USB key or through the API. Finally, an Enable Brightness Limit feature allows users to set a maximum brightness limit in Global Colour that is either equal to, or less
than, the maximum panel brightness. Brompton says this becomes particularly valuable when granting brightness control through the API or remote access to the Tessera LED processor.
www.bromptontech.com
Whether working on 3D scenes or viewing 2D playback, the Ada upgrade allows PIXERA four users to harness the performance of the world’s most powerful graphics cards. Alongside this update, AV Stumpfl has also announced a new option for its hardware fleet to support the SMPTE ST 2110 standard for media over IP, which will be released in the coming months.
www.avstumpfl.com
Setting the new standard for image processing
With the addition of the powerhouse Aquilon RS6 and the ability to link several image processors to further scale up their performance, LivePremier systems have become the industry’s most powerful solutions for safely controlling the world’s largest installations and events. www.analogway.com info@analogway.com
Five live PRODUCTS
US-BASED LED specialist Absen has announced the debut of five display products as part of its AbsenLive brand catering to the live event and staging industry.
With pixel pitches ranging from 1.5–5.2mm, the Pixel Reality RGB W Series extends Absen’s Pixel Reality Series of LED walls for virtual production. All the necessary virtual production features – such as frame multiplication, frame remapping and high frame rate content – are supported.
Meanwhile, designed specifically for rental and staging environments, the Jupiter Pro Series is an ultra-lightweight, high-transparency display boasting up to 4,500 nits high brightness, a 10,000:1 ultra-high contrast ratio and features like hanging installation and compatibility with building ceilings of
Barco
virtual production studios. Also unveiled is the Jupiter V2 Series which features a composite
structural design that enhances strength and reduces weight, introduces an L-shaped
display with flexible connections and has a transparency rate of 35%.
Designed to complement Absen’s NT/PL V10/ PL V2 series, the sleek, curved aesthetics of Absen’s Flex Series allows for large-angle concave or convex shapes as well as cylindrical or 90° arc shapes. Finally, the company’s Saturn (SA) Series delivers a brightness of up to 1,500 nits, 16-bit grayscale, a 1:8 scan ratio and a 7,680Hz refresh rate. Designed for high-end product launches, public and corporate events, its composite design means panels are a lightweight 19kg/m² while maintaining robust durability. The SA Series is capable of being mounted up to 10m for hanging installations and up to 5m for stacking installations.
www.usabsen.com
FOLLOWING THE introduction of the TruePix indoor LED videowall range in 2022, Barco has expanded the portfolio with the TP-I family. The 16:9 tiles combine a unique mounting technology along with the Infinipix Gen2 image processing system. With pixel pitches ranging from 0.9–1.9mm, the LEDs are designed for faster and more accurate installation, promote colour accuracy under
a standard and mid-brightness E-range, the TP-I range adds 1.2mm and 0.9mm products in respective TAA-compliant versions. Outputting high brightness levels exceeding 1,000 nits, TP-I has been designed to deliver captivating visuals in challenging lighting conditions. With the inclusion of the Infinipix Gen2 processor, performance at very high or severely dimmed brightness is reportedly assured. With the inclusion of common cathode and flip-chip technology, the manufacturer claims that the TruePix TP-I has reduced the power consumption by more than 45%.
ClickShare’s latest concept feature with smart camera and audio switching combines the meeting room camera with the integrated laptop cameras of in-room
participants. Depending on the dynamics of the in-room conversation, the AI-powered capability switches between the room view and the close-up views of the speakers. The features included in the latest Smart Meeting Flows provide a more inclusive meeting experience for local participants. In addition, PresentSense is an ultrasound proximity detection for laptop meeting room connections, while HostFlow automatically guides participants at the start of a video
WITH THE VDS Complete, Leyard has developed an all-in-one LED video solution based on its latest LED product using MicroLED Chip-on-Board (COB) technology. Suitable for a variety of applications, including board rooms, meeting rooms and public areas, the simplified solution comes in predefined packages including the LED cabinets, controller, mounting solution, trim, processor, cables and spares. Five sizes are available –108-, 136-, 163-, 196- and 217-inch – in 16:9 or 32:9 aspect ratios and in Full HD, 4K and dual HD resolution. The pixel pitches range from 0.7–1.8mm and wide viewing angles promotes their use for both close viewing in intimate settings and larger-scale audiences. Each option comes with a 4K controller, enabling content from multiple sources, including native 4K and Full HD, and images can be scaled or cropped, or picture-in-picture if required. The MicroLED COB high contrast, low power consumption technology can be optionally touch-enabled, and 5G technology ensures simplified cable management. By adding an optional trolley, the VDS Complete can also be transported from room to room as desired. The manufacturer has also released the Luminate Ultra W Series of MicroLED videowall displays, designed to bring fine-detail
imagery at close viewing distances to outdoor environments. The displays combine the latest advancements in LED technology with a 16:9 wide aspect ratio. Fine pixel pitches support viewing from as close as 2.5m, making it ideal for Full HD/4K cinema and sports media, information signage, retail, hospitality and highend residential applications.
The use of MicroLED technology produces enhanced black levels, colour uniformity and high brightness, even in direct sunlight. The addition of waterproof Glue-On-Board (GOB) technology and an IP65 rating means that the panels can withstand harsh weather conditions, while increased energy efficiency produces less heat at the same brightness.
Available in 1.2mm, 1.3mm, 1.5mm, 1.6mm, 1.8mm and 2mm pixel pitches at a minimum 3,000 nits, the Luminate Ultra W’s front installation and maintenance reduce the overall footprint of the videowall, and virtually eliminates the need for servicing space behind the wall. Luminate Ultra W Complete pre-configured off-the-shelf LED videowalls are also available in 115-, 145- and 173-inch Full HD resolution, and 231-inch 4K resolutions to reduce configuration time, cost and complexity.
www.leyardhk.com
meeting. Ensuring remote participants remain part of the conversation, ConferenceView shows content and people side-by-side on the meeting room display. With further developments in control room software, together with LED and LCD videowalls, the introduction of the Barco CTRL software and hardware platform has been designed to simplify workflow and provide added security. The platform is continuously enhanced with new features via software and firmware updates (currently v1.3). Having been awarded ISO/IEC 27001 certification for its control room solutions, the brand continues to put security first.
www.barco.com
Pixel Reality RGB W Series
Captivate Series now available in 4K
FEATURING AN all-in-one chip-on-board (COB) platform boasting 4K resolution clarity, the Nanolumens 4K Captivate Series measures 165 inches and includes tighter pitches. The 0.9-pixel pitch creates images on Nanolumens displays that feature smoother borders and finer detail, allowing viewers to stand closer to the screen without the distraction of individual pixels. Available in four unique sizes, ranging from 120 to 180 inches, and with a system depth of just 2 inches, the Captivate Series is designed to aesthetically integrate into a variety of applications.
The manufacturer claims that the Nanolumens displays consume significantly less energy per m2 compared to conventional digital displays. Reliability is reportedly
ensured with the series’ 100,000-hour lifetime, while the manufacturer’s turn-key installation process ensures integration and optimal performance within four hours.
Featuring an ultra-tight radius and narrow pixel pitch, the Nixel Series adds flexibility for seamlessly curved displays. Unlike traditional displays that rely on rigid panels, the Nixel Flex Series is designed to bend and arch to create both convex and concave curved displays. The unique design of the Nixel Series ensures that the displays are 100% seamless and provide aesthetics from 360° when viewed up close. Building on the Nixel Flex platform and boasting 100,000 hours of display
life, the latest curved display incorporates patented True Curve technology. The tightest true curve offers a bend radius of 11.5 inches, in a 1.56mm pixel pitch
www.nanolumens.com
DESCRIBED BY PPDS as the latest evolution of its ePaper with Android SoC signage range, the 13-inch Philips Tableaux 4150 is designed for businesses looking to introduce or expand a digital signage network with full-colour ePaper displays. It adds to Philips’ 25-inch 4150 and 32-inch 5150 models and has been developed with PPDS’s longstanding technology partner E Ink to bring the same “zero power” features and Android-powered functionality as the larger 25- and 32-inch displays. Available with a white bezel design and weighing just 1.3kg, its sunlight-readable imagery can be indefinitely displayed without using a single kilowatt of electricity, requiring power only during image changes. With a 1600x1200 resolution and 16GB internal memory, the 4150 requires no external media player either; users can plug into a power source to upload new static content for instant play via USB, LAN or Wi-Fi connections. All Philips Tableaux displays can operate entirely unplugged, making them ideal for locations with limited or no access to power sources. Meanwhile, content updates can be managed manually (including via USB) or remotely via a range of certified thirdparty control and management partners,
Wave enables businesses to securely switch out content from any location, with firmware upgrades, playlist creation
After a year in development, PPDS has also unveiled Philips Genius, its first in-house educational software designed to enable
educators to create and deliver lesson plans and collaborative teaching experiences to any classroom and on any interactive display. Accessible on a single platform, PPDS says the application enables educators to create lesson plans either directly on an interactive display, remotely via a web browser or on a dedicated app. Content is saved to a personal Philips Genius account/library and can be retrieved and displayed on interactive displays within seconds of the educator entering the room. Logging in is fast and secure via an onscreen QR code or using a username and password.
Educators also have access to a wealth of applications and third-party content, as well as the ability to import/embed YouTube videos, PDFs, Word documents, Excel spreadsheets and PowerPoint presentations. When used with the Philips Collaboration 4152 and 3152 interactive displays, Philips Genius also brings the familiarity and functionality of a traditional whiteboard, allowing students to share their ideas and workings directly onscreen or via their own device. Tools include digital pencil/ pen, highlighter, eraser, images/shapes and lines, ruler, set square and protractor.
www.ppds.com
DELIVERING LOW-LATENCY video streaming with Dante AV-A, AMX has revealed the SVSI N2600D wallplate encoders and decoders. Designed to transmit both live video and detailed content, all N2600 models feature support for the 4K60 4:4:4 MWC codec. Additionally, Virtual Network USB 2.0 Hub technology provides video preview images from a built-in web interface or touchpanel, low-power mode for energy savings and support for high-security networks. Fullbandwidth USB 2.0 routing allows USB devices such as cameras and conferencing soundbars to be easily integrated into room solutions. Virtual Network USB Hub technology allows the USB signal from up to
four decoders to be combined and delivered to a USB host on any encoder. Based on Dante AV-A technology, the N2600 models promote audio interoperability including signal routing,
configuration and IT-level management with other Dante products. In addition to the low-latency 4K60 4:4:4 MWC stream, standalone box and card models with the “S” designation add support for a high-
compatibility, low-bandwidth 1080p H.26x secondary stream. The encoder models can simultaneously encode both MWC and H.26x streams and the decoders can decode streams of either type.
Available in wallplate form factors in both US and UK/EU styles, the N2600D encoders and decoders are finished in either black and white faceplate inserts and wallplate covers.
Supporting audio, video and USB 2.0, the wallplate encoders include both an HDMI input and a USB-C input. An open API allows seamless integration, making it possible for any control system or application, such as Zoom Rooms, to control the device.
www.amx.com
cylindrical screen measuring 23 inches in diameter.
Tableaux 4150
Blackmagic keeps users connected
FEATURING A 36mm x 24mm 6K sensor with 13 stops of dynamic range and dual CFexpress media recorders, the Blackmagic PYXIS 6K is a next-generation digital film camera. Finished in machined aerospace aluminium, the customisable camera can attach to rigs including cranes, gimbals or drones. In addition to the multiple ¼- and 3⁄8 -inch thread mounts on the top and bottom of the body, the PYXIS 6K has a range of side plates that further extend their ability to mount accessories such as handles, microphones or even SSDs. The full frame sensor with a native resolution of 6048x4032 can adapt to shooting in bright sunlight or in almost no light at all. Thirteen stops of dynamic range with dual native ISO up to 25,600 provide low noise images in all lighting conditions. Capable of shooting in all standard resolutions and frame rates from HD up to DCI 4K and even 6K, a choice of L-Mount, EF or PL lenses extends the PYXIS 6K’s compatibility with a large selection of cinema and photographic lenses. The L-Mount model works with the latest full frame lenses from Leica, Panasonic and Sigma but can also accommodate lens adapters. The EF model can be paired with photographic lenses including DSLRs.
stabilisation. Editors can work directly with transcribed audio to find speakers and edit timeline clips, while colourists can produce film-like tones with the ColorSlice six-vector palette and cinematic images using the film look creator effect. Now in a spherical
Vaddio Ventures further into the room
WITH A legacy of camera quality, Vaddio has unveiled its first all-in-one 4K video conferencing solution for all scales of meeting rooms. The Venture VideoBAR and
presenter’s position accurately around the room, without adding distracting video motion. Enabling the camera to follow the action in the room without relying on cropping abilities, an
Available as mini and rack-mount models,
reference output generated from the PTP clock. Supporting all SD, HD and Ultra HD formats up to 2160p60, the rack-mount
are available. Designed to integrate SDI equipment into 2110 IP broadcast systems, the 2110 IP Converters conform to SMPTE ST 2110 standard for IP video. They can also re-sync SDI inputs to a common PTP clock or external equipment can lock to the
sensor, a 110° wide horizontal field of view, 3x digital zoom, a six-element beamforming microphone array and a hi-fi speaker system with integrated DSP. With a microphone pickup range of up to 6.5m, the Venture VideoBAR can be further boosted by a further 6.5m of range in larger room scenarios by adding the optional Venture TableMIC expansion microphones. The Vaddio Venture VideoBAR features manual PTZ/ePTZ control and tracking technology in three modes: group framing, speaker framing and gallery view. Using facial tracking and speaker tracking algorithms, it accurately frames a group of participants. The beamforming microphone array can pinpoint and track a single
HDMI output and a confidence display allow presenters to monitor what the audience can witness during presentations and video conferences. Additionally, the Venture VideoBAR can be used as a speakerphone for voice calls or to listen to music via a Bluetooth connection. In larger rooms, the Venture TableMIC connects to the Venture VideoBAR via a single Cat6 cable and up to three microphones can be daisy-chained for full microphone coverage in larger boardrooms. The microphones feature a universal mute button and a status light for control near participants.
www.legrandav.com
router panel. The 2110 IP Converters are available with RJ45 connectors for Cat6 copper cables or SFP sockets for optical fibre modules and cables. When working in larger SMPTE ST 2110 systems, video equipment can be connected to an Ethernet switch.
www.blackmagicdesign.com
Just Add Power wall plate targets BYOD needs
AVOIP SPECIALIST Just Add Power has announced the latest solution in its MaxColor series with the MC-TXWP1 wall plate. The product supports HDMI 4K60 input and distribution of source devices, making it suitable for BYOD, UC&C and huddle environments.
The solution provides integrators with an HDMI port that natively supports computer and video resolution at 4:4:4 and deep colour of up to 36-bit. It distributes 4K UHD video from connected 4K BYOD sources with
no downscaling or subsampling over a Gb managed network using a Cat5e/Cat6 cable. It delivers switching and HDR management while supporting all lossless audio formats and HDR10, HLG and Dolby Vision. Other features include control of endpoints with CEC and the ability to view a live MJPEG stream of up to 30fps, as well as a snapshot image in any browser or control system at up to 10fps.
www.justaddpower.com
and 3D spherical
Venture VideoBAR and TableMIC
PYXIS 6K
2110 IP Converter
Ki Pro GOes again
AJA HAS launched the latest evolution of its Ki Pro GO multichannel HD/SD recorder, the Ki Pro GO2. It offers users four channels of H.265 (HEVC) or four channels of H.264 (AVC) recording to USB 3.0 drives or network storage, with redundant recording and single channel playback. In addition, it includes four 3G-SDI and four HDMI inputs for compatibility with a wide range of video sources.
audio inputs, mic/line/48V switchable and an Ethernet LAN port.
The HD/SD recorder also incorporates realtime recording to network storage, onboard exFAT drive formatting, built-in frame syncs, support for HDMI and SDI multichannel matrix monitoring and HDMI and SDI, enhanced Super Out for monitoring timecode, media status and audio levels.
compatible with standard web browsers, front panel device buttons and an integrated HD screen. Other features include five USB recording media ports, compatible with off-the-shelf USB 3.2 Gen 1 media, four 3G-SDI inputs, four HDMI inputs, four 3G-SDI outputs, a 3G-SDI monitoring output, an HDMI monitoring output, balanced XLR analogue
Panasonic shines through the fog
recording settings with five options, timecode SDI RP-188 Input Support: Time of Day or Timecode Value, LTC Support which is available using a single channel of Analog Audio In, two channels of embedded audio per video input, a compact 1⁄2-rack width and 2U height.
www.aja.com
DESCRIBED AS one of the more unique products the manufacturer has released in recent months, Panasonic’s Silky Fine Mist is “providing a new type of canvas for visual artists to explore”. Suitable for use both indoors and out, the solution uses pressurised water and compressed air to create a small particle mist air and then projects beams of light onto it to create a hologram-like, 3D effect. The solution has already been used in immersive exhibitions like TeamLab’s Massless Clouds at Superblue Miami, and allows designers to use projection is areas previously unthought of.
Also new from the Japanese manufacturer is the PT-REQ15 projector, the first 1-Chip DLP 4K Projector to offer 15,000-lumens brightness. It was unveiled alongside its counterpart, the PT-REZ15, which delivers 15,000-lumens with WUXGA (1920x1200) resolution. The unit’s optical engine and laser light source module comply with the IP5X Dust Protected standard, while the backup input and multi-laser drive engine allow it to operate reliably in harsh conditions. Both models are TTA-compliant.
connect.panasonic.com
PT-REQ15
EYEING UP the LED installation market for semi-permanent indoor applications, ROE Visual’s Jet LED panel system features a brightness of 1,300 nits, a lightweight design of 10.3kg per panel and the capability to add curves from 5° convex to 5° concave. The company says its refresh rate of 7,680Hz makes it more adaptable to market challenges, especially houses of
makes it up to 50% lighter than conventional LED panels, but without losing strength. It features a lock equipped with a magnetassisted function which locks panels together with a push of the handle. Coupled with the user-friendly horizontal locks, the system delivers freedom for fixed installation areas and the design can be easily changed to suit special occasions. Meanwhile, its high-
Multiviewer widens the horizons for Visionary
DEVELOPED BY Visionary to extend the capabilities of AV-over-IP systems, the MV5 IP Multiviewer is an advanced scaling and multi-windowing appliance. The first in a family of next-generation multiviewers, the
CLAIMING TO be the world’s first IP65 hybrid moving head with a phosphor-
picture-in-picture, the MV5 IP boasts zero frame loss during window and video transitions for smooth and uninterrupted playback. The combined output video can be encoded into a single stream and sent to one or more PacketAV
Ensuring the highest-quality video output, the enhancement satisfies the demands of modern AV applications in terms of clarity and precision. Supporting a variety of default presets, such as quad view, side-by-side, full screen and
Unlike traditional multiviewers, the MV5 IP can be rack-mounted at greater distances from the source.
www.visionary-av.com
rotating gobos as well as two combinable effect wheels with six prisms, ovalisers
deliver a more visually dynamic effect with higher impact, Elation’s IP65rated Pulse Panel and Pulse Panel FX units combine a strobe, bright blinder, high-output wash light and creative eye candy effect
CW strobe LEDs. Customisable zone control of both the RGB and cool-white LEDs provides more design flexibility, and both fixtures include a library of customisable RGB and CW strobe effects along with variable dimming modes and
controllable RGB and cool-white LEDs with 1,152 1.5W RGB LEDs establishing the foundation, 288 5W cool-white LEDs at its centre and 96 1.5W RGB LEDs at its core. A further 144 5W cool-white LEDs line the perimeter. When combined, output is over 100,000 total lumens.
The company says it added the cool-white LEDs on the outer edges to offer more output and visual impact, and then capped those with a custom linear prismatic lens originally developed for Elation’s Proteus Rayzor Blade fixtures. A single line of RGB LEDs at the centre adds extra colour or can be set to mirror the centre
The Pulse Panel FX can pan or spin its LED panel in an endless 360° rotation and features a 180° tilt. The fixtures can be controlled via DMX, RDM, Art-Net, sACN and KlingNet protocols, and both fixtures also feature proprietary Aria x2 wireless device management for simplified system setup and maintenance. The Pulse Panel FX allows for two separate universes to control the fixture – one for fixture movement and another for LED control –allowing users to control the LEDs from a media server or separate content control device.
www.elationlighting.com
Pulse Panel FX
Updated Hog software
ETC HAS announced two software updates for its Hog 4 console’s operating system. The Hog 4 operating system v3.21 and v4.1 are bridging releases with export and import features to get old show files into Hog desks which are running v4.x software. Hog operating system v3.21 is required for users who wish to import or export existing show files. These can now be exported to an XML format which allows for easier transitions between software versions where show file compatibility may be limited. Section 4.12 of the Hog operating system v3.21 help manual offers users details on how to use the show import/export feature. Additional features of this software update include cloning per type palette rules for fixtures when change type is used and a dedicated timecode frame rate option for lists.
Hog operating system v4.1 can facilitate importation from exported v3.21 data into the v4.x operating system. Section 4.12 of v4.1 also has details on how to use the show import/export feature. Additionally in v4.1, the SPD view of the physical tab in the Colour Picker Window has been simplified by removing the selected emitter info section and Locked Physical Function tray area and a new “optimise palettes” button has been added to the show manager window. Pressing this button starts a background task which scans all the palettes in the show for repeated per fixture values and rolls them up per type rules when possible. This reportedly improves performance in editors and playback.
www.etcconnect.com
Give us a CLU
ELIMINATING THE need to physically access individual devices, NETRON CLU is a user interface from Obsidian Control Systems designed to discover and manage NETRON data distribution devices across a lighting network. NETRON devices can be discovered regardless of their current IP address, and all NETRON features can be centrally configured. Its Windows-based NETRON CLU app monitors network status and indicates devices’ online or offline status on the user interface. NETRON CLU also includes integrated firmware update management, allowing users to upgrade multiple devices to the latest firmware release simultaneously and with a single click. The company says it is especially helpful when deploying networks that use multiple nodes or when working with nodes that lack integrated screens.
Further products have also been added to the NETRON range. The NETRON EP1 is a compact device that functions as an Ethernet to DMX gateway, featuring a single RDM-compatible port. Designed for integration into single-gang wall mounts, trusses or standalone setups, it offers configurability via an integrated OLED display and encoder, or via internal web remote access. With its internal network switch, the EP1 efficiently
manages incoming network traffic, making it suitable for distributing sACN and Art-Net traffic across different stage locations.
The NETRON EN12i is a high-density Art-Net and sACN to DMX gateway that boasts 12 RDM-compatible wire terminals or RJ45 outputs. It offers easy configuration through integrated presets and advanced merge and routing features, making it suitable for permanent installations requiring numerous physical DMX ports.
The NETRON WP1DO/WPIDO-EU feature a five-pin DMX Output connector within a Decora insert plate, along with integration flexibility with various DMX options for seamless integration into any DMX infrastructure. The NETRON WP1CAT6/ WP1CAT6-EU have been designed to simplify integration into Ethernet or DMX setups and offer a Cat6A-compliant locking RJ45 connector within a Decora insert plate for a “tidy and efficient” installation process. The NETRON PCB5P provides a standard D-Size DMX Output connector on a small PCB, while the NETRON PCBCAT6 presents a standard D-Size locking Cat6A RJ45 output connector on a compact PCB, catering to custom integration needs.
www.obsidiancontrol.com
CZECH LIGHTING manufacturer Robe has unveiled several new solutions, including the FORTE Fresnel PC, T32 Cyc Slim, iFORTE LTX FS and the iProMotion Landscape and iProMotion Portrait. Additionally, full network capabilities have been announced for its RoboSpot remote follow spotting system, meaning it can now be integrated with IP networks.
The FORTE Fresnel PC is a new variant in the FORTE range and is described as a high output wash luminaire for TV, theatres and concert stages. It purportedly makes a true replacement for a traditional 2.5kW HMI Fresnel light, something lighting designers have long requested. The fixture has an in-house designed, developed, patented and manufactured TE 1,000W XP (Xtra Power) white 6,700K LED engine said to deliver an intense light output of 40,500 lumens (Fresnel) and 41,000 (PC).
The T32 Cyc Slim is a low-profile variant of Robe’s T32 Cyc light, an interconnectable, asymmetrical cyclorama fixture for covering any
be exceptionally quiet, making it great for drama theatres or orchestral venues with L3 18-bit dimming for refined fine-tuned fades to black. The colours are said to be perfectly rendered, with ratings of CR:96 and TLCI:97, and RGB or CMY colour mixing, with individual emitter control for advanced users offering faster programming.
The IP65-rated iProMotion moving head effects and video projector is now available in both landscape and portrait configurations for indoor and outdoor use. It’s intended for use in advertisement, retail promotions, shops, car showrooms, clubs and bars. The fixtures offer 1,000 ANSI lumens of output with a long-lasting LED source, with RGB and CMY colour mixing capabilities, digital gobos, graphic effects, images and videos, plus a range of in-built effects.
Lastly, the new iFORTE LTX FS is described by the manufacturer as the ultimate long-throw, high-output, all-environment LED WashBeam, and features an integral camera for use with the RoboSpot system. The iFORTE LTX FS has a Full HD digital camera mounted on the head, with parCoat lens protection to ensure a clear picture even in inclement weather. The IP65-rated camera features 32x optical and 32x digital zoom, and is suitable for low light levels down to 0.05 lux.
www.robe.cz
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AV’s time to shine
QSC chairman and CEO Joe Pham shares insights on what the recent AI goldrush means for the future of enterprise AV
THE OPENING KEYNOTE DELIVERED BY JOE PHAM from QSC at this year’s InfoComm Las Vegas clearly struck a nerve with the 700+ crowd packing out the room. If you had to pick one topic that has dominated technological conversations over the last 12 months, it would without a doubt be artificial intelligence (AI). Sorting the wheat from the chaff, though, can be a daunting endeavour. There’s still an awful lot of buzzwords flying around, and understanding how the “big picture” conversation will extrapolate down into various practical aspects of our life still feels like a mighty big hurdle to wrap your head around. It’s been the hot topic ever since Open AI unleashed Chat GPT3.5 on the world back in November 2022. Some 21 months later and, with the help of Pham’s crystal ball, answers are beginning to
of controlling sight and sound – the two most important senses for human connection. We, as an industry, need to shape AI to enhance human connection and elevate experiences. How we do that is through technology.”
Relating this back to AV, Pham can foresee an imminent future emerging where a “full-stack AV platform” becomes the natural outcome for the AV industry. “You’re already carrying one in your pocket,” he proclaims. “Our smartphones are a full-stack consumer technology platform, yet AV doesn’t have one. Our industry is always a little bit behind the rest of the technology world.”
Pham’s full-stack AV platform would be a holistic system integrating hardware, software, data management and cloud services made up of three main parts: a multimodal I/O
the full-stack AV platform and leverage all the great AI tools that will come into play.
the AV industry. You could see neurons firing in people’s brain as the hour progressed and the implications of it all came into view. And so, keen to not let the conversation end there, Pro AVL MEA went back for more, picking Pham’s brains during a brief stopover at the Q-SYS Experience Centre in Surrey, UK.
Aside from the impending implications of AI, it is the sheer speed of technological change that is starting to become challenging for humans. Unfortunately, Pham has bad news here. “Get used to it,” he jokes. “Most people haven’t come to terms with exponential numbers; however, the exponential pace of technology that we’re now experiencing today, and is leading to this moment of AI, changes our world forever. Almost more importantly, our industry is so uniquely positioned to leverage this power of AI to do what we’ve always wanted to do, which is to connect human beings and elevate experiences.”
Describing the current times as a “phase-shift moment” on par with the invention of the printing press, electricity and the internet, Pham believes that AI holds immense potential for our industry.
“There have been three phase-shifts in our life so far – the internet, mobile and AI – and my belief is AI will be the biggest one,” he says. “To me, the most interesting part is how it will intersect with the real world. And we sit in that intersection because we’re in the industry of human experiences, with the unique point of view
“The benefits are enormous,” he continues, “and are going to be really critical for enterprises in this exponential age. It’s going to be easily upgradable and updatable – because it’s softwarecentric and connected to the cloud, it will be scalable with futureready architecture, designed with AI integration in mind, and it will be interoperable with a unified data approach, since it integrates with a broader ecosystem.”
Harking back to the nature of exponentials, and how fast this transition is likely to come to fruition, how can companies negotiate the ever-changing technologic landscape we’re barrelling towards?
“We can’t predict where the world will be one year from now, or even six months, because progress is moving very fast and we never know where the next wave of innovation will come and take us by surprise,” he explains. “The only thing we can do as humans is build the skills to be resilient and flexible to change. I think one of the most important things is the curiosity to learn, so that no matter what happens, you are able to adapt.” Right now, AI progress is still very much a conversation dominated by the big boys of tech, whose computing capabilities have positioned them front and centre. As the gatherers of audio and video data, Pham argues that AV is no less important, and the time for our industry to willingly take a back seat is gone.
“I want to encourage our industry that this is our moment to step up to centre stage, and we’re going to do great things in the coming years,” he concludes. “Especially since the world needs human connection more than ever before, not only for human joy, but enterprises with hybrid work. We’re never going to go back to a world where we’re not playing with AI, it’s only up and to the right from here on.”
Joe Pham
QSC’s Joe Pham kicked off proceedings with the opening keynote at InfoComm Las Vegas
Simon sat down with Joe Pham at the Q-SYS Experience Centre in Surrey
